Page 32 - The Noise August 2017

>> CONTINUED FROM 31 >>
Haha, you nailed it. Yeah, my good friend Graham Tavel produced the first LP and EP, which is to say that he really is the creative mastermind behind the “sound” of 100 Watt Horse. He goes so far beyond the traditional producer role and as far as I’m concerned. He was basically a co-writer for the songs on those records. He has an amazing studio set up at his house with all sorts of odds and ends he’s collected, and I used to love going over there and just trying out ideas with him. Our recording process was simultaneous with the writing process, and I think that freedom and spontaneity really show up in the arrangements and the vibe of those records. Let’s call it 50/50; half intentional, and half accidental.
Many of the recordings are clearly analog, with a little tape hiss (nothing wrong with that!) And many songs are much cleaner sounding (digital?) ... Do you have a preference? Is it important even?
Sometimes it feels like a fad, the whole lo-fi thing. But I think there is something to be said for specific arrangements being more true to the song than others, and if the tape hiss adds to the overall arrangement then it should be there. The same goes for polished recordings in my opinion. Some songs lend themselves to a really crisp clean production and wouldn’t sound good recorded on an 8-track (cassette) Tascam or whatever.
I am wondering who your influences could be? You have a song called “Omaha, NE,” which is interesting because your more introspective acoustic moments have a “Bright Eyes” / Simon Joyner vibe at times. There are many bands I am aware of that seem to share your aesthetics and approach. But who (if anyone) initially inspired you to start a band?
I went through a relatively brief Bright Eyes period in middle/early high school, but he wasn’t really my guy so much as people like Elliot Smith and Jeff Magnum (Neutral Milk Hotel). I’ve been told to listen to Simon Joyner about once a month since I started playing guitar. So I guess I should probably get around to that. Again I think my friends inspire me more than any established artists do, probably just because I know them personally and know their stories and that draws me closer to their music. It’s hard to play this game without offending someone, so I’ll just say that in the past month or so I’ve been listening to Post Moves, Moses Nesh, the Washboard Abs (who we’re touring with) and Briana Marela a lot. I’ve also been listening to a lot of Willie Nelson for whatever reason. And Kendrick Lamar.
Your current tour is pretty extensive. A month long! How do you balance work with your musical aspirations?
I am always broke, haha. Yeah, between work and school and music it feels like everything is falling apart all the time, but things tend to fall in line in the end. Getting to go on tour with these incredible people and musicians is the greatest gift, I’m just thankful to be a part of it all.
| 100 Watt Horse play Firecreek Coffee in Flagstaff August 6, with Washboard Abs. I’m excited. And you should be too!
REVIEWS
BRONSKI BEAT: The Age of Reason (Cherry Red Records)
Bronski Beat formed in the early ‘80s and was one of the first openly gay synth-pop bands to be accepted on their own defining terms. They were politically charged, and dismis- sive of the passive nature of the accepted “media friendly” gay performers of the era. The band’s biggest hit, the remarkably catchy and haunting “Smalltown Boy,” tells the tale of a gay teen- ager’s struggle for acceptance within his family and community. Squeezed out into society’s mar- gins, opting to leave for London (the big city), with a head full of hope and a thirst to embrace a new set of friends and values. It was a glimpse into a world that at the time was still stiffly guarded
from the national conscience. The video is chokingly difficult to watch in places. Remarkably, given the political message, the single was a massive European hit reaching Number 3 in the UK national charts.
Original singer Jimmy Somerville had a stratospheric falsetto vocal that was unearthly in its depth and purity. He was a unique front-man. Despite his sweet vocals, Jimmy was out- spoken, militant, and hard as nails. He had no choice, having been raised on the tough streets of Glasgow. “Smalltown Boy” is assumed to be autobiographical, written about Somerville’s personal experiences as a gay teen in an openly hostile working class environment. Jimmy left the band in 1985, to pursue music as The Communards, and later as a solo artist, but to this day remains active in gay rights and equality concerns.
Bronski Beat have continued on and off since their halcyon days, with a series of dif- ferent singers, to varying mainstream acclaim and diminishing commercial rewards. It was understandably difficult to find a singer to match the engaging talents of Somerville, which hindered the band’s progress over time. So, it was with caution that I approached this new double CD, the band’s first new recording in 22 years. The Age Of Reason is a reworking of the band’s much loved synth-pop classic and breakthrough 1984 album The Age Of Con- sent. At first I thought, “Huh? Why the re-record?” But then I thought ... “Well... why not?” Steve Bronski, the band’s original creator, co-wrote the bulk of the original material, also programmed and arranged these new recordings. He’s clearly having fun and they are his own creations. So good luck to him!
I tried to discard my reservations and enjoy the song through new ears. And it’s pretty good if you can sidestep the inevitable comparisons. The 1st disc is pretty much a facsimile song wise of the original 1984 album The Age Of Consent. It is updated with a digital precision that lends a harder edge to the proceedings, leaning more to Hi-NRG than the synth-pop chart bound friendly sounds of the original LP. The new Bronski vocalist is Stephen Gran- ville. He has previously sung with quite a few ‘80s heavyweights such as Shakespeare’s Sis- ter, Brian Ferry, and Texas. I suspect Mr. Granville had a difficult task reinterpreting Jimmy’s original performances, but kudos for him managing to stamp his own identity on so many well-loved songs. He is a great singer in his own right, and I hope the weight of comparisons that are bound to follow don’t grind him down too much. He has a fine falsetto and soulful voice. Not quite hitting the dizzy heights that Somerville achieved, but still, a remarkable singer no doubt.
The album opener “Why?” is as strong and (sadly) relevant as the day it was written. “It Ain’t Necessarily So” and “Smalltown Boy” will probably bring the most dissection among old-school Bronksi fans, given they were both very much Somerville’s acclaimed party piec- es. Regardless, it’s still a rollicking worthy and fun performance. Purists may balk, but I enjoy it on its own merits.
The 2nd disc does feature new material. Three new songs spread over 13 different mixes! I would have been happy with just the 3 songs to be honest, as I’ve never been a fan of mul- tiple mixes. However, I do see the importance of Bronski Beat bringing something new to the table along with the reworked songs. Of the 3 new songs, there’s an uptempo cover of disco icon Sylvester’s “Stars,” and two new songs “I’ll Be Gone” and “A Flower For Dandara.” The latter is my favorite of the newer material, down-tempo and relaxed, and benefitting from backing vocals supplied by Rose MacDowell, formerly of ‘80s pop band Strawberry Switchblade. I think curious first-timers may find the original recordings slightly more im- mediate, if only to bask in Jimmy Somerville’s remarkable vocal performances. But without question, there is much of merit on this new disc set and it deserves to be heard. I hope with the renewed interest this will undoubtedly bring, Bronksi Beat will be spurred on to write and record new material, as they are clearly back in the saddle and loaded with potential.
TUNABUNNY: PCP Presents Alice In Wonderland Jr
(Happy Happy Birthday To Me Records)
F
have followed each of their pre- vious three albums with interest since their 2008 debut, and have marveled at their ability to switch up their direction and intent with a convincing conviction. Their last LP, 2014’s Kingdom Technol- ogy was a dramatic departure sound wise from their previous forays, opting for a synth-heavy and processed sound. So, I was used to them hopping about a bit stylistically. But a double LP? Gulp! That’s a chewy prospect for any young band to pull off without appearing prematurely bloated or pretentious.
rom Athens, GA, Tunabunny
are a curious kettle of fish. I
Luckily, it would appear Tun- abunny’s attention span is in sync with my own, as the 28 songs on this sprawling collection flit around sonically enough
3
32
2•
•A
A
U
U
G
GU
U
ST
S
T
2
20
01
17
7|
|
eN
NO
O
I
I
SE
S
E
|
|w
.
.t
th
he
no
o
i
s
s
e
t
.u
t
he
a
h
ar
rt
t
s
&
en
i
e.
s
&n
ne
e
w
ws
s
ww
ww
w
u
s
s