Discoverer 43: new indie findings

It's Sunday, so here you have the usual dose of new indie proposals. Proceed with care, they are highly addictive!

Big Wave. Watched the infectious video of "Only You", single due to November, on the ultra reliable friends Indie Pop Saved My Life. I immediately ran to hunt for more of this five-piece band hailing from Torquay, Devon, UK, and living all together. Their first EP, "Another Year or Two", appeared in November 2011. This June released "The Roots of Love (Come Tumbling Down)" plus the tune "Dying on the Vine" on August. A collection of vital indiepop, driven by euphoric guitars and contagious vocals exploding in meteoric choruses. A band to love and dance to! If you are not made of stone, that is.
 

Literature. Sometimes its the name of band what gets your attention. That has been the case with this group from Austin, Texas, active since 2010, when they released their debut 7" "Cincinnatti", followed, on January of 2012 by their first LP (grab it at the price you want) , "Arab Spring" (another name that made me curious). Glad I checked them, because their music is a formidably catchy, urgent and carefree example of why power pop and pop-punk are styles needed in this planet. Their music reinvigorates the spirit and makes you smile, so for a while, the world looks like a brighter place.

Pale Lights. And our third proposal comes from New York, being the latest project, started on Fall 2011, of Phil Sutton, former member of the indispensable Comet Gain, after the hiatus of his latest band, the already recommended here The Soft City. The first combo (a five piece group with members of Soft City, Crystal Stilts and Knight School) that Sutton fronts (guitars and leading vocals), since May we have their first EP out. Four songs that are pure jangle pop, romantic bliss. The Go-Betweens, Felt, Comet Gain and many others will come to mind. Indeed, sounds like a classic.

"A Skin Too Few", the mystery of Nick Drake

A Skin Too Few: The Days of Nick Drake

How can you make a music documentary when the subject, the band/artist you want to talk about has no "documents", aside songs, of course, on which you can support your film? You probably have only two options: one is filling the gap with hundreds of opinions/assessments from music journalists, other musicians and "cool people" in general. The other choice is just focus on the people that really knew the artist, and we the story is told, end the film (in only 48 minutes!). That's the path taken by Jeroen Berkvens on "A Skin Too Few", an impressionistic and very very intimate attempt to shed some light into the superb English folk singer/songwriter Nick Drake.

With the exception of some off-voices at the very beginning of the rockumentary, pointing out the qualities and legacy of Nick Drake's music, and the short comment from mod-father Paul Weller, "A Skin Too Few" the film develops using the chronology of the musician's short life (1948-1974). So we will begin in Burma, where the artist was born, to follow his childhood in Warwickshire, then teenage and adult years in Cambridge and London, and finally back home in Tanworth before where he sadly took his life (accidentally or not) when he was just 26. The insights are provided by his older sister's Gabrielle Drake (who is the pivotal element of the film), with the occasional comments of the recorded voices of his now defuncts parents. There are not a lot of anecdotes or trivial moments from childhood memories, and music appears quite soon on the conversation.  

As we enter the adult period on which Nick Drake becomes an incredibly gifted musician, we also get the opinions of a couple of friends, his producer, arranger, sound engineer, and the photographer of his albums sleeves. That's how we get to know about his guitar playing style, the presence of music on his family, the wonder of recording his songs (the faces on the scene with collaborators John Wood and Robert Kirby says it all, the joy of recording the music, but also the utter sadness of his finale) and also his disastrous first and last tour, the lack of commercial success and his depression and retirement from society. 

I used the word impressionistic before because the film doesn't want to speculate about the reasons of his death or lack of success, but setting a mood, a tone, an imagery. His tunes are the only soundtrack, and the director uses the landscapes of London, the Warwickshire countryside as well as his house and even the room, packed with the few pictures and memories available, as the only visual anchorage. It's quite amazing that with so little, Berkvens is able to be quite touching with his movie.

Being such an honest documentary, don't expect the film providing any revelation. If any, it confirms Nick Drake mystery: no one really knew him, so not even the closest testimonies possible are able to explain how such a talented person was so troubled with the world. Maybe it was too sensitive for it, as his sister's say? We will never know. But at least, his gorgeous music will never leave us. In that regard, a final praise of the closing scene, where the composition of images of Tanworth with "Northern Sky", suddenly reduced to just his voice is an enduring and compelling closure.

Too short (don't think some comments about his music's legacy and influence would have harmed the film) but very moving and special documentary. Highly recommendable. Please listen to Nick Drake.

SCORE: 7/10

Best Three Song Streak on an Album

A very curious list was proposed yesterday by NME: to name the best three song streak on an album. Needless to say I was in. After all, to find "triplets" of songs is a funny way and a nice excuse to listen some favourite records, so here it is!

20. Camera Obscura- Biggest Blue Hi-Fi
Happy New Year/ Eighties Fan/ Houseboat
19. The National- Cherry Tree EP
All Dolled-Up In Straps/ Cherry Tree/ About Today
18. Fanfarlo- Reservoir
Comets/ Fire Escape/ The Walls Are Coming Down
17. Monkey Swallows the Universe- The Bright Carvings
Sheffield Shanty/ Martin/ Jimmy Down the Well
16. Interpol- Antics
Next Exit/ Evil/ Narc
15. Saint Jude's Infirmary- Happy Healthy Lucky Month
The Church of John Coltrane/ Remember Dresden/ Saint Jean (it could continue with Good-bye Jack Vettriano and Saint Jude's Infirmary, this record is so great)  
14. The National- Boxer
Slow Show/ Apartment Story/ Start A War
13. Teenage Fanclub- Grand Prix
About You/ Sparky’s Dream/ Mellow Doubt
12. Belle and Sebastian- If You're Feeling Sinister
Seeing Other People/ Me And the Major/ Like Dylan in the Movies
11. Doves- The Last Broadcast
Pounding/ Last Broadcast/ The Sulphur Man/ Caught By the River (couldn't decide the triplet, so here's a great quartet)
10. R.E.M.- Life's Reach Pageant
Begin the Begin/ These Days/ Fall On Me
9. PJ Harvey- Stories from the City, Stories from the Sea
Big Exit/ Good Fortune/ A Place Called Home
8. The National- Alligator
The Geese of Beverly Road/ City Middle/ Mr. November
7. U2- Achtung Baby
Ultraviolet/ Acrobat/ Love is Blindness
6. Beth Orton- Central Reservation
Stolen Car/ Sweetest Decline/ Couldn’t Cause Me Harm
5. Belle and Sebastian- Tigermilk
The State I Am In/ Expectations/ She’s Losing It
4. Bob Dylan- Blood On the Tracks
Tangled Up In Blue/ Simple Twist of Fate/ You’re A Big Girl Now/ Idiot Wind (I know that makes four again, so go think how amazing the record is)
3. The National- High Violet
Conversation 16/ England/ Vanderlyle Crybaby Geeks
2. U2- The Joshua Tree
Where the Streets Have No Name/ I Still Haven’t Found What I’m Looking For/ With or Without You
1. R.E.M.- Automatic for the People
Man On the Moon/ Nightswimming/ Find the River (which could easily be the most beautiful music ever made, if you ask me)

"Fante", reality bites of literature and alcohol

Fante: A Family's Legacy of Writing, Drinking and Surviving
Dan Fante

I have no idea why I am crazy and angry and edged-out most of the time and why alcohol and painkiller pills and Xanax-type stuff are the only things that help to keep me remotely calm. I have no idea why I experience life as pointless and screwed and I know that most people don't pour a cup of bourbon into their milk and oatmeal in the morning. That's just how it is. 

Dan Fante, "86'd"

Four sentences to define a life of self-destruction that, surprisingly, becomes also a story of surveillance and passion for literature. Dan Fante's biography is an unusual one, because mixes his own, suicidal life, with the story of his ancestors and, in particular his father, the great writer John Fante. The tale is terrible, ill-fated and full of booze, but there's also space for redemption and change.

With that trademark's straightforward way of writing, Fante's memoirs are darker than a black hole. And the parallel lines between father and son are always present. The frustration and bliss, and if you allow me to say it, their self-condemnation, as it was always fate had dictated for them. But the paths taken are very different. John sold himself to Hollywood, so he could pay the bills, form a family that he didn't take much care of, and life comfortably but in anger. A man of his time (40-50s) with a gifted prose that, ironically, only was recognised (Bukowski you are next in line of my readings) when he was approaching his (cruel and suffering) death. On the contrary, Dan never seemed to find his own way, a blistering road to nowhere and incredible suffering, until redemption and literature settled him down.

The fragmented structure, shifting between father and son (biggest part of the book) is hyper-addictive. A number of chapters, paragraphs, sentences, are memorable, deeply affecting (in a shocking or a touching, emotional way) and the tension of a life constantly looking to the horizon from the edge of the cliff is always palpable. You might not like the Fante's as persons after reading their story, but the level of exposure, the absolute lack of pretensions of presenting himself (or his father) as some sort of hero that "came back from the dark side", reveals a gigantic human heart, with all their contradictions, miseries and hunger for living.

I have some minor complaints, though. I would have loved some more chapters devoted to John Fante and his writings, as well as their relation with Hollywood. Also, a bit more on his mother,  Joyce, who is clear plays a pivotal role but is too blurred in the biography in my opinion, would have been necessary. I became a bit exhausted with Dan's recurrent cycles of self-destruction, to be honest, and its hard to me to understand how he finally defeated his addiction. I don't believe in miracles.  

But as I said before, there's no self-pity, victimisation, apologies, excuses or preaching here. So take it or leave it, because that's the way it is. And as everything coming from Fante's (both father and son) prose, I sincerely recommend you to grab it. These are monstrous reality bites, a reality that hurts a lot. But you might even win the fight, if you try.

SCORE: 7,5/ 10

Sharon Van Etten, the woman that rains

Sharon Van Etten. La [2] de Apolo, Barcelona, September 29th

A lightning voice in full.
Photo: Bloodbuzzed

It was raining all day, something unusual in Barcelona, and a very inviting occasion for introspective and moving, great music. Adjectives that are the perfect definition of Sharon Van Etten's songs. Haunted by "Tramp", among the best records of the year, her mesmerizing voice and the terrific gig she gave at Primavera Sound 2012, there was no option: I had to be there, on the front row.

A change from the biggest stage of the Festival to a small venue was a significant one. Would that affect the sound? Some concerns were also on the place itself: I have had wonderful but also absolutely forgettable experiences at La [2] de Apolo, so when I saw the stage was set for a full-band show my doubts were increasing. How would it sound?

Sharon at La [2] de Apolo.
Photo: Bloodbuzzed

The epic and heart-drenching "All I Can" opened the gig on a heavily-charged way. With "Warsaw" following immediately, gone away were the sound concerns. And after the country-tinged "Save Yourself", the first highlight of the night arrived: "Leonard". Goosebumps. And let's admit it, a couple of tears. Hearing that tune in front of Sharon is devastating, something only the best musicians can achieve with their work. The spark was lighted.

"Ask" was another jaw-dropping ("trying to get the balls/but it hurts too much to ask", what a line), seconded by the marvellous "Magic Chords" where Sharon's voice gets moody, nocturne, ready to kill and be killed. It was raining outside, but nothing compared with the torrent of emotions pouring inside Apolo.

Kneeling at the end of "I'm Wrong".
Photo: Bloodbuzzed

Next came the almost solo moment (just helped on backing vocals and a second acoustic guitar), that being honest was the most forgettable number of the night, quickly eclipsed by more stand-outs from her still short but already impressive career. "Don't Do It" from "Epic", with its never-ending (thankfully) chorus and "Give Out", another stand-out from "Tramp", as desperate as mind-blowing. In between, Sharon and Co, played "Kevin's", with a previous attempt of chatting with the audience while she tried to explain what was the origin of the tune. Needless to say, she couldn't. But we all understood.

The setlist.
Photo: Bloodbuzzed

The intensity, machine-gun calibre of "Serpents" was a bursting and bitter counterpoint to the previous song, serving also as a perfect propeller to the ethereal "I'm Wrong" with a near psychedelic end that seemed to close the show. By that time Sharon had also achieved a sort of communion with the audience, she looked bright and cheerful (which is remarkable considering her lyrics) so we didn't wait much for an encore. "One Day" and "Love More", both from "Epic" showed her folkiest side. Compared with the level of intensity showed before, it wasn't the best of the endings possible... but that's not a complaint. Just a reminder of how spectacular and touching Sharon's music can be. As Ryan Adams' song says "damn Sam I love a woman that rains".

"To Rome with Love", Allen's postcards from Italy

To Rome with Love

I owe too much to Woody Allen in terms of "cultural education". The way I understand cinema, my interest in some literature, and even more important, a sense of humour and in certain aspects, a certain view of life, that we more or less share or says a lot to me.  So it will take a major landslide for me to miss a new film of him. It almost came in the form of the awful "You Will Meet a Tall Dark Stranger", but last year's "Midnight in Paris" brought us back my old great master and buddy.

Honestly, wasn't expecting a lot, so I can't say I'm disappointed after watching it. On the contrary, for quite a while, the film is enjoyable, and despite its extremely lightweight scope, it works. As it is almost mandatory with Woody, laughs are awaiting the viewer (many reserved for his own, eternal paranoid character).

"To Rome with Love" also benefits from the "touches" of surrealism, something he explored with brilliance on "Midnight in Paris" and a recurring element of his filmography. All four stories have an element of surrealism on it: being the impossible situations (the Benigni story, his own, the one about opera and death, and Alec' Baldwin, where past meets present) or the interaction between unlikely characters (the young couple arriving to Rome). Topics as fame (and its incomprehensible, ridiculous logic) and the pass of time are present, along with sex and of course, love, all through the perspective of a surreal comedy.

But the problem is that Allen has dealt with these topics throughout his extraordinary career, so there's little to be surprised about, aside from the surreal situations itself. After the "shock" of the odd moment happening in the film, there's not a lot to highlight going on. So at the end, I had the feeling the four episodes have all their great moments but are somewhat underachievements, and the overall result, although pleasant, is forgettable.

Another negative factor is the length of the film, something that has never been an issue with Allen. The two hours are unnecessary and weakens the whole affair. Several scenes, quite a collection of postcards from the "eternal city" are just there for the sake of make a tribute of the gorgeous landscape of Rome (a view that looks completely taken from old movies from 50 years ago by the way). I'm pretty sure that without them (and the annoying music) the film would have been much more dynamic and better closed.

This is an "operetta" film, sort of homage to Italian Cinema, and as the genre allows, there's space for going a bit "loose" and "crazy". But there's no balance between characters. On the ones that light up the scenes in which they take part are Penelope Cruz, (she steals the show, it's almost her episode) Alec Baldwin, Roberto Benigni (perfect as Mr.Pisano), Ellen Page and Allen itself (Judy Davis and Jesse Eisenberg are ok too). But they are not enough to balance the amount of roles that are underused. Some characters, like the ones played by Greta Gerwig, Flavio Parenti, Alison Pill are looking even a bit silly. And the situations are also uneven. Quite a few are over extended (the opera moments, for instance), the most "serious" (Baldwin's) one would benefit from some more depth. They work as jokes but loose part of his potential as the joke keeps going.

So, there's a lot of fun and enjoyable moments/situations on "To Rome with Love". But they don't mix together as they should. Come on Woody! You have been capable of doing so much more dozens of times before with such stuff!

SCORE: 5,5/10

Discoverer 42: new indie findings

New recommended bands for your listening pleasure, enjoy!

Fear of Men. Most immediate, biggest "crush" of the last months. This very young quartet, split between London and Brighton, released a couple of demo tapes, "Hanna Schygulla" in March 2011 and "Alice Munro" in November, and the debut 7" "Ritual Confession", in August 2011. Their dreamy and cinematic indiepop, with the killer voice of Jessica Weiss on top, placing them alongside our much beloved Let's Buy Happiness, has achieved a new realm of greatness this 2012 with their second 7", "Green Sea", and the forthcoming "Mosaic / Your Side". Can't wait for more! Check them out!

Cape Canaveral. Rejoice fans of charming indiepop! EardrumsPop is here again to save our longing ears!. Their new free EP introduces us to this Danish band, formed in the summer of 2010, and with a ridiculous talent to nail the perfect melody, as gorgeous "Crazy Love" and "Moles" prove. Folk-pop gems with an upbeat and joyful vibe, plus a WONDERFUL (big capital letters) cover of Galaxie 500's "Oblivious". Satisfaction granted. Let's begin the campaign to make EardrumsPop win a Nobel Prize for their contribution to the well-being of (good-tasted) mankind!
Single - Crazy Love, Moles, Oblivious
South of France. Back to Los Angeles with the project of Jeff Cormack (initially it was his solo idea, then a duo, a trio and finally the pair again) and Kelly Lueke. Active since 2010, their first release came in late 2011 with the EP "Kings", garnering buzz and nice reviews from the blogosphere. And now the time has arrived for "Another Boring Sunrise", their debut album, out now, in which their trademark retro guitar pop, in the vein of bands like Cults, Dominant Legs or Tennis, is  catchy and warm enough to keep you singing and smiling for weeks.