Scripted Failures

As you may have noticed, the blog looks a bit different now. And you may have also noticed that you couldn’t access the site for a short time. We migrated from Lifetype to Wordpress for our blogging software. This makes it a whole lot easier to upload audio/video/photos, and it also allows users like you to create accounts to comment without having to enter your information each time.

Note: If you read by RSS (in which case you may already have seen the message), the new RSS link is different. It is now http://blog.scriptedfailures.com/feed

Easy enough to remember.

I tried to maintain all the entry and comment text, so if you see anything wrong, let me know.

We’ll have a real update soon.

News!

Radiohead is going to be on Late Night with Conan O’Brien tomorrow (Wedesday) night.  Set your DVRs!  They’ll allegedly be playing “House of Cards” off of the new album.  I’ll try to update with a video link to it on Thursday in case you miss it.

Alkaline Trio has a new EP out today entitled Agony and Irony.  I’ll be picking this up whenever I get to the store next.

Winnipeg’s The Paperbacks are still alive!  After finding their Facebook page, I found the news bulletin from last Thursday saying the following: “Major announcements will be coming soon! This year will be very
interesting for us, particularly heading towards the autumn.”  Sounds good to me.  I never got around to buying their second album, but I would if they’d a) sell it around here or b) tour down here.

For those Decemberists fans out there, they’re going to be on All Songs Considered this week.  Either listen on your local NPR affiliate or straight from their website.

That’s all for now.

MoS released the video for “Get Better” today!  Check it out below.  I love the song.  Lovely string arrangement.  And no organ to be found?  Hath hell frozen over?

If you head on over to Kori’s blog on Babble, you can hear about a minute or so worth of one of the new Mates of State songs, albeit while Mags (that’s Magnolia their daughter) sings over it.  The song sounds beautiful, and the video is just too cute!

So today, Joy Electric posted the title track of their new album, “My Grandfather, the Cubist”, which comes out May 27th, on their myspace.  It’s sweet.  Here’s my review of the song:

Opening up with the atmospherics and percussive elements that have become a Joy Electric trademark, the song then blooms into a sweet chord progression with a beautiful, and instantly catchy lead line.  The minimalism promised on this record is instantly noticeable and it works incredibly well.  It’s like the elements that need to be there to have a full fufilling song are there, but any extraneous elements that might detract from the song aren’t.  Ronnie’s non-effected upfront vocals are also noticeable right off the bat.  I was very interested to see what these would sound like and they sound absolutely wonderful.  They sound very emotional and very fragile.  As a comparison point, think of the vocals on the verse of “Write Your Last Paragraph”, and you’ve got your sound.

Basically, this song sounds like a more minimalistic version of the Joy Electric I fell in love with way back in 1997.  Based on this song, it seems like this album may be the a return to the “Melody” era of songwriting in terms of chord progressions and lead lines which isn’t a bad thing at all.  I enjoy every Joy Electric record, but “Melody” and “We are the Music Makers” are the two records that have had the most emotional impact on me.  That said, this song has me more excited for this new Joy Electric record than I have been for any of the recent ones, besides maybe “The Otherly Opus”, and it should be noted I get very excited for the release of every new Joy Electric record.  All that said, this maybe their “Talking Voice vs. Singing Voice”, which, like that Starflyer 59 record, fully renews my love of the band and makes me remember all the things that made me fall in love with them all those years ago.

I really don’t know what else to say.  It’s a wonderful song and everyone definitely needs to check it out.  If you didn’t notice, check out that bitchin’ cover art.  Best Joy Electric cover ever? Possibly!  May 27th is going to be a good day.

My first listen to this song was sitting on my girlfriend’s couch, both of us hearing the song for the first time.  I must admit on first listen my main thought was, “What the hell has happened to Death Cab”.  I was not impressed and frankly a bit let down.  My girlfriend expressed love for the song right off the bat.  I told her, “I’m not digging it, but given the fact that I hated ‘Plans’ on first listen, only to love it on repeated listens, I’m sure this will grow on me”.  Well kids, prophecy fufilled.

For the first four minutes or so, before the vocals come in, you might think you’re listening to a new Yo La Tengo track.  You might think of something like a less fuzzed out, more piano heavy “Pass the Hatchet, I think I’m Goodkind”, or other YLT slow burners that are escaping my memory right now.  This is due to the repetative bass groove, guitar noodles, and piano chords that come in and out.  I swear as I listen to it right now, I expect, at any second, for Georgia Hubley or Ira Kaplan to suddenly start their quiet singing, alone or together, about their married life or any other of the myriad topics they cover in their songs.  This is not a bad thing, or a bad sign, as I do love YLT.

Once the vocals come in, the YLT nuances fade a bit and things become a little more distinctly Death Cab, but a Death Cab you’ve never heard before.  That isn’t to say the YLT feel totally disappears but it does amp down a bit.  As Jim pointed out in the earlier post about this song, the lyrics are typical Ben Gibbard fare, which once again is not a bad thing, because he’s an accomplished lyricist, whom I respect greatly.

The song becomes distinctly Death Cab around the 6:45 mark, with a distinctly Death Cab breakdown.  How is it a distinctly Death Cab breakdown?  I can’t really explain it, but it just is.  I think it’s one of the highlights of the song.  It’s the part that wakes you up from the trance the rest of the song has put you in, because this is truly an entrancing song.

After the breakdown, though, things settle back into more YLT territory, but, don’t worry kids, I don’t think Death Cab is turning into a YLT tribute band or anything of that sort.  Anyone who’s followed Death Cab through their stellar career knows that each album is a new adventure in sound, and that Death Cab always follows their own muse.  I’ve read in interviews that “Narrow Stairs” is a reaction to the exceptionally layered production of “Plans”.  This entrancing 8 minute romp through YLT-esque territory is just one reaction to “Plans”.  I certainly don’t expect every song to be this way.  I feel heavily assured that there will be, as there always is, at least one, two, or maybe more immeadiate songs that stick in your head and grab at your heart from the first listen.

The main complaint I’ve read, at least in the reviews on iTunes of this song, is the fact that it takes four minutes for the vocals to come in.  This makes me wonder how much indie rock these reviewers have actually listened to.  After all, elongated intros are nothing new in indie rock.  They might be a bit new in the world of Death Cab’s music, but certainly not in the wide field of indie rock.  On that premise, I call bullshit on those negative reviews.  On top of that, it’s not like the first four minutes before the lyrics come in is filled with pointless noise.  Sure it’s based on a repetative bass line, guitar noodles, and coming and going piano chords, but it’s a good bass line, good guitar noodles, and good coming and going piano chords. So fuck those negative reviews, cause those reviewers just need to open their minds and let the new Death Cab shine in.

Everything that Death Cab has said about this album has been to the tune of “this is going to be a divisive record among Death Cab fans”.  This first single, right off the bat, proves to me that this is going to be true.  If this track is any indication, I think I won’t have any problem getting on Death Cab’s new musical train.  Seriously, this track makes me excited just to hear all the new avenues that will be explored on this record.  From the snippets of comments about the lyrical topics, I think there will be some real heartbreakers on this record, “Your New Twin Size Bed” I’m looking at you.

So if you’re freaked out on first listen, or tempted to write Death Cab off as totally fucking up their good name, relax, take a few more listens, and see if this doesn’t grow on you.  I bet it will.

So as you can see, the new Bon Voyage record has moved from being tentatively called “Lies”, to being definitely called “Lies”.  As you can also see, the album has a stellar seductive cover.  This is the most seductive sensual cover I’ve ever seen Tooth and Nail put out.  If you’re wondering where I found the cover someone on the Velvet Blue Music Message Board was checking out the Invisible Creature Blog, and found it.

Speaking of which, that message board is quite the interesting place to hang around.  Check it out!  Jim and I are on there as happinessiseasy and lfh respectively.  Send us private messages and say hi!

Semi back on topic, Invisible Creature is the studio that is also doing artwork for the new Joy Electric album,  “My Grandfather, the Cubist”.  It’s run by brothers Ryan and Don Clark who were in the Tooth and Nail hardcore band Focused, then the Solid State (Tooth and Nail’s hardcore label) band Training for Utopia, if I’m remembering my history correctly.  The Clark Brothers used to run Asterik Studios who did tons of album sleeves for Tooth and Nail, including Starflyer 59’s “Talking Voice vs. Singing Voice” and Joy Electric’s “The Tick Tock Treasury”, as well as the album sleeve for Funeral for a Friend’s “Hours”.  Asterik Studios has now split into two different studios: Wonderful Union and the aforementioned Invisible Creatures.

Random asides aside, there’s more yummy Bon Voyage info to feast upon.  Here it is, straight from Bon Voyage’s Myspace Blog:

“The new album “LIES” is completed and scheduled for a release date this
June on Tooth and Nail Records. New photos have been completed, and the
artwork for the record is currently underway. The myspace page will be
going thru an overhaul with new photos, new music, and release
information…please check back periodically as we are hoping to have
the new page up here in the next month or so.”

June can’t come soon enough, not to mention a tracklist, and some new tracks to listen to!

So this is sort of week old news, but we’ll pretend like we’re on the cutting edge and this news just surfaced today.  Everyone play along okay?  So here it goes!  Mates of States new record, “Re-Arrange Us” is due out May 20th on Barsuk Records. (You realize this means that May is going to have three straight weeks of killer releases with Death Cab’s “Narrow Stairs” out on the 13th, the aforementioned Mates of State out on the 20th, and then Joy Electric’s “My Grandfather, the Cubist” out on the 27th.  All we need now is something rad to come out on May 6th to have a whole month of badass music!)  Things in parentheses aside here’s the scoop straight from the album page on the Barsuk website:

“Though conceived as a duo, Mates of State have never failed to generate a trademark wall of sound built on dozens of varied voicings of keys, drums, and alternately lushly-layered and playfully-dueling vocals. On re-arrange us they move beyond these boundaries (their traditional organ sound is a distant memory, replaced with organic piano and synth sounds) with additional instrumentation — not to mention a quantum leap in songcraft apparent on instantly indelible gems like now, jigsaw and get better. Throughout re-arrange us, Kori’s piano and the emergence of both Mates’ lead vocals from their trademark harmonizing signal the next stage of Mates of State’s evolution.”

Sounds like this is going to be another curve ball in a month of curve balls, considering the new Death Cab is supposed to be quite the “divisive” record, and the new Joy Electric is supposed to be their most minimalistic ever featuring the truest recordings of Ronnie’s voice ever.  It’s gonna be a good curve ball though, since Mates of State have yet to disappoint me.  Here’s the tracklist for all you crazy Mates kids, like me:

01. Get Better
02. Now
03. My Only Offer
04. The Re-Arranger
05. Jigsaw
06. Blue and Gold Print
07. Help Help
08. You are Free
09. Great Dane
10. Lullaby Haze

The Barsuk website promises mp3s up soon.  Sounds good to me!  And, if you didn’t know Kori has an awesome blog called “Band on the Diaper Run” on Babble.  It’s hilarious and heartwarming.  You should all read it.  As a last odd aside,”Help Help” was also the title of a killer song, written by bassist Jeff Ament, on the Pearl Jam album “Riot Act”.

A little later than promised, but I had a friend that needed company last night. Enjoy.

P.S. Yes, I know they suck.

The Weakerthans at The Bottletree, Birmingham, AL, March 30, 2008.

Lead singer John Samson and bassist Greg Smith	John, Greg, and drummer Jason Tait
John, Greg, and Jason	Doh! Guitarist Stephen Carroll stealing the spotlight I was trying to take a picture of Jason here, and Stephen walked right into the frame.
Christine Fellows, John’s wife Christine Fellows playing keys and singing backup. She also played an opening set	John, Greg, and Jason
Jason Tait, drumming Jason, and John and Greg’s arms.	3/4 of the Band From where I was, I couldn’t get the whole band at once. This is probably my favorite picture.
John Samson	Jason, John and Greg rocking out.
Christine Fellows again, and some dude’s nose The flash was off, so it turned out extra-blurry	John playing one of the encores by himself
John and Stephen

The Weakerthans put on a hell of a show last night in Birmingham, AL.  My wife and I arrived a few minutes late, but caught most of Christine Fellows‘ set.  I need to listen to some of her albums now.  Afterwards, The Bottletree pulled down the famous “screen” and we waited.  Next up was local singer/songwriter AA Bondy, who sang mostly acoustic love songs with strong Christian overtones.  Then came the screen again

Finally, the main act arrived.  John Samson looked so much different than I remember from pictures.  I thought I remembered him with facial hair and glasses, and a bit older.  I realize he must be going on 30 at this point, as he started The Weakerthans in 1997, but he looked really young for some reason.

They started off with “Bigfoot!”, a slow, almost lullabye-like number from the new album.  After that, they broke into “Our Retired Explorer (Dines with Michel Foucault in Paris, 1961)” from Reconstruction Site.  Then they hit “Civil Twilight,” followed by “Night Windows,” both from Reunion Tour.  The full set list (from my faulty memory) is below.  The slashed tracks comprise the section I’m not too sure of, but I think I have the order mostly right.  I’ll confirm with someone else that was at the show.  (If you were, feel free to comment and correct me).

“Bigfoot!” [Reunion Tour]
“Our Retired Explorer (Dines with…etc.etc.)” [Reconstruction Site]
“Civil Twilight” [Reunion Tour]
“The Reasons” [Reconstruction Site]
“Sun in an Empty Room” [Reunion Tour]
“Night Windows” [Reunion Tour]
“Tournament of Hearts” [Reunion Tour]
“Benediction” [Reconstruction Site]
“Reconstruction Site” [Reconstruction Site]
“Aside” [Left and Leaving]
“Virtue the Cat Explains Her Departure” [Reunion Tour]
“Watermark” [Left and Leaving]
“Left and Leaving” [Left and Leaving]
“Confessions of a Futon-Revolutionist” [the only track from Fallow]
“Plea from a Cat Named Virtue” [Reconstruction Site]
[Encore]
“One Great City!” [Reconstruction Site]
“My Favourite Chords” [Left and Leaving]
“This Is a Fire Door, Never Leave Open” [Left and Leaving]
“(Manifest)” [Reconstruction Site]

It was a fairly balanced set.  I was expecting a run-through of the new album with some older songs interspersed, but I was happy to hear a good mix of new songs plus some of the songs that I never had a chance to see when they were touring for previous albums (esp. “Aside” and “Watermark”, both of which I was very excited to hear).

It’s hard to pick highlights when the whole show was excellent, but I think the encore might’ve been my favorite part.  John Samson came back onstage to play “One Great City!” (before which I kept hearing people yelling “I Hate Winnipeg!” and during which I sang “I Hate Birmingham!” which elicited a smile from a couple of people next to me).  “My Favourite Chords” is such a great song, and when I was convinced these two solo songs were going to end it, the band came back and joined in on cue for the ending, after which they threw in “This Is a Fire Door…”, a song I hadn’t thought about in a while, and had forgotten how much I loved, and then, to top it off, a postlude of “(Manifest),” my favorite of the 3 segues on Reconstruction Site (due to how much more rocking it is than the others, and how awesome the words are).

After the show, we waited outside for a few minutes, hoping John would come out.  Stephen came by, and I looked at him, but by the time I recognized him, he had gone inside.  He looked to be in a hurry, and I’m not for hassling bands after a show, but I did want to meet John and tell him how much I enjoyed it.  I bought a tour poster and Reconstruction Site (I’m horribly embarassed that I didn’t own that until yesterday), completing my Weakerthans catalog.

I have pictures!  But they’re at home and I’m at work, so bear with me.  They will be posted tonight post-haste!  To everyone that came out, I hope we gave ‘em a warm enough welcome that they’ll consider hitting AL again on their next tour!

Update: I found a video someone took of Civil Twilight from the show at al.com.  Check it out here (http://videos.al.com/2008/03/the_weakerthans_live_at_bottle.html).