Paul Maroon

Over the Weekend (Feb. 2 Edition)

Videos, news, and other fun stuff as you recover from the worst playcall of all-time…

The coffee in Seattle probably tastes extra bitter today after yesterday’s Super Bowl loss, but the weekend wasn’t a total bummer for them since Friday night saw the “reunion” of supergroup Mad Season for a special event.  Blabbermouth has videos of the show which featured original members Mike McCready and Barrett Martin joining the Seattle Symphony to perform a trio of the group’s songs.  The evening also featured guest appearances from other Seattle grunge superstars like Chris Cornell, Jeff Ament, Stone Gossard, and Matt Cameron, as well as native Seattleite Duff McKagan.  As an added bonus, the stars also performed a couple of songs from the classic Temple of the Dog tribute album.

Back on the other coast, there was an epic Jack White concert that included a special appearance from Q-Tip, as well as openers Run The Jewels performing with Zach de la Rocha on the fantastic “Close Your Eyes (And Count To Fuck)”.  Consequence of Sound has videos of both performances because in all likelihood, you weren’t there.  Elsewhere in the city at a fall smaller venue, Hamilton Leithauser was performing, and with guitarist Paul Maroon debuted a few new songs that may be released in the future.  Considering how much we loved his solo debut, our excitement level is pretty high.

That said, you still had the chance to watch some excellent live performances from your couch this weekend, but if you missed out, we got you covered.  D’Angelo made his Saturday Night Live debut with songs from his new album Black Messiah, and The Black Keys went through a quick set on Austin City Limits featuring mostly recent material.  Stereogum has the links to the appropriate videos.

We also have a couple of new music videos this week.  First, Deerhoof released the video for “Black Pitch” from La Isla Bonita, and it revolves around singer Satomi Matsuzak enjoying the coastal scenery despite the cold temperature outside.

Then we have Run The Jewels’s second appearance in today’s linkfest, since they just put out a video for “Lie, Cheat, Steal”.

If you’re in the mood for lists which prominently feature the Pixies, we have a couple for you.  First, there’s PASTE ranking the 80 Best Albums of the 80’s, and then there’s Consequence of Sound looking at the Top 10 4AD albums for that record label’s thirty-fifth anniversary.

Have some fun thinking about the fact that Rick Rubin is now doing annotations for Genius, and then hurrying over to see what the guru has to say about the great songs that he worked on (and his thoughts on songs he did not).

Finally, spend the day listening to albums from the one holiday-appropriate band that there is for February 2.  We’ll help get you started.

Essential Classics: The Walkmen – Bows + Arrows

The Walkmen were one of the greatest indie rock bands of the new century, and with excellent solo debuts this year from former members Hamilton Leithauser, Peter Matthew Bauer, and Walter Martin, now is as good a time as any to go back and revisit one of their classics, Bows + Arrows.

But it’s not only the year that is appropriate, but this particular season as well–though Bows + Arrows is not a concept album per se, it does seem to revolve around a period in late December.  Not only do many of the song titles reference different aspects of the holiday season, from “No Christmas While I’m Talking” to “The North Pole” to “New Year’s Eve”; Even seemingly innocuous titles like “138th Street” help conjure up images of winter, as that particular is on the northern part of Manhattan.  In addition one can find musical and lyrical markers as well that recall this particular time of year.  The band’s unique “vintage” sound evokes in the listener feelings of nostalgia (or perhaps memories of a past real or imagined); this is due mainly to their trademark trebly guitars dipped in heavy reverb, accented by their unique warm organ flourishes, and filled out with a dash of rickety but energetic percussion.  In an era when seemingly every new rock act met at the same art school and came out of the same dive from the Lower East Side, The Walkmen stood out from the pack with a style all their own.

Even in their early years, The Walkmen seemed to have an air of maturity to their sound, or at least gave off the sense of a lived-in weariness that only comes from years of experience.  This is evident from even just a quick listen to their breakthrough hit, The Rat”.  The song revolves around an old friend or lover returning, but without having made amends for the transgression which led to a break in their relationship (to tie it in to our thesis, this is the kind of scene that would play out as people return to their hometowns for the holidays).  The song is a furious rocker, but in the midst of the raucous pounding drums and insistent tremolo-strummed guitars, there is the hauntingly gorgeous bridge: “When I used to go out, I’d know everyone I saw; now I go out alone, if I go out at all.”  In those two lines, The Walkmen captured the feeling that comes at the moment one realizes the fun of youth has receded, and now with that chapter closed there is the question of what to do next.  “The Rat” was great on its own, but that bridge made it transcendent.

“The Rat” definitely deserves all the accolades it has received over the years, but have long felt that “Thinking of a Dream I Had” is equally deserving of admiration.  The song kicks off with a galloping tom pattern (colored with some sleigh bells), and is matched by a boisterous and bouncy guitar part, before it runs headlong into a slow, delicate organ figure.  The contrast between the two sounds provides an intriguing juxtaposition, especially in the way it is combined with the chorus: the initial figure is the accompaniment for “I’m waiting on a subway line, I’m waiting for a train to arrive; I’m thinking of a dream I had,” but switches gears as Hamilton sings, “Maybe you’re right.”  At that moment, it gives the impression to the listener that this is a moment of true contemplation and reflection (as the verses seem to confirm).  It’s absolutely gorgeous.

The entire album is filled with great songs, but for those who are more familiar with the more polished work of the latter years of The Walkmen, some may be put off by the more raggedy production.  On the other hand, for many that is precisely part of the charm of this particular record.  Hamilton is still feeling out the edges of his unique voice, and to some his bark may be grating, but make no mistake, the man hits every note he wants as intended.  At the very least, one should enjoy Bows + Arrows for the reason that it’s one of the few modern rock albums that expertly deploys an organ.