The Jesus And Mary Chain

Catching Up On The Week (May 1 Edition)

Some #longreads for your May Day weekend celebration…

We here at Rust Is Just Right were more than excited to hear that Titus Andronicus will finally be releasing their new album later this summer, on July 28.  We remember rumblings from early in 2014 from Patrick Stickles about the band’s planned rock opera, and even heard what were supposedly tracks from the project back at their 2013 MusicFestNW performance, so we had been anticipating this announcement for a long time.  Stickles talked to Grantland about the production of the album, and shared the first single as well.

It is the thirtieth anniversary of the seminal album Psychocandy, and The Jesus and Mary Chain are set to embark on a short tour of the US to play their electrifying debut in its entirety.  To help celebrate this occasion, we are linking to not one, but two interviews with the band’s lead singer, Jim Reid, courtesy of Stereogum and Consequence of Sound.

Elsewhere on the Consequence of Sound site, there is a great interview with Justin Boreta of The Glitch Mob where he discusses the significance of Aphex Twin’s …I Care Because You Do.  Not only is it a great dissection of an often-overlooked highlight in Aphex Twin’s impressive discography, but it also shines a light into the electronic scene at the time.

Deadspin has an analysis of Van Morrison’s late-career work, to help fill in the blind spots for those who only know of the legendary singer’s pre-Astral Weeks work.

And finally, Kathy Foster of The Thermals talks to VNYL for their #FirstSpin series about her early experience with vinyl.

Over the Weekend (Jan. 26 Edition)

News, videos, and other fun stuff as you remember once again which is the better coast

The Sundance Film Festival is in full swing right now, and one of the films garnering the most buzz right now is the documentary Kurt Cobain: Montage of Heck, and Esquire provides a rundown of some of the things that they’ve learned.

Interpol released the video for their latest single “Everything Is Wrong”, which provides an amusing look at the way the band possibly spends their day in preparation for an evening show.  I’m just happy that they’ve chosen one of the best tracks from El Pintor as their next single.

The ladies from the hilarious show “Broad City” sat down with the members of Sleater-Kinney at an NPR event, and luckily there was video of the conversation.  After watching that, feel free to dive into this SPIN ranking of all 109 Sleater-Kinney songs.

To help commemorate the 30th anniversary of the seminal album Psychocandy, the Jesus and Mary Chain have announced a brief U.S. tour.  Combined with the fact that Slowdive has confirmed that they are working on new music (!!!!!) should prove definitively that we are in the new golden age of shoegaze.

Viet Cong has some fun with Pitchfork’s “Guest List” feature.  For the record, we are in full agreement that “Heroes” absolutely needs the “dolphins can swim” verse.

And finally, Death Cab For Cutie has released the first single off the upcoming album Kintsugi, and it’s called “Black Sun”.  It’s an interesting new direction for the band, though initial fan opinion seems to split.

Slowdive, Live at the Crystal Ballroom

Rust Is Just Right and Slowdive have a bit of a shared history, as our first story was an article discussing their surprise reunion earlier this year.  At the time, we were unsure whether the reunification was a one-off deal, but luckily the band would not only launch a tour, but they would stop by our corner of the world here in Oregon.  Considering we were too young to catch them during their initial heyday, we jumped at the opportunity to see the shoegaze legends live.  As they proved Wednesday night, The Jesus And Mary Chain may have created the genre and My Bloody Valentine created its masterpiece, it was Slowdive that perfected the craft.

Slowdive up in lights.

Slowdive up in lights.

Just seeing the headliners would have been enough of a treat, but we were blessed with the additional bonus of Low opening up the show.  Low is definitely a band worthy of its own headlining tour (though they may not be playing in venues as large as the Crystal), but when given an invitation from icons like Slowdive, you take that gig in a heartbeat.  As such, we tried to get in as close to the start of the show as possible, and despite a slight delay at the Will Call office due to some confusion with the customers in front of us, we were able to arrive as their first song faded and “Plastic Cup” began.  This started a run of songs from their overlooked recent album The Invisible Way that the crowd ate up, leading me to suspect that there may have been more than a few people who bought tickets to the show on the strength of the opener alone.  Low stuck with some of their heavier, more bombastic material, like “Monkey” and the sublime “Dinosaur Act”, which elicited cheers from the crowd as soon as the first hints of its melody drifted through the venue.  The band finished up a tight set to thunderous applause, leaving the crowd wanting more, even though we were eagerly anticipating the headliners.

The interstitial music coming over the PA featured some inspired choices like The Shins’ “Caring Is Creepy” and Mazzy Star’s “Fade Into You”, which kept the audience in a suitably relaxed mood before the main act arrived.  But even though we were prepared for an evening of gorgeous, dreamy music, that didn’t stop us from providing a rapturous welcome to Slowdive as they walked onto the stage.  The band kicked the show off with some of their earliest songs, from the Slowdive EP, with the guitars swirling and Rachel Goswell’s and Neil Halstead’s vocals floating in and above the haze in a gorgeous, dreamlike state.  Though those components are the hallmarks of the Slowdive aesthetic, in the live setting you get a full appreciation for Simon Scott’s drums, which not only provided a necessary tether to the ethereal songs, but also provided some brilliant beats in and of themselves.  His contributions tend to go unnoticed on record, but they formed an integral part of the performance.

A glimpse of the psychedelic set

A glimpse of the psychedelic set

The early results were pleasing, but the band hit another level with “Catch the Breeze” from Just For A Day, with an exhilarating climax propelled by Scott’s thunderous drums enhanced by a delirious strobe effect, in perhaps the most effective use of the trick I’ve ever seen.  It was this moment that confirmed that as wonderful as their albums are, it’s no comparison to Slowdive’s live show.  Highlights included favorites from their classic Souvlaki like “Machine Gun” and “Alison”, which strangely enough were the only songs introduced by the band even though they rank as among the most recognizable.  With all the pure noise generated from the several guitars over the course of most of the set, it made the delicate and sublime “Dagger” stand out even more, as all the reverbs, delays, wahs, filters, and phasers were stripped away for the mournful ballad, backed by a light setup that focused on various bulbs that enhanced the somber overtones of the song.  Considering the respectful silence that greeted the song, I may have been a bit too excited in unleashing a “whoo” as soon as I heard its opening chords, but dammit I was happy to hear one of my favorite songs played live for the first time.

Setlist from an amazing show.

Setlist from an amazing show.

It was an amazing experience from beginning-to-end, and hopefully it inspires the group to continue–whether it be with new music, re-releasing out-of-print albums, remastering their old material (while we’re generally not in favor of the “loudness wars”, the Slowdive back-catalog would benefit greatly from a volume-boost), or just launching more tours.  Because as I said after the show, Slowdive live was even more beautiful than I imagined.