Wednesday, April 25, 2018

Sara Marie Barron - "Wanna Know" (Interview)

You may not be aware of the healing you needed until you hear Sara Marie Barron. The Detroit-area soul/jazz/songstress has a voice that can conjure up a deep breathed sigh from you, listener, that you hadn't even realized was building. 

Something about Barron's voice, precious and powerful, almost instantly acquaints you with her, whether or not you've heard her or seen her perform before hearing singles from her upcoming album like "Wanna Know," there's just some kind of deep emotional essence to her lyrics and intonation that make you feel like you know where she's coming from. 

Spring is here and everything outside is thawing and coming back to life--and that's what Barron's first pair of new singles can do for a listener, restoration of the mind, heart, and your overall aura.

It might be the versatility to her voice that you respond to, a lower croon to a higher aching arc, gracefully and coolly stretching out her vibratto over woozy brass and jazzy keys. Or, it might be that you're responding to a kind of classiness to her sound, an old-school classiness, that is... 

"When I was young, my mom used to listen to Carole King's Tapestry album constantly in the car," said Barron, who worked with a stellar ensemble of musicians at Homestead Studios on these recordings. "I think, looking back, that (King) was a really big influence on me, melodically and lyrically. I also go really into R&B, Motown, and soul music later on, and I think that shows on this record, like Etta James, Billie Holiday, The Ronettes, Otis Redding. The emotion and power behind their vocals really moved me, and for some reason I have always been fascinated with music and objects from the past. I love the nostalgia of it all." 

Barron has also been at it a while, despite being still in the young/up-and-coming category, she's still been singing since she was barely four-years-old. She was also classically trained for 10 years and performed in school musicals. Once she started writing her own songs, her theater work, and the potent dramas of the opera sutured into her songs--albeit transmitted into the form of a blend of folk and soul. "I'm also just a very sensitive person and I think that comes through when I sing," said Barron. 

Her new album will be released soon, but today, you can stream the lead single, "Wanna Know..." ^^
And tonight, at the Lager House, Barron will announce the title of said-new-album, as well as perform her new songs. She'll be joined by White Bee, and The True Blue

While she was enmeshed in the theater as a teenager, she realized that while she had a strength for expressing her emotions, acting and the whole thespian life just wasn't for her. She started writing her own songs after she turned 13 and eventually started performing at open mics and eventually performing shows. Though nerves would surge before those first performances, she always felt a deep sense of fulfillment afterwards--indicating to her that this was the right path. 

She studied at Vanderbilt in Nashville, a decision inspired by the city's active music community. She thrived under the insights of songwriting and musical-history professors while in school there, surrounded by "a really rich musical history and all different types of music." 

But that wasn't necessarily the undoubtedly "formative" moment for her, because she still feels like that formation continues. "Every day I'll fall in love with a new artist or genre, and a lot of my songs are all over the place. One day, I'll write something that sounds like garage rock, and the next I'll write an Adele-esque pop ballad!" 

Pop songs deal with love differently than other genres. While Barron bridges soul, R&B and folk to a bit of pop's melody and catchy hooks, she's definitely dealing with more complex, heart-heavy, unlucky-in-love feelings than your typical pop fare. 

"I think piano, the instrument I generally write on, really lends itself to more soulful, emotive music, and I think the songs naturally take shape that way when I'm writing. But my songs also come from personal experiences, which is why I think there's so much feeling infused in them. Like a lot of musicians, for me, writing songs is pretty much my coping mechanism, and a lot of the situations I write about are complicated and sometimes heartbreaking. It can be emotionally taxing for me to perform these songs in front of people, because it feels like I'm sharing some of my most personal experiences and feelings with an entire room of people... But there's usually one person who comes up to me to say they really connected to a certain song or lyric and that makes it worth it to me."

Barron worked with Jimmy Dixon at the aforementioned Homestead Studios, working with Max Bauhof on drums, Phil Hale on keyboards, Dave Vasella and Garret Gaiana on horns, and John Barron and Alex Lyons playing the bass parts. You can also hear Mario Sulkasana playing a potent piano accompaniment one a couple songs, as well as Natalie Frakes playing vioin throughout. 

"I was really touched and grateful to all of the incredible musicians who were willing to help out and play on this record, and also by people who donated to my crowdfunding campaign," said Barron. "I definitely wouldn't have been able to make the record without that help...." 

You can anticipate a couple more singles being released by Barron throughout the upcoming months, leading to the eventual release. And she's already at work on the next batch of songs. "I feel like my sound is constantly evolving, so it's really exciting to work on new material, but also be able to share this body of work with everyone." 

Thursday, April 19, 2018

Street Corner Music - Record Store Day

There's something about Street Corner Music in Oak Park that always draws me back... It's the one store I'm sure to visit on every Record Store Day... 

While working on a feature for the Detroit Free Press, I was asking shop owners around the Metro Detroit area, including People's, Hello, Stormy Records, Dearborn  Music, and more, about items in their retail collection (or treasures they choose to store away) that are considerably rare. If not ultra rare, I also asked about items that were unique, special, held a certain significance to the store, or were just too weird to believe...!

Aaron Anderson is the store's manager, and he told me this excellent story about a longtime patron of Street Corner. It really communicated to me the poignancy that these flat, black and circular discs of pressed, groovy wax can bear between a sleeve of paper. Every record you hold has a story, some big, some little; a journey that they've been on....

I'll let Aaron Anderson take it from here...

Records do not only capture the music of the time, sometimes they capture a historic moment in time and the person who was there. Carl was an early regular customer at Street Corner Music and an all around great guy. When I started working here, I did not care much for jazz, and Carl was a through and through jazzman. Early on he told me "I have faith in you... Sooner or later, all intelligent people come around to jazz music!" When Carl passed away it saddened us, and even now when the someone mentions the "electric" Miles Davis records, we often quote his harsh comments on the subject. 

When we purchased his record collection, we got a glimpse into a jazz lover who was there from the beginning! It was well known that Carl frequented the legendary Detroit jazz club The Blue Bird Inn in the 1950's. What was unknown was that for as cool as he was, he was also a starstruck autograph seeker. In 1958, the Miles Davis Quintet played the Blue Bird Inn and Carl had the wisdom and nerve to ask Miles Davis, John Coltrane, and Philly Joe Jones to autograph his records. We have kept the first press copies of "Cookin' With The Miles Davis Quintet" and "Blue Train" that are signed by the three jazz legends. 

The records remind us  of these three jazz giants humble beginnings and of the amazing people we have come to call friends here at Street Corner Music. A moment in time that can never be repressed or remastered, truly one of a kind copies. While the condition of the two records are far from mint, the loving and personalized autographs to our dear friend Carl more than make up for it. The man who believed in the power of jazz music and in me so much that he foresaw our collision course. Two records previously owned by a man so cool that John Coltrane wrote "To my main man Carl". And if you were wondering why Miles Davis would sign a copy of Blue Train, you probably know enough to know that's just the kind of thing Miles would do.

Miles Davis "Cookin' With The Miles Davis Quintet" Prestige 7094 (VG/VG-) (1957, deep groove, NYC address, flat edge, autographed)
John Coltrane "Blue Train" Blue Note 1577 (VG/VG-) (1957, deep groove, W. 63rd address, ear in dead wax, autographed)
Value = ??? - we had an offer of $2,000 about 10 years ago for "Blue Train" by itself but turned it down

You can follow Street Corner Music online, or via Facebook

Wednesday, April 18, 2018

W.O.M.B. - Soundtrack for a Heated Conversation

Take off your rose-colored glasses. Take your fingers out of your ears. Stop changing the subject.

W.O.M.B. is a five-piece Detroit hardcore punk band whose name is an acronym for "War on Man-Babies." Their defiance and provocation does not stop at their name's mere challenge against the patriarchy and the outing of machismo's vulnerabilities, flaws and hypocrisies, said defiance and provocation expands and is imbued upon each of their songs in contexts that address several important and frustratingly-ongoing/unresolved issues of inequality, misogyny, prejudice, greed, apathy, complacency...

We can all speak up or get involved with a cause for the first time, if we feel so inspired--it's definitely always easier to stay couched in the status quo... But W.O.M.B. are not just any punk band throwing up middle fingers for shock value - each member has been involved and supported various causes and groups working to effect change, to manifest tangible/actionable results in the struggle for justice and a transformation away from a culture of myriad toxicity. That being said, the music speaks for itself...

W.O.M.B. released this intense 11-minute set of music at the end of March - and you'll likely hear most of the five songs that comprise Soundtrack for a Heated Conversation at their next show, Sun., April 22 at Cellarmen's in Hazel Park. The lyrics would no doubt start a certifiably "heated" conversation, but because these songs initiate topics of conversations that are typically all-out-avoided if possible, the music, the insistent rhythms, the ferocious guitars, the frenetic time signatures, the fortissimo frenzy of each member in a harmony of rage, that energy is necessary. If no one else wants to talk about it, it's going to take W.O.M.B. to scream about it.

More info

Tuesday, April 17, 2018

Shawn Butzin's Westbound Train

Shawn Butzin has a new song from his upcoming EP, Adventures, that's all about what it's like falling in love in a place like Michigan. It's a strummy, toe-tapping Americana-pop tune that's adorned with the accompaniment of a pedal-steel and a wheezy organ, the kind of stuff you'd anticipate in a country ballad. But let's also talk about how Butzin has a naturally brassy tenor embodying that same country-aesthetic.

But here we are, in Michigan, so far north that we can touch Canada, and so far east that we could hit Niagara Falls in a few hours, and yet this up-and-coming songwriter might strike you as something from Nashville, Southern Cali, or maybe Austin...and Butzin is bringing brio and panache to this embrace of the country-rock/Americana aesthetic. And now, after all that talk about being an eastern state, here's a song about heading west... The debut single from Butzin's EP.

...."runnin' from my daddy's ol' shotgun..." ♫.... "I needed beauty to escape the damage I've done..." 
Butzin's evokes that outlaw-on-the-run aesthetic and imbues it effectively with his poet-ly songwriter sincerity. Country tunes don't survey the same kind of laments or starkness as the blues might, but songs like Butzin's are still narrating a life that's encroached upon hardship stakes, only with this single, it's about a longing, a search, without a desination albeit, but sort of an escaping-kind-of-search toward that untold horizon, with a heart full of love, to get away from some none-too-sunny circumstances. And that energy, that escape, that adventure, is present in the propulsive rhythms, the restorative warmth of the back up choir's harmonies and those cathartic guitar expressions. 

Adventures is out May 31
You can see Butzin and the Buskers April 22nd @ PJs Lager House
with Ian Lee Lamb and the Whiskey Charmers

Sunday, April 15, 2018

The Good Things About Your Potential New GoverNerd

Ryan Henry Cox is a musician. He’s also a sports trainer, teacher, intermediate philosopher, tutor, and a father; he’s many things. But he’s also running for Governor of Michigan this year. I’ve written about Ryan in the past, regarding his band, the Good Things. The Good Things are/is just Cox, at least in the compositional/creation/recording stages. If and when (and emphasis on “if”) The Good Things ever perform, he assembles a capable crew of versatile musicians to help bring his clattery-but-charismatic “fractured pop” stories of melody and melodrama to life.

 In fact, while Ryan is busying himself with an ambitious run for the Governorship, he’s getting ready to release an epic, (and emphasis on epic) album called Defeats The Porpoise, an intricately realized serial-adventure style concept album pop opera imbued heavily with spaghetti western grit, compelling magical realism and polychromatic comic book whimsy…

That being said, I’m talking about an album of songs, but it is, as you’ll hear later on this summer, so much more. A fleet of unconventional or eccentric instruments, some of them underutilized in the “indie-rock” realms and some of them actually invented or fused together out of necessity, so it’ll wind up sounding like a sun-splashed baroque-pop album of chimes, strings, hums, croons and various other characterful intonations.

But about a month ago, I picked Ryan’s brain as he gets ready to dig in for four considerably intense months of his DIY campaign. As you can see by his poster, he has no intention to actually win or even make his way into pack with other frontrunners. For him, it’s about creating a unique kind of impact. Or sort of an inception, if you will…, a change of the narrative.

Do you know if this is going to be worth it?
I don’t know that it will be worth it. I only know that it COULD be worth it, and that is enough to try for…But you’re going to notice that some themes in Defeats The Porpoise connect directly to my campaign. The idea of taking something on that’s way bigger than you, out of concern for others, and not caring if I’m likely to ‘fail.’

I wonder if you chose to name your band “The Good Things” because you, as a candidate, have this drive to bridge disparate and entrenched factions and see “the good in everyone…”
I wear my brain on my sleeve, I guess…It’s not optimism—optimism can be easily deluded. I’m more of a realist. There is good in everyone. That isn’t optimistic, it’s real. I don’t need optimism to find good things. ‘What matters in the end’ is a guiding principal in my life, now. How will I feel about  myself based on my history, while living in my ‘death bed.’ If I were reading my biography, would I see myself as someone worth being, someone worth having in the world?

And things are still going alright, running as an Independent?
Of course! Running for a party would ‘defeat the porpoise…’ as it were…. But that is bittersweet. Because it’s kind of incredible how many people of how many different backgrounds have found me and are reaching out with their stories and worries…But, after starting this campaign, it’s much clearer to me now how badly our state wants to keep Independents out of office.

The laces are a bit double-knotted, in terms of parties entrenched against each other. You’re one voice entering a big room of two warring sides yelling at each other.
Yep, that’s why I shut up and listen, first and foremost. People tend to be more patient and their minds a bit more open when you carefully and courteously listen to them first, listen to them sincerely, and then respond. I can’t come out swinging, or people just hide behind party lines and assumptions. But even more fundamental to the system, our campaign laws are stacked against Independents, and promote candidates of the  major parites. I have no chance of winning in “traditional terms,” but I’ll still “win….” I already am winning, in a sense.

And we would presume to ask the Independent what their goal or end-game is, or whether they think they even have a chance, and if not, why bother….People might read a paragraph about you and make premature conclusions about you.
That’s politics in a nutshell. Try to change minds that are certain they won’t change in attempt to influence society. Entering politics at this level and standing apart from the parties has a sort of an emotionally masochistic aspect to it—I know I’ll mostly just get beat down and pushed around or ignored in all of this. But sacrifice is key to worthy achievements.

Is the goal to shift the collective mindset? Change the conversation? Open minds to the overlooked issues?
Definitely. But far from the main goal. That's more of a theme, I suppose. A politician better have some practical goals to pair with any conceptual/inspiration/general intentions. Anyone can say, "I stand with everyone. I stand for [insert anything and everything.]" But that doesn’t mean anything if they can't tell you the solution that they are standing behind.

How do you approach the beast of cynicism? The presupposition that every politician wants something to gain with the job
My slogan is "Don't Vote for Ryan Cox"… Kind of knocks presuppositions off balance. And the question I ask most is, "What do you think we should do?" Then I shut up and listen again. That usually sets up a pretty level playing field for a deeper, friendlier, and more productive conversation.

Do you feel a kinship with the wave of ...for lack of any other candidates that we've seen rise in a post Bernie/Trump era?  I'm thinking of the percentage of women, persons of color and even Trans candidates coming to the fore….did it spring from that, similarly, for you? This calling? This cultural moment? This imperative, of sorts
Yes, but not because they are progressive...The kinship comes from their willingness to accept the (often incredibly ironic) challenges that come with trying to help others who are suspicious of your intentions; the willingness to be insulted and despised in order to help those same people. To be honest, I am quite miserable much of the time during this campaign. This is emotionally tumultuous, isolating and lonely, straining mentally and physically, stretching my intelligence and waking hours to my limits.

Seeing others take the same stand knowing they cannot "win" but still may do great things to better the lives of others...yeah, there is kinship there? Or what about just breaking down a platform? You’ll often see candidates whittle their platform down to a catchy motto… But it never suggests why they’re running. Why are you running?
I'm running because I don't feel I am doing enough to achieve my life goals. If you know me personally, you know that I've been making massive strides to improve all aspects that I think are subpar in myself in order to achieve my most desired goals. One of those is to dedicate my life to helping others and leaving the world in a better state than I came into it. Yes, trying to engage with people at differing interest levels, differing perspectives, and differing attention spans has been tricky!

You’ve got a website up….
Yes, and you can see that all of my Policy Reports are written in 3 ways:
1. a simple breakdown at the top of the page of the basic concepts and suggested solutions regarding an issue or issue set (for those who just want a quick overview of that platform perspective and for those who are interested enough to stop at the website, but not about to read a 5 page report!)
2. A more substantial summarization section that brings up more explanations, solutions, and context
3. A full report on a legislative idea with sources and comprehensive explanations (this is more for journalists, political researchers, nerds like myself, other politicians to steal, etc)
And each one has a catch phrase….

You can find out more about Ryan Henry Cox’s run for Governor of Michigan HERE
Follow The Good Things on Facebook, here.

Thursday, April 12, 2018

Charming Disaster - April Showers Tour (@ PJs Lager House)

Charming Disaster photo by Sunrise Alexis Winburn

Charming Disaster could be to folk-rock what Detroit's ADULT. is to techno. Two dynamic personalities with an unmatched chemistry, harmoniously putting their talents to reinventing and reinvigorating a genre, all the while conjuring a dynamic theatricality and lush arrangements with just two voices, two hearts, two brains and four arms.

This Brooklyn-based duo make the sinister sound so sweet, and bring a signature kind of glamour to a cool kind of gloom-pop. Fans of the hit sci-fi podcast Welcome To Night Vale would have heard Ellia Bisker and Jeff Morris' paranormal love song "Ghost Story" featured as a complimentary serenade to those humorous/horror serial episodes.

Charming Disaster released Cautionary Tales last Spring, an enchanting composite of gothic Americana, a cross-up of old-world string-band and vaudevillian pizazz with a murkier murder-ballad rock haunting. Using pianos and strings, ukulele and gutiar, foot percussion and finely-spun vocal melodies full of emotion and narrative melodrama, they cast a spell akin to the quirky macabre motifs of Edward Gorey or Tim Burton, and splash in a bit of hard-boiled noir ambiance.

But there is a wink and a kick and a bit of a playful twirl to their ghoulish waltzes, with their dreamy vocal harmonies particularly adding an enticing reverie to their baroque-adorned rock.

Charming Disaster are touring in to town on Thurs., April 19 They'll be at PJs Lager House with three of my favorite Detroit-area musical experiences..... First, there's Ypsi's Little Traps, a banjo/guitar/pedal-steel ensemble that mixes the sunniest kind of indie-pop with an authentic Americana/country-rustled warble. Then there's Kate Hinote Americana/blues balladeer Kate Hinote, and the mesmerizing harmonists and folk stylists comprising Kubat, Finlay & Rose.

Charming DisasterApril 19PJs Lager Housewith Little Traps, Kate Hinote, and Kubat/Finlay & RoseMORE INFO

Friday, April 6, 2018

Ben Keeler's 'Movo Daring'

Ben Keeler Movo Daring Release Party Friday, April 20 @ The Loving Touch w/Mango Lane & Ancient Language MORE INFO

Some songwriters just know how to surge the serotonin... They find chord progressions that just pull you ever onward, even effectively lift you up, and their melodic vocals spiral smoothly with simple iterations of "having a really good time" with you! And that's Ben Keeler to a capital T.... With Will Shattuck on drums and Ricky Ruggero on bass, the Ben Keeler band are getting ready to celebrate the release of Movo Daring a soul loosener of an album that unfurls the aura and opens up the windows to let in the "Sunshine!"

Call it power-pop if you will; Keeler's MO as a song creator is making balletic riffs, hooky drum parts and honeyed croons and choruses into something that embodies a kind of exuberance... Not pop for the sake of pop, not any kind of mindless melodrama or fabricated frolic, but substantive short stories from the heart, arced into melodic ribbons so catchy it makes you remember why (and how) music can be so fun and rejuvenating to listen to...

I last caught up with Keeler when he was unveiling a single ("Sunshine") in the winter of 2017--a song that would wind up on Movo Daring. 

Keeler's kinetic rock signature is shining at subtle-to-surging moments like the unassuming bridge of "I Don't Want No," as it builds to a final chorus. Not only is this song exemplary of his cavorting cascaded riff-styles along the frets, but the bridge goes quiet as the guitars stream along with a subdued business, it's a radiance that simmers into these two full measures of just choppy riffs where you can almost see him grinning at you, before it bursts....

...And so many of these songs are full of those energizing bursts--that's the kind of "pop" I'm talking about with Keeler, it's ebullient, bounces back and it stretches and it launches and it stutter-steps and it can maybe even do a backflip. It's the kind of pop tunes that draw you in, because they're radiating a certain spirit that you can't put your finger on, but you wanna see it and experience it up close. You want those riffs to burst into you. You want to move with it. It dares you to...

Keeler's been moving around a bit in the years leading up to 2016/2017, spending some time in Chicago and San Francisco before resettling back here in Michigan to work on music. I think all that movo-movement is demonstrated in the propulsive arrangements he's got on this album---which you can hear, live, at the Loving Touch on April 20th. 

Monday, April 2, 2018

Digging In with Josh Malerman & Rising to the Occasion with 'Unbury Carol'

An Interview with Josh Malerman Unbury Carol
Josh Malerman and I climbed into the attic of a library and turned all the lights off. 

The interview you’re about to read finds us in pitch black darkness, speaking our answers and questions out into the ether and unable to see each other’s expressions. Malerman is a nationally-celebrated author of horror novels, and recently nominated for the Bram Stoker Prize. So obviously I wanted to evoke a creepy kind of ambiance to elevate the energy of a conversation concerning the horror genre.

Malerman’s next novel is called Unbury Carol. Carol is a weary but compassionate hardscrabble woman who has a gruesome secret—she is prone to severe spells that send her into a comatose state so deep that she appears to be dead beyond doubt. She has fallen into these death-like states sporadically throughout her life, depending on a very small number of people to keep this knowledge and enlist them as protectors, in a sense, against anyone getting the wrong idea and fast tracking a hasty funeral....

....Oh, but what if someone close to her betrays this confidence? What happens after she doesn’t wake up? And, as she falls through an ethereal plain that none of us can imagine glimpsing, how, if at all, might she extricate herself from an animated darkness. What of the townsfolk? What of the treacherous Trail that connects a series of small towns, towns rife with superstitious people and rattled by a culture of Outlaws. Who will be an ally to a woman appearing to be dead?   

“But I wanted to remove the damsel in distress formula from it,” said Malerman. His breakout novel, 2014’s Bird Box, found a similarly weary but very resolute woman as the main protagonist, courageously ferrying her two four-year-old children up a river with their eyes requiring to be shielded from a world stalked by supernatural creatures. That story will be adapted into a motion picture later this year, starring Sandra Bullock and Sarah Paulson. Unbury Carol, however, invites readers to follow the title character across the threshold of this mortal coil, and into a vividly-imagined underworld where her earthly senses are still engaged on both sides of the veil, as it were… She can hear the voices of whoever’s trying to bury her, which means she can also eavesdrop on news that a former lover, a famous outlaw, might be heading her way…

“But I realized, after doing research on actual carnival performers who would bury themselves alive and escape, that I really wanted the onus to be on Carol to try to survive this. So, what if it has to come down to her figuring out how to get out of this alive? Whether she does or not, you have to read the book…”

But a famous outlaw known as James Moxie is on his way…for whatever good that might do. He springs himself into action when he hears that Carol, the love of his life, is in peril. That being so, it was Moxie who, several years earlier, abandoned Carol; he just couldn’t deal with being emotionally involved with a woman who, every few months, appeared to die for a day or longer….

“And if you spend too much time on Moxie’s feelings of guilt about that, then you’ve just got this trembling, self-loathing guy traveling up The Trail. But if you spend too much time on his love or anyone’s love for Carol, then you’re suddenly writing a romance novel—which is fine—but that’s not the goal.”

The horror aspects of Unbury Carol come with contemplating what happens when we die…or “appear” to die. How do you save your mortal soul when you can’t move a muscle? What if you’re at the mercy of the morals of those around you? And can any of us comprehend the possibility of something appearing to be magic, or even witchcraft, manifesting itself so as to be verified by your own eyes but presenting itself without any other graspable explanation.

Unbury Carol Launch PartyMon., April 97pm-9pmOtus Supply345 E. 9 Mile (Ferndale)MORE INFO

Your brain might automatically ascribe certain tropes and time periods to the story, but nothing is specified. What is specified is that “it’s a superstitious age, where Moxie can become a legend through word of mouth because of a trick that he performed, to where (an antagonist) would fear him because of that ‘legend.’” One man who doesn’t fear Moxie is a rival outlaw, a monster of a man known as Smoke. Those plotting to literally put Carol into a plot have hired the perfidious Smoke to catch up to Moxie and keep him from interfering.

The chase is on, as it were. Or it’s a race. A journey. A hunt. It’s a mode of tension that Malerman has become excellent at affecting—with Bird Box taking us up the river, or 2016’s Black Mad Wheel involving an odyssey through a desert, or the short stories of Goblin finding characters following or seeking out the sources of various obsessions or urban legends or whatever else might have cast a spell upon them. Carol is on a journey back from the dead, just as Smoke is on a dark journey to snuff out Moxie.

“(The journeys) are a natural tension builder. It almost says to you—that the further (the characters) go into the journey, the deeper they’ll go into the horror. Chapter by chapter you can feel it. Each chapter doesn’t have to out-freak the freaky chapter before it. It doesn’t have to rush to the high notes of the piano, it can drop back for a bass note here or there, but I want to always keep it rising as they go along the way to the end.”

But just as Moxie has to fend off Smoke, Carol will have her hands full, even in a deathlike state, with fending off a villain of her own while she’s “under,” and that’s a wraithlike entity, given chilling personality by Malerman, that he names Rot. “I started to see, as I started writing, a woman who is super strong and interesting and knowledgeable, but…happens to have this … condition.” So, you’ll just have to read it to see if and how Carol can outwit rot!

Suffice to say, scare-wise, Carol contains what could be some of the most frightening, but also imaginative and vividly rendered imagery in any of Malerman’s work so far. “I’ve been asked before: do you scare yourself?’ Well, I can tend to have some freaky dreams now and then. But, typically, as a writer, my answer is that if you can see the scare coming, then it isn’t that scary, right? But really, I was just rewriting a short story of mine and I got to a point where I felt legitimate chills. That’s the greatest feeling in the world. How can you pull that off?”

But writing about a character who’s carried into a coffin against her will? 

“.....Let me put it to you this way,” Malerman says, “I have since told Allison (Laakko, artist and partner-in-life-and-imagination-with-Malerman) that I want to be buried above ground…with no embalming fluid, and my casket unlocked, in a mausoleum if need be….you can even lock the gate, I’ll happily get out and scream for a groundskeeper. I mean, (researching this) really did a number on me. I don’t wanna be underground!”

Find more info about Josh Malerman HERE
And read about the release party for Unbury Carol HERE

Friday, March 30, 2018

Jemmi Hazeman

Jemmi Hazeman & the Honey Riders
Releasing Kozmic Maze
Sat., April 7
Northern Lights Lounge
featuring: Shady Groves / Honey Pot / Fire Flower / Young Punk

Jemmi Hazeman creates a gliding kinda groove on this debut album, Kozmic Maze. Bouyant guitar phrases are given a dazzling effect, producing spacey, "cosmic" sounds as they're threded through curvy coiling riffs. The soundscape has a sustained splash of serotonin and lush vibes, the kind of arrangements that are eager to carry you away with caprice, rather than snap, crackle, riff as insistentily into your senses as some indie-pop may attempt...and those guitars are set to launch into swelled crescendos through many of the song's resplendent bridges, always keenly woven around the buzzy midrange croon of Hazeman's lead vocals. There's a lot of character and expressiveness to the playing--and the time and care taken to craft it all together shows: Hazeman, otherwise known as Jeff Yateman, has been working on these songs in his home studio for more than a year, placing himself at each instrument on the record, and then mixing it all together in the production process.

Yateman worked on similar refreshing takes to pop with the dreamy-surf/intricate progressions he brought to the songwriting table of the band Shady Groves. A song like "Oh Well" stands out to me, blending the whimsical riffs of British Invasion and paisley neo-psychedelia with an
extraterrestrial/theremin-like effect to a melody line that soars along a set of minor keys that give it a curious kind of angst, as though the instrument itself is anxious for the adventurousness suggested by the velocity of its aural contours but yet knows its necessary to keep advancing...

Or am I listening too close? I think that's what's best about this album - is that it offers you the chance to cue in on any sonic element or melodic evocation that catches your ear, however specific or detached... Because once you get to the title track, and the variety of timbres and tones wash over you, like the series of mini-solos conveying across it, you'll wanna call this modern/post/neo-prog, and maybe that's what it is... But what it really is is aptly described by Hazeman... "The Kozmic Maze could be considered a metaphor for Life Itself, or: An expansive, spiraling journey into the existential musings & melodic consciousness of Jemmi Hazeman." Because, at the end of the day, this is an alter-ego. And that makes music, and this music, a means of opening a gateway to that alter-consciousness. 

Joining Yateman for this Jemmi Hazeman release party is an ensemble that features Caleb Nettles - guitar, Jamie Dulin - bass, Colt Caron - synthesizers/keys, Shane Fleisher - drums

Releasing Kozmic Maze
Sat., April 7

Monday, March 26, 2018

Troy Gregory - Xaviera - Here To Be Enlightened, Beyond The Unknown

For all the years I've known Troy Gregory, I've never known his mind to be quiet. I intuited early that he was appraising, approaching, and engaging with the art of music from not just a different perspective, but multiple perspectives.

Gregory would always elude any categorical box you'd attempt to put him in, slipping out, wraithlike, to go haunt other boxes, aisles, ideas... The imaginative essence of Hammer Horror Films, of 50's comic books, of 60's British Invasion, of 70's glam-rock, of 80's metal....combined with experimental new wave filmmakers, surrealist painters, and a uniquely strong connection to, or channeling-of, the spirit, or a spirit, of rock 'n' roll.....all of these vibrant energies are part of what manifests so much color, character, and immersive-qualities to something like Xaviera--it's not just a matter of those being influences on him, or being things he grew up with...., it's that he's found a way to inhabit those perspectives, almost to the point where they possess him...all at once.

And thus, Xaviera's stylistic conveyances are myriad, but the lyrical libretto is steadily paced, coherent, and keeps pulling you along from movement to movement. There are poetic glimpses into the ever contemplative hub of his mind, and the weariness of his heart--but there is also a radiance in moments that sound like resolve, or a renewal of the soul.... "I was wise to have loved a turn from the loom from beyond the mind..."

And, again, thus..., Xaviera cannot be reduced to a review, to just a few paragraphs of summation. Each movement is several songs at once. But what can be said is that the segues are utterly graceful--you could put this on and let all 80 minutes play, but it wouldn't have to be "experienced as four songs," you could try interpreting it as 28 songs, if that's an easier way to digest it, or an enticement for entry. It's a journey inward as much as it's toward something... It's a following of a light... It's discovering, surprisingly, what the source of that light may be....

Troy Gregory
Release Party at the Ghost Light in Hamtramck
with The Idiot Kids and Cosmic Light Shapes
Saturday - March 31st

Saturday, March 17, 2018

YAK - Bardo

YAK make music where it seems like nothing much is happening, yet somehow it conquers your attention.

Or maybe I should say that it rewards your attention.  The more you open yourself up to the neo-classical hybrid of electric and acoustic drone spells, the broader your perspective--it's a cerebral spreading... Somehow a sparseness nurtures focus. And the closer I listen to a cello, the more startling the violin's entry becomes....the closer I keen in on the violin, my ear starts to pick up the cymbals...and the wider I open my ears in general, the more attuned and sensitive they become to the subtler dressings of synthetic sounds...

"Obelus" may be one of the shortest tracks on this Detroit trio's latest album, Bardo, and yet it is exemplary of their sensibility for creating a spacious sound, with tones tiding in or tiding out individually but never intersecting. "Missing Stimuli" is almost gossamer in its drift, nearly evaporating at points before reaccumulating, manifesting the illusion for the listener of thinking and maybe believing that their own slowly-rhythmic breathing is entangled in the essence of the swooning instruments. 

YAK are utilizing classical instruments, typically the purview of a theater, something of the old world, something tangible and familiar, and sliding through some an ethereal curtain into the realms of the intangible. It's curious how the absence of rhythm, the absence of a melody, an absence of a hook or a downbeat, can cause you to hyper-focus on what is being said amid the sparseness. And it starts to create the effect of a lucid-dream state, where you don't know if you've quite passed into a state of reverie and elastic consciousness, or if you're still firmly present in your living room, your office, or wherever else you may "be" while listening... It's not that this explicitly experimental "takes" you somewhere or serves as escapism. But damn it if you don't start to imagine...what's beyond and what's lies in between....

Thursday, March 15, 2018

White Bee Holds On To Harmony

White Bee
photo by Carmel Liburdi

Shannon Barnes lost her band for a second, there.... Maybe 'lost' is too strong a verb, but members of the band known as White Bee essentially did disband a few months ago, sustained briefly and solely by Barnes, the band's lead singer/guitarist & songwriter. Barnes is as luminous a guitar player as she is a singer. She's been developing her powerful voice all her life, attaining a soulfully radiant tone that comes from years of experience that include church choirs and even some opera. I've been following her songs for a couple years now, so I wanted to catch up and talk about the future of White Bee and the momentary scare of almost losing that band.

Last month’s Hamtramck Music Fest saw a triumphant reinstatement of White Bee with a dynamic performance featuring new members. And now, on April 3, this same lineup reconvenes at the Pike Room (Crofoot) in Pontiact Crumb and Combo Chimbita.

White Bee’s last show at HMF felt better than it has in almost two years,” said Barnes. “It felt good to have something like a comeback after those last few months. I felt lost. But, I think the feeling-lost thing pushed me to find new musicians. I was searching every day. And I found some tight players; they’re all very talented jazz musicians.”

More importantly, Barnes has been writing new material lately and reinvigorating her inspiration with a handful of recent solo performances. "What I'm most excited about is how I have more of an understanding, now, of what I'm really passionate about. I felt like I was in a comfort zone for a while (with White Bee). But once it almost pretty much went away..., I just knew that no matter what that it was still, really, the only thing that was going to make me happy. And it's going to always be the only thing that sticks. It's going to be the only thing that stays there forever, for me."

White Bee will still retain Barnes' inclinations towards funk & soul. She's an expressive guitar player with a really fluid/groovy style, but even though she riffs it's more nuanced than rock. Some of her biggest guitar influences are more recent artists like Britney Howard from Alabama Shakes, Nai Palm from Hiatus Kaiyote, and Lianna La Havas--each exemplary of a sophisticated/fusion style of rock/funk guitar playing.

"But David T. Walker might be my favorite guitar player of all time, now," said Barnes. "He was on some Jackson 5 and Stevie Wonder recordings--just this awesome rhythm guitarist who was a session musician on a lot of the 60's and 70's funk and soul records; very finger-picky, sweepy, jazzy chords. And very dreaming sounding too..."

For Barnes, soul and funk music "was just more powerful" than rock. "Especially a lot of the women soul singers, throughout history, they've just been extremely empowering to me and all women, so that aspect always had a draw for me."

Barnes has been singing all her life. She's played saxophone since she was 12, though she kinda let that fall by the way side when guitar took over in her teenage years. She started writing songs when she was 20, having moved over here to Detroit from the west side of Michigan (from a small city near Big Rapids).

Once she got into town and on Wayne State's campus (as a music student) she actively sought out friends and potential collaborators. Some of her most formative experiences were from her first couple years in music school--utilizing weekend nights to immerse herself in the house-show scene. Connecting with fellow musicians and establishing herself as a part of a community was key to keeping her going even after the near-fallout of her band. "I'm so appreciative of everyone who's been supporting me these last few months," she said, looking back. "It's really refreshing."

Part of her drive, in both creating songs as White Bee and as a creative component of the local arts/music scene, is "harmony....The most important thing in music is harmony! That is how you capture the emotion in music--through harmony." Thus, with harmony in mind, she's hoping to make White Bee a more collaborative/cohesive project in the summer and fall, while still doing solo shows here and there. Meanwhile, Barnes is hoping to get some new recordings some time in the very near future--so stay tuned.

White Bee
Wed. April 3
Pike Room
with Crumb & Combo Chimbita

Wednesday, March 14, 2018

Piscean Dreams Pt 3: The Imaginatron (Interview)

The interesting thing about the band known as The Imaginatron is that you are a member of it. You even sort of play an instrument in harmony with its primary performers when you attend their live ceremonies. I'm speaking abstractly, I know, so I'll go ahead and say that, if you've never heard of the Imaginatron, then you would encounter three musicians on a stage in a fitful trance, blending psychedelic rock, interdimensional punk, or a tripped-out howl-heavy kind of Beat Poetry by-way-of portal-conjuring incantations.

photo by Brian Rozman

"People start to see it materialize as the set goes on... Like with a synthesizer, you have to warm it up. The more it warms up, the more you're going to get from it, you close that gap a bit. People can see it, but not everyone will seeit or feel it as the same thing."
---from "An Attempt to Explain the Imaginatron," -quoting lead singer Steven Pivalsky. The other band members include Nik Landstrom and Wotter Lettis.

"I wish I could tell you how my body started doing this thing...." says Pivalsky, earlier this week.

"I don't see a choice but to perform this way," said Pivalsky. "It's the truth to me. And, to be honest, I'm confused by people who just stand on stage and play instruments.... but I just have a ravenous glow inside me and it's why I'm always searching, always moving, and trying see combinations." And the moving doesn't stop "off-stage."

And Pivalsky admits that he "knows there are disadvantages to 'this...,'" in that it is a band and a style of music that is difficult to describe (or difficult to "sell..."). "It's difficult to capture," he said--and that puts it perfectly.

The idea, as came to light in our earlier conversation, is that The Imaginatron is something you're already tapped in to... The band's performances just activate it.

You can see The Imaginotron this Friday night at MOCAD for "Piscean Dreams: An Evening of Inward Swimming," with Matthew Daher and vnesswolfchild.

The concept came from Daher, and Pivalsky said that when it was presented to him, he was immediately attracted to it's design, as a ritual experience. "Since starting this iteration of The Imaginatron," he said, "I had a feeling I didn't want to do just concerts, but experiences."

For those experiences, the canvas most readily available to Pivalsky just happens to be "rock venues," but he's particularly excited to have the more nuanced/unique canvas of the MOCAD to work with...

"Its inherently collaborative what we do," said Pivalsky, "but to add the extra minds and spirits of vnesswolfchild and (Daher), and together creating a temporary synchronization cult of our combined metaphysics and this ritual, I feel it will respond very much to our present world, with its minglings and with our own immediate cosmos and the osmosis of each of our own interactions with those energies."

I don't know if I could have put it better than that.

Pivalsky considers Daher a conduit for the moving spirit of the artist. "I think this lineup is very much like his controlled cataclysms of the interaction of thought and execution. This is a Zen- and honest-way of letting the drums speak. And vnesswolfchild emobdies a lot of how I desire, greatly, to connect and make people feel good. I think her way of doing it is accessing some kind of love-energy that I get toward in jigsaw lightning bolts. I feel glowing beams of heart from every piece of what she does, and always benefit from even a wisp of that wisdom."


Monday, March 12, 2018

Piscean Dreams Pt 2 - Matthew Daher (Interview)

What follows is the first of three consecutive posts about an event hosted this Friday evening at MOCAD, featuring vnesswolfchild, The Imaginotron, and Matthew Daher.

The MOCAD event is a pre-party for the vernal equinox...a spiritual thawing, if you will, where we can melt and meld. Each performer will incorporate new explorations in sound, light, costume, installation and audience participation. Local astrologer Alexander Weyer will also be there providing prose, stories and insight into the planetary energies of the night...

...and today, I'm sharing a recent conversation with Matthew Daher. Daher takes neo-soul and electronica and takes it to the interplanetary spaceways. He is an explorer, a sculptor, unstuck from convention.

photo by Lisa Spindler
Asked what attendees of Piscean Dreams: An Evening of Inward Swimming can anticipate, Daher responds: "Wonder... Unabashed positivity.... Immersion. Cozyness... A change of pace from your typical night out...." 

Each of the three artists will be doing what they do best, pushing boundaries..., but also dissolving boundaries. This could be a powerful evening where you can attain a further, very further, appreciation for the binding essence of music and its affect over the human experience. 

"Vnesswolfchild and the Imaginatron are two of my favorite Detroit acts to experience live," said Daher. "And it’s interesting you put it that way – ‘dissolving boundaries’ – because this is resonant with the title for the evening as well – “Piscean Dreams.” Pisces is a sign associated with the dissolution of boundaries, with murkiness and oneness."

Daher came to my attention around 2014. A multi-faceted artist, musician, producer, he released the eclectic, elastic and kaleidoscopic arrangements of Dwelling Lightheartedly in the Futility of Everything, a fusion of ambient-noise, expansive post-rock ruminations and cerebral cyber-soul. 

" addition to boundary-dissolving I think we each all share an orientation towards facilitating healing, transformation, and self-love through performace. It comes out in different ways for each of us. vnesswolfchild leads the crowd in repeated communal expressions of gratitude: “I love my body.” (The Imaginotron) closes sets with a group huddle/cheer/celebration of the present moment that creates a sense of belonging and inclusion among strangers. A lot of my music addresses struggles with depression/anxiety/codependency with a sort of playfulness and positivity that seeks to ease the burden of stigma and remind people that they are not alone. I think recognizing that commonality played a big role in my wanting to work with the two of them on the same bill." 

Daher, it turns out, is the initiator of this super-group of psychedelic healers. He had been fantasizing about linking up with these two artists for a while and finally hit them up. From there, the concept developed organically, as Daher has been fascinated with astrology a lot more in recent years, and the date came to coincide with his birthday (as well as a nearness to the vernal equinox). "We’ve each been approaching this as an opportunity to go deeper into our practices as performers and facilitators of group experience," said Daher. 

But they also wanted, aside from their three performances, to link up with another energy source (i.e., artist/person) who could serve as a common thread throughout the night--so Daher's friend Alexander Herbert Weyer will be joining as Master of Ceremonies, infusing the collective experience with his astrological knowledge and spiritual guidance. 

What I'm most curious to know, as I interviewed these artists, was what drew them towards a performance style that was intuitive, improvisational, exploratory, avant-garde, experimental, or just taking conventions and throwing them askew...

"Well, about five or six years ago I reached a point where a band on stage playing for a uniformly seated or standing audience started to feel one-dimensional for me as an audience member, as well as a performer," Daher said. "I wanted something more. In saying that, I’m not implying a hierarchy where experimental or interactive performance is objectively more valuable or refined or something, it's just that at the time, my spirit was moving me in a different direction." 

Daher had also been reading Brian Eno's biography at this point. Eno had already been a major influence on Daher, sonically, and learning about "...his brazen willingness to explore, create in different art forms, and try new things without letting his lack of 'proper' training shake his confidence or curiosity..." was a timely inspiration on Daher. 

And after that shift, Daher started seeking out video artists to collaborate with, and experimented with integrating his meditation practice into improvisations on a drum kit. After that he started working with dancers and exploring his own movement practice. And pretty soon Daher was working as frequently (if not more) with dancers and visual artists as he had been with other musicians. 

"Working with dancers in particular shifted my approach to a lot of things," he said. "From performing to how I interact spatially and socially with other people, and especially to my playing on the drum kit. I’m more present in my body, and more aware of the senses through which an audience is experiencing what I am sharing with them. There is a synesthetic quality of experience that arises when watching or participating in kinetic and sonic energy exchange between dancers and musicians. It’s reactive, it’s responsive, it’s present, it’s the body’s wisdom and intelligence expressing itself. I haven’t been performing with dancers or other artists as regularly over the last year or two as I’ve been trying to hone in on the music for this solo set."

"I think that cultivating a grounded, intense, embodied quality of presence is necessary to hold space for a room full of people in that stillness," said Daher. "That’s one of the ‘several extra miles’ for me – one that’s not necessarily as tangible."

Daher's focus over the last year or so has been his solo project, “Wisdom to Know the Difference” – which is what he'll be performing at MOCAD on March 16th. His approach to composition, recording, and performance has shifted a quite a bit over the last few years. 

"When we last talked I was releasing “Dwelling Lightheartedly In The Futility Of Everything” and was living what felt like a sort-of musical double life," he admitted. "As a percussionist playing improvised music my practice was to be a vessel for realizing transient sonic possibilities, and in a flash un-preciously leave them behind. As a producer my practice was the opposite -- to dive into one momentary sonic gesture for days, weeks, months at a time, basking in and nurturing it until it found its home. There was a sense that had been growing inside me for a long time -- a sense that a confluence of these two streams of creation was imminent...."

“Dwelling…” was a pure studio project, he said, with the temporal and energetic disconnect between his experience of realizing the music and the listener receiving it were a major source of pain for him. He said that he "...could commune and connect with audiences playing purely improvised music – but there were more dimensions that I wanted to be able to offer/share with them in a live setting. I also wanted to scale everything down to a solo performance to keep things nimble..." 

"The Wisdom to Know the Difference” is a set built for performance that integrates his practices as an improviser and producer. Each piece in the project is a song-structured web of intended and unintended sonic consequences. His vocals and improvisation on drumkit are effected, blended with lush and nuanced textures and samples, and trigger other samples/textures/sonic events at varying degrees of randomness/predictability. "I’m essentially building environments that are a playground for exploring intention and control," said Daher. "This project is an exploration of control on both a creative and spiritual level. It is an analogy in sound for the human predicament that the Serenity Prayer illuminates and interrogates."

Stay tuned for a new single from this set to come at some point as well…