Live Review: Stephen Malkmus & the Jicks @ PBR Fest

Usually my Fourth of July festivities consist of sitting around in a field with some friends, eating and talking late into the evening until the fireworks start bursting overhead. This year, my celebration of America's birthday was a little bit different, but equally as gratifying. I've been living in Madison, Wisconsin this summer and when I heard that there was only an hour's drive separating me from from a free Stephen Malkmus show in Milwaukee, I jumped at the chance to change up my Fourth of July routine.

I was joined on this particular outing by my great friend and fellow Wilco-fanatic Marilu, who was kind enough to lend me the photos you're looking at. Since we were in the area, we made a point of stopping by Mader's, the famous German restarant in Milwaukee which most recently served as the background for Wilco (the album)'s cover. After taking a few pictures (sans camel and cake, sadly), we headed into suburban Milwaukee to find a tiny stage on a small, residential side-street, right outside of a neighborhood bar called Burnhearts. Not the kind of place I expected to see Stephen Malkmus play at, but the atmosphere of the entire event was so laid-back and fun that it ended up being the perfect venue.

Since this was PBR Fest, we got to see quite a few bands before Malkmus and the Jicks took the stage. First up we caught the tail-end of Canadian folk-rockers Rock Plaza Central's set, although I'll be running into the group again later this month at Wicker Park Fest in Chicago. Next was the synth-driven pop-rock of Maritime, who seemed to be having a great time playing to a hometown crowd. The real suprise of the night for me was a group from Chicago called Maps and Atlases who provided a worthy opening performance for the Jicks. Their Don Caballero-esque arrangements and rapidfire finger-tapped riffs really won me over, and left me looking forward to possibly seeing them again this fall when they come through Columbus with Ra Ra Riot.

Let me preface this review of Stephen Malkmus' set by saying I've never been a huge fan of his solo work until I listened through Real Emotional Trash a few years back and it changed my mind about him and the Jicks. I have and always will be a pretty big Pavement fan, and to me Real Emotional Trash encapsulates everything Malkmus couldn't do with that group. I love how jammy and full of energy that album is, and that feeling really seemed as if it translated into the group's live performance as well. The band played almost everything I could have asked to hear off that aforementioned record, including "Dragonfly Pie", "Hopscotch Willie", "Cold Son" and "Elmo Delmo". Malkmus and the Jicks also took some time to reach into their back catalog, playing a few tunes I was familiar with such as "(Do Not Feed The) Oyster" and "Dark Wave". However, the real unique part of the evening took place after the setlist was finished and the remainder of the night became 'Malky's choice'. First up was a cover of the Rolling Stone's "Real Emotional Rescue", complete with some spot-on falsetto work care of Stephen. Next was a raucous rendition of the Kink's "All Day & All of the Night" which bled into the night's slowburning closing number; a cover of the Velvet Underground's "What Goes On". It's not every night that a great band like the Jicks decides to pull out a few impromptu covers, but it made the evening all the more special for everyone there. And I didn't miss out on fireworks entirely; we saw fireworks in the sky the entire drive back to Madison.

Tapes on the Floor's Favorite Albums of 2008

Every visit to just about every music related blog or website over the past week has reminded me that I need to cash in on the end of the year list craze once again. Most of the lists I've seen thus far are pretty samey; lots of buzz bands and albums, the safe picks, and not much in the way of anything else. So, if you're looking for a list with Bon Iver, Fleet Foxes or Vampire Weekend on it try one of these. If I've still got your attention, here's my take (in no specific order) on what's worth your time and money from the past year in music:

Wolves & Wishes - Dosh
I had to double check and make sure this record actually came out this year because I haven't seen it on a single 'Best of' list I've read thus far. That would make this album my number one most criminally under-appreciated record of the year. With Wolves & Wishes, Dosh expands his musical palette beyond that of his previous record The Lost Take. The same basic ingredients are still present; namely the Rhodes keyboard, a drum set and a looping pedal. But just as The Lost Take took Dosh into the realm of rock, Wolves & Wishes finds Dosh exploring more experimental territory. The song "First Impossible" is essentially nine minutes of droning guitar, made interesting by the way Dosh takes this sound and manipulates it, segueing into various different beats. "Bury the Ghost" features a vocal appearance from Bonnie Prince Billy, backed by a tribal drum beat and solo clarinet. However, the real meat of the record are songs like "If You Want To, You Have To", "Wolves" and "Capture the Flag" which show just how versatile of an instrument a looping pedal can become, creating catchy, unique songs that showcase all of Dosh's musical talents. If you're a fan of The Lost Take, or of the keyboard arrangements on Andrew Bird's last record (which were provided by Dosh) you owe it to yourself to check out one of this year's best albums.

Real Emotional Trash - Stephen Malkmus & The Jicks
None of Malkmus' post-Pavement output has ever really interested me much; I'd come to the conclusion that the guy reached his musical peak with the group and was now content to fade into obscurity with sub-par solo albums. However, something really clicked for me after listening through Real Emotional Trash in its entirety. This is an album that Malkmus never could have made with Pavement. It's full of drawn out, jam-heavy rock songs that were never Pavement's strong suit. But with the Jicks as is backing band. Malkmus makes this seem like what he was born to do. One of the greatest things about this record is that it sounds like a band just playing through its songs; there aren't a bunch of overdubs or overly complex arrangements. Nowhere is this more apparent than on the albums title track which is ten minutes of uninterrupted jamming backed by an extremely competent rhythm section. Malkmus' vocals and unique intonation take center stage on tracks like "Cold Sun" and "Out of Reaches", reminding you that this guy can still write and sing. Real Emotional Trash is a group at its best, and the perfect antidote to the glut of over-produced rock albums on the market today.

Dreaming of Revenge - Kaki King
Kaki King is way better at playing the guitar than you will ever be. She excels at a hybrid picking/finger-tapping technique that makes her sounds like she's playing multiple guitars at once. Dreaming of Revenge fleshes out this sound even further by backing her with drums and bass as well as overdubbing some immaculate solo work. The record is divided into instrumental and vocal-infused tracks, with the instrumental work solidly outnumbering the vocal efforts. At times, she's a pensive singer-song writer, as evidenced in songs like "Life Being What It Is" and "2 O'Clock". At other times, Kaki King is the unabashed rocker, providing both the vocal and guitar prowess that pushes a track such as "Pull Me Out Alive" to the next level. However, my favorite aspect of Kaki King's work are her post-rock tendencies which are brilliantly displayed in "Montreal" and "Air and Kilometers". This is a musician who's last record was produced by post-rock legend John McEntire, so she obviously knows what she's doing. Dreaming of Revenge was a great find for me in 2008, and I certainly look forward to hearing more from Kaki King in the future.

Dear Science - TV on the Radio
TV on the Radio have outdone themselves on their latest release, crafting a record that is every bit as fresh and different as 2006's acclaimed Return to Cookie Mountain. Dear Science is an unabashed pop record; it's got dance beats and catchy hooks. But what really makes it so exciting to listen to is that it takes the pop formula and turns it on its head. There is no other band out there that sounds anything like TV on the Radio, and this album seems like the realization of that fact. "Golden Age" takes a stilted rhythm, layers on some falsetto, Casio-handclaps and a horn section, and somehow manages to sound incredibly natural. All of this is underlined by smart lyrics that decry war, embrace love and suggest music as the solution to the world's problems. Just as Return to Cookie Mountain was an ode to a nation in ruins, Dear Science is a tribute to hope and reconciliation. Dear Science cements TV on the Radio as the Talking Heads of our generation; a group that is totally unafraid to make unconventional pop music with a strong message.

The Odd Couple - Gnarles Barkley
Gnarles Barkley's St. Elsewhere always struck me as the perfect one-off for both Danger Mouse and Cee-Lo. Then "Crazy" happened and everyone took notice. Expectations for their sophomore release The Odd Couple were understandably high and, while it didn't have a hit on the magnitude of "Crazy", it's a much better album than its predecessor. Danger Mouse's production is on the mark, capturing exactly the mood that each song requires. He casts Cee-Lo as the tortured soul man in "Who's Gonna Save My Soul" and "A Little Better" just as easily as he takes him into the realm of gospel in "Going On" and "Suprise". It's an album that deserves to be listened through in its entirety, if only to fully appriciate the bountiful and abrupt changes in scenery. Danger Mouse treats each Gnarles Barkley record like a movie, as evidenced by the film projector heard at the beginning and end of each album. He has a story to tell, and Cee-Lo is always the versatile leading man. This effort may not have been a blockbuster success, but it's sure to find its place as a cult classic for years to come.

Chemical Chords - Stereolab
Most people's main complaint with Stereolab is that everything they do sounds pretty much the same. Chemical Chords probably won't convert anyone with this opinion, but it does manage to stand shoulder to shoulder with some of my favorite Stereolab albums of the past. This one compares nicely to Dots and Loops, sharing its emphasis on electronic backing and processed drum beats. Chemical Chords finds Stereolab sounding just as aimless as ever, but in that great kind of way that makes it the perfect background music. High points of the record include the brass infused "Three Women" and "Self Portrait with 'Electric Brain'" as well as the xylophone driven melody of "Silver Sands". My only regret is that this record finds Tim Gane and company playing things fairly safe. In my mind, the Stereolab classics are from the Jim O'Rourke/John McEntire produced era where the band was trying new things to mixed, but often enjoyable results. We may never hear that side of the group again, but Chemical Chords is a reminder that Stereolab is still great at what they do best.

Attack & Release - The Black Keys
The Black Keys have gotten a bad wrap as of late. I found Magic Potion just as boring and predictable as everyone else, but their newest effort didn't deserve some of the harsher criticism it received. Attack & Release breathes new life into the Black Keys formula, thanks to the production work and guidance of Danger Mouse. Really, the only logical next step for the Black Keys was to expand their palette beyond the staid drum and guitar combo. Danger Mouse was able to do this in a tasteful manner that I doubt any other producer could have accomplished. The record still sounds distinctly like the Black Keys, but hearing the organ kick in throughout the last few second of opening track "All You Ever Wanted", it's clear that this is the band at a new level. My favorite moment on the record is the song "So He Won't Break" which finds the band channeling a sort of neo-soul groove, backed by a steady pounding beat and intricate, layered guitar work. In essence, Danger Mouse takes what the Black Keys are good at and casts it in new lights, resulting in their freshest record since Rubber Factory.

Með suð í eyrum við spilum endalaust - Sigur Rós
Listening through this one for the first time, I was found myself feeling unimpressed. This was far from the ingenious, lush, interlocking arrangements that had populated Takk. However this one grew on me fairly quickly. It's Sigur Rós doing something they haven't done very often as of late; trying something different. From the opening strains of "Gobbledigook" it's clear that this record is an entirely different animal. Most of the songs on this record are just the core members of the band playing songs, without much accompaniment. Another big difference is the abundant use of a brass section; a departure for the band, whom have relied on a string section for their past two albums. It results in a more regal and bold sound for the group, and is a stark contrast to their previously orchestral tendencies. Perhaps the weakest points on this album are when Sigur Rós attempts to go back to the well with the songs "Festival" and "Ára bátur". Both tracks push the nine minute mark, and are plodding affairs that build up to a grand climax within the last few minutes. In "Ára bátur" that climax includes a full orchestra and a choir backing the band which, even for Sigur Rós, seems like overkill. Perhaps inspired by the acoustic sessions they recorded for last year's double EP Heim/Hvarf, Sigur Rós has gone, for the most part, back to the basics on this record, and the results speak for themselves.

I Shall Be Reviewed

I'm Not There Soundtrack - Various Artists
I'm still not sold on the concept of the movie; a little too artsy for my tastes. The soundtrack is a totally different story; Dylan covers from the likes of Calexico, Cat Power, Sonic Youth, Yo La Tengo, Stephen Malkmus, Jeff Tweedy and the Black Keys just to name a few. While a few artists turn in pretty standard approximations replete with faux-Dylan vocals (Cat Power's Stuck in Mobile is likely the best of this catagory), others provide some pretty unique interpretations that make for a fresh sounding listen. It's almost predictable at times; a blues-stomp take on "The Wicked Messenger" by the Black Keys, a meticulously arranged brass-heavy rendition of "Ring Them Bells" care of Sufjan Stevens, but this approach tends to work. And then there are the perfect moments like Yo La Tengo channeling the Band on Blonde on Blonde outtake "I Wanna Be Your Lover" or Stephen Malkmus ripping through "Maggie's Farm" backed by Lee Ranaldo, Steve Shelly and Nels Cline. It's one of the better artist-centric soundtracks I've ever heard, and a worthy tribute to the timeless quality of Dylan's music.

A Wheel Within A Wheel - Southeast Engine
My new hometown of Athens, Ohio seems to have a big thing for folk rock. The poster-child of the scene is local group Southeast Engine, who were recently signed to the independent Misra records, and have just released their first album for the label. A Wheel Within A Wheel exemplifies everything a homespun group like this should sound like; namely a minimal amount of studio gloss and a focus on capturing the group in an accurate way. The band's sound evokes the alt-country gamut, ranging from Ryan Adams to Being There-era Wilco. Highlights of the record include opener "Taking the Fall" and the Oakley Hall-esque "Quit While You're Ahead". The band also shows an impressive use of a string section on slower numbers like "Reinventing Light" and "Oh God, Let Me Back In". If this album is any indication, Southeast Engineis well on its way to joining the ranks of the aforementioned alt-country heavy hitters.