Bloc Party - A Weekend in the City

Back in college - April of 1992 to be exact - I was conducting my first on-air interview on my weekly radio show. Buffalo Tom, on the heels of the release of Let Me Come Over, had made their way to scenic and lovely Hartford for a show. Chaperoning my interview was Music Director and radio goddess, Margo Edwards (who would go on to be a booker at the Middle East). The two of us threw some softballs early but eventually I treaded down the path of how their sound was becoming more accessible (read: selling out). No longer were they Dinosaur jr. jr. - and as a fan of their first two albums I was a little upset about the change. I quickly embarrassed myself and Margo did all she could to rescue the interview. All of this seems quite ridiculous now since Let Me Come Over is one of my favorite albums of all time.

So what is the developmental milestone that music lovers must attain that allows us to appreciate a musician's evolution? I stopped listening to R.E.M. when Peter Buck decided to play the mandolin full time - but that was nearly 16 years ago! At some point we learn that Bowie or Elvis Costello or the Beatles (for Christ's sake) were on to something when they moved their music forward (and frankly, sometimes backwards).

Probably the key to this successful evolution is the attainment of new attributes while remaining true to the base elements of the music. It is with this longwinded introduction that I am able to describe my approach to the new Bloc Party album, A Weekend In The City. 2005's Silent Alarm was on my of favorite 2 or 3 records of that year so I was eagerly anticipating this release.

Everything I had read in the last few months was that Weekend was a departure for the band (too much for me, or have I grown up?). I happy to report that the band has grown rather than changed. Still there is the influence of Gang of Four with the dueling telecasters riding a driving beat - one good enough to dance to. Weekend is augmented by synths and the occasional drum machine (which is usually a negative for me). But it is Kele Okereke's vocals that are more polished on this album - really an instrument rather than vocals.

I've only had a couple of listens as of this writing, but my impression so far is that it rivals Silent Alarm and may even surpass it.

Kruezberg (mp3)
Sunday (mp3)

Paul Westerberg - Open Season

I've always found it interesting that fans of the Rolling Stones continue to buy their new albums no matter if the material is good or not. It is a hard habit to break not buying the albums of your childhood heroes. I stopped buying R.E.M. albums in 1995 with Monster and I pick and choose the Bob Mould releases I buy (yes for the rock stuff, no for the dance stuff). Paul Westerberg is one artist that I have yet to abandon. No matter what he has done in his post-Replacements career I tend to find something with each release that I just love. So it was with some eagerness that I purchased the Open Season soundtrack over the holidays.

With a toddler at home, I was praying that the soundtrack would have all the aspects of Paul's work that a 35-year-old would need wrapped in a package fit for a kid. The songs run from Don't Tell a Soul -era Replacements like "Love You in the Fall" (see mp3 below) to piano driven numbers like "I Belong" (a second version by Pete Yorn also appears on the soundtrack). Paul's penchant for cleaver lyrics abound - "I'm a knight in shining armchair", "The right to arm bears" - are a couple of examples.

The DVD was released in late January and we had a little family movie night yesterday. Like movies of recent years, Open Season follows the same formula of Madagascar - get some comedians to play animals that are out of place in the wild and adventure will ensue. All ages will enjoy the film. Be sure to check out "Love You in the Fall.

Love You In The Fall (mp3)

Kristin Hersh

September 22 & 23rd, 1989 Merriweather Post Pavillion, Columbia, MD. As a 17-year-old high school senior out seeing R.E.M. play two nights in a row on the Green tour I was as close to heaven as my adolescent life had brought me up to then. While R.E.M. was clearly the focus of my nights I remember being intrigued by the openers both nights, Throwing Muses.

The next year they would release Hunkpapa which would garner some Mtv 120 Minutes attention, but it was 1991's The Real Ramona that had me hooked. "Counting Backwards" is still one of my favorite songs with it's intertwining guitars. The mid-1990's saw Kristin Hersh try her hand at solo work while her half-sister Tanya Donnelly went on to form the highly successful if not short-lived band, Belly.

Over the last 10 years, we've seen Kristin move from her more personal solo work to band oriented material with Throwing Muses (minus Tanya who continues to work as a solo artist) to hardcore influenced postpunk with her band, 50 Foot Wave. All of her work tied together by her distinctive voice and thoughtful lyrics.

Late January saw the release of Kristin's Learning to Sing Like a Star on Yep Roc Records. Moving between her intimate work (like on 2003's The Grotto) and her most rocking Throwing Muses work, Learning to Sing Like a Star has something for everyone.

Almost 6 years to the day of those first shows, I took by then girlfriend, now wife, to see Throwing Muses at the old 9:30 Club in DC. The show was amazing - how does such a little woman make her guitar roar like that? Kristin has, in many ways, remained OUR artist as she has always offered something for both of us. Check out "In Shock" (mp3) and "Ice" (mp3).

From 2003's The Grotto - Snake Oil (mp3)
From 2003's Throwing Muses - Speed and Sleep (mp3)
From 50 Foot Wave - Hot Pink, Distorted (mp3)