Sun Domingo: Live in Montreal, Marillion Weekend 09

When it comes to live albums, artists need to be very, very careful in the execution of both the concert being recorded for the album, and the final product of the album itself.

 

From the sound quality being off—too loud, too soft, too harsh-- to the artist not realizing that the amount of talking usually done in a concert might not work well on a record, to just losing the overall vibe of the performance, there’s a lot that can go awry on live albums.

 

Luckily, Atlanta-based rock band Sun Domingo does a pretty good job of avoiding these issues on the recently released Live in Montreal, Marillion Weekend 09.

 

The trio, made up of Jason Pomar, Edgel Groves, Jr., and Nathan Lathouse, give a performance that is totally in sync the entire way through. This is easy enough to accomplish when recording in a studio, but to be consistently spot-on with each other throughout a live concert? Impressive...MORE

Songs of the Week: May 30-June 5 and June 6-12

I recently decided that, at the end of  every week, I'm going to present a list of my "Songs of the Week." They may be new discoveries, they may be revisits to older songs. Really, just whatever happened to strike my fancy that week. Since I actually kept track of what I listened to a lot over the past 2 weeks, here are two lists to get things started. Enjoy!


May 30-June 5

Portishead:The Rip (Album: Third)

Richard Walters: The Animal (Album: The Animal)


Stornoway: Zorbing (Album: Beachcomber's Windowsill)


Lissie: Everywhere I Go (Album: Why You Runnin')


Ron Pope: You're the Reason I Come Home (Album: Daylight)


June 6-12

St. Vincent: Paris is Burning (Album: Marry Me)


Stars: Fixed (Album: The Five Ghosts)


Basia Bulat: Gold Rush (Album: Heart of My Own)


Telepathe: Lights Go Down (Album: Dance Mother)


Michael Bublé: Haven't Met You Yet (Album: Crazy Love)

Who Gives a Hoot About Owl City? This Girl!

Let's get one thing straight right off the bat, shall we? Upon first listen, one may notice some similarities between Owl City and Death Cab for Cutie. After listening a bit more, though, one starts to notice more and more distinctions between the two.

So please, don't give me any of that, "Oh that Owl City guy is just trying to be Benjamin Gibbard" rubbish. Because I'll adamantly argue that he is not.

That being said, let's get down to business. What business, you ask? Owl City's live performance.

On May 5th (I promise I'm going to get better at writing about concerts closer to when they happen!), I trekked down to The Pageant in St. Louis, excited to finally see Owl City.

I say "finally" because, for me, the show had been a long time coming.

Last May, long before "Fireflies," the mega-hit that would thrust Adam Young to stardom, hit the airwaves, my ears were introduced to Owl City, courtesy of my friend Beth.

Beth was looking up concerts that were going to be taking place in Omaha (where she went to school) that fall, and told me that The Scene Aesthetic were going to be playing. We quickly decided that I would travel from St. Louis (where I went to school) to Omaha for the concert in October.

The opener for The Scene Aesthetic was to be a little band known as Owl City. I had never heard of Owl City, and Beth had only heard one or two songs-- "I listened to them on their Myspace. I think you'll like them."

So, I followed Beth's steps to Owl City's Myspace, and there heard the song "Strawberry Avalanche." I loved it, and immediately obtained Owl City's first two albums (yes, there was Owl City before Ocean Eyes). I was hooked, and and Of June and Maybe I'm Dreaming became the soundtracks of my summer. The Scene Aesthetic was forgotten about, and Beth and I began referring to the upcoming concert solely as "the Owl City show."

A couple of months went by and Ocean Eyes was released, propelling Adam Young into the spotlight. As people started taking notice of this kid who made music in his basement, I discovered that Young was a fellow Minnesotan! Just one more reason for me to like his music!

As October drew closer, neither Beth nor I became less enthusiastic about how much we wanted to see Owl City. Unfortunately, circumstances changed and it didn't work out for me to get to Omaha. Even more unfortunately, the show sold out before Beth was able to get tickets, so we ended up with neither of us able to go.

Well, as luck would have it, it turned out that Owl City was going to be in St. Louis in January. I was not going to miss out on seeing him this time! I pre-ordered tickets, and counted down the days until the concert.

Once again, fate dealt a nasty blow. The night of the concert, my boyfriend and I headed down to the St. Louis's Delmar Loop to get dinner before the show. Everything was all fine and dandy--until we walked to The Pageant.

Instead of the usual line of people outside the venue, there were clumps of people and several Pageant employees.

The concert had been canceled. Half an hour before doors were supposed to open.

We later learned that it had been canceled due to Adam Young being rushed to the hospital with kidney stones. But still, strike 2 as far as seeing Owl City was concerned.

The concert was rescheduled for May, and finally, finally, the day of the show rolled around. This time it went off without a hitch.

In the months since my initial excitement about seeing Owl City, though, I started worrying that, being so electronic/synth based, Owl City's music wouldn't translate well to the stage.

My concerns were entirely unwarranted.

Owl City put on a show that exceeded my expectations. Rather than utilizing synthesizers, Adam Young and company took a more organic approach to their performance. Young rocked the guitar, with Breanne Duren on the keyboard, and Matthew Decker on drums. Most impressive, though, were Laura Musten and Hannah Schroeder who took on the violin and cello (respectively), and looked to be having an absolute ball being on stage.

Young himself kept his energy going throughout the show, although it was obvious that all the articles referring to Young's shyness weren't kidding. He didn't talk to the audience much, and would often turn his back on the crowd and seemed to be rocking out in his own little world during his guitar solos.

Still, the atmosphere was fun, lighthearted, and positive. I've been to so many shows where the members of the band throw out the F-word every time they say anything to the crowd, so it was refreshing to be at a show that had more of an innocence to it--this included those on the floor dancing and swaying, rather than shoving and moshing.

Backed by a constant light show, Owl City's performance was as much a visual spectacle as an aural one. As for the songs played, though, I was pleasantly surprised that Young chose to go with more of the songs from Of June and Maybe I'm Dreaming than from Ocean Eyes; I thought that showed a definite appreciation for the fans who had been there since the beginning. Of course, "Fireflies" was on the set-list and, as expected, the audience went nuts with that one.

The way in which the concert exceeded my expectations, though, was in how well Owl City made the transition from their recorded music to the live performance. Playing with live instruments rather than the synth-backing gave a different sound to their music, yet Young managed not to lose the bubbly, whimsical vibe that I think has become the most defining characteristic of Owl City's music.

I'm not sure if it's because of the simultaneously upbeat and mellow tone of the music, the catchy instrumentals, or the lyrics that are both witty (if you listen closely, you will catch a ton of puns) and non-sensical but, for me, listening to Owl City has always had the effect of taking me away from the real-world for a bit, and returning me to it in an absurdly good mood. The concert had the same effect, and I walked away with a huge smile on my face.

It may not have been one of the crazier concerts I've been to, but it was a breath of fresh air to attend a show that had such a genuinely positive aura to it and delivered musically, as well. It was definitely worth the wait.

Dream Travelers: Little Red Bus

Oh Little Red Bus, where do I even begin talking about you? This album is really a musical hodge-podge. There are a lot of different styles and feelings all thrown in with each other, which can work just fine, but in Joel Straup’s case there’s no fusion between those different styles.

The first track on the album, “Corporate America,” is incredibly socio-politically driven. Now, it’s not uncommon for folk music to have that kind of message behind it. This particular track, though, feels like it would be better suited to an angry punk band than to a middle-aged folk rocker.

Next up is “The Old Man’s Barn,” the focus of which is taking responsibility for one’s own actions instead of playing the blame-game. Looking just at the instrumental backing of the song, this is one of the best songs on Little Red Bus. However, there are times when the background vocals hit a very shrill, squeaky high note that does not mesh with the rest of the song in any way whatsoever, and makes an otherwise decent track almost unlistenable...MORE