This week's MP3 offering: "Off-White Noise," by local band Mariage Blanc, from their October EP, Broken Record. The band doesn't plan to record anything new until this fall, but there are plenty more listens left on this fine debut.
Here's what I said about the song in my review of the EP:
"The second song, "Off-white Noise" immediately recalls Wilco's "War on War" and "Jesus, Etc." with its electric piano, organ and touch of early Steely Dan; a nice breakdown dominated by Wurlitzer and strings (played by Liam Cooney and Jim Walton) leads into an extended vamp."
Here's a pick we didn't get in the paper this week that's worth checking out: Sunday night (Feb. 22) at the Thunderbird Cafe, Domino recording artist Benjy Ferree appears along with Tim Fite and Deleon.
DC's Ferree, in his new record, Come Back To the Five and Dime, Bobby Dee Bobby Dee, is channelling a boyhood hero, Bobby Driscoll (no relation, so far as we know, to our Bill O'Driscoll), star of Disney's Peter Pan movie. As the story goes, Driscoll was cut loose by Disney when he started growing up, and slipped into a life of drugs, dying homeless and unidentifiable to police at age 31.
In tribute to Driscoll, Ferree put together an album of beautifully produced blues- and R&B-influenced rock that could just as easily have come out of the early '70s. It's interspersed, of course, with interludes of pure weirdness, resulting in a vibe worthy of Ziggy Stardust-era Bowie.
Our conversation with legendary producer and musician Martin Bisi ended up at much, much greater length than we were able to accommodate in our print version, so we're running the full conversation here, in two parts.
Bisi performs at Garfield Artworks at 8 p.m. Wed., Feb. 25, with Microwaves, Gangwish and Midge Crickett. (The show is organized by CP contributor Manny Theiner.)
What common threads run through your latest album, Sirens of the Apocalypse?
The genesis of it was a little odd -- I kind of didn't really have a clear agenda when I started, and I think that's good, that's what's unusual about it. Because in some ways, there are elements of the songs that are pretty straightforward -- there are melodies that are kinda hooky, and some of it is straight rock in a way -- but then there's these other factors and other things. And that probably came from the fact that I didn't really have a clear agenda when I started it -- I kinda did it just generally to be creative and just generally to suss out ideas. So I ended up having a lot of fun with it at the demo stage, and in fact I ended up lifting a lot of the stuff from the demos and sort of squishing it back into the music, because I realized that that was the stuff that I found inspiring.
So when I went to actually record this stuff with the band, actually, before recording this stuff with the band, I went to play this stuff out live. There's less instruments -- just one guy on keyboards, and whatever he can contribute on background vocals. So when I realized that part of what I liked about the songs is the context I could create and some of the craziness I could add, I had to squish some of that stuff back into the production.
It's funny, because I wanted the record -- and I think in this way it succeeds -- I wanted it to say a lot about me, personally. At this point, "me personally" is pretty much attached with studio work. I don't want to do that forever -- I'm actually already working on material that won't have that focus -- but I wanted it to be a lot about me having fun in the studio and getting a little crazy. But it's funny because at the same time, it's not like I wanted an over-produced record. It's not like it's about me producing, and it's definitely not like a producer record.
It's a lot more visceral and lively than I expected -- I expected a lot more production with a capital P.
There is a lot of production, it's just with a lower-case P. But it's almost like I'd rather it seem like it's really someone having fun in the studio, but more like a musician having fun in the studio, as opposed to someone with a big production background.
You've mentioned that the final version of Sirens ended up using material from initial demos. Is that something you find yourself reaching for in the studio -- the first utterance?
What's funny is that, and this is part of, in a way, my role as a producer when I'm involved with a band recording or an artist recording in the studio, is, for lack of a better word, is sort of an existential view of what is gonna work in terms of getting material into a record. And what I've ended up finding, as I've gotten older, I can look back and intellectualize a lot of things that I just kind of did either out of necessity or just sort of instinctually, as a younger person. And in a way, that's kind of the reason maybe a producer might be older than the band. For instance, the stuff like, why certain records turned out great when there wasn't a budget, and then there's records with a much bigger budget, and being able to spend more time, why those records turn out worse. At the time, you just do. And as I've gotten older, I can kind of intellectualize, "oh, there's reasons for that," and I can analyze all those years, what worked and why.
The whole thing of spontaneity in the studio is sort of trying to grab a hold and manage this wild beast, which is sort of zen, which is sort of not intellectualizing certain types of things, where you do things naturally or instinctually. And almost to me, that's the wild man in the room that everyone's ignoring. Obviously, you can't manage zen, because that defeats its zen-ness. But in a sense, it's sort of like being able to understand spontaneity, and try to capture it and commit to it at times, and at other times not. For instance, it seems that usually, when bands are recording in the studio, the first take -- the first take where there really isn't a problem, where everything's sort of OK -- usually that's the X-factor that people are kind of looking for. And the reason is, because usually people's first impression of something just occupies a part of the brain that's pretty powerful. Once you sort of start thinking about it, and you say "Oh, is the tempo right, is the tempo not right?" then you risk losing some choices that were made instinctually.
With this record then, it was written and recorded over a couple of years. Do you run a risk in that way, by working on it around other duties -- how do you keep popping back into that mindset?
That's the thing I was kind of saying -- it's like managing the zen aspect, like it's this wild man in the room. It can't all be that, you know -- we have other limitations, things take time. Also the real sophisticated results -- I don't mean sophisticated in the traditional sense, I mean evolved, better, more powerful results -- are going to be managing both aspects. In other words, actually using your brain and making smart choices. It actually may be controlling things. In other words, it's almost managing spontaneity and things that came off the cuff, and being able to stand back, think about it. And actually one reason that you do that, is because you have a record, and it has to hold together, the songs have to relate to each other -- you're actually trying to make a singular statement. The record is funny -- it's still a singular creation, just like a song, just like a single piece of art -- but yet on the other hand, it's a collection of individual statements and spontaneities and ideas. So you almost have to use the brain.
That's why -- it's funny, I remind people that it's no coincidence that it's called a "record producer," not a "producer of a collection of songs." And that's one thing that, from an artistic point of view, the art of production or the producer as an artist, as opposed to a technician or even as opposed to an arranger, or strictly musical things -- the producer as an artist has to have the responsibility of seeing that you make a singular statement, a statement that kind of works, holds together, and it's like "I produced this record. The band produced a record."
Is it easier to have that kind of perspective with someone else's music, rather than your own?
There's a chance it might be a little easier with other people. I think it also kind of depends on the project, and also when we get down to brass tacks, I have different amounts of involvement with different projects. I think it might be easier with other people, because in some ways it's just smart to kind of work with other people, so it's not all on the producer. I wouldn't even want that, because I know it wouldn't be the best thing, actually. You're not going to get anything unless the artist believes what's happening, it has to be collaborative. So when it's all on me, of course it's going to be a little trickier.
And yeah, I actually had a bit of a rough time tying Sirens of the Apocalypse together. For instance, the first song on the record, "Sirens of the Apocalypse," was done completely after the fact. And the reason is because I stood back -- this is the cognitive brain thinking -- and I looked at this collection of songs and said, "Oh my god, there's no opener -- there's no song I feel comfortable with opening the record, there's no song that says something basic about the entire record that should go at the top." Basically, I'd written a collection of songs without necessarily there being a specific order -- I didn't write the songs to be in an order -- and it turned out that I didn't have the first one. So that means the first one was sort of what we were talking about -- where I had to kind of be smart and kind of analyze the situation and find a way after the fact, to reel in all these spontaneous urges that were the individual songs and tie it all together into a package and stick the top line at the top of the record -- like, "this is what it's about."
It needed an overture?
It definitely did. That's why I used the myth of the sirens, because it's women chanting on an island and luring the sailors, and that seemed like a current through the record in terms of lyrics. So I tried to be more overt about it, and just stick it at the top.
The track name-checks an array of Pittsburgh neighborhoods and towns (and Rhyme Calisthenics itself) in its hook, making it a pretty sweet hometown homage. Check out what our Cindy Yogmas had to say about Rhyme Calisthenics this past fall.
We didn't get the word early enough to get it into the paper this week, but this coming Wednesday (the 18th) marks the return of the Queer Songwriters series, hosted this month by Your Inner Vagabond in Lawrenceville.
Headlining this time around is the one-named wonder Bitch. Once of the duo Bitch & Animal (which, contrary to the connotations of the name, did not involve any Muppets), Bitch has since released a solo record and recorded and released an EP with her new outfit, Bitch + the Exciting Conclusion (also known as B+TEC). B&A were once on Righteous Babe, Ani DiFranco's label, and that gives some starting point for what to expect from her: political, often angry, and unrestrained.
Check out a few songs off the EP here and if you like, check out Bitch at YIV Wednesday evening, along with Autumn Ayers and Stephanie Kaye. It's bound to be a, er, bitchin' good time. The show starts at 8 and is $10; students pay $8. Your Inner Vagabond is located at 4130 Butler St.
You never really know what's going to ignite controversy online -- I certainly didn't expect it from my short review of local rock band Lovebettie, from early January. But that's what seems to be happening here on CP's Web site. Lovebettie's album, ... And We're Never Coming Back, has attracted the scathing ire of a poster called "Lovewilma2" and has since seen fans and even the musicians in question showing up to defend the band's music and sartorial choices. The ad-hominem attacks fly in this no-holds-barred exchange -- it's worth a read, even if you don't care one way or the other about the band.
And if you'd like to see for yourself what all the fuss is about, catch Lovebettie on Sat., Feb. 21, opening for local legend Donnie Iris at Johnny B's in Greensburg. Sweet Angelina Blue will also perform. Or, as "Lovewilma2" puts it, with characteristic scorn, "P.S. Go watch them play with Donnie Iris on Feb 21st, if you're the kind of person that likes two bad things worse together." Aw, c'mon now!
It's a busy week for those of us devoted to chronicling the intertwining worlds of '90s gangsta rap and late '00s local politics here in Pittsburgh.
Let's start with the surreal, then head for the truly puzzling. First off we have the story, broken locally by blogger Bob Mayo, of or Mayor partying in Tampa for the Super Bowl with Snoop Dogg. Was a great deal of gin & juice consumed? We're not sure, but we'll put a call into the mayor's office on that one. Also unclear is whether or not this has caused him to want to change his name officially to Luke Steelerstizzle.
With that shock under our belts, we move on to the next item: a film screening and symposium being held at Point Park University on Thursday entitled "From Martin to Tupac: Political Assassinations." A series of documentaries about the murders of several well-known black activists and artists from the late 20th century will be shown, and a panel discussion is to ensue -- one that includes, among others, police commander Maurita Bryant and councillor Bill Peduto.
The symposium -- details are available here -- is sure to be interesting, and seemingly won't actually be tying together the deaths of everyone from MLK and Fred Hampton to Biggie and Tupac into one big conspiracy, as the name sort of implies. It appears it's more about the way the different cases were handled and investigated. That having been said, if you'd told me even a short time ago that Bill Peduto was going to be part of a discussion of the political assassination of Tupac, I'd probably be eating my hat on Thursday.
Today's free download is "The Newest Thing," a song by local group David Bernabo + Assembly, which will be featured on their upcoming Happener-Magicker LP, due this summer on Sort Of Records. An alternate version of this song is also on the recently released Mahler Box EP. The song, Bernabo notes, concerns a difference of opinion with his girlfriend "over the merits of The Arcade Fire," and also features musicians Lars Cleath, Will Dyar, Daryl Fleming, Scott Killebrew and Nate McDermott.
"'The Newest Thing,' written during his stint in bluesy band The 9th Ward, is a mellow tune that wouldn't drive any listeners out of Club Café." -- from Manny Theiner's recent review of the Mahler Box EP.
This Sunday marks the third installment of the Pittsburgh Hip Hop Awards, headed up by local promoter 360 Entertainment. The red-carpet reception begins at 5:30 p.m. Sun., Feb. 8, with the awards ceremony following at 7 p.m., all at the Hilton in Downtown Pittsburgh.
Billed as "The Biggest Music Industry Event on the East Coast," the event is being hosted by emcee Dana Dane. The Brooklyn emcee started out rapping in high school alongside Slick Rick, before releasing his debut album Dana Dane With Fame in 1987, which went gold. After stints on Profile and Rap-A-Lot labels, Dane's most recent album was 1995's Rollin' Wit Dana Dane, released on Maverick. Currently, Dane hosts a Sirius Radio program and is publishing a novel, Numbers, on Feb. 24 (read an excerpt here).
Awards in over 35 categories are still up for grabs -- online voting continues until noon, Sat., Feb. 7. So if you want to weigh in on your favorite musicians, producers, recordings and promoters on the local hip-hop scene -- or just have a strong opinion about who should be named the hair salon of the year, or pro athlete of the year, for that matter -- consider this last call to vote.
Tickets for the event are $20 and up in advance, $30 at the door.
In case any of you were planning on attending the annual huge massive overblown indie music festival to be held this year in Miami, Langerado, sad news: the big thang is cancelled, ostensibly due to sluggish ticket sales. Proof here.
In an e-mailed press release, promoter Ethan Schwartz said, "Putting Langerado on hold was the toughest decision we have ever had to make."
File under: First World Problems.
All due respect to the artists and promoters, however -- it's a cool thing to get together, and we hope it can come back next year.
Patti wasn't there, hasn't been on this tour at all. The only woman onstage (Besides…