VHS or Bleeeeeeeta

Originally published in The Temple News (http://www.temple-news.com/).

I wrote this article from like, 3am to a little past 5am - thus the title. But it turned out pretty good.

VHS or Beta were running late.They thought they could leave some of their equipment in New York, but that turned into a mess that put them hours behind schedule. Still, the band arrived at Johnny Brenda's on Aug. 31, and between loading equipment, sound checking and getting food before the show, their bassist Mark Palgy had time for an interview.

The band is not a stranger to conflict and working with the situations that they've been thrown into.VHS or Beta has undergone a few changes since their last record. They're minus one guitarist, plus a few My Morning Jacket members on select tracks and still making slick, funky dance-rock, the listening of which isn't completely guilty pleasure-free. Their influences are obvious - Duran Duran, The Cure, Daft Punk - but VHS or Beta aren't trying to become a predictable bunch.

The new record is perplexing in that critics have generally given it less than stellar reviews, yet fans of the band have been turned on by the musical changes it showcased. VHS or Beta have tried to go more rock n' roll, recalling The Killers and Interpol on their title track. And despite having only one guitar, a bass and drums, the songs still sound layered and display imaginative crafting.

"Bring on the Comets" is actually quite unpredictable.

"[The critics have] been nice to us in the past, they've been sh---y to us in the past. We've generally always had mixed reviews so it's nothing really new," bassist Mark Palgy said. "This time around I think people were a little more abrasive to us because they think that we were like a flash in the pan, or something, so they just wanted us to go away."

Good thing they didn't. Even though the song-writing process was strenuous, their music managed to surpass what they've done before.

Writing as a three-piece allowed the band to focus more on the music and less on its personal preferences towardthe music. Songs typically began with lead singer/guitarist Craig Pfunder playing out some ideas on a keyboard or guitar, then putting those ideas on a computer and sending them to the other two members of the band. As soon as each person got a feel for their own role in the song, things would start rolling.

"It was a lot easier," Palgy said about creating songs with three band members. "Craig was writing for two people, so it was harder to rehearse since we kicked out somebody [guitarist Zeke Buck], so we actually needed an extra hand. But once we started recording things, it was fine. As a three-piece, there's a lot less arguing about stuff, and it was more like we were totally on the same page and everything was just smoother.

"When we're writing it [a song] we generally think about trying to envision it live," Palgy added.

"I think a lot of times bands try to over-decorate certain things and I think this record came out a little more stripped-down than stuff we've done in the past. We first and foremost want to write great records but we also want to be able to deliver the record exactly how it is live."

Though they were not able to bring them for the tour, VHS or Beta were able to get a few members of the band My Morning Jacket - from Louisville, Ky., just like VHS or Beta - to contribute to a few tracks and add even more depth to the band's music.

"Craig and [My Morning Jacket lead singer] Jim [James] are really good friends," Palgy said. "Jim said he'd be happy to do some background vocals and stuff, and we got [MMJ keyboardist] Bo [Koster] to do piano because . . . Bo is amazing. We wanted somebody really, really good to come in and just slay it."

For a second, we were wondering if this record was going to translate in that room," Palgy continued. "We'd been playing 'Night on Fire.' We toured that record for a year and a half, and we didn't know if anyone had heard any of the new songs. And it turns out that some people were singing along to the new tracks, and there was a lot of fist-pumping and dancing and we were like 'Ugh, good . . .' It makes things like when you read a sh---y review, you're like, 'Who cares?' People are still out there paying attention and they still care, so that's the balance for us."

Photo Credit: http://www.flickr.com/photos/letsgetdecadent/

Must Listen To...

There's just 2 songs that I want to talk about. They've owned my life pretty recently. More accurately, one has owned my life for the past 3 days, and the other is by an artist that has 2 songs that have owned my life for the past 6 months. But I'll only talk about one song by each.

The first, is the longer term guy: Luke Doucet. Song - "Broken One."


The man's got a wonderful way of playing and singing with heart, so much that you don't realize that he's being pretty damn nasty to some girl. "One day you're gonna miss me, one day you're gonna wake up cold, then you wish you could kiss me, when you're old and you're alone."
It feels fun, but if you've lived long enough, there's someone you can pinpoint these lyrics toward. And the tune is just crafted finely enough that after every listen, 30 listens for me (quite a few compared to other songs on my iTunes), it doesn't feel stale at all! He borders on folk rock, but just about anyone can listen to this man. Also recommended: "It's Not the Liquor I Miss."











The other comes from the new Dntel release, "Dumb Luck."

I knew I wanted this record, but after listening to it in the record store, 6 songs through, I could barely contain myself. I said to the girl at the counter, "Listen to this. I know it's going to be on your top 5 albums of the moment." While it's a solid album, there's definately a song that stands alone, and that I've overplayed so many times the past couple days - "To A Fault (ft. Grizzly Bear)"
The song breathes so well, and fades in and out of hooks, but fully hits a pop stride midway, where there's popping stacatto keyboard chords, complimented with drums that bounce in and out. (I just can't get ENOUGH of those 30 seconds) You'd expect to hear this out of the Postal Service. I guess he wanted to give us a little tease - a little taste. Grizzly Bear work perfectly here, their downtempo vocal style just wavers about, but appropriately compliments the tone. The song's a nice bright spot worth jigging to, in a typically moody set of songs. I listen to it entirely too much. A couple days ago I said it was the song of the year. Probably more like the song of the month, but even still, it really smacked me in my face with awesomeness. So, listen to it based on that description.

I don't know how to delete a post, so, instead of just having a blank entry, I'll say something.

The Do Make Say Think show was so fucking enjoyable. I'm not even completely into them, and they just made me smile. Jingling keys, thrifty basslines, walls of sound, violin that actually stands for something in rock music, sex in the form of music (i think we might as well call all 'post-rock' that), perfect encore song to end the show. they played from somewhere around 10:30 to 12:30...ah. Fuck. It was so good.

Mute Math Show Review

By Chris Zakorchemny

For The Temple News (www.temple-news.com)

Being that I’d seen Mute Math twice before, there was really nothing front man Paul Meany could do that would surprise me. I anticipated him jumping over drum sets, on top of keyboards, and maybe even smashing some light bulbs at the end of the show. He proceeded to steal my notebook, knock over his keyboard three times, somersault over it, destroy the drum setup, and jump into a row of flashing fluorescent light bulbs. OK, I guess I didn’t think of everything.

The show began with two surprisingly good indie bands worth checking into. The first, Polyvinyl Records’ Someone Still Loves You Boris Yeltsin, pulls off a jangly Shins-pop sound quite effectively. The other opener, The Cinematics, deserve all the blog-hype they’ve gotten. Featuring a lead singer with vocal capabilities similar to the Killers’ Brandon Flowers, Moving Units/Franz Ferdinand styled guitar and drum conversation, and Interpol-inspired bass lines; this Scottish band has every reason to be huge in alternative rock.

The stage was set for Mute Math; amid the dark, an oversized light bulb glows above one of the band’s signature row of fluorescent lights. Meany’s feathery, ‘I’m having a dream in a movie’ keyboard comes in, establishing the tone. This allows Greg Hill’s sonic guitar to become the leading texture, bringing a minor quality of dramaticism. The final texture appears: Darren King’s heavy rhythms and cymbal splashes, and bassist Roy Mitchell-Cardena’s high hat smacks, and upright kick drum thumps. The build is somewhat like a faster version of the last 3 minutes of “[Untitled Track 8]” by Sigur Rós – minus the incredible finish.

This finish reaches a crashing apex and fades out, but sets the stage for the arena-ready “Typical,” which is one of the few guitar-centric songs Mute Math has to offer. As soon as the riff begins, Paul Meany is on top of his keyboard, and as soon as the drums kick in, he’s jumped off it, introducing the keyboard to the stage floor.

In terms of song structure and surpassing what’s on the record, “Plan B,” worked the best. It featured a different bass line that was significantly more groove-based, and instead of a guitar riff leading to the chorus by itself, it was accompanied by building drums, and synchronized white-lights flashing around the stage. “Control,” received the biggest reaction from the crowd, with Meany saying “I’m gonna need your help on this one.” The live version has an extended bridge, and escalates to the fanatical over the top ending.

However, among the high points, “Break the Same,” always surpasses everything else. The song already has a predetermined, partially improvisational, jam out, but to see it in action creates a sense of awe. It doesn’t help that during the course of this song, you snag a drum stick, your notebook is written in on stage, and get high fives from the lead singer and drummer.

Using whatever can create a projectable sound, King drums on Meany’s keyboard, microphone stand, and a feedback speaker, all while Hill fiddles with a wailing pedal effect. Meanwhile, Meany and Mitchell-Cardenas occasionally syncopate the rhythms at King’s drum set. After King’s slight jam out, he grabs a drum and places it on top of the keyboard, while standing on it, until he jumps off. (Part 2 of introducing the keyboard to the stage floor.) Wide eyes and incredulous feelings later, everyone but the guitarist is playing a rhythm section, creating a frantic heart-pounding ending with flashing and blinding lights, screaming pedal effects, and…a lot of drums.

Only to top that, they finished with their instrumental, “Reset,” which begins like a Radiohead-inspired song, but ends with a rhythmic overload – and the Atari, an instrument that Meany put together. Essentially, it looks like an metallic block with knobs and a neck, and creates warping sounds. Not to be outdone by any of the effects coming from instruments or lighting, Meany decided to end the song by jumping into the middle row of fluorescent lights, then running to the front row of the crowd, effectively pushing his keyboard over for the 3rd time. Honestly, I don’t know how he didn’t break anything, or hurt himself the whole show.

For Mute Math, the third time was a charm. Let's just hope that keyboard makes it if there's ever a fourth.

Finally found that song!

When I was in middle school, I used to have the radio on the lowest audible setting, and listen while I did homework. My parents thought that I couldn't do my homework well if I had the radio on...I do all my work with some kind of music on now.

Anyway, you know those songs where the chorus randomly gets stuck in your head, but you have no clue who it is? I heard one of those songs last week for the first time since middle school, and I looked up the lyrics on Google this week, and I finally figured out who it is! Pete Yorn's "Life on a Chain."

It's going to be the opening track to my "Happy Warm Weather!" mix.

First New Recommendation of the Moment

Well, this is my first blog post on this site ever. And the blog will mainly focus on music, and whatever catches my attention in the moment. It's whatever I get excited about and think everyone should hear. So since I'm starting off, I'll give you guys a treat. Not just one artist of the moment, but like 5. Enjoy my most listens of the past week or two.

1. Fujiya and Miyagi -Transparent Things: Just in case you don't know their name, or you're not sure how to pronounce it, listen closely to the first track. "Fujiya. Miyagi. Fujiya. Miyagi," they whipser over and over again. An electronica act akin to Air, with vocals and crunch similar to Hot Chip. Worth dancing to? Not completely.

Grooveable? It reaches moderate levels of groove. It's the kind of music you absolutely love when you hear for the first time, and you listen to a little more before it's just music you put on to impress indie douches - it loses a little edge. But it's still good original music that stands on it's own two feet pretty well.

Recommendation: http://astro.temple.edu/~tua17181/03%20Photocopier%201.mp3

(side note of possible interest: I'm currently engaging in a noise-contest with my neighbor. [i.e. my music is better and louder.] My paper-thin walls are perfect for activities such as this, any day of the week.)

2. The Berg Sans Nipple - Along the River Quai: This should really be #1. It's #1 according to me, but I'm not sure if it's hitting other people as well as it does to me. Possibly the closest thing to The Postal Service I've come across since the project came together. Other than Dntel. But you know what I mean. This is just great electronic music with pop tendencies that aren't conventional at all. I picked this record about 3 weeks ago, and it has probably been some of my most enjoyable listens

within that time. And I've bought a healthy helping of records since then. I was in the record store listening trying to get into Squarepusher, and it was in between songs. Melanie, who works at the record store just randomly put them on and had never listened to them before. I just took off my headphones and kept listening. The keyboard chords just hit so well with me and

I just couldn't put my headphones back on. The song finished and I listened to another one, and said "You know, I think I'm going to get this!"

Recommendation: http://astro.temple.edu/~tua17181/02%20Mystic%20Song.mp3

3. The Whitest Boy Alive - Dreams: Containing quite possibly the most interesting artwork in a sleeve of any CD I've ever purchased with my own money, you would think that whoever drew it was on acid. But not Erlend Oye, lead singer of Kings of Convenience (the red head with thick glasses) and of side project The Whitest Boy Alive. Well, it could have been him but you'd think he'd make some freakier music. Instead, he's making that perfectly-explained-through-album-title Quiet is the New Loud stuff.

Yes, those Kings of Convenience who make some of the nicest, most enjoyable quiet music that I know of. This is the same thing. Except an electric (non-acoustic), more rock-able version. The opening tracks starts off with some banging drums, just to let you know it's a little different from The Kings, and then put together a guitar/bass blend that work somewhat to the effect of Joy Division. Yeesh. Joy Division and The Kings of Convenience. But who's going to argue with wonderfully pleasant tension tones and hook after guitar hook.

Recommendation: http://astro.temple.edu/~tua17181/01%20Burning.mp3

4. Sondre Lerche - Phantom Punch: Sondre, my friend, you have changed quite a bit since we've first met. Remember that time when I confused you for Sufjan Stevens, even though your music sounds nothing alike?

Yeah, sorry about that. I don't think Sufjan would be thrilled. But you have to admit, it was funny at the time. You used to make that soft music that was vibrant enough to avoid the folk tag; and I have to say, your attempts at English were admirable, while sometimes laughable. But since then, jeez. Your metaphors have made sense, and you're doing this rock and roll thing now. You've got songs that sound less like Nick Drake anymore, and more like Hot Hot Heat and Franz Ferdinand. Well, it's still all the same entertaining for someone like me.

Recommendation: http://astro.temple.edu/~tua17181/04%20Phantom%20Punch.mp3

5. Bloc Party - A Weekend in the City: Bloc Party came onto the scene with Silent Alarm, a smash hit with nasty post-punk guitars and a singer that makes a falsetto pretty damn badass, and will meet you at your level when you're feeling like shit. So, why change anything. Keep the kids jumping in the venues, and...actually, nevermind. Weekend is nowhere the freak out and post-punk 4 chords album Silent Alarm was. Don't let the first 2 tracks fool you. The first begins with synths and breaks into a crowd mover, while the 2nd is essentially a chord-less version of "Banquet" without the guitar duo exchange.

Instead, this album is much more of an attempt at art-rock, incorporating more synths than guitars solos, and well. Whatever. It's art-rock, and it's different. Listen to the recommended track, it's like Explosions in the Sky with Kele singing. Yeah, they're that different now. I'll add another favorite as a 1st post bonus. It's songs like "Waiting for the 7:18," that bring me back a little to the emo days, where lyrics mattered a lot. It's just got a good chorus. "Give me moments, Not hours or days...Give me moments."

Recommendation 1: http://astro.temple.edu/~tua17181/11%20SRXT.mp3

Recommendation 2: http://astro.temple.edu/~tua17181/03%20Waiting%20For%20The%207_18.mp3