Archive for the ‘new wave’ Category

Hundred Word Reviews for March 2015, Part 5

Friday, March 6th, 2015

For the final entry in this run of hundred-word reviews, I take quick looks at some rare and/or reissued music. I think it’s all worth your time.

TV Eyes – TV Eyes
TV Eyes was a 90s alternapop supergroup. Jason Falkner has a stunningly high quality catalog of his own. Roger Manning was a prime mover in Jellyfish, one of the 1990s’ best, least-appreciated bands. And Brian Reitzell is renowned for his work with Air and Moog Cookbook. The bad news is that the group’s sole (2006) album was Japan-only. Until now, that is. Its dance-friendly sound weds guitar pop to an electroclash underpinning; it will appeal to Gary Numan fans. TV Eyes also helps explain what Beck saw in Falkner and Manning (both toured as part of his band in 2014).

Ron Nagle – Bad Rice
I find it endlessly fascinating just how many truly creative artists are lurking right around the fringes of rock’s universe. Nagle was a member of The Mystery Trend, a band who were historically important (if largely unknown) in the 60s San Francisco scene. And as co-leader of Dūrocs, he created some skewed (and again underheard) pop music. And there’s his solo album, done in the interregnum between those projects. It’s even less known, originally released on the cult-friendly Warner Brothers label (see also: Van Dyke Parks, Randy Newman, etc.). It’s more mainstream than its pedigree suggests, and it’s funny, too.

Linda Jones – The Complete Atco, Loma, & Warner Brothers Recordings
Jones’ 1967 single (R&B #4) “Hypnotized” may well be where the malpropism “hyp-mo-tized” originated. Regardless, that and many of her other singles of the era are fine examples of gospel-flavored soulful R&B. When she passed away prematurely in 1972 (as the result of a diabetic coma) at age 27, she left behind an impressive if under-appreciated body of work. Her expressive voice and breathtaking range are showcased in her music. Real Gone Music once again does yeoman’s work in rescuing these 21 sides from obscurity, and working through the knotty licensing to bring them all together on a single disc.

The 5 Stairsteps – Our Family Portrait / Stairsteps
A family band in the Jackson 5ive style (though the Burke family recorded before the Jacksons), The Five Stairsteps are sometimes characterized as bubblegum (or “bubblesoul”). True, there’s an undeniable family-friendly vibe to their music, but that shouldn’t diminish their work in the ears of music lovers. From the doo-wop-meets-TV-variety-show music of “A Million to One” to their smash “O-o-h Child,” there are pleasures to be found throughout their catalog. But their first two albums (now compiled on CD with bonus tracks) are their best. Their covers (“The Look of Love” and studio-era Beatles album cuts) are often quite impressive.

The Unforgiven – The Unforgiven (Expanded Edition)
Imagine if The Alarm were from Los Angeles instead of Wales, and you’ll have an idea of what this six-piece sounded like. Very dated 80s production flourishes (gunshot drum sounds, roaring arena-styled guitar) wedded to the odd c&w flourish (an occasional dab of pedal steel) and a perhaps ill-advised preoccupation with their look (cowboy dusters before every lame country band started wearing ‘em) are the three legs of The Unforgiven‘s musical stool. Every song swings for the fences, wanting to be an anthem, and it’s all a bit too earnest. Worth a listen but in no way a lost classic.

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Hundred-word Reviews: January 2015, Part 5

Friday, January 30th, 2015

There’s a never-ending stream of reissued music, too. So it’s time once again for some hundred-worders to work off some of my backlog. As always, these all deserve full reviews, but with limited time and resources, 100 words will have to do. I’ll cut to the chase. This week-long run of quick reviews wraps up with a look at five reissue/compilation releases.

Game Theory – Dead Center
Omnivore Recordings‘ championing of this under-appreciated 80s group continues with the reissue of the band’s 1984 compilation, Dead Center. Like all Game Theory albums, this one has long been out of print, and tough to find. Dead Center collected the band’s strongest material in hopes of helping them catch onto a wider audience. The Three O’Clock‘s Michael Quercio produced several tracks, and whether it’s his influence or simply a musical like-mindedness, much of this music sounds like him. Another crystal clear influence is (post-Big Star) Alex Chilton; Game Theory’s reading of “The Letter” sounds like how Alex might’ve done it.

Frank Rosolino – I Play Trombone
Part of the ongoing reissue of long-lost Bethlehem Records jazz releases, this six-track album (originally released in 1956) presents the trombonist Rosolino. He had previously appeared on sides by Stan Kenton and alongside Zoot Sims, but this was only his second album as leader. The agreeably swinging tunes balance subtlety with melodic interplay between Rosolino and his piano-bass-drums sidemen. Rosolino would go on to release several more albums, but the bulk of his work would be as sideman to a list of jazz greats that included Horace Silver and Dizzy Gillespie. I Play Trombone is an early and auspicious outing.

Dick Wagner – Dick Wagner
Long held in high esteem by rock aficionados, songwriter/guitarist Dick Wagner gained his greatest fame lending his considerable talents to the work others. But in 1978 he recorded and released an album under his own name. With a wide-screen vibe that recalls Meat Loaf and/or Jim Steinman, that album showed Wagner’s talent to excellent effect. Unfortunately, a generic album cover and a poorly-thought-out title (Richard Wagner) doomed the album to obscurity; it was often mis-filed in record stores in the classical section. Happily, it’s again available (with a revised title); sadly, Wagner passed away just before Real Gone Music‘s reissue.

Blood, Sweat & Tears – Child is Father to the Man
Though they would enjoy commercial success with an altered lineup (fronted by the gruesome vocals of David Clayton-Thomas), Blood, Sweat & Tears started out as a highly ambitious (almost progressive) outfit led by Al Kooper. Kooper left (or was forced out) after their debut, but the album the original lineup left behind is a stone classic. With a sound not miles away from The Butterfield Blues Band, early BS&T was soulful and loaded with chops. This hybrid multichannel SACD presents the debut in stunning audio quality, making it the definitive version. This is what Chicago wishes they could have been.

Barbara Lynn – The Complete Atlantic Recordings
Some of the most interesting and important work that Real Gone Music does is its series of compilation albums, collecting the work of underappreciated artists from the catalogs of Atlantic, Dunhill and others. Texas-born Barbara Lynn cut one album for Atlantic (the left-handed electric guitarist went on to a blues-oriented career that continues to this day); that disc (Here is Barbara Lynn) is included here in its entirety along with an impressive number of singles and rarities. This material focuses on Lynn’s vocals. Many of these tunes sound like hits; only one (“This is the Thanks I Get”) actually was.

As always, more reviews of CDs, DVDs and vinyl, plus interviews and essays to come.

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Best of 2014: Videos

Monday, December 22nd, 2014

With 1/1/15 mere days away, it’s time for Musoscribe’s annual best-of lists. These are – of course — wholly subjective, and reflect my tastes and interests. I viewed quite a few music-related DVDs this year, and while quite a few were excellent (and none truly awful), four stood out. As it happens, all four concern music of the past, but remain sturdily tooted in the present.

Ian Anderson – Thick as a Brick Live in Iceland
I’ve written a fair amount about Anderson and Jethro Tull on this blog, and have interacted with the man in two (#1 and #2) wide-ranging interviews. This DVD documents a night on his celebrated and successful 2012 tour. I’ve written about Anderson’s strengths and limitations; this tour (and by extension, this DVD/Blu-Ray) makes the best of the former and deal creatively with the latter. Recommended. (Watch for my review of the four-disc WarChild set, coming soon.)

Money for Nothing
This fast-past documentary is tailor-made for the ADD generation: thought it’s packed with images, ideas and information, nothing stays on the screen for more than a few seconds. As such, it suits its subject matter: the rise and fall of the music video as an artistic and commercial medium – exceedingly well.

I Dream of Wires
Speaking or rise and fall, this documentary – presented in a “hardcore edition” that appends the original film with hours of fascinating bonus material – charts the history of the analog modular synthesizer. The film had a premier at a recent Moogfest here in my hometown of Asheville; it received a warm welcome. If you’re at all interested in the electronic side of music where technology and creativity meet, you’ll enjoy this. Note that because of the breadth and depth of its subject, the DVD is best digested in small portions.

The Doors – R-Evolution
These Los Angeles-based legends might not be the first 60s rock act one thinks of when considering intelligent use of the visual medium, but since both Jim Morrison and Ray Manzarek had backgrounds in film, it makes sense. A passel of rare video clips show the group wriggling free of convention and creating enduring audiovisual works of their own. The quality of the clips here is nothing short of amazing.

Stay tuned for best-of lists covering 2014′s music-related books; concerts; archival and compilation releases; and new music.

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EP Review: The New Trocaderos — Kick Your Ass

Monday, December 15th, 2014


The New Trocaderos – Kick Your Ass EP
This EP is three songs, one featuring each member of this trio (joined by a keyboard player and drummer). “Real Gone Kitty” is rootsy rock (a la Jerry Lee Lewis) crossed with the Sex Pistols at their most tuneful (no, really). “Dream Girl” is sixties janglepop, sort of Jackie DeShannon meets Smithereens, with a delightfully Al Kooperish organ solo. “Brain Gone Dead” is Clash-style speedy punkpop, though the guitar and electric piano solos come from other places in rock history. Overall, it’s as varied as can be in only three tunes. That begs the question: musically, who are these guys?

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A Thanksgiving Feast of Mini-reviews

Thursday, November 27th, 2014

Customarily, I take Thanksgiving Day off from posting to the blog (it’s one of very few days in which I do that). In fact I generally write the pieces days in advance, so trust me: I am taking today off with family. But for anyone who tunes in today or after, I present a few short-form album reviews. The theme here is new music that seeks to pay tribute to music and/or artists from the past. My (as always, wholly arbitrary) word limit for each of these is 150 words.


The Call – A Tribute to Michael Been
Santa Cruz, CA-based straight-ahead rock band The Call was one of those curious bands who got some critical cred, despite other styles having taken over as the rock du jour (See also: Grant Lee Buffalo.) No less a light than Todd Rundgren regularly covered “And the Walls Came Down” – The Call’s signature tune – in live shows, for whatever reason (he also did Red Rider‘s “Lunatic Fringe,” so, I dunno.) Leader Michael Been died of a heart attack in 2010; his son Robert (of Black Rebel Motorcycle Club) collaborated with the surviving band members. This album (CD+DVD) is a live concert document of that one-off performance. The set is expertly played and sung, but the mix is lifeless: as a direct result, the whole affair fails to excite as it should. In this role, Been sounds unlike his BRMC material, favoring a vocal style closer to that of Bono.


Here Comes the Reign Again: The Second British Invasion
I’ve always held that a good song is a good song, and stands up to reinterpretation in many styles. Clearly those involved in this album agree: a collection of 27 songs – from what we could rightly call the MTV music era – recasts pop songs in a modern-rock/pop format. There are lots of winners here; Chris (Fountains of Wayne) Collingwood‘s cover of The Dream Academy‘s “Life in a Northern Town” opens the set in delightful fashion. Several of the artists manage to add heft to what otherwise might be thought of as lightweight piffle (“Relax”). A few covers hew too close to the originals to make the exercise worthwhile (“West End Girls,” “True”), but overall this is an excellent set from the same high-concept folks who brought you Drink a Toast to Innocence. People on Vacations‘ shimmering rethink of Bananarama‘s “Cruel Summer” is delightful. A few missteps, nonetheless essential.


Light My Fire: A Classic Rock Salute to The Doors
Overstuffing a project with talent – the kitchen sink approach – is no surefire recipe for success. So bringing together 45 male rock stars for a Doors tribute doesn’t mean the results will be any good. As with many of these things, it’s a Billy Sherwood project; Sherwood (who plays bass on nearly all tracks) likely laid down reference demos for everybody to follow for their flown-in parts. Lesser lights (the late Jimi Jamison) share the spotlight with some big names. Larry Coryell reminds us that he can rock. Lou Gramm shows us why he’s not fronting Foreigner any more. Leslie West solos all over “Roadhouse Blues,” wasting Brian Auger‘s presence. YesTony Kaye and Steve Cropper? Okay: that’s an interesting pairing. Robert Gordon‘s vocals on “Touch Me” are positively gruesome. “Light My Fire” reunites Steve Howe and Rick Wakeman. The Jim Morrison-as-a-winged-Jesus cover art is good for a laugh.


Garden Music Project: Inspyred by Syd Barrett’s Artwork
This project differs significantly from the three discussed above. All of the sounds here are original music, inspired by the work of Pink Floyd founder Syd Barrett. But not by his music: no, the songs are a product of synesthesia (simply put: hearing colors) experienced viewing the paintings Barrett did in his cloistered, post-Floyd days. True, that concept reads a bit gimmicky, but the results are quite interesting. The four piece group that produced this work are European musicians following the lead of artist Adriana Rubio, who spearheaded and produced the session. The vocals (by guitarist Alexander Ditzend) are reminiscent of “Baby’s On Fire” era Brian Eno, and Stefan Ditzend‘s sax work recalls Psychedelic Furs circa Forever Now. Musically, the style does favor Syd-era Floyd, but then it would, wouldn’t it? It’s appealing, retro-minded modern psych, like Robyn Hitchcock used to do. Enjoyable even without knowing (or appreciating) the backstory.

Happy Thanksgiving.

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Hundred Word Reviews for August 2014, Part 2

Tuesday, August 12th, 2014

Today’s set of five 100-word capsule reviews looks at recently-reissued, previously-unreleased, and/or compilation albums.


How to Stuff a Wild Bikini: Original Stereo Soundtrack
What we have here, in my estimation, is a fascinating and extremely well-written essay that happens to include a CD. How to Stuff a Wild Bikini is not anyone’s idea of great cinema, but the 1965 American International Pictures release has its period charms. This record – originally released on The Kingsmen‘s Wand label – is the only soundtrack LP from the string of Frankie Avalon/Annette Funicello vehicles. Tom Pickles‘ liner notes put the soundtrack into perspective and context, explaining the musical contributions of The Kingsmen, Lu Ann Sims, Harvey Lembeck(!) and Mickey Rooney(!!). Skip the film, dig the soundtrack.


Spanky and Our Gang – The Complete Mercury Singles
Often thought of in the same category as The Mama’s and The Papa’s, this group, fronted by vocalist Elaine “Spanky” McFarlane, had deeper roots in a sort of Tin Pan Alley style. This collection presents 21 songs in their original punchier-than-stereo monaural mixes. The group’s hit “Sunday Will Never Be the Same” – a tune that rivals any single of the era for its transcendent mix of melodrama and shimmering vocal arrangement – is here, but many of the other tunes are nearly as good. Of special note is the group’s cover of The Beatles‘ “And Your Bird Can Sing.”


Billy Thermal – Billy Thermal
This band, led by Billy Steinberg, cut an LP in 1980 full of uptempo, nominally new-wave tunes. For various reasons, the disc went unreleased at the time, but the tapes served their purposes as songwriter’s demos: Steinberg’s “How Do I Make You” would be a hit for Pat Benatar Linda Ronstadt, and brought the man’s talents to the attention of The Bangles, Cyndi Lauper, Whitney Houston, Madonna, etc., all of whom would score hits with his songs. This collection includes bonus tracks, but the whole package – now rescued from obscurity by Omnivore Recordings – can be thought of as a bonus.


Stick Against Stone – Live: The Oregon Bootleg Tapes
At first hearing, this Pittsburgh group sounds like they’re from a provincial city (perhaps Leeds?) in working class, Thatcher-era England. Truth is, the era is the only detail that’s correct: this 1985 live set – long thought lost but recently discovered – sounds like a cross between Gang of Four, the two-tone ska movement, and Living Colour. Any written description of their complex sound will fall short, but I hear angular funk with plenty of assured polyrhythmic percussion, rubbery bass, and saxophone backing the Lene Lovich-sounding vocals of Sari Morninghawk. A modified lineup of the band (SASO) still performs today.


Buddy Rich – The Solos
The idea of a compilation of live concert drum solos might strike some as a surefire way to a headache, or at least folly. But when the drummer in question is the legendary Buddy Rich, the idea makes some kind of sense. Endlessly inventive and always swinging, the man with a bad haircut and a worse temper may have been sixty years old when these tapes were made, but what you’ll hear sounds like a man half his age. Power, finesse and humor can all be found in Rich’s solos. Background music for a cocktail party? Perhaps not. Essential? Indeed.

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Hundred-word Reviews: Reissues

Tuesday, March 4th, 2014

Those CDs continue to pile up here at Musoscribe World Headquarters. And even after I cull the unsolicited or semi-solicited ones that don’t make the cut for coverage, I still end up with more music than I can possibly cover in the depth of detail I’d like (and that they deserve). So occasionally – and more often of late – I schedule a group of hundred-word capsule reviews in which I endeavor to hit the high points. All of these are worth your time. Toady’s batch are all reissues of older releases, several of which are somewhat rare.


Cat Mother and the All Night Newsboys – Albion Doo-Wah
This little-known outfit was initially championed by no less a luminary than Jimi Hendrix, who produced their debut album. This, their second, was no more successful in the marketplace, but it remains an interesting listen. From the opening track, “Riff Raff” onward, the band leans in a city-headed-country rock direction, with the results sounding like some cross between The New York Rock and Roll Ensemble and The Band. Some of the truly deep-fried tracks like “Turkish Taffy” are only partially successful, but the genre hybridization of “Boonville Massacre” still sounds delightfully fresh and appealing forty years later.


Mason Williams – The Mason Williams Ear Show
Like the above title, this is the second of two Real Gone Music reissues by a mostly (and unjustly) forgotten artist. Released a mere nine months after The Mason Williams Phonograph Record, this album very much continues in a similar musical vein (how could it not?). For many artists, such a rush-release schedule wold result in an album full of half-baked, tossed-off tunes, but it would appear that Williams was a prolific composer of quality material. Like the last record, this one is full of eclectic mainstream pop Americana (though in its formal sense rather than its 21st century one).


Surf Punks – Locals Only
Neither the best nor the worst of its kind, this album is a reasonably successful amalgam of comedy rock and surf music. The titles tell you the story: “No Fat Chicks,” “Born to Surf,” “Spoiled Brats from Malibu.” It’s fun enough, and with the principals’ connection to Captain and Tennille (drummer/composer/producer) Dennis Dragon is the brother of “Captain” Daryl Dragon) one can be all but certain that there’s a commercial appeal to these bratty tracks. And there is; it’s more revved-up garage rock (with party trappings) than anything approaching punk. A welcome dose of 80s nostalgia.


The Alabama Stare Troupers – Road Show
A curio from the anything-goes early 1970s. An all-star (sic) lineup takes to the road – presaging Bob Dylan‘s Rolling Thunder Revue – and one show is documented as a tour souvenir. Don Nix (his Living by the Days was also reissued) rounded up country bluesman Furry Lewis and vocalist Jeanie Green plus assorted musicians and a choir. The result 2LP didn’t sell like hotcakes. But Furry Lewis – who gets half of the first CD – is in fine form, and the full-band tracks – sounding very much like The Band with a choir – are soulful and enjoyable.


The Lords of the New Church – Is Nothing Sacred?
Give this CD five seconds of your time, and you’ll say “1983.” But “Dance With Me” – the most well-known track from the Gothic rock band led by former Dead Boys singer/guitarist Stiv Bators – still sounds great. Sure, it’s more than a little reminiscent of Duran Duran, The Church and Billy Idol, but this foursome – with punk veterans from The Damned, Sham 69 and The Barracudas – earned their punk/new wave cred honestly. Two other Lords studio albums – their 1982 debut (their best) and 1984′s The Method to Our Madness – have also gotten reissue.

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Album Review: The Chills — Somewhere Beautiful

Monday, December 30th, 2013

While I choose to believe that – on some exceedingly modest level – I have reasonably good critical sense of measure where music is concerned, I have no illusions about my skills on the commercial side of things: my commercial instincts are close to nil. Were it up to me, we’d all live in a world in which Marshall Crenshaw would sell a million records each time out. Alas, such a world does not exist. So while I am pretty good at pegging the inverse – a sort of, “That’s so terrible it’ll probably be a hit,” – few would ever look to me to predict the success of an up-and-coming recording artist.

A case in point is kiwi pop. As exemplified by the output of New Zealand-based Flying Nun Records, that subgenre was, I was all but certain, destined to be the Next Big Thing in the 1980s. With excellent acts on their roster – a list that included The Clean, The Jean-Paul Sartre Experience, and Tall Dwarfs, the tiny label from the tiny country was responsible for some of the era’s most engaging examples of what we then called New Wave.

You know how things turned out. True, Split Enz (and later Crowded House) would enjoy major and well-deserved success across the globe (though decidedly less success in the USA), but as far as New Zealand-based pop culture, well, let’s just say that a bunch of hairy little Hobbits pretty well cornered the market.

Still, that music was pretty fine. And many artists from that classic era remain active to this day. Chris Knox (formerly of Tall Dwarfs) has remained quite busy, even after suffering a stroke in 2009. But perhaps the finest of all the bands of the era – right up there with my beloved Enz – were and are The Chills. Their ironically-yet-aptly-titled 1990 single “Heavenly Pop Hit” (#2 NZ, #92 UK, non-charting in the USA) captures the spirit of the era, all chiming and shimmering guitars and catchy choruses. A timeless tune, it’s the one song that people in the northern hemisphere know by the band, if they know one at all.

The Chills remain very much active. Since 1980 and with precious few breaks, Martin Phillipps and his rotating lineup of band mates have turned out pop of the finest order. And on their latest, the live Somewhere Beautiful, The Chills serve up a sort of greatest hits live set for the ages.

Released on CD and in a 3LP vinyl configuration, Somewhere Beautiful charts the band’s history in a non-chronological fashion. The band surveys music from their four albums, delivering the tunes in muscular yet tuneful fashion.

The editing on the album – at least on the promotional CD which I had for review – is a bit odd. While the songs were all cut live at a recent gig, the applause is mostly cut out, and each track fades at its end, like on a traditional studio album. But the performances remain first-rate. There’s a certain life breathed into the live readings of tunes like “I Love My Leather Jacket” that makes them essential companions to their studio counterparts.

The career overview nature of Somewhere Beautiful makes the album a good entry point for newcomers to The Chills catalog, and the immediacy and newness of it all makes it an essential purchase for the long since converted. In short, a winner.

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Photoblogging: Mountain Oasis 2013, Part Two

Tuesday, November 5th, 2013

Some images from the second night of Mountain Oasis Electronic Music Summit in Asheville NC. All photos © Bill Kopp.

Photos from the first night are here. More Mountain Oasis coverage to come.

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Mountain Oasis Electronic Summit: Recap Part 2

Friday, November 1st, 2013

On Saturday — the second of the festival’s three nights — I took in two shows of note. I had tentative plans to check out some other sets, but these two were so compelling, I stayed for the entirety of the performances.

Gary Numan
Music fans of a certain age – and perhaps other, younger ones – will recall the left-field Top 40 hit of 1980, Gary Numan’s “Cars.” With its gurgling and keening synths, its stiff beat, and its cold, dispassionate lead vocal, the tune (from his second LP, 1979′s The Pleasure Principle) was quite unlike most of what was played on pop radio, then as now. And while Numan had a back catalog even at that point (as member of the even lesser-known Tubeway Army), the unlikely success of “Cars” would yield the dubious dividend of labeling Numan as that most dreaded of all things, the one-hit wonder.

Clearly Numan himself never got a memo to that effect. Likely he never had major commercial breakthroughs as part of his plan anyway; his musical approach was too unique for such a thing. Instead, he soldiered on, and unlike other lesser-talented denizens of the new wave era, he never went away. Between 1980 and 2013, he’s released no fewer than thirty(!) albums.

And while – as is to be expected with a catalog so deep – those albums vary in quality, and none were major chart smashes, Numan has charted his singular musical path, proving that while “Cars” may have been a fluke, he’s no such thing.

Numan’s latest album is 2013′s Splinter (Songs From a Broken Mind), and it’s among his finest efforts. While detractors in the old days compared him to “Heroes”-era David Bowie, Gary Numan has never been about aping the style of others. And to those unfamiliar with his oeuvre, those who might have expected him to glide onto a stage filled with synthesizers and drum machines, Numan provided a welcome shock to the system.

Ably backed by a standard – yet industrial(!) strength – rock lineup (two guitars, bass, drums, and two keyboardists), Numan held the audience at Asheville’s Civic Center transfixed. Rocking much harder than anyone could have expected, he moved about the stage ominously yet without artifice; though he occasionally played bits of keyboard (and did a thing or two with an electric guitar), his role was largely to sing the songs and draw all of the attention. This he did well, performing several songs from the new album, plus a scattering of older material, stylistically updated just enough to blow away any nostalgia.

That said, the room came even more alive when the band launched into “Cars.” A group of concertgoers dressed as garden gnomes initiated a conga line through the crowd; their internally-lit pointy caps danced through the packed floor. This was perhaps the only time during which Numan and band commanded less than full attention, and they seemed pleased enough to continue.

Numan didn’t speak to the audience once during his set, preferring to let his music be the medium, and after a quick bow and wave he was gone. But those who witnessed the set – a rarity in the southeastern USA – won’t soon forget it.

Godspeed You! Black Emperor
If Gary Numan wasn’t thrillingly downbeat enough for you, all you needed to do was stick around while the stage crews set up for the next act. Unlike nearly anything else in rock – and they’re not really rock at all, come to think of it – Canadian collective Godspeed You! Black Emperor can best be described as detached.

It’s not fair to judge them by the standards generally applied to rock acts; they don’t speak to the audience. There weren’t even microphones placed onstage in case one of the nine or so players wished to toss out a spontaneous “Hello, Asheville!” But then that wasn’t likely to have happened anyway. With a semicircle configuration of amplifiers – lots of ‘em – and chairs and stools for the players, it was clear from the outset that this would not be a set filled with visual pyrotechnics from the musicians.

No, as they began their set – initially just a violinist and upright bassist – their slowly-building compositions groaned into being, like an ocean liner being launched into the sea for its maiden voyage. The men and women of GY!BE use volume and dynamics as their tools rather than beat and melody. You won’t come away from a GY!BE show humming their tunes, nor is that the band’s goal. Instead they conjure a set of emotions (perhaps unique to each audience member) that includes horror, dread, joy, exhilaration.

Some players were seated on the floor, working pedals. Some were in chairs. They occasionally seemed to communicate among themselves via nods (or rare whispers) but for the most part, they wordlessly delivered their compositions, shrouded in darkness. Above them, a large screen depicted strange, disorienting and lo-fi images, but these were clearly carefully chosen to match the sounds that GY!BE were making onstage.

When they finished, they left the stage as they had entered it – one by one – and left their instruments droning and groaning behind them. As modern chamber music with more than a hint of influence from no-wave composer Glenn Branca, it was thrilling in its own way, and the audience’s reaction was appreciative yet muted. Anything else would have been incongruous.

If you missed it, coverage of night #1 is here.  And a bunch of photos from night #1 are here. More Mountain Oasis coverage to come.

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