The Days of Lore

Aqui. Ahora. En el futuro.

Wednesday, March 3rd, 2010 | musiX | 1 Comment

I come to you from the past. I wrote this almost a week ago so that it would reach you in the future … as we meet here at this very moment in the present. ¿Confundido?

As you read these words I am in Guanajuato, Mexico—the birthplace of Diego Rivera—perhaps inside the very house he grew up in … that or I’m looking at dead people at the Museo de las Momias. And there’s a very good chance I have a cold Negra Modelo in one hand and a fish taco in the other (TDoL likes to multi-task). Or there’s a chance my tender, white flesh is cooking on a beach in Melaque (with a cold Negra Modelo in one hand and a fish taco in the other). I can’t really tell you because … well, I’m not even here yet. Or am I. Am I not?

That said—this is all you’re going to get from The Days of Lore until el 15 de marzo. So I’m taking this time to tell you what’s on the horizon. First off, I’ve been listening to Soft Crash, the new LP from Orland, Calif. trio Nothing People (whom I’m convinced are actually from a distant planet), and it is creeping me out … in a good way. And Titus Andronicus‘ new album The Monitor is teaching me what really happened during the Civil War—it rocked! Look for more thorough reports on these and much more upon my return. If I return.

But the big news here at TDoL HQ is that I’m gearing up for the first-ever The Days of Lore Presents show on April 16 at the Doug Fir that will include The Mother Hips along with a couple of great Portland bands in Jared Mees & the Grown Children and Monarques. It’ll be an unforgettable night of rock … and with any suerte I will have a Negra Modelo in one hand and a fish taco in the other. Look for giveaways of some Mother Hips goodies in the coming weeks.

I leave you now with a little slice of Mexico with Los Dug Dug’s, a band out of Durango that created their psychedelic sounds after hearing the Beatles in the late-’60s. The band’s self-titled debut is still one of my favorites … probably the best 127 pesos I’ve ever spent.

“Let’s Make It Now” - Los Dug Dug’s

“Eclipse” - Los Dug Dug’s

Tags: Beer Lounge, Jared Mees & the Grown Children, Los Dug Dug's, Mexico, Monarques, Nothing People, Soft Crash, The Mother Hips, Titus Andronicus

MoHips go Daytrotting

Wednesday, February 3rd, 2010 | musiX, pdX | No Comments

Last year The Mother Hips quietly released Pacific Dust, a record that continues the band’s knack for seamlessly blending country, ’60s pop and pure rock ‘n’ roll. Goddamn right it made the TDoL Best Of Twenty-Oh-Nine list.

The Hips are on tour and recently made a stop at Daytrotter to record some raw and rambunctious versions of a few tunes off Pacific Dust and Kiss the Crystal Flake as well as a cover of Gene Clark’s “Kansas City Southern.” You can download all four songs here.

The band will hit SXSW in March before returning to Portland on April 16 at the Doug Fir. And yes … you’re goddamn right TDoL will be there.

Tags: Daytrotter, Kiss the Crystal Flake, Pacific Dust, The Mother Hips

Best of 2009: TDoL and the Furious 15

Sunday, December 20th, 2009 | musiX, pdX | 11 Comments

Seems like it was only yesterday that I was cobbling together the TDoL best of 2008. Yes, time flies when you’re old and surly. And, yes, I know year-end lists are everywhere, cliché, overdone and a dime a dozen—but I do love them so.

These lists are difficult to make, too. I mean who has time to really absorb a full record when you’re being bombarded with hundreds of albums and mp3s? It was chore to make a list that exorcised both my discerning (wax-clogged) ear and my (beer-besotted) gut—the “I can see what this artist is trying to do here” versus the “this fucking rules and I’m going to sing it at the top of my lungs in my car/boxers” if you will. I prefer the latter—less thinking involved.

The following is a semi-in-depth look at what I liked about music in 2009 … in list form. It’s a magical place where good and evil coexist, where big, dumb rock mingles with smarty-pants indie, a place where it’s Christmas year-round. But before we get down to it, I’d like to present to you the following pre-list list.

Thing(s) to do after reading the TDoL Best of 2009:
1. Leave your own list in the comments.
2. Harshly ridicule and mock my list, also in the comments.
3. Praise my list for its fine taste and heterogeneousness.
4. Tweet/tell your friends to read it and do the same.
5. Explain to me what the hell heterogeneousness means.
6. Click on the album cover to purchase.
7. Note there is no Animal Collective on this list …
8. … or Yeah Yeah Yeahs.
9. But there is a KISS on my list.
10. Thank you for reading.

15. Pacific Dust - The Mother Hips (Camera Records)

After years of wrestling with major label politics and personal demons—all of which led to members taking a two-year hiatus—The Mother Hips came back to release one of their best albums in 2007’s Kiss the Crystal Flake. Pacific Dust feels like its sister record, the Hips again playing to their strengths—gorgeous Bee Gees-inspired harmonies, pop hooks, country licks and the occasional Sabbathian riff. I’ve said it before and I’ll say it again: The Mother Hips are criminally underrated.

“Young Charles Ives” - The Mother Hips

14. Crack the Skye - Mastodon (Reprise)

I’m still trying to figure out how Mastodon became so popular among non-metalheads … though they aren’t your typical metal band. With Crack the Skye Mastodon has created a sweeping monster of a record that piles riffs on top of mind-bending prog passages. It’s as beautiful as it is brutal, sort of like Tool. And I guess if hipsters are listening to Mastodon, it means less time spent doting on Merriweather Post Pavilion and It’s Blitz … which is never a bad thing.

“Divinations” - Mastodon

13. Amorum Tali - Purple Rhinestone Eagle (Eolian Records)

Led by lanky guitar-whiz Andrea Genevieve, Purple Rhinestone Eagle strings together mighty riffs that crackle over the rib-rattling rhythm section of Morgan Ray Denning and Ashley Spungin. Amorum Tali (Talons of Love) stands firmly at the intersection between San Francisco flower power and Birmingham doom, especially on “Walk With the Wizard.” Add the fact that the lyrics often touch on deeper social and political issues and you have an incredibly potent rock machine.

“Walk With the Wizard” - Purple Rhinestone Eagle

12. Now We Can See - The Thermals (Kill Rock Stars)

The Thermals’ Kill Rock Stars debut doesn’t quite match the barbed nastiness of 2006’s The Body, the Blood, the Machine—it’s still intense, however, as guitarist/vocalist Hutch Harris reflects on his time on Earth after offing himself in the very first song. Now We Can See is a polished piece of wicked pop punk—songs are more refined, hooks sharper. And it took only, what, three releases for bassist Kathy Foster to finally lay down some backing vocals? Now we can hear!

“I Let It Go” - The Thermals

11. Popular Mechanics - Surrogate (Tooth & Nail)

Surrogate hails from Chico, Calif., touring only occasionally and putting out some incredible pop records on a label that puts out some incredibly god-awful records. Multi-instrumentalist/vocalist Chris Keene has come into his own after playing hired gun in his previous band Number One Gun, writing smart, earnest, well-produced indie rock that should make fans of Nada Surf take notice. Keene’s influences are all over the map, but it only takes one spin to make Popular Mechanics feel like home.

“Whiskey (Vomiting Words)” - Surrogate

10. Wilco (The Album) - Wilco (Nonesuch)

Well, hand it to Jeff Tweedy and Co. for coming up with their most experimental album title in 2009. So the music within doesn’t come anywhere near the eclecticism of masterstroke Yankee Hotel Foxtrot —it’s simply another tried-and-true batch of songs that further cements Tweedy as one of the great tunesmiths of his generation. And musical wunderkinds Glenn Kotche and Nels Cline again show magnificent restraint. I just like that Wilco continues to simply do what comes natural.

“Country Disappeared” - Wilco

9. Power Move - Screaming Females (Don Giovanni)

Screaming Females got a lot of play at TDoL this year, usually in my car as I was being transformed into a screaming male. The aptly-titled Power Move is a fuzzed-out, riff-laden rock ‘n’ roll that shrewdly pulls from each of the last four decades. The highlight, of course, is Marissa Paternoster, the band’s 5-foot-2 guitar goddess who cranks out noodly solos over an air-tight rhythm section. Album opener “Bell” shows that, as is the case with most shredders, it’s usually the riffs that really scream.

“Bell” - Screaming Females

8. Breaks In the Sun - WEINLAND (Badman Recording Co.)

What strikes me most about Portland’s WEINLAND, is the Jekyll and Hyde they pull with their recordings and live shows. Although Breaks In the Sun comes from less of a dark place than 2008’s La Lamentor, there’s still a calmness and beauty to it. Adam Shearer’s hushed vocals are the centerpiece, floating through emotionally-charged country folk songs brimming with pop hooks. Live WEINLAND transforms into a gritty bar band that would probably buy you a beer. It’s rather impressive.

“Autumn Blood” - WEINLAND

7. Love and Curses - Reigning Sound (In The Red)

It’s unfortunate that Greg Cartwright is known only by weirdos who still like to spend hours scouring dusty bins for records by dead people. Love and Curses is the North Carolina quartet’s first record of new material since 2004, and big guitars and swirly organ still rule here. Cartwright’s voice is a little more ragged this time around, but he sure knows how to convey tenderness and despair whether he’s representing the everyman or a jilted lover. Yes, everyone should listen to more dead people.

“The Bells” - Reigning Sound

6. Sonic Boom - KISS (KISS Records)

Chaim Witz and Stanley Eisen made good on their promise to deliver a klassik KISS album, and the former’s songs are the best of the bunch … don’t tell him I said that. Sonic Boom is one kick-ass rock ‘n’ roll party loaded with sexual innuendo, cheesy lyrics (I’m talking Easy Cheese between two slices of Velveeta sprinkled with Cheetos), riffs, cowbells, ripping guitar solos, walking basslines and anthemic choruses. Attn. hipsters: Wouldn’t it be totally ironic if you played this at your next party?

“Yes I Know (Nobody’s Perfect)” - KISS

5. S/T - The Yule Logs (self-released)

A holiday album on a year-end list? Take away the snow, Santa and menorahs and you’re left with some damn catchy songs with Brit pop jangle and Beach Boys harmonies. The hardest working band in snow business plows through classics as well as a few equal-opportunity originals like “Hanukkah Mambo!” and “Christmastime Is Here (Again!).” And I’ve been listening to it non-stop since August … which means either I’m weird, or it’s just that good. Probably a little of both.

“Christmastime Is Here (Again!)” - The Yule Logs

4. Seconhand Runner - Bodhi (self-released)

Bodhi’s influences are as clear as day—Bowie, The Stooges, Gary Numan—yet they manage to end up sounding like nobody but Bodhi. “Kids Are So Nice” is a fine slice from MTV’s early days when new wave, Nina Blackwood (and videos) ruled. Brian Carr’s voice is the glue that holds the myriad influences in place, even when the band decides to throw a new wave country song into the mix (”Bystander”). Went from 0 to No. 4 on my year-end in less than three weeks.

“Kids Are So Nice” - Bodhi

3. S/T - Harper Simon (Tulsi/Vagrant)

“Shooting Star” grabbed me before I even knew who Harper Simon’s pops was. Simon’s debut is a love letter to Nashville. He recorded there, recruited producer Bob Johnston (Nashville Skyline) as well as noteworthy Nashville musicians including pedal steel player Lloyd Green (Sweetheart of the Rodeo). Not surprisingly, he ended up with a beautiful, warm country record. Simon can’t help but sometimes sound like his father Paul—not a bad thing unless, of course, we’re talking about Graceland.

“Shooting Star” - Harper Simon

2. S/T - The Pains of Being Bure at Heart (Slumberland)

Boy-girl harmonies, jangly guitars and hooks up the wazoo (which is less painful than it sounds) reign throughout the New York quartet’s debut. As guitarist/vocalist Kip Berman explained to TDoL earlier this year: “I feel that pop is so wonderfully broad a style of music that you could never ever get bored or fully exhaust it—it’s infinite.” With all the press that TPoBPaH received in 2009, it’s nice to know that they aren’t interested in resting on their laurels. Hell, they might actually be in this for the long haul.

“Young Adult Friction” - The Pains of Being Pure at Heart

1. And Girls Club - The Strange Boys (In The Red)

In The Red put out some incredible records this year from King Khan and BBQ Show, Reigning Sound and Thee Oh Sees, but nothing grabbed me as immediately as the debut from Austin, Texas’ The Strange Boys. The combination of chops, songs and enigmatic confidence made these young(ish) boys sound well beyond their years. The band doesn’t go for lo-fi or silly garage-rock aesthetics, instead churning out no-nonsense, R&B-fueled rock ‘n’ roll that falls somewhere between Meet the Beatles! and Bob Dylan’s Newport Folk Festival performance. Guitarist/vocalist Ryan Sambol coyly unleashes his general disaffection through nasally vocals, while jangly guitars and a booming rhythm section crank out the soundtrack for a misfits sock hop. Effortless and fun. Come to think of it, the only thing lo-fi about The Strange Boys might be the album’s cover. But who really looks at those anymore?

“This Girl Taught Me a Dance” - The Strange Boys

The Best of the Rest of the Best …

Bitte Orca - Dirty Projectors

Paint the Fence Invisible - Drug Rug

To Be Still - Alela Diane

Rose City - Viva Voce

Survival Strategies in a Modern World - Liechtenstein

Tags: Alela Diane, Amorum Tali, And Girls Club, Best of 2009, Bitte Orca, Bodhi, Breaks In the Sun, Crack the Skye, Dirty Projectors, Drug Rug, Harper Simon, KISS, Liechtenstein, Love and Curses, Mastodon, Now We Can See, Pacific Dust, Paint the Fence Invisible, Popular Mechanics, Power Move, Purple Rhinestone Eagle, Reigning Sound, Rose City, Screaming Females, Secondhand Runner, Sonic Boom, Surrogate, Survival Strategies In a Modern World, The Mother Hips, The Pains of Being Pure at Heart, The Strange Boys, The Thermals, The Yule Logs, To Be Still, Viva Voce, WEINLAND, Wilco, Wilco (The Album), year-end list

Mother knows best

Monday, November 2nd, 2009 | musiX, pdX | 2 Comments

There are probably only three improbable bands that are more ingrained into my being than The Mother Hips (three guesses on who they are). Bands whose songs have been there through the best and worst times of my life, songs that bring the warmth and comfort of mom’s homemade mashed potatoes. That’s saying a lot.

And The MoHips seem to get better with age. The San Francisco four-piece just released Pacific Dust, which continues where 2007’s Kiss the Crystal Flake left off—breezy harmonies tempered with crunchy guitars (”White Falcon Fuzz”), and pop hooks that amble along with noisier passages (”Pacific Dust”). Hell, the Hips have been doing it for some 20 years—criminally out of earshot of audiences who worship bands like Wilco and Blitzen Trapper—and these days sound quite comfortable embracing the psychedelic, country, pop and multi-passaged songs that occupy their seven studio records.

A ferociously dedicated fanbase doesn’t hurt, either. TDoL has prattled on numerous times about The Mother Hips. The band still tours incessantly—mostly on the West Coast—playing to rabid followers in both dingy clubs and posh theaters. The Hips will return to Portland Nov. 6 at the Doug Fir … another place that sorta feels like home.

“White Falcon Fuzz” - The Mother Hips

“Pacific Dust” - The Mother Hips

Tags: Pacific Dust, The Mother Hips

MoHips: MoRock please?

Tuesday, February 24th, 2009 | musiX, pdX | 1 Comment

Live: The Mother Hips, Derby and Cabinessence at the Doug Fir, 2.20.09

I’ve seen the Mother Hips about a dozen times. And these eyes have seen the many faces of those Hips—the  unpredictable instrument-swapping kids, the sweaty, full-throttle bar band, and the play-it-safe adults. Many times I thought they were the best live band around, although there was a show where I had a difficult time keeping these eyes open.

It’s been a few years since I’ve been to a Mother Hips show, and I’ve never actually seen them outside of their old stomping grounds of Chico, Calif. I was looking forward to finally seeing the band far away from the drunken throngs … in the acoustic wonderland of the Doug Fir, no less. But I left the show a little unsure as to how I felt about the whole experience. It wasn’t bad. The performance seemed to lack energy. I don’t know if unenergetic is even the right word. It was just … slow. They were tip-toeing through their songs instead of stomping.

The Mother Hips also eased into a fair amount extended jams, “jam band” being an an old association they’ve tried to distance themselves from. Sometimes those jams worked—usually when they were more on the spacey and adventurous side. Other times they were derivative and sounded like noodling for the sake of noodling.

There were songs made for the stage—”Red Tandy,” “Del Mar Station” and “Timesick Son of a Grizzly Bear” to name a few—combining Tim Bluhm, Greg Loiacono and Paul Hoaglin’s stunning Beach Boys-meets-Bee Gees harmonies with pop hooks and loud guitars. There were times, however, that I found myself waiting for the next song to start. Now I’m anxiously waiting for the Mother Hips’ redemption song.

Tags: Greg Loiacono, Paul Hoaglin, The Mother Hips, Tim Bluhm

Tim Bluhm pays Hips service

Tuesday, February 17th, 2009 | interviewZ, musiX, pdX | 1 Comment

Tim Bluhm and the Mother Hips have been at it for the better part of two decades. The band has gone through it all—getting the ax from a major label, drugs, indefinite hiatus—and has still managed to hold it together without compromising their sound. I don’t think the Mother Hips have made a bad record.

The Hips released Kiss the Crystal Flake in 2007 after taking a few years off to regroup—it was the band’s first full-length since 2001’s critically lauded Green Hills of Earth. Crystal Flake received similar accolades, taking the band’s proclivity for ’60s-era Bee Gees and ’70s rock and country and playing like a love letter to the Golden State.

It’s safe to say the Mother Hips are in the best shape of their career—no label pressure, no bad feelings or vices, only the music. Bluhm and the rest of the band—guitarist/vocalist Greg Loiacono, bassist Paul Hoaglin and drummer John Hofer—are taking a break from work on the followup to Kiss the Crystal Flake to play a handful of West Coast dates, including this Friday (Feb. 20) at the Doug Fir. And if you’re hip enough to have scored tickets to SXSW, you’ll probably see them there, too.

Bluhm caught up with The Days of Lore to talk about the new record (tentatively due out this fall), and to reflect on 20 years of music making.

TDoL: You seem to be in a really good place right now musically with the Hips going stronger than ever, and your collaborations with Jackie Greene and others …
Tim Bluhm: I feel really grateful to be where I am right now. There is lots of great stuff happening all around.

How’s the new Hips record coming?
The Hips record is probably about 70 percent done and I think we are all very excited about how it is sounding. We have been so fortunate to find ourselves where we are, in a studio where we all feel comfortable [Mission Bells in San Francisco], and with a producer, Dave Simon-Baker, who is incredibly talented.

What do you try to achieve production-wise with each new record?
The Hips are in a unique position because we have a great fanbase without having a commercial-style record label breathing down our neck. We can really do whatever we want, and we do. We love to stretch out and see what we can get away with, make ourselves laugh. But also try and throw down some serious rock ‘n’ roll.

You’ve been making music for almost 20 years. What are you most proud of?
I am most proud of the fact that the Mother Hips have been able to stay friends and have fun for as long as we have. My relationship with Greg [Loiacono] is one of the most important relationships in my life.

“Transit Wind” - The Mother Hips (Shootout)

Tags: Green Hills of Earth, Greg Loiacono, Kiss the Crystal Flake, The Mother Hips, Tim Bluhm

Dearest Mother

Saturday, November 15th, 2008 | musiX | No Comments

What a difference 492 miles makes. I’ve traveled to my former stomping ground of Chico for some pre-Thanksgiving festivities. The crystal-blue sky and sun-glazed trees in California always makes me think of backyard get-togethers with friends and road trips—windows down, stereo up. The perfect soundtrack? The Mother Hips.

The band got its start here in the dorms of Chico State, flirted with commercial success in the ’90s, relocated to San Francisco, battled the dreaded (and lazy and erroneous) jam-band label, battled personal demons, took an indefinite hiatus, and made some of the finest rock albums of the past 15 years.

The Hips came out at a time when Chico was divided by hippie-dippy Dead followers (influenced by the town’s longest-running band Spark ‘n’ Cinder) and bands like The Downsiders and Trench, who were revolting against anything that reeked of patchouli. Looking back on that time, Mother Hips singer and guitarist Tim Bluhm explained that he never thought the Hips fit in either camp, and that they built their sound on their own random tastes.

“We mostly just had the records in our house: Leonard Cohen, Black Sabbath, Gene Clark, Led Zeppelin, Merle Haggard, the Bee Gees. It came out kind of weird, but we liked it.”

Those influences tell it all. Distorted guitars were tempered by Bluhm and fellow guitarist/vocalist Greg Loiacono’s sweet harmonies. Early songs had multiple parts with out-of-left-field dynamic shifts. Later they would adopt more simple, pop arrangements, and in 1998 the band released a stripped-down country gem called Later Days, one of their best.

The Mother Hips recently performed at San Francisco’s Cafe Du Nord, playing three and a half hours of music from one fan’s ultimate setlist which was chosen weeks before. The marathon performance is available for 10 bucks (three discs’ worth) exclusively at the band’s Web site. Bluhm told me recently the Hips are currently in the studio working on the follow-up to 2007’s excellent Kiss the Crystal Flake. I was glad to hear it. At this point I don’t think I can imagine not having The Mother Hips around. Take them along with you on your next road trip, windows down, stereo up.

“Been Lost Once” - The Mother Hips (Live at Cafe Du Nord)

“TGIM” - The Mother Hips (Kiss the Crystal Flake)

“Stunt Double” - The Mother Hips (Later Days)

Tags: Bee Gees, Black Sabbath, Chico State University, Gene Clark, Greg Loiacono, Jackie Greene, Kiss the Crystal Flake, Led Zeppelin, Leonard Cohen, Merle Haggard, Spark 'n' Cinder, The Downsiders, The Mother Hips, Tim Bluhm, Trench