A Simpler Sugar - Karate Bikini

St. Louis' own Karate Bikini has just released their second full-length album, A Simpler Sugar, which is currently number two on the KDHX charts. I got to talk to frontman Tim McAvin about the band and the new album. The Karate Bikini's CD Release Show is at Off Broadway on November 15th.

AF: It’s been two years since “Sauce of the Apple Horse.” So what’s new? Any major changes?

Tim McAvin: A lot has changed. The newest thing being A Simpler Sugar. We're all really excited about it. There's also our upcoming show at Off Broadway, Nov 15th. Woo hoo!!. Letter to Memphis and Soma Jet Set will be playing with us. Musically there have been some changes as well. A big change is we added Adam Frick on French horn. He's been a great addition to our sound. Besides the coolness of it being a French Horn, and the instruments beautiful tone, having two horns allows us to get into a different way of thinking about arrangements. Adam and Michelle are really good at coming up with parts. 

I also took over bass duties when Mike Martin was taking a break for school. I love it! I feel like playing bass has really done great things for my personal musicianship. I also like the position of singer and bass player. Strategically, It gives me a lot of control over focusing the melodies and harmonies. 

Another pretty big change is that we've been introducing a lot of slower tempo acoustic songs. I've always loved all kinds of music including folk and country and jazz, but I didn't bring them to Karate Bikini until relatively recently. Not sure why. I just didn't. I'm glad I am now. We're having a great time working on them and they give our shows way more dynamics. 

AF: What were the biggest influences on this album?

TM: I think the title of the album, A Simpler Sugar, sort of gets at that. I think in general this album is more accessible than the last. We tried to focus on simplifying some things and organizing things better. One of the things about Karate Bikini is that there is no shortage of ideas, and we can all play our instruments pretty well. But sometimes that meant everybody wailing and every idea coming at you all at the same time. We're getting better at keeping that down, picking our spots, and highlighting our better ideas. I think that is the biggest influence on this album. 

AF: Karate Bikini has released four music videos in the past year, and I’ve heard there are more on the way. What’s that experience been like?

TM: Making the videos is fun. For me, there's a bit of surrender involved. For our video Pen A Letter, I was told to get right up in the camera and sing the song. I felt intimidated by that, but just told myself to surrender and do it. Just do it. There are a bunch of different ideas for videos coming up. It's fun. I'm looking forward to that. We don't have lots of money, so we're doing most things sort of on the cheap, and it's a blast. It's also another way for folks to hear the songs. 

AF: This is the third Karate Bikini release and the first one with no Asian girl on the cover. What's up with that?

TM: Yeah... that... Well, we had some Asian Girl ideas and just decided to do something different. There's something campy about Karate Bikini, and that's (at least in my head) sort of what the Asian girl was about for me. But the truth is, our music is becoming less and less campy, so the pictures drawn by my kids kind of get at the idea of simplicity, and they look good, so we went with it. 

AF: So what's next for the band?

TM: A 16 track CD, more videos and shows. There are some bands in town I'd like to play with,  and there are a few new places I'd like to play. One thing I would like to see happen for us this coming summer is to get out of town a little. 

Foo Fighters @ Scottrade Center

Photo courtesy of Danny Hommes

     A band as big as Foo Fighters typically has two openers so let's get that out of the way first.
     Mariachi El Bronx, the alter-ego of hardcore band The Bronx (it's a little confusing; they're not even from the Bronx, they're from LA), took the stage in their matching black and red mariachi outfits. While at first a little confused, I was pleased to hear their unique sound. They combined mariachi and punk music in a really cool way. Their drummer, a Buddy Holly look-alike, played a cocktail kit that sounded awesome. It was clear that the whole band was having a blast.
     What can I say about Rise Against? The bass player was solid. The singer had a lot of enthusiasm. That's the positive stuff. The drummer was weak. The songs sounded the same. The guitarist can kick his foot above his head and does so at EVERY POSSIBLE OPPORTUNITY. But, they made the Foos sound better. Gotta give them that.
     The band finally took stage and opened with "Bridges Burning," the first track of their new album. Playing a great mix of old and new songs, the set lasted three hours just as Dave promised. Many of the songs had extended endings and "Stacked Actors" featured a guitar battle between Chris Shiflett and Dave Grohl.
     Emphasizing on the epicness of their rock music, the stage had a platform that extended all the way across the floor of the arena. Have you ever been to Scottrade? It's pretty big. There was also a riser at the opposite end. It doesn't get any bigger than singing lead vocals for a band all the way across a stadium. They also had an awesome light show.
     "Young Man Blues" was covered by Foo Fighters for VH1 Rock Honors The Who in 2008. Since then, they've been playing it at most of their live shows including the one last night. They also led us in Tom Petty and The Heartbreaker's "Breakdown."
     At the beginning of the encore, Dave played a few songs on acoustic before being joined by the rest of the band. Finally, the best possible song to end the night, "Everlong." This is my favorite Foo Fighters song as well as that of many other fans. It has the amazing quality of meaning something great to everyone who hears it even though everyone hears a different meaning. If you enjoy any form of rock, go see Foo Fighters in concert. They're the most accessible great rock band on tour.

Sleepy Kitty - Infinity City

St. Louis local music always surprises me. Sometimes it's hard to believe that such good music can be made by people who live so close to me, people I see on the street or in the audience at concerts.
Infinity City starts out with "Gimme A Chantz!," a rocking song to start out with. Paige Brubeck has a great Nilsson-like way of harmonizing with herself that appears throughout the album.
"Seventeen" is a cover of the Beatles' "When I Saw Her Standing There." At six minutes long, it's not quite like the original. It's an intriguing jam of the classic hit.
"NYC Really Has It All" is a conversation with an old friend about how much their hometown has changed since they were young. This is a perfect anthem for reminiscing about your own childhood.
My favorite track, "Dykula," has vocals that remind me of Karen O. Her basic message in the song is clear: I wish I'd never met you. I also like the retro "shoobop's."
Lastly, the vinyl-only eleventh track, "Greetings From Cherokee St USA," is a simple song of piano and beautiful vocals. At certain points it is filled with street noise, presumably recorded from Cherokee Street. It is a beautifully written song about Sleepy Kitty's neighborhood. Like most vinyl-only tracks, it's only available on the vinyl copy, sadly.
Infinity City is out now on Euclid Records. I bet you can pick it up at a certain record store of the same name.

Buchers Boy - Skin and Bones

Country music is frequently filled with themes of sorrow, coffins, shotguns, and dogs. This album may not have those last three. As far as sorrow, it goes one step farther. Rage. This is country music that definitely seems to be more anger-fueled than woe-fueled.
Butchers Boy is a country-rock band with an emphasis on 'rock.' The vocals sound tortured at some points. I can't always understand them which makes me want to listen to them over and over again until I can understand the entire message.
The drums provide very innovative takes on well-known rhythms. Some of the guitar solos are especially mean.
Highlight tracks include the title track, "Skin and Bones," with a slightly sinister mood and brilliant guitar. On top of it all, my favorite part is the xylophone solo at the end. "Put On Your Jacket" starts out slow and then builds with tumultuous drums and some awesome breaks. The organ on "Wicked On Broadway" makes the song sound like a great party.
Possibly the coolest thing about this album is that all twelve tracks were recorded live in the studio and in only two days in August of 2007. That's a pretty difficult task to accomplish but it sure makes for a fun album.
"Skin and Bones" is out now on Grape Juice Records but it may be a little hard to find, especially for anyone outside of Chicago. That said, if you ever come across a copy of it, buy it.

Sunday - LouFest 2011

Ume rocking very hard

The retro rock of Old Lights started out the day. Their set reminded me of early Elvis Costello, definitely not a bad thing. Although their lead guitarist broke a few strings and experienced other difficulties, there was always another spare and the set continued just fine.
Jumbling Towers had a chaotic, unique keyboard based sound that my friends and I all enjoyed. The drummer was very talented and the singer looked like David Byrne of Talking Heads if you squinted. Definitely one of my favorites from sunday, I was disappointed to find a different sound on the free sampler they gave me. A drum machine? Where's that awesome guy? That said, I look forward to future releases from them.
Ume was the heaviest band of the weekend in my opinion. Their hardcore songs paired with Lauren's sometimes sweet vocals made a great combination. Her outfit was actually a great representation of the band's sound. A little black dress and combat boots. Also, she's the best headbanger I've ever seen.
Next up was the band I was most excited for, Lost In The Trees. Their set did not disappoint. The soft orchestral folk music was a stark contrast to Ume. The audience seemed quiet and respectful of their delicate sound. The set included brand new songs, a skeleton horse puppet being paraded through the audience, and a personal story about delivering pizza to the wealthy while on narcotics. Awesome.
The Low Anthem followed, being the only other folk band on the bill. The singer's voice sounded a whole lot like more recent Bob Dylan tunes.
Das Racist was definitely the wild card of sunday. The three maniac rappers took the stage and played much of the material from their forthcoming album, "Relax." Never taking themselves seriously, they told us how they planned to "do a couple more blues songs, some classic rock songs." They showed a lot of energy and I swear there must have been at least one of them talking at all times. They played Metallica on their laptop, air-guitaring heavily as they walked out.
!!! was one of the most entertaining bands of the weekend. How could you not enjoy watching the singer dance, dance with the audience, dance with a man in a wheelchair, dance on top of the speakers, and knock a row of lights right off the speaker while dancing? It was incredibly entertaining and created a great environment to hold an impromptu dance party with strangers. It started to drizzle a little bit near the end but that didn't stop anyone from grooving.
Cat Power doesn't play many live shows but for St. Louis, an exception. Her vocals sounded just as good, if not better, than they do on the album (which is pretty great.) The entire band experienced some issues with their monitors but it still sounded great from the audience. True to her discography, Cat Power played at least a few covers. In the middle of the set, an amazing sunset and a rainbow appeared. This would have been cool with any of the bands but it was an absolutely perfect visual for Cat Power's stunning set.
TV On The Radio had a noisy and rocking sound that has become their signature. Keeping with the theme of their new album (Nine Types Of Light) they had a great light show to go with the music. In my opinion, they could have mixed the audio a little better. It didn't ruin such a moving set however. I was particularly excited when they played my two favorites, "Repetition" and "Wolf Like Me," in a row. Dealing with the death of their bass player, Gerard Smith, this could be TV On The Radio's last tour. Whatever they do, I'm sure it will be in everyone's best interest. This set was really powerful and loud and a great way to end a great weekend in St. Louis.

...soihadto... - Adventure Stories (Not Based On Fact?)

...soihadto... (that's their actual name) has created the soundtrack for an incredibly epic science fiction movie. Don't look for the movie online; it hasn't even been conceived yet. But I have confidence that it's a movie I will eventually take my grandkids to go see in the distant future.
This is made of songs that start out simple and then build until it's the most rocking thing you can possibly imagine. Until you go to the next track.
The drums are a fantastic foundation for epic guitar solos without being excessive. It never reaches that moment of "too much." The guitars have some pretty cool effects that are used sparingly and frequently in the background. I'm also pretty curious about the backwards voices on "Searching For The Cure" (I wonder who's dead this time?)
 I would call this a progressive album because of the long length of the tracks and the way that the songs can change within one of those tracks. On the other hand, some of the shorter songs have the raw energy of a punk band. Progressive punk? Is that a thing? Maybe it is now. Whatever it is, I like it.
Something that's fun to do, especially with instrumental music, is to close your eyes and visualize an imaginary movie that would go with the music. I do this at concerts sometimes. In my head this album is full of alien assassinations, cool cars, a lot of running, and shifty government contracts. I can't wait for it to be in theaters. What do you see when you listen to it? One could write a whole trilogy of films while you listen to this album.
"Adventure Stories (Not Based On Fact?)" is out now on Grape Juice Records.

Wilco - I Might

An acoustic guitar and a growling bass start off this single from Wilco's forthcoming album. The drum's create a real great stomp beat and the organ in the background makes me think of Elvis Costello's "My Aim is True" album. The lyrics on this song are abstract and beautiful in a style that is pretty signature Tweedy. This song makes me happy despite hearing Jeff sing "It's alright. You won't set the kids on fire. But I might." But, whatever, it's alright.
The B-side is a cover of Nick Lowe's "I Love My Label." This song is a new recording but if you close your eyes it just might take you back to 1977. This song is of course a tongue-in-cheek joke for Wilco. Having gone through much label trouble with the release of "Yankee Hotel Foxtrot," Wilco is finally on their own and Jeff Tweedy is his own boss. "We're one big happy family," he sings.
"I Might" is out now on dBpm Records and their new album "The Whole Love" is out on September 27th.

The Lower 48 - Everywhere To Go

The opening track to this folk-rock EP, "Transmisson Pt. 1," begins with a single acoustic guitar. It slowly builds adding two vocalists, a second guitar, a little piano and violin before breaking back down again. "Sunshine on the moon makes me wonder what it's like back home." This song is the perfect start to an EP about traveling.

"Mama's Eye" showcases Sarah Parson's cool, calm style of singing as she tells a story of dreaming to leave home and fly away. The viola is dramatic in a way that only classical instruments can be. 

There are more wonderful vocals on "Bedroom," a bit of a downer about the sorrowful thoughts that can be had while lying awake in bed.  

"Miles From Minnesota" is one of my favorite songs right now and definitely the highlight of the album. It's a fast-talking duet about a couple planning the trip of their dreams. It's also the title track to this fine disc. The two singers, although very different in style, sound very awesome next to each other. They don't have to be the same to be a great match (kind of like relationships, the subject of the song.) 

This seamlessly transitions into "Transmission Pt. 2" which contains the lyric "Don't stop the car." I don't know if that car actually stopped but I know my CD did, against my will. This came out in 2009 but I want to hear some more NOW. According to their facebook page, a new album is in the works. Until then, "Everywhere To Go" is out now on Grape Juice Records. A great road trip album, you can listen to it everywhere you go.

Musikanto - Sky of Dresses

This is a wonderfully genuine americana album that covers many genres. The first song, "Blues for Momma," is a blues tune that makes me think of childhood. The classic blues style of repeating lyrics only makes them more powerful. 

"Every Which Way" is about love, the most classic theme, and it is definitely one of the stand out tracks. "I want your love right in front of me, I want it every which way. I need not know where you come from my darling just that you wanna stay," he sings. The simplicity of love is a curious thing. We spend all of this time trying to figure out who it is and what it means but it's really simple at the core. I like you a whole lot and I wanna be around you, right? That's what I get from this song. The dreamy guitar tone comes to a halt just before the chorus which creates a really cool effect.

The fourth track, "Ballad of Two Vultures," beautifully transitions into "Awful Mind" which has a western-like organ. The "oh my my's" in this song fit perfectly with the organ's tone.

The title track is an abstract collection of memories followed by "False Wind" with a whimsical violin intro.

The very last song is "The Waiting Room." In my interpretation of this one, it's about having a baby. "I don't see much of me in you but I want to." The female vocalist Sarah Holtschlag takes over during the chorus which sounds fantastic. The song moves along and the acoustic guitar sounds like it's over-flowing with doubt. Until, from out of nowhere, an electric guitar bursts in and the song builds into something else completely! Musikanto repeats the phrase "in the waiting room the walls are cold" until the song finally settles down. A very fine way to end a great album. 

I can't wait to hear more from Musikanto and I hope he makes his way to St. Louis sometime soon. Until then, "Sky of Dresses" is out now on Grape Juice Records.

Curtis Evans and Our Friends Electric - Life With The Buffalo

This is an album for people who like little surprises. The first track I heard from this album was "You and Me." Judging by the title, I thought it was going to be a love song. "You and me and the devil make three." It's quite dark. Despite the depressing lyrics, it still carries a beautiful duet. 

I was surprised again when I listened to the album. The second track, "Baltimore," repeats the lyric "In Baltimore there are mothers pleading / All our babies have x's on their eyes." Whoa. I knew this was dark but that is some heavy stuff. Then I got to the seventh track, "Mark of the Beast." It really grooves and the guitar is pretty ripping. It's not the kind of song I would expect to hear when there's nature photography on the cover sleeve and the first half is mostly acoustic. And I REALLY didn't expect the next song, "Sister." It's got a guitar riff that reminds me a little of Black Sabbath! "What if I can't wake up, sister?" And then on the track after, it's another slow song. "Won't Serve in Heaven" is a beautiful song that questions what qualifies us into heaven. "The Good Life" is a bitter song about being paranoid. "Will she kill me in the night?"

This showed me just how versatile Curtis Evans can be. The entire album features songs of different styles but they all seem to make sense next to each other. This is definitely a unique album and I hate to try and categorize into just one genre. "Life With The Buffalo" is out now on Grape Juice Records.

Manchester Orchestra @ The Pageant

On May 3rd I attended the Manchester Orchestra concert at the Pageant. While the show did not sell out, the pit was incredibly crowded because the balcony wasn't open. I was in the second row of humans, center stage.

The first of three bands was Harrison Hudson, a three-piece outfit from Nashville. The singer and guitarist, Harrison himself, had the appearance of Buddy Holly meets Arcade Fire. Big glasses and a slightly strange haircut. Between the three members, the songs were well-balanced. No one outshined the rest. They played songs about relationships including a very humorous song about Katy Perry. THe entire set could be summed up in their song "Run My Way." "Love is a waiting game." Very true words.

The second band was Australian rock duo An Horse. They showered us in half-shouted vocals and fast beats. Singer/guitarist Kate Cooper played an orange Fender Mustang that looked as though it had been bought earlier that day. He vocals were very energetic but sometimes difficult to understand. Drummer Damon Cox pulled out some stunning fills that I definitely don't remember from the album. Despite the tease of an acoustic on stage, there were no acoustic songs.

Finally Manchester Orchestra took stage, starting with an older fan favorite, "Shake It Out." Friends, it only takes a few melty crayons to ruin an entire coloring book. When one guy charges his way to the front, it creates a mosh pit. This was a particularly violent one. Three songs in and frontman Andy Hull had taken notice.

"It seems some of us are smiling a little too much about all the pushing and shoving."
"Thank you!," said everyone in the front.
"Yeah, do you see all these people, especially women saying thank you?," said Andy to the moshing guys, "That means you're wrong."

 The set included a few songs from their forthcoming album, Simple Math, but was for the most part very old-heavy. We were treated to a beautifully slow cover of Neutral Milk Hotel's "Holland, 1945." Andy continued to play many of their most popular songs at a much slower tempo than the album. I like to believe that this was to discourage shoving in the pit. Hull played a black Gibson hollow-body the entire show except for one song played on a custom telecaster built by guitarist Robert McDowell.

My favorite thing about Manchester Orchestra is that it seemed as though all five members knew exactly what their songs were about. I could really tell that they were feeling the lyrics as they played the songs. Drummer was smiling like a little kid during the entire show.The band opted to not do an encore and just play one extra long set.

A fantastic concert. A terrible audience. It only takes one, kids. It only takes one...

Hurley

Weezer gets a lot of crap from their old fans these days. I don't want to stereotype - they're still a very popular band and have many old fans - but a large portion of their fans have been upset with the band's sound in recent years. Many fans claim that they have sold out and don't have the same sound that they used to. 
1) They may have sold out just a wee-bit. But not much!
2) If a band keeps the same sound every album, the audience will expect it and stop buying the albums.
Take a look at Wilco. They aren't quite the alt-country band they were when Uncle Tupelo broke up. Bands have to change to survive.
The new Weezer album, Hurley, is all new material. The first track "Memories" is very upbeat but has lyrics that long for the past. Perhaps a past where their fans were more appreciative of them? The more I listen to the album, the more it seems like it could be about the fans. In the dark "Unspoken" Cuomo says he's "dreaming of a chance to make it right." Sure, it could be about a personal relationship but what's more personal than writing songs for thousands of people to hear?
It seems to me that Weezer is trying to gain that portion of their fans back. I can't see why some listeners are upset about Weezer. Sure, there was a rap song on "Raditude" and okay maybe "Pork and Beans" sounded too much like pop music, but shouldn't we try and trust the band that we loved so much in 1994? 
Fan politics aside, Hurley is a dark album with many interesting song structures and lyrics. It is not their best but it is certainly not their worst. Definitely good for a few pissed-off rock songs.