Bon Iver

Jagjaguwar

Indie-crooner Justin Vernon, better known to the masses as Bon Iver, is back after a four year absence. His latest self-titled album picks up where For Emma, Forever Ago left off. Though he’s gone a long way from being the self-wallowing troubadour he once was, Vernon’s songs still sound similar to the earlier albums, and that isn’t a bad thing. This record is more electrified and complexly arranged than For Emma, but yet it retains the same hazy vibe: it shows the same Vernon, albeit not in a cabin. Bon Iver isn’t indie rock that scans as folk. The music here is more like a dark/bright pop with an experimental edge that carefully combines arrangement and dynamics, and takes you to a place that feels so real, yet is imaginary at the same time. That’s probably why song titles such as the real “Calgary,” and mythical “Hinnom, TX” and “Michicant” are good examples of Bon Iver. These tunes are more about taking the listener to a feeling or a state of mind that takes them outside of themselves. Acclaimed musicians such as bass saxophonist Colin Stetson and pedal-steel guitarist Greg Leisz fill out the album and complement Vernon’s brooding vocals, giving this record a more mature, natural vibe—the incredible grassroots success of For Emma has allowed for the singer to go places far removed from his barebones first record. Vernon’s growing confidence in his songwriting, composition and creativity help make this record a pleasure to listen to. It’s hands-down one of the highlights of 2011.

-Daniel Kohn

Goblin

XL Recordings

Unless you’ve lived in a shoebox for the past year and a half, you know Odd Future is one of the most hyped hip-hop troupes to come out of Los Angeles in recent memory. Led by Tyler the Creator, the group has received the praise of artists ranging from Jay-Z to Pharrell Williams. Tyler the Creator’s sophomore album, Goblin, is only going to build the buzz to a Wiz Khalifa-esque level—and though the haters may be aplenty, they can’t deny the man’s ability to rap. The standout track is “Yonkers,” where the rapper stakes his claim as the most vile artist since early Slim Shady. This isn’t a bad thing; but other tracks like “Goblin,” “Nightmare” and “Golden” portray a more introspective side to the artist, showcasing his lyrical talents far and above anything else on the album. Tyler’s production is entirely homemade, which is definitely a plus, and features assorted Odd Future members. With sounds ranging from punky keyboards to synths back to R&B, Goblin sonically has it all. With that point, Tyler the Creator doesn’t give a fuck what you think about him, and that’s what he has in common with many of the greats who preceded him. With introspective lyrics or graphic fantasies of rape and murder, while not being afraid to go over the line with no regret, the undeniable fact is the man has talent. Whether you like it or not, Tyler the Creator is here to stay.

-Daniel Kohn

Sarah Lee Guthrie and Johnny Irion “Never Too Far From My Heart”
(from Bright Examples out now)

Having a famous last name in the music biz can be a blessing or a curse. More often than not, the forbearer often outclasses the younger by a large margin, which can often put a stench on the family name: think Mick and Chris Jagger, or Jose and Ozzie Canseco. However, the one family that manages to sidestep this stereotype is the Guthrie clan.

Her grandfather is the legendary American folksinger Woody and her pops, Arlo, is the purveyor of “Alice’s Restaurant,” so needless to say, Sarah Lee Guthrie had to step up her game. Fortunately for all, she makes life easy and brings her A-plus game on her latest album, Bright Examples.  Collaborating once again with husband, Johnny Irion, the album has moments where you feel like you are listening to the harmonies of Johnny Cash and June Carter. Guthrie and Irion have a natural chemistry that goes beyond the typical husband-wife duo and it makes for an excellent listen.

On this album, Guthrie and Irion have added electric instruments to their sound that weren’t prevalent on their first record. Perhaps this is due to the inclusion of new producers (Vetiver’s Andy Cabic and Thom Monahan), but it indisputably works. Tracks like “Hurry Up” and the harmony-rich “Seven Sisters” show how much the duo has evolved from their first effort. Great husband-wife tandems are hard to find these, especially ones with famous last names, but one Bright Examples, Guthrie and Irion do their best to use the past to create a promising bridge to the future.

—Daniel Kohn

Tuesday, February 22, 2011
Sarah Lee Guthrie and Johnny Irion Record Release show
Hotel Cafe
1623 1/2 N. Cahuenga Blvd.
Los Angeles, CA
Showtime: 7:00pm
Tickets: $20
Ticket Info: http://www.hotelcafe.com

Singer Eddie Vedder voiced his displeasure with the first night crowd’s lack of energy.  “It’s clear to us you guys are already better than last night,” Vedder said after the fifth song of the set, “Dissident.”  Whether it was lead guitarist Mike McCready hopping up and down to bassist Jeff Ament’s wild leaps, you could really tell that the band was having a great time and feeding off the crowd.

The 2 hour and 10 minute set featured songs that ranged from their oldest (“Alive,” “Jeremy”) to newest (“The Fixer,” “Got Some”), the band’s carefully crafted set had a tight flow to it and never a dull moment. They definitely brought their ‘A’ game, sounding as crisp as they’ve ever been throughout their 19 year career.

It wouldn’t be a Pearl Jam show without hearing at least one cover.  Tonight’s featured the Ramones’ “I Believe in Miracles” (which was dedicated to longtime Vedder pal, Johnny Ramone), and the Police’s “Driven to Tears.”  Before they played the song, Vedder thanked the crowd for making the band look good in front of their heroes, namely John Doe of X and Mike Watt.

Longtime friend Ben Harper was the opener along with his new band, Relentless 7.  Harper later joined Pearl Jam on ‘Red Mosquito,’ adding a slide guitar, which made the song sound more complete and full.

After hearing the band live and armed with a new number one album at their disposal, Pearl Jam proves yet again why they are continuously one of the most popular draws in rock.  Vedder put it best when he said “There are laws in this state against things like gay marriage, but there isn’t a law in California that says you can’t lose your shit at a rock ‘n’ roll concert.”  On this night, he was correct.

—Daniel Kohn

Trippy colors, glow sticks, and bubbles decorated the venue.  And of course, a Saint Motel show wouldn’t be complete without a video backdrop and the band’s trademark moose head. The band was outfitted in their trademark tuxedo shirts and black pants (with Jackson wearing a getup that could be a tunic worn by Jesus), but being Experimental Night, the band wore war paint on their faces.  Singer A.J. Jackson explained the paint was  “a little psychedelic” and fitting because “playing a show is like going into battle, with people you love.”

Vintage films flashed on a screen behind the band—spliced together by Saint Motel’s guitarist, A. Sharp—between live stream footage of the guys playing and the audience dancing.  The vintage clips were taken from avant-garde films that are favorites of the band.

The Spaceland residency coincides with the release of Saint Motel’s EP debut, ForPlay. In addition to the six songs, the band has included intricate concept videos for each song that are the perfect visual complement to the audio.

“They are a lot of fun to make,” said singer A.J. Jackson.  “We wanted to do something a little different, and once we did three (videos), we figured, why not do all of them?”

Saint Motel has seen its profile grow during the Spaceland residency and have enjoyed playing each week.  “It’s a routine for us,” said drummer Greg Ervin.  “Now playing Spaceland is our Monday night job.” Albeit temporary, the band has made the most of its office space.

Saint Motel played every song from ForPlay, including the first live performance of “Pity Party.”  In addition, the nearly hour long set featured some older tracks like “Stories,” “Everything Now,” and the song that many have heard on KROQ, “Dear Dictator.”

The band said that the finale of their Spaceland residency would be their best yet.  Judging from their performance on Monday, fans are in for a treat if this is indeed the case.

—Daniel Kohn