Thurston Moore-- Demolished Thoughts Review

Solo projects from beloved cultural icons are always difficult to review. The musicians generally use the time alone to experiment with new sounds, new directions and new ideas that probably wouldn’t fit into the scope of their own band. Much like super groups, solo projects and side projects can be disappointing to fans who, let’s be honest, don’t really handle change that well. Thurston Moore’s(@demoedthoughts) Demolished Thoughts, while an extraordinarily beautiful piece of work, is not a Sonic Youth album in anyway.

The record, produced by Beck Hensen, is intricate and layered, like the best of his band’s catalog, but it’s also delicate, gorgeous and folky. The fact that Moore can effortlessly move from the noise of Sonic Youth to the calm of Demolished Thoughts isn’t surprising. Underneath the dissonance and static of every Sonic Youth song is a strong base. What Moore gives on this record is the base: the calm waters that he usually sets wild. The opener ”Benediction”, with strings weaving in and out of the light guitars, feels like a lost track from Beck’s Sea Change. Moore gently coos his lyrics, creating soft Nick Drake-esq folk pop with every song.

This album is by no means populated with typical folk songs. They are wide, sprawling tracks that expand and contract. The aptly titled “Space”, at nearly 7 minutes, feels infinitely huge, while a more classic song like “Circulation” fits neatly into its immaculately packed box. The instruments bend and fold into each other on every song, swirling and layering together like the best of the sounds from Moore’s other, more famous, project.

The idea that someone so influential, who has released so many extraordinary albums for nearly three decades, can release another surprisingly different and truly wonderful record is very rare today. But Thurston Moore is, well, Thurston Moore. There can only be brilliance expected from him, because that’s all he knows how to deliver.

From The Wild Honey Pie

Interview with Art Brut singer Eddie Argos

As it turns out, Eddie Argos, lead singer of Art Brut, and I feel the same way about the DC comics reboot. Eddie Argos is exactly as you would expect, forward and hilarious. The leader of Art Brut sat down to talk with The Wild Honey Pie about the band’s newest album, his thoughts on singing and, of course comic books.

Art Brut’s Brilliant! Tragic! Is out now, and absolutely worth a listen.

The Wild Honey Pie: This is the second album that Frank Black has produced for you guys. Was there anything different this time around?
Eddie Argos: He didn’t want to step on our toes before. We were just sort of getting to know each other last time. But we’ve been friends now for two years. It was almost like he was in the band this time. I’d be playing the guitar and he be like, “try this, try that.” He taught me to sing, you know. I think he wanted me to sing last time, but I don’t think he knew me well enough [Laughs], all that kind of stuff. We’re mates now, you know, so it was really like he was in the band this time. It was kinda cool.

TWHP: So, speaking of him teaching you how to sing this time, did you go into the studio knowing that you wanted to sing?
EA: Our manager phoned me up before I left to record and was like, “he’s going to make you sing this time.” And I was like, “he can try.” Cause I really didn’t think I could sing, you know. It’s like, whatever, go on then. It’s not the first time. Everybody has been like, “try and sing this Eddie,” and I’ve not been able to do it. So, yeah, I would stand up and he told me, “sing me some of your lyrics.” [under his breath] Everybody wants to be sexy sometimes. “Now sing it.” And I’m like, yeah ok, I’ll sing it. [under his breath] Everybody wants to be sexy sometimes. It was kinda cool, man. We just sort of–me, him and Jasper [Future], Jasper plays the guitar–we almost harmonized. We sang back to each other, and it really gave me a lot of confidence. “Lost Weekend” actually was the first song that we recorded, and I thought it was a trick [Laughs] that he got somebody else to record it. And it was me!

And I think it really fits on the songs where I’m singing. “Lost Weekend” is like a hangover or something, so it needs to be sung like that. It makes sense, I think it was time, you know.

TWHP: Do you think you are going to sing on the next record?
EA: Um, a little bit. It’s more like a stage whisper [Laughs]. I mean, yeah, I think so. If the song requires it. I do quite like talking, it’s more to the point. I like to have a new door open for me. I didn’t really know that my voice was an instrument before. It’s nice to sort of have that idea in the background.

TWHP: You’ve said before that you spent a little bit longer in the studio recording this record. Tell me about that.
EA: We had more time, I think, this time. It was an excuse to hang out as well. We were in the studio for ten days last time, and this time it was a few weeks. It just happened that was this time, I suppose.

TWHP: Do you like spending more time in the studio?
We recoded fewer songs, but we spent more time on it. It was great to take songs apart and then put them back together. Go, let’s stretch this out. “Axel Rose” was a really short two minute song. And [Frank Black] was like, slow it down, slow it down, slow it down. And we were like, he’s lost his mind! But it worked out. I like it. He can see things that we can’t really, and it was good to have the time to do that.

TWHP: You’ve mentioned Axel Rose in previous songs and now he has a whole one. What attracts you to Axel Rose as a subject matter for your music?
EA: I’m not sure. I think, in the real world, it’s not very practical to be like him. Growing up, you see Axel Rose as what you want a rock star to be, you know, he does what he wants. I think you go, “oh, that’s cool,” when you’re 15-16, “I wanna be Axel Rose.” There’s something about him in that way that makes him interesting. I wrote that song about my brother, really. My brother did sort of grown up idolizing Axel Rose. He helped my brother sort of find his place in the world. That song is pretty much verbatim what my brother said. It’s like a conversation I had with my brother. I sort of wrote down his half of it and made it rhyme.

TWHP: Is there any figure in culture that you are attracted to in the same way?
EA: I like playing around. I’ve always liked it when bands do references. I like that in other bands. I think it creates a narrative through the band. It’s quite interesting to write about other people, other musicians. I’ve started writing a song about Bob Dylan, but I might just throw it away [laughs].

TWHP: So you commissioned a comic book for Brilliant! Tragic! How did you come up with the idea of doing that?
EA: I love comics. I’ve half talked about it before with Art Brut, “we should do a comic that would be cool.” I love comics, I want to own one. So I thought- I got all these people I like a lot, I should get them all together on a project. I was too shy to approach them, so I gave the emails to my manager and said “could you email these people, I’m a bit scared of them.” I was thinking they would all say no or something, but every single person I asked said yes. I’m very, very proud of the comic. I mean, I wrote the lyrics but it’s become so much more than that. It feels like me being part of the comic is sort of like me taking credit for someone else’s work or something.

TWHP: Speaking of comics, what are you reading while you are on the road?
EA: I read a lot of DC comics. So, I’m a bit worried about this reboot—you know they’re rebooting DC. They’re restarting Batman. I’m a bit worried. I’m just catching up, cause I got a bit behind. Jamie [McKelvie] who did the art on the Art Brut album works for Marvel. He lent me Grant Morrison’s X-men

TWHP: So, your moving over to Marvel now?
EA: Yeah. I feel bad saying it. I didn’t really like Marvel growing up. Comics were like, dudes fighting, and Superheros. But Marvel was more trying to find your place in the world and stuff. I never really understood that—but now I’m reading it and am like, “Wow, this is awesome!”

TWHP: Are there any favorite artists or albums you listen to when you’re on tour?
EA: We just started touring now. You know, people will bring comics to shows, I didn’t plan it, honestly, it was a surprise. Records, I’m not sure. I was listening to Tullycraft on the plane. I thought I pressed repeat on the album, but I just pressed repeat on a song so I listened to “Pop Songs New Boyfriends Too Stupid,” like, 500 times. So yeah, Tullycraft and DC comics.

Seapony

Some music is simply meant for summer and can only be experienced with visions of the beach, swimsuits, rooftop picnics and large skirted dresses. The current trend of hazy California garage pop is so intrinsically set in the summer, the idea of listening to it at any other time is almost blasphemous.

Seapony’s (@seaponyband) debut LP Go With Me is the epitome of this mood. Lead singer Jen Weidl croons her light, breathy vocals over the type of throwback guitar riffs that were popular before Elvis’ stolen grit turned them mainstream. There’s a simple charm in this retro beach pop that conjures sepia-toned images anchored by Seapony’s alluring simplicity. There are no bells and whistles here, just major key pop sung by what I can only imagine is a very pretty girl in a jumper. The only addition to the straight-forward sound a the gauzy feeling given by the Best Coast-esq reverb. A layer of fuzz covers each of the songs that allows the sound to grow and feel more dense.

At a scant 35 minutes, the tracks still manage to bleed into one another. The simplicity that makes songs like “Go Away” and the breezy opener “Dreamer” amazing also works against the album when it’s experienced as a whole. The true charm of Seapony, though, comes after you cherry pick a few three minute nuggets from the bunch and set them aside with other tracks.

Some throwback pop is ephemeral in nature: it doesn’t add anything new to the nostalgia, it doesn’t illuminate something about the genre, it’s like cotton candy— just there for consumption. Just like cotton candy has its place at a ballgame, the airy melodies of Seapony have their place on a summer BBQ playlist. It’s not filled with a deeper meaning, yes, but that doesn’t mean that it’s not nice.

From The Wild Honey Pie

Interview with Newport Folk Festival Producer Jay Sweet

Newport is arguably one of the most historically significant music festivals in the United States. It’s the place Joan Baez was introduced to the world, and, of course, where Bob Dylan changed the course of history by going electric. The Wild Honey Pie was lucky enough to sit down with the incredibly intelligent Jay Sweet for a fascinating conversation on the history and future of the festival and folk music as a whole.

The Wild Honey Pie: Tell me about the process of setting up the festival.

Jay Sweet: You know, the one thing that’s different than I feel other festivals is [Newport's] selectivity. There is an inordinate amount of curation that goes into this festival. It’s because the heritage has to be respected when thinking of artists that we tend to focus on: artists that are going to be lifers—that are in it for the long haul. We feel it’s a continuation of a tradition that started years and years ago. And really, there are only three ways to get to play Newport Folk Festival; the first would be that you as an artist want to play Newport. Because of our budget constraints pretty much every artist that plays Newport plays for well under their normal fee. We’re a non-profit, and for many, this is a bucket list type of thing. On the press white sheets for bands it will say, ‘Edward Sharp has played Coachella, Lollapalooza, ACL, Bonnarro, and Newport Folk Festival. Well, one of those things is only 10,000 people a day, not 100,000 and it’s amazing that this tiny festival from the tiniest state in the country will make it into a press release. So that’s one, the artist has to want to play. Two, we want them to play. Third, the audience demand that they play. If the artist wants to play and the community, the folk as we call it, wants them to play—it doesn’t matter if we want them to play, it’s a no brainer.

TWHP: You talked a little bit about the history of the festival. How cognizant are you of the history of the festival when you are planning it versus just looking towards what you want for that year.

JS: I think that it’s always in the back of your mind. It’s not prominent because, especially in the last four years that I’ve been involved, I’ve really tried to learn a lot from the mentors that I’ve had, like George Wein who started the festival with Pete Seeger and Robert Jones the producer who’s really the guy that I’m following in the footsteps of. So, it’s always on my mind and whenever I make a decision I go to those guys. They don’t make me have to validate my choice, but they definitely are amazing sound boarding because I can say, “You know I really think The Civil Wars” have a lot of Johnny Cash and June Carter and that they’re really amazing song writers.” And they’ll say things like “Oh, I remember when Johnny and June came” and you know, tell me about what it was like when they came, and how important it was and what it meant to their career. And you know, the artists we have, I really don’t think they are past artists. They are artists taking it a step further. I try to focus on artists that are taking the American song and moving it, pushing it forward.

TWHP: How do you think the festival has evolved in the more than 50 years it’s been going?

JS: I think it’s gone in cycles, and I think it’s really a place where artists tend to take chances. Obviously there’s the most famous one that everybody knows of: the Johnny Cash, the Janis Joplin the Bob Dylan, and then there’s the Allison Krauss and the Indigo Girls and Ani DiFranco. You know, not many people would put a female fronted, lesbian artist up at the front, but then Ani DiFranco came with her freak folk. We really have been a very, very safe environment for artists to take a lot of chances. And it can also be very political. Obviously starting with Pete Seeger, the original black listed, independent, finger to the man, kind of artists all the way to the Steve Earle’s of the world and now with Billy Bragg and Tom Morello. All theses artists speak about social injustices and other festivals wouldn’t take the heat. It sounds crazy now, but even 10-15 years ago, when the major label industry was still the power house, this place would always take the misfits and the political discourse and allow it; give it a stage, give it a spot light and a microphone. And I think that’s the one tangible thing that keeps evolving.

TWHP: In terms of modern folk music and modern artists, who do you see paving the way?

JS: That’s a tough question. I really think that The Avett Brothers are doing amazing things. I think they’re just incredible. I think The Decembrists really make it ok to be smart. Um, I think Gillian Welchis probably the foremost torchbearer, sounding like she could be from any time period. I mean she could be now all the way back, you know. All the way to say, The Low Anthem, I really like where they have gone. I think those are artists just doing because they can’t do anything else, they are artists that are going to be around.

TWHP: Is there anybody in particular you are really looking forward to at this year’s festival?

JS: Oh, gee. I am excited to see Middle Brother, you know, I love the collaborative efforts. Personally, I am very big on collaboration. It’s good to have M. Ward back, it’s good to have Tegan and Sara coming for the first time. They are playing their only date in America this whole tour at Newport. Those are some of the obvious names. I am really excited for River City Extension to come, and when I saw them they kind of blew me away. I’m also really excited to see PS 22 on the same day as Freelance Whales. To be honest, I’m not really excited about a band but the possibilities of collaboration. To me it’s all about collaboration. I think of the 32 artists we had play last year, 12 of them ended up playing with another’s set. And Yim Yames plated 6 sets. Andrew Bird sat in on 3 other sets and you know this is they type of thing that simply doesn’t happen at other festivals. That’s what people really come to appreciate and expect at Newport.

TWHP: Are there any dream headliners that you would like to one day see play the festival?

JS: It’s funny, you are only the second person to ever ask me this. I’ll tell you who I think it’s a shame has not played—I think Eddie Vedder not playing, I think Beck being an original solo acoustic artist who was definitely carrying the flag for alternative folk for a while. I think not having Bruce Springsteen even though he has an album called The Pete Seeger Sessions has never decided to come- even with The Ghost of Tom Joad he didn’t come. And then there’s the most famous one, Neil Young, who was supposed to play with Buffalo Springfield in 1967 and two weeks before they were supposed to play somebody got laryngitis in the band and they cancelled.

TWHP: Folk music and especially Newport when it started was as much about the political movement as the music- or that was a very significant part of it- is that still a major part of the festival today and do you think that’s still a part of folk music today?

JS: I do. I mean, the idea behind the original festival was that you can’t have a festival that is just about political music. People think it’s too polarizing. What the festival always did a good job of was saying, we’re going to give just the same stage to someone who is singing about civil rights as someone who is singing about love. You know a chain gang, an actual prison chain gang, was chopping a log and singing old field songs in unison and then right after you have The Kingston Trio, the most popular group of the era. I think that’s the blueprint- and I think political music is still very prevalent. Look, you’ve had Brett Dennen who can be very active, you’ve got Tom Morello and Billy Bragg. Once we had Brett Dennen, Pete Seeger, Tom Morello and Billy Bragg all sharing the same stage. I think it’s important that there are a lot of people still saying what needs to be said, but I think what’s really necessary is that they try to stretch the form. My definition of folk music is pretty broad to the point where I kind of always paraphrase Louis Armstrong who said, “It’s all folk, I ain’t never heard a horse sing no song.” I think Bob Marley is folk music as much as I think Odetta or gospel is folk music, or the New Orleans style of Doctor John, because it comes from a very specific place and has a specific style. Folk is a much bigger umbrella term. It’s not just a guy or a girl with a guitar signing a song about the past. It’s a much wider term. The only thing that isn’t folk music to me is pop music. I think folk means songs that are not just built to be one hit wonders. I think Human League or Soft Cell and think, “oh, that’s a great song” but there is no way that band is going to have a 20-year career.

From The Wild Honey Pie

Newport Folk Festival Preview

In an effort to have the best summer ever, pretty much all of us from The Wild Honey Pie will be piling into a car and going to one of the world’s most important and notoriously awesome festivals —Newport Folk Festival. Given that the event is curated so flawlessly, the choices we will be forced to make during that time will be epically tough. To make your life (and ours) a bit easier, we’ve gone through the lineup and highlighted our favorites.

The What Cheer? Brigade will be roaming the grounds of the festival, either all morning or all day (I’m not sure). They are a crazy marching band with crazy outfits and a crazy show. It’s pretty much the best way to start any weekend.

11:30AM — PS 22 Chorus — Alex and Ani Harbor Stage

You guys have seen the videos of these kids, right? They are amazing! Their performance is also one of the most adorable things I have ever seen.

12:40PM — Felice Brothers – Fort Stage

While I do love their music, it’s the promise of an unforgettable live show that will drive me to this set. They have been praised time and time again for their spectacular onstage antics.

12:35PM — River City Extension — Quad Stage

Another band that is known for their electric stage show and their intricate folk-pop, River City Extension is playing at the same time as the Felice Brothers, making for an extraordinarily difficult decision. To be honest, it’s a tie only my mood on the day of the festival will be able to break.

1:40PM — Freelance Whales – Quad Stage

Members of The Wild Honey Pie love Freelance Whales. We love them in a carve our names together on a tree kind of way — a milkshake with two straws kind of way. So, yes, we will be up front swaying along and offering up our letterman jacket to the band if they get chilly.

2:00PM — Gogol Bordello – Fort Stage

In the mood for ruckus or perhaps really, really love the color purple? Gogol Bordello will be playing at the fort. Last time I saw them, I came away with bruises and some great stories, and I can’t imagine an acoustic set will change their dynamic all that much.

3:25PM — Earl Scruggs – Fort Stage

You don’t go to Newport and not see a legend like Mr. Scruggs. That man can tear up a banjo like no one before or since—your eyes and ears will have no idea what hit them, and you will walk away a better person for it.

4:45PM — Gillian Welch – Fort Stage

I get a crazy surge of adrenalin at the very thought of finally seeing Gillian Welch, one of my favorite artists, live. Her talent and unique sound are unparalleled, and her brand of skeletal rock is truly boundary pushing. I am so excited, it kind of hurts.

6:05PM — The Decembrists – Fort Stage

The last time I saw The Decembrists, I was a little disappointed. Granted, the time before that was one of the best concerts I’ve ever seen. I’m sure the buzz of such a brilliant festival will bring out the best in them, and the best of their amazing music.

11:40AM – David Wax Museum – Fort Stage

When All Songs Considered described this band as “pure joy” I was inclined to agree. It’s lovely, upbeat folk-rock that will be a fantastic start to the day.

12:40PM — Mountain Man – Alex and Ani Harbor Stage

The sweet entwining of female harmonies is always a true pleasure, and these girls, with their gorgeous voices and mix of new and traditional songs, promise to put on a truly resonant show.

2:00PM — Wanda Jackson – Fort Stage

There are two reasons to see this show. The first, because Wanda Jackson, who recently released a stellar record with help from Jack White, is one of the most amazing and important female artists of all time. The second, with the Third Man Records truck being at Newport, I would not be surprised if Jack White helped the venerable Ms. Jackson on stage.

3:00PM — Justin Townes Earle – Quad Stage

Justin Townes Earle has probably the best name in country music and the talent to back it up (Towes after Townes Van Zandt and Earle because, well, he’s Steve Earle’s son). His most recent release Harlem River Blues was one of my favorites of last year, and his charisma simply sets the stage of fire.

3:00PM — Chris Thile and Michael Davis – Alex and Ani Harbor Stage

Coming from the Bluegrass music capital of the world (Boulder, CO–and I will fight anyone who says otherwise), I pride myself on recognizing the more spectacular artists of the genre. No one plays the mandolin like Chris Thile. No one makes it more accessible yet challenging. He is the pinnacle of great modern bluegrass.

4:45PM — Elvis Costello – Fort Stage

“Alison” is my jam, and Mr. Costello is one of the great songwriters. I am sure that his show will be incredible.

4:20PM – Middle Brother – Quad Stage

I have a soft spot for pretty male harmonies sung by pretty males, and these boys have the added bonus also being really damn good songwriters and musicians.

6:05PM — All Stages

I would make a decision now for the three closing headlines — EmmyLou Harris at the Fort Stage, M. Ward at the Quad Stage and The Civil Wars at the Alex and Ani Harbor Stage — but it seems unfair. They’re all too great to choose just one. Whichever you see, I am sure it will be a fantastic end to Newport.

From The Wild Honey Pie