MP3: Deadwood Floats – The Colours I Earned
MP3: Sovroncourt – Butch Cassidy
Forget the Foster the People show at the LC on Friday. (And while you’re at it, forget Empire of the Sun and all the myriad knock-offs that MGMT and Passion Pit have spawned. BLAH.) If you’re dead set on catching a touring act, take a risk and check out Thrill Jockey’s Man Forever (feat. Kid Millions of Oneida) at Double Happiness.
I was going to pick a local show to preview, but they all seem worth at least a mention: Rumba has a solid triple bill with the Receiver, Way Yes and Saturday Giant; At Carabar, Nick Tolford, the Weight of Whales and Dayton’s Shut Up share a bill with Chicago’s Al Scorch; and the Tree Bar booked a folk-rock night with two relative newbies — Deadwood Floats (cover art for their “The Colours I Earned” single above) and Sovroncourt — and anchored by local chill-folk stalwarts Moon High and melodious Kafe Kerouac scenesters Audrey & Orwell. Check out the mp3s above for a taste of what the newbs have to offer. (Deadwood Floats RIYL Blind Pilot, and Sovroncourt accurately describes himself as “croak folk.”)
Use your Google and MyFace for more details on the shows. Oh, and the Columbus Arts Festival starts Friday, which also happens to be the day with the best music lineup of the fest, including Tim Easton and the Randys.
Other Friday shows you’re looking forward to? (Not sure what’s happening at Summit or Bourbon St.) Post in the comments or in the Hype section of the Friendship Farm.
Posted in Columbus, MP3, Music
Tagged Al Scorch, Audrey and Orwell, Carabar, Deadwood Floats, double happiness, Man Forever, Moon High, Nick Tolford, Oneida, rumba cafe, Saturday Giant, Shut Up, Sovroncourt, The Randys, The Receiver, Tim Easton, Way Yes, Weight of Wales
I’m pretty psyched to see Oneida. I’ve loved this band since I first laid my ears upon Come On Everybody Let’s Rock. Within there’s a song about cocaine that’s “profound.” But that was a while ago, and in the past decade Oneida has flown under the underground, doing exactly what they feel like doing. And doing Terrastock is something they should’ve been doing a long time ago. That decade has produced albums like the monolithic double LP Each One Teach One and their opus, The Wedding (a record made with industrial-sized, player-piano cylinders). To say they’ve been underappreciated is premature, just wait until your kids get a hold of these albums. Needless to say, the main attraction of Terrastock, besides a Simply Saucer reunion, is getting to finally see four of my head heroes in action (though they swear they played Bernies at one point). I caught up with Fat Bobby before some very prestigious shows in NYC.
Do you ever feel like you’ve reached a threshold of “epicness”? Like it’s getting harder and harder to top what you did last time?
Your question assumes a certain level of premeditation that just is not there in the creation of our music.
I remember a time when you were searching for a real harpsichord. Did you ever find it? What are you looking for these days?
Ha! You have an excellent memory. We did NOT find the harpsichord we wanted at the time we wanted it….and then, lo and behold, we stopped stressing, moved on, and recently an electric harpsichord (in terrible shape) has come into our lives. A classic example of chilling the fuck out and letting the universe have its way with you.
Not to dwell on Oneida’s past, but how did you get the idea to record The Wedding with giant music box cylinders? Did the process ever overshadow the recording of the songs? Were you happy with the results? Are we ever going to hear the raw tape from those sessions, the once promised “dub” version? Continue reading