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Emily Hagihara with Ellison, And Andy and The Defrost Star
Saturday · York Street Café
Since the age of 16, Emily Hagihara has been dedicated to the task of cultivating her simple yet soulful, acoustic troubadour persona, but her music is anything but mousy. Coming off the release of her second effort, Time to Wake, Hagihara now peddles her wares alongside drummer Jordan Munson, a fellow student of the University of Kentucky’s indigenous school of folksy Rock. Time to Wake is a virtual dream soup, blending a spicy bass trio with nearly ethereal string quartet variations. For kicks, a wide range of experimental percussion and electronic samples are sprinkled throughout, an audible reminder that this brand of Folk can still pack a powerful punch. Without these rhythmically innovative guidelines that give more than a nod to one’s Rock/Pop sensibilities, softly sobering lyrics like, “Come lie down/I’ll paint your skin with mine/Don’t be scared/Just close your eyes” could bring on a daydream in no time flat. Working with producer Duane Lundy of Shangi-La Productions, the group’s goal was to add texture and depth to Emily’s sound, which was rapidly garnering recognition in her native Lexington. Time to Wake meets that milestone and leaves it in its dust. From songs like the melodically reassuring “Do You” to the more antsy “When You’re Ready,” there is not a note, chord or lyric wasted. By the group’s own admission, songs for this album were recorded almost immediately upon creation, lending elements of urgency and straightforwardness to their list of redeeming qualities. Hagihara’s subtle style brings an unexpected little something to Saturday’s York St. lineup, jam-packed with local devotees of the Power Pop persuasion.
Indie/Emo newcomers Ellison test the waters with the high-energy Defrost Star and hosts And Andy, cogs in the infectiously catchy Pop machine. The concert also features a showcase of local, regional and national concert posters by artists Rob Warnick and Keith Neltner to cap the evening. (Hannah Roberts)
Duran Duran with VHS or Beta
Saturday · Music Hall
I have a confession. I was a male, pre-teen Duranie and they had a profound impact on my music-listening development. And I have a feeling I’m not alone. Aside from the guys from The Killers, most cool AltRock and Indie stars and fans will tell you Gang of Four or The Fall (or some other band that absolutely no 12-year-old listens to) were their gateway drug to even cooler music when they were youngsters. When I was 12, I was already obsessed with music, inspired by the biggies of Rock & Roll, and with The Police leading me to Reggae, Ska and a tiny bit of the Brit Punk stuff of the time. But with Duran Duran, I’d found a band that had great songs, some cool New Wave/New Romantic tendencies and, with their mysterious, meticulous prettiness, a huge female fan base. While the glossy teen-pop allure drew them in (and turned them into a joke to the “cool kids”), D-squared’s music was strong, crafty and creative enough that it drove many of those fanatics to other interesting music. When you hear Duran Duran covered by a band today, there’s a tinge of embarrassment for them at first, but the strength of the songwriting (in the band’s early work, anyway) shines especially bright when heard in another context (The Deftones’ take on one of the band’s best songs, “The Chauffeur,” comes immediately to mind). After the grand impact of the band’s first two albums, the group seemed to be content making major-label “product” (and the most unintentionally hilarious concert film since The Song Remains the Same, 1984’s Arena: The Movie), but Duran Duran has respectfully retained a solid career since forming in 1978. Well, John Taylor, Nick Rhodes and Simon LeBon have retained careers. After fracturing off into the successful bands Power Station and Arcadia, that core trio reunited, with guitarist Andy Taylor and drummer Roger Taylor seemingly relegated to the “and we shall never speak of them again” file alongside Wham’s Andrew Ridgley and Tears For Fears’ Curt Smith. But, with the rise of electronic-tinged Dance Pop, a full-on reunion became a good business prospect and so, in 2003, the original band reunited for a 25th anniversary tour (their first appearance together since Live Aid in 1985). Now in the midst of a bigger world tour in support of their album, Astronaut, new and old Duranies worldwide are getting a full taste of the classic Duran lineup. And, just like the old days, Nick Rhodes’ make-up application will still put every woman in the audience to shame. It, of course, won’t be just like the old days, but the nostalgic appeal and a chance to see fantastic Kentucky Dance Pop crew VHS or Beta in a gargantuan, awe-inspiring venue like Music Hall should make you hungry (like a wolf?) to make a date with these underappreciated legends. (Mike Breen)
Early Day Miners
Saturday · The Comet
Somehow, despite all of the gloominess that pervades the Early Day Miners’ droning Shoegaze, there is still something uplifting about it. Loose playing, spacious arrangements and off-kilter rhythms more befitting an Indie Pop outfit keep the mood bright. We’re not talking Cure-bright, maybe closer to Love and Rockets. This liveliness is especially apparent on All Harm Ends Here, their fourth and latest full-length release for Secretly Canadian. It is no coincidence that this also marks the recorded debut of their new rhythm section, Jonathan Richardson (bass) and Matt Griffin (drums). This duo’s energy and intricacy really pry the Miners out of the Slow-Core soil in which their last album, 2003’s Jefferson At Rest, was firmly rooted. It’s as positive a change as their decision to produce more focused songs on that album. EDM were formed in Bloomington, Ind., in 1996 when guitarist/vocalist Dan Burton and fellow Ativin member Rory Leitch began playing with Joe Brumley. Despite lineup changes (including Leitch’s departure), their music has consistently spun around a shadowy musical axis, making methodical compositions that flirt with Post-Rock. Always at the helm, Burton has consistently surrounded himself with colorful players. Rounding out the current lineup, Kirk Pratt adds guitar, vocals and keyboards, building layers of interest that inspire careful listening. Recorded in a converted church in rural Indiana, All Harm is infused with a sinister, lost-in-the-woods vibe. Burton handled mixing and overdubbing himself at his own Grotto Home Studio. He is becoming increasingly well known for recording and production, particularly the fine job he did on label mates Windsor for the Derby’s last disc. The same meticulous work went into producing a cozy, live feel on All Harm. And live is where the band is most effective, enveloping the audience in an intimate and inviting cloud. (Ezra Waller)
This article appears in Mar 23-29, 2005.