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The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage.
It all started after Charlie Tate graduated from the London School of Furniture. He was approached by the infamous Paris-based Big Cheese Records to form a funk bank, and Big Cheese All Stars were born! 2 singles, an album, and several extensive stints of touring, supporting the likes of Don Blackman, Roy Ayers, Gil Scott-Heron, Fred Wesley and James Brown put an end to a career in bespoke cabinet making. A future immersed in the funk, the soul and the jazz seemed assured. While still with the All Stars, an opportunity to play base in Neneh Cherry's band arose and the best part of the year was spent on the road touring her "Woman" album. A lot of fun was had. A lot of drinking was done. But the love of the funk, the soul, and the jazz prevailed. Unfortunately the sheer size of what the All Stars had become essentially caused its demise. Just about then, the idea of forming a record company began to take shape. King Kooba had been in existence for some time now, the first release having been on a subsidiary of the aforementioned Big Cheese Records. But the thought of an autonomous vessel for representing the Kooba and several other projects seemed too good to resist. Enter Second Skin Records, and what a productve lot they turned out to be! Roughly 30 singles and 12 albums, not a bad output from a hybrid label offering all manner of styles from drum and bass, beats, ambient, bizniss, electronica and breaks. Pretty much most of what was going on at the time, perhaps the varied style of the label, but particualrly what the Kooba were up to, appealed to San Francisco's Om Records. Several licenses, then an album, and a relationship with Om had been cemented. With the release of "Indian Summer" in the fall of 2002, a man like Charlie decided his fate lay in the Bay area...The rest as they say is history!
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Milwaukee, Wisconsin's Decibully is a band's band. Featuring numerous multi-instrumentalists and having earned a strong reputation for their live performances, Decibully brandishes a wide variety of influences, mixing a rich blend of finely interspersed layers tinged with country-esque flourishes, subtle electronic twinges, and rockist undertones. Formed as a trio in Fall 2001 by William J. Seidel (vocals, guitar, percussion, Rhodes), guitarist W. Kenneth Siebert and keyboardist Nick Westfahl, the group soon added Ryan Weber (lap steel, synths, guitar, percussion), bassist Justin Klug, and drummer Jason Gnewikow to further round out their sound. Decibully spent the rest of 2001-02 practicing when time could be found, touring and self-releasing their debut album You Might Be A Winner, You May Be A Loser, But You'll Always Be A Gambler. When Gnewikow moved to New York, he was replaced on drums by Aaron Vold. At the same time, banjo player Eric Holliday joined the band. Following a successful January 2003 tour, Decibully returned to the studio to begin working on their second full-length, the tentatively-titled When We Learned How To Dance. In late May 2003 Westfahl was replaced by Nicholas Sanborn on keyboards and the band began looking for a label. Prior to Decibully, Seidel and Weber were founding members of Camden. In 1999, Camden recorded demos with Chris Rosenau, guitarist for Pele and Collections of Colonies of Bees. Based on their prior relationship and having seen Decibully live numerous times, Rosenau contacted Polyvinyl Records via a two o'clock in the morning phone message lauding the band. A few days later, an unmastered, incomplete version of the album arrived by mail. Band and label began talking and, following a return to the studio, the album was released as City of Festivals on October 14, 2003 followed by a self-booked national tour and an appearance at Polyvinyl's 2003 CMJ Showcase. With nearly a hundred shows played in support of City of Festivals, Decibully again returned to the studio to begin recording their follow-up album to the Polyvinyl debut. City of Festivals had been a mix of different songs written while the band was undergoing personnel changes. A little over half the songs had been written before the band became the solidified line-up that toured in support of City of Festivals. From the initial roughs sent to Polyvinyl, it was obvious the dividends from touring were paying off in the studio. Sing Out America! (scheduled for release March 8, 2005), Decibully's third album, is the first one to be written entirely by the band as a cohesive septet from start to finish. Although more stylistically varied than previous albums, the continuity of Sing Out America! reflects the consistency that can only be found by a band spending so much time on the road together. Sing Out America! is the most representative work the band has turned in to date, bringing their recorded output in step with their live show.
Dri has spent her music career lending her vocal and keyboard chops to bands like the much missed first wave emo-band The Anniversary, and Saddle Creek's Art In Manila. Her sultry debut "Smoke Rings" is a collection of kisses (and kiss-offs) blown to past and present loves; a swirl of stoned immediacy with feelings and melodies coming to life in loose perfection. A departure in sound from her previous work "Smoke Rings" is a diverse soulful affair taking influence from the classic sounds of Motown and Stax as well as modern R&B.
My friend gave me a tarot card reading over the phone one night as I was watching TV with a guitar in my lap. "I've drawn a mountain," she said. "I'm a mountain," I said. So begins a song that became the title track of my new record. Most of these songs have been milling about in my mind for a while now. Some I started writing back when I put down the electric guitar and ding-digga-dinged my way through summer on the back porch. All of them live in the same wide frame and seem to belong together. "I am Aglow," "The Ring," and "I'm a Mountain," are tunes inspired by country music and bluegrass bands, singing for the joy of it, and telling new versions of old stories in song. "The Phoenix" builds on the themes of courage and regeneration and the inspirational "How Deep in the Valley" came from somewhere deep in the hymnbook of my memory. Down low in the picture frame (under a log) is "Salamandre," a children's song written by my friends Kate Fenner and Chris Brown. I am thrilled this modern classic can be part of this collection as it expresses my own love for the magical and precious amphibian and the time-honored relationship between nature and imagination. "Luther's Got the Blues" is my old pal Luther Wright's enduring, scruffy sidewalk lament, and Dolly Parton's "Will He Be Waiting For Me" lives in the world of lost love and yearning that I, too, know something about. I wrote "Goin' Out for an AIDS Vigil," and I am so happy to have my dad singing it with me. He also lends his warm and wise timbre to "Oleander." And finally, casting its glow over the entire record is the new folk song "Escarpment Blues," which tells the story of a current land-use conflict in Southern Ontario on the Niagara Escarpment, a UNESCO World Biosphere Reserve. I grew up on the escarpment on the farm where my family still lives, within a long green corridor prized for its fresh water resources, its endangered species habitats, its prime agricultural soils, and its wetlands and forests. These lands are under serious threat from the aggregate (sand, gravel, and shale) industry. The problem is large multinational companies want to open new quarries on top of the escarpment and extract the rock below these ecosystems, thereby removing and destroying them. So, after writing the song, I got the idea for the "I Love the Escarpment" Tour and set out in June 2005 with some of my best musical mates to hike the escarpment and make music along the way. Julie Fader (vocals, keys), Jason Euringer (vocals, stand-up bass), Spencer Evans (clarinet, accordion), Joey Wright (mandolin, guitar), and I hit the Bruce Trail (the continuous hiking trail that goes from one end of the escarpment to the other) and spent two weeks rock climbing, caving, hiking, and performing in theaters and community halls along Southern Ontario's spine. All proceeds of the tour went to help finance the research and advocacy work of Protecting Escarpment Rural Land (PERL), a volunteer organization I helped form last winter when the new quarry proposal came to light in my old stomping grounds of North Burlington. After a wonderful tour we put away our hiking boots and went into Reaction Studio in Toronto to capture these songs, all wrapped in up our camaraderie. This record was made for everyone, everywhere. Like the smiles we had on our faces when we made it, we hope it spreads far and wide.
Prizefight: Canon Vixia HF10 vs. Sony HandyCam HDR-CX7
Brian Tong brings you a showdown between two of the top flash-based consumer high-definition Cameras. Who's got the goods? The Prizefight ring will decide it all.
