When musicians write compositions, often they aren't able to hear a fully fleshed-out arrangement until it gets in the hands of their bands.
Norwegian jazz star Mathias Eick plays trumpet, vibraphone, double bass, guitar, piano -- and he sings. This means Eick gets to arrange and hear nearly every part of his gorgeous, evocative, kind-of-blue songs before he brings them to his band.
"I usually make full demos of the music playing all instruments, and I then have a wide understanding of what’s going on with the other guys once we start playing the new compositions," Eick said. "I've always thought that's an advantage."
Eick may play something other than trumpet, his primary instrument, when he becomes the first artist to perform at Blue LLama Jazz Club, a brand new music space in downtown Ann Arbor. But he'll likely leave the other instruments to his ace band: Nikolai Eilertsen (bass), Håkon Aase (violin), Erlend Slettvoll (piano), and Torstein Lofthus (drums).
Aase and Lofthus appear on the trumpeter's latest album, Ravensburg, his fourth for the legendary ECM Records, which has forever specialized in the sort of cool, colorific music at which Eick excels.
When I'm interested in a new film, the first thing I do is watch the trailer. I don't read about the trailer. I rarely even read about the film. I just want to see for myself what's being offered and make a decision based on what I've viewed.
When the 57th annual Ann Arbor Film Festival announced its 2019 lineup, I immediately began digging up trailers for the hundreds of short films and features chose from more than 3,000 submissions from more than 65 countries. As the oldest avant-garde and experimental film festival in North America, the Ann Arbor Film Festival has been screening the best of cutting-edge cinema since 1963, and my survey of the trailers for this year's fest was no exception. From bright computer animations to grainy 16 mm shorts, the 57th Ann Arbor Film Festival is ready to wow once again.
The festival runs March 26-31, and below are links to each day's programming with as many trailers embedded that I could find. I'll also be updating the press section so you can keep up on the many words that the media will surely spill on this Ann Arbor institution.
Caviar Gold's Melancholia is the soundtrack to the imaginary sequel of Pretty in Pink. You can imagine Duckie and Andie sitting in her bedroom and listening to the eight songs on the Ann Arbor trio's debut album as they write poetry and wonder whatever happened to Blane.
Created over the course of nearly six years, Melancholia is awash in moody synths, melodic bass lines covered in chorus effects, and plaintive vocals crooning sorrowful tales. Jason Lymangrover handled the music; Josh Thiele the vocals. Crystal Collins also sings on the album and she's also now a member of Caviar Gold, which celebrates the release of Melancholia with a concert at Ziggy's in Ypsilanti on March 15.
Stream Melancholia below as you read Lymangrover's answers to some questions about how the album was created and how Caviar Gold came to life.
Funtime: Photographer Paul McAlpine's "BARE + REAL" captures Iggy Pop at the height of his solo career
Iggy Pop is a photographer's dream.
The Ann Arbor native's sinewy body, hollow cheeks, intense eyes, and manic contortions make for photos that leap with life.
And that's exactly what photographer Paul McAlpine wanted to convey in his new book of Pop pix.
"BARE + REAL is a book about life -- passion, art, music -- keeping your eyes open and friends near," McAlpine said. "The book is filled with wonderful images that I feel have aged well with time."
McAlpine first shot Pop in 1977 at the first American concert of The Idiot tour in the photographer's native Boston. For the next decade-plus, McAlpine toured with Pop numerous times and amassed a huge collection of concert photographs featuring one of rock 'n' roll's greatest frontmen.
The limited edition BARE + REAL is 236 pages of the best of those photos, plus introductions by McAlpine and Pop, all housed in a 12" x 12" LP-sized slipcase.
I emailed with McAlpine to find out more about BARE + REAL and how he came to be Pop's go-to photographer -- or Jim, as he calls the man born James Newell Osterberg Jr.
In 2017, former Pulp frontman Jarvis Cocker teamed with Pop for a cover of Nick Cave & The Bad Seeds' "Red Right Hand," which is the theme song for Netflix's British crime drama Peaky Blinders. Every season features a new version of the tune, and Cocker and Pop recorded their's for season four.
In 2018, Pop joined fellow Trainspotting soundtrack stars Underworld for the Teatime Dub Encounters EP, which was recorded in a London hotel room. Underworld's Rick Smith met up with pop at The Savoy Hotel to work on music for the T2: Trainspotting soundtrack, but the tracks weren't used. Pop's stream-of-consciousness lyrics are not his finest, but Underworld's thumping techno never disappoints.
Now in 2019, Pop is back with two more guest spots: Pan Amsterdam's new single, "Mobile" and Fémina's "Resist."
Kristianna didn't mean to write a concept record about relationships. The Ypsilanti native wrote the five songs on Too Late to Be Sorry over five years "and once I came up with the concept, I placed them carefully in order to tell the story," she said.
The slow-jam R&B tunes are bookended by two voicemails, which tie together the tale.
"The album concept is all about communication, or the lack of, using telecommunication, and is meant to be heard in the track order," said Kristianna. "So the intro is the girl calling this guy letting him know her feelings through these songs, then you hear voicemails throughout the project back and forth from the female and the male perspective. The outro is him calling back after he listened to the mixtape that was made for him, leaving the listener ready for part two."
It may sound like a movie title ripe for a Mystery Science Theater 3000 show, but Robots vs. Aliens is the name of a new multimedia art project by Joe Bauer, an Ann Arbor-based musician and co-founder of the North Coast Modular Collective.
Produced under Bauer's stage name, Verzerren, Robots vs. Aliens is comprised of a concept album featuring modular synthesizers, illustrations, mailed letters and postcards, and performances at Riverside Arts Center in conjunction with the new exhibition Towards/Past the Future, which explores "technology, society, and identity through the lens of science fiction."
Set 100 years into the future, Robots vs. Aliens tells the story of humans and cyborgs living together, but their equilibrium is disrupted when peaceful dispatches from extraterrestrials are misinterpreted. The robots revolt, aliens invade, at the Earth is devastated. But the remaining humans have a chance at redemption when intercepted messages are sent back in time in hopes that people will read them and make different choices to induce an alternative future. This is where the postcards and letters by Bauer and artist Aaron Graff come into play: participants will receive these documents in the mail over a two-week period with the object of piecing together the story and solving the mystery of how humanity can save itself.
I asked Bauer some questions over email about the inspirations and ideas behind Robots vs. Aliens, which you can also listen to below.
Happy birthday, MF'ers: February 22, 2019, was the 50th anniversary of the MC5's Kick Out the Jams album.
To celebrate, guitarist Wayne Kramer posted a new video for the record's title track featuring Leni Sinclair's original promo footage and Cary Loren's edited footage, shot at three different performances in Michigan: Grande Ballroom in Detroit, The Village Pub in Birmingham, and at the Delta Pop Festival at Delta College in Bay City.
In fact, Kramer's been celebrating the 50th anniversary of the MC5 for the past year with a tour, an autobiography, and more videos featuring long-lost or remastered footage of the band, including:
The documentary Half Japanese: The Band That Would Be King begins with a title card that says, "Ann Arbor, Michigan - 1975" and then cuts to a blurry, grainy, backlit film of David and Jad Fair with their friend David Stansky jamming in the Fair family's living room.
The brothers' time living in Ann Arbor was a warm-up run for the primitive rock 'n' roll band that they officially started in Uniontown, Maryland, in 1977 with the car-crash-erific Calling All Girls 7-inch EP. The Fairs couldn't play their instruments whatsoever, but their unholy sound became an inspiration to Yo La Tengo, The Pastels, Beat Happening, Nirvana, and countless other punk-adjacent bands.
Forty-two years later, Jad is still bashing his untuned guitar and singing about love and monsters in Half Japanese, which just released the Invincible album. Meanwhile, David is a retired librarian and, like Jad, a prolific artist.
Jad's wondrous paper cuttings are featured in the 15 videos he made for every song on Invincible, which is far more musical than some Half Japanese offerings but no less sui generis. Check out the video playlist below.
But in June 2017, Simcock played Kerrytown Concert House solo, which he'll do again on March 3.
I interviewed the pianist then and asked him how his playing changes when performing solo versus with a band: