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:
The local indie folk-rock band Little Traps brings sharp musicianship, an off-center outlook, and a distinctive sound with a banjo leading the way. Released late last year, their first full-length album, Can’t Count, is a welcome showcase of their work.
The band charms listeners with its warm, inviting sound, but underneath lies a somewhat more complex tone. “Uncertainty, ambivalence, and second-guessing are the bread and butter of my lyrics,” singer-songwriter-guitarist Nick Bertsos says.
In addition to Bertsos, the core band consists of singer-banjoist Annie Palmer and guitarist/pedal steel player Thomas Green. At various times other musicians help fill out the sound; on Can’t Count, Howard White plays bass and keyboards, while Ali Snyder plays drums. On New Tricks, a recently released EP of cover songs, Jessiah Hall is the drummer.
Bertsos answered a few questions recently via email:
John Coltrane on the saxophone.
Eddie Van Halen on the guitar.
Link on the ocarina.
These are giants of their instruments.
Comprised of accomplished jazz and experimental artists Kirsten Carey (guitar), Andrew Hintzen (keyboard), Neal Anderson (EWI / trumpet), Jon Hammonds (bass), and Jonathan Taylor (drums), The Seven Sages make their debut at Ziggy's in Ypsilanti on February 21 -- the 33rd anniversary of the first Legend of Zelda game being released.
Carey and Hammonds answered some questions in an email interview about how The Seven Sages materialized, which Zelda songs the band will play, and their favorite tunes from the games. The queries were posed by myself and Eli Neiburger, who is deputy director of the Ann Arbor District Library and a member of the Nintendoland Family Band.
Valentines, Funny & Otherwise: The Derrick Benford Quartet will provide the soundtrack February 14 at AADL
Derrick Benford is a piano wiz who knows a thing or two about jazz. He’s been playing in the Michigan jazz scene for a while now, and this Detroit native has been involved with many groups and artists; lately, he’s been a member of the Gene Dunlap Band.
He’s also a Spirit of Detroit Award winner and has traveled across the U.S., U.K., and Asia working alongside the likes of George Clinton, Marcus Belgrave, and his brother Vassal Benford, among many others in the international jazz scene.
For his latest endeavor, the Derrick Benford Quartet, the pianist meshes jazz, hip-hop, R&B, and gospel into their own funky sound.
The quartet will be performing at AADL’s downtown library on Valentine's Day for a special show dedicated to love in all forms. I spoke to Derrick Benford about many things including his piano background, concerts at the library, his international experiences, and more.
In "The Heart Sutra," one of Buddhism's most famous texts, there's a line that's often translated as "form is emptiness and the very emptiness is form."
I don't know if this particular sutra informed Robert Spalding Newcomb's structured improvisation "Dance of the Heart," but this long-form piece revels in the sort of free-flowing ambiance that feels simultaneously disembodied and corporeal. The music is an ode to freedom and that freedom helps shape the music's form.
Newcomb is a polymath -- computer expert, software developer, yoga teacher, stringed-instrument virtuoso (guitar, sitar) -- who combines all his talents to create modern music that's rooted in ancient traditions. "Dance of the Heart" is a reflection of that unique skillset, combining electronic percussion, synths, and effects-laden guitar.
"Dance of the Heart" premiered March 13, 2018, at the Riverside Arts Center in Ypsilanti -- you can watch the high-quality video here -- with Newcomb (guitar, sitar, laptop), Ken Kozora (electronic and acoustic percussion, iPad, trumpet), and Erik Gottesman (analog synthesizers, bio-sensors with EEG/shortwave/Theremin-style gesture proximity and ribbon controllers). The trio is reuniting at Riverside Arts for another performance of "Dance of the Heart" on
Newcomb explained the concept behind "Dance of the Heart" in an email interview:
Jimi Hendrix's Experience: Jas Obrecht's "Stone Free" goes deep into the guitar great's transformative 10 months in London
The life of guitar legend Jimi Hendrix has been explored in numerous biographies and documentaries, so you could be forgiven for being skeptical as to why the world needs another book about the man widely considered to be the greatest guitarist of all time and a major influence on the sound of rock music. Jas Obrecht's new offering on the subject, however, takes a much closer look at a specific period in the life of Hendrix.
Stone Free: Jimi Hendrix in London, September 1966-June 1967 is a detailed, day by day look into the guitar great's arrival in England and his rapid rise from obscurity to fame. Obrecht's book puts into perspective just how quickly and completely Hendrix revolutionized pop music. The supporting cast is a who's who of British rock icons including The Beatles, The Rolling Stones, The Who, The Animals, and many others. I had the pleasure of sitting down for an interview with the author, who has written nearly 200 cover stories for Guitar Player and other music magazines as well as a number of books on blues and rock.
Obrecht will be reading from his new book on Thursday, February 14, 7 pm, at Literati Bookstore in Ann Arbor. Below is the conversation we had, slightly edited for flow.