Words and Photos: Greg Szeto

This is kind of shameful to admit, but I think this might be my first show outing in over 3 weeks. Science is an unforgiving mistress, and a stickler about intellectual monogamy sometimes. Nonetheless, I’m very glad I chose this particular show to venture out. I’ll try not to dwell on the oppressive cons of the night (mainly the sauna-like heat-sweat-humidity bog that left a film on my camera equipment).

Instead, I will say that this was a triumphant Baltimore return for native sons (and daughter) Future Islands and Lower Dens (unfortunately I walked in right as the Art Department was wrapping up). The packed Sunday night show was giddy and gleeful. Most importantly, Future Islands delivered a righteous set, clearly honed and toned by the tour to a dance-happy crowd.

Their set was filled with a nice balance of tracks, spanning recent releases In Evening Air and In The Fall (including the still grand guest-vocals of Celebration’s Katrina Ford) while also remembering to pull out old faves. “Long Flight” and “Tin Man” have easily emerged as favorite tracks both recorded and live, while ”Little Dreamer” shines as brightly as ever. William’s bass work was more propulsive and lithe than I ever recall hearing it, Gerrit’s synths swelled powerfully, and frontman Sam Herring resembled a poor man’s cyborg, strapping into his corrective, post-surgery support boot before launching un-fazed into his famed rager of a live performance. At times, things were a little worrisome as the crowd ebbed into the band’s space (with someone nearly taking out William’s pedal board with a lunging stomp). The only quibble with the performance was nagging feedback that occasionally broke the flow. That technical issue aside, we got a special treat from both acts.

Dave Carter did an admirable job with difficult source audio from this show. We hope you enjoy it.

Future Islands
The Penthouse
June 13, 2010
Baltimore MD, USA

J. Gerrit Welmers – keyboards
William Cashion – bass
Samuel Herring – vocals

Streaming player:

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MP3 links:

1. Inch of Dust (4:47)
2. An Apology (5:00)
3. Pinocchio (4:10)
4. Tin Man (4:12)
5. Long Flight (5:45)
6. Walking Through That Door (5:21)
7. Old Friend (4:57)
8. In the Fall (feat. Katrina Ford) (5:47)
9. Vireo’s Eye (6:30)
10. Little Dreamer (4:31)
11. The Happiness of Being Twice (3:26)

Total time: 54:30

ZIP link:

Entire set in mp3 format

Lineage:

AKG 414 mid/side pair -> Zoom h4n 48/24 -> Nuendo (stereo encoding, limiting) -> MP3

Recorded by:

David Carter(carteriffic@gmail.com)

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MP3: Future Islands – Tin Man

This album is one of the most anticipated releases from a local artist in 2010. The anticipation is partly because, ever since their transplant here from North Carolina, Future Islands‘ rapturous live shows have caught on like wildfire, and partly because it serves as their debut on Baltimore fetishist label Thrill Jockey (who I hear may have signed yet another prominent Baltimore musician’s solo efforts). I am a bit ashamed to admit that I underestimated Future Islands. Frankly, I couldn’t have imagined they would deliver this strongly on an album. Until hearing their TJ 12″ EP and LP releases, I was convinced that Future Islands’ music was a gem that shone most brilliantly live, and lost the majority of its lustre in the studio.

Wave Like Home, put out on UK label Upset! the Rhythm, was characterized by a fair bit of mania, yet also (paradoxically) a uniformity of approach and tone. The parallels and comparisons to more prominent Wham City affiliates abounded. Synths were riding high and dominant in the mix, bass rumbled along turned to 11 (most often functioning as rhythmic propulsion), and Herring’s voice was unflinchingly raw and big. Though they surely traveled through many moods, they felt fleeting and devoid of any true weight. To my ears, their vision on that record was relatively less ambitious, aiming more to catalyze a dance party than anything else. In doing so I think that release was as close as Future Islands will get to channeling the electricity of their live shows onto a recording. However, with their closing track, they provided the best hint of future directions, delivering a standout ballad in “Little Dreamer.”

With In Evening Air, Future Islands seem to have had an epiphany. Read the rest…

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MP3: Ari Schenck – One That Got Away (The Anomoanon cover)

For all you night owls, we’ve got a little surprise for you tonight. Many thanks to friend Zach Kaufmann over at local webzine Splice Today for this leak of the first track from their Baltimore Does Baltimore compilation album of original covers (I think you can probably guess the running theme across the 10 tracks).  The free download drops tomorrow, but we’ve got a track from Ari Schenck right here: a cover of “One That Got Away” from Anomoanon’s Asleep Many Years in the Woods (2002).  The Anomoanon was a project from Baltimore transplant Ned Oldham (his slightly more famous, younger brother Will you may know is Bonnie “Prince” Billy) that also included Dave Heumann of Arbouretum.

While there aren’t any artists on the compilation who will be unfamiliar or surprising to current Baltimore music aficionados (nobody’s history really starts much before the aughties), there are some unexpected collisions of styles and genres that make for interesting twists and turns. Some of those include a Wye Oak cover of a Bmore Club standard by scene fixture Rod Lee, two very different takes on a big-hearted Future Islands ballad, and Caleb Stine finally putting to record one of my favorite live covers ever. Recording was done by each individual artist, and mastering by the Leffler-Schulmans’ Mobtown Studios.  Album artwork by the ever great Kathy Fahey.

It seems like Zach and Splice, like us at Aural States, have started yearning to do more than just write about music. There are tons of sites and blogs that do so now to varying degrees of depth and competency.  What few do is take that extra step and generate original content that adds to the greater pool of art.  Hopefully this is a sign of many such efforts to come from Splice (their first effort The Old Lonesome Sound already proving their passion for such endeavors).  We certainly have some fun plans for the very near future here.

All Photos: Greg Szeto

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MP3: Lonnie Walker – Compass Comforts

A sweaty grower of a Thursday night show, from the blissful haze of expertly layered guitar loops to the serenity of nature, followed by big-riff country-fried rock and capped off with high-energy, soul-filled dance songs.

Jared Paolini’s measured performance matched his meticulous and painstaking live layering of guitars to produce vast and glorious escapist textures. Small Sur’s set was pitch perfect, some new cuts being played, while Andy Abelow often stole the show with his ever-improving, excellent sax work (nary a squawk or hesitant entrance in earshot, and rich, full tones abound). This is no small feat considering Bob Keal’s soaring vocal work and subtle, lyrical guitar, and Austin Stahl’s deliberate and expressive drumming. Future Islands provided the soulful dance party we have all come to expect, Sam Herring’s emphatic, raw vocals and uniquely theatrical delivery proving ever effective. Will Cashion’s bass work also proved spot on, providing a much needed, kinetic bass line you could feel, compensating for the somewhat hollow drum machine beats in the background.

But for me, the big find of the night was how much I absolutely fell in love with Lonnie Walker’s foot-stomping, knee-slapping, crunchy and rousing Americana rock. Building each song from rambling country riffs and vocals to huge guitar shredding payoffs, frantic vocals, and ramped-up, urgent tempi. So versatile was their approach that they even dropped one of their songs into something like a syncopated ska beat. Expect to hear more from them in these pages in the very near future.

Photo credit: Flickr user Dorret

Hunting for safety from the sun’s rays made me feel something like an animal Sunday. I was leaning against the old rusted fence in the MICA parking lot, watching Santa Dads do their own thing–and it is totally theirs to keep, when I became aware of all the Wham City members working their butts off in the draining heat. I remember running into (who I believe was) Stefani Levin of Wham City at the Load of Fun on Saturday night. She was clearly fatigued, and (not knowing who she was) I asked “hell of a show, right?” She exhaled loudly and replied, “I’m working.” You might imagine what hell organizing and executing this monstrous Whartscape must have been. For those of us who attended, I think it’s time to give a quick thanks to the people that put this rad fest on.

Read the rest…

Once again, to celebrate all things Wham and Whartscape, we asked some of the artists performing to answer a mini questionnaire. Future Islands’ William Cashion was our first subject.

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MP3: Future Islands – Little Dreamer

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MP3: Future Islands – Pinnochio

Yeah? So what if last year’s Wave Like Home was fully kickass? Who cares if Future Islands are totally Wham City vets? I mean, they only played Round Robin and toured around with Dan Deacon on his last outing. Most of them were in the ensemble, but that doesn’t even count. They’ve been in like, what? Two Whartscapes before? Whatever. Here’s what bassist William Cashion, 1/3 of these synth-poppers, thinks about all of this jazz. </sarcasm>

1. If there’s one single thing, say an essence, that embodies all that Wham City has to offer, what would it be?

- Whartscape is pretty much the embodiment of what Wham City has to offer. Lots of friends, cool bands from all over, performances, jokes, and tons of emails.

2. What’s the best reason to live in Baltimore?

- The music and arts community / Cheap rent.

3. What do you think the chances are of Dan Deacon enlisting every artist performing at Whartscape for his next project?

- Probably won’t happen, too many dudes.

4. What’s your favorite part about Whartscape?

- A year’s worth of bands coming together for one special weekend.

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MP3: Teeth Mountain – Ghost Science from Teeth Mountain (2007)

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MP3: Dan Deacon – Padding Ghost from Bromst (2009)

All Photos: the inimitable institution, Josh Sisk (full set here)

Dan Deacon is hitting up Sonar on June 13th, I suggest that you seek out tickets.

Editor’s note: Or you could enter to win tickets from Aural States.  Check back in just a few days.

Out in rural Carroll County where I reside, there’s a powerful stigma behind the idea of Baltimore. It brings up connotations of dimly lit streets, frightening murder-prone men behind every corner, and the Inner Harbor existing as an oasis of “real citydom” in the midst of it all. Needless to say, most of my country-bumpkin peers aren’t very familiar with the town. However, if they just so happened to have been at the 9:30 Club this past Sunday night, I’m sure their minds would have completely eliminated that sinister reputation, replacing it with one of ecstatic joy.

Read the rest…