Unfortunately the time has come to graciously bow out from Landlockedblues. Like my predecessor, circumstances have resulted in my departure from Switzerland sooner than expected, and sadly I must move on before really getting going.
Hopefully there is another eager blogger out there waiting in the wings to take up the noble cause of promoting good tunes. If so, don’t hesitate to get in touch.
In the mean time I suggest the thoroughly awesome newsletter provided by the one and only Ron Orp. Each Thursday night, Ron delivers the low down on all things cool, and never fails to dig up the best in food, art, parties, and music for the upcoming weekend. You can sign up for this weekly dose of goodness here: http://www.ronorp.net/
Somehow this one slipped under my radar, but here is a late breaking preview for Efterklang’s upcoming gig at Stall 6 in Zürich. The Danish indie rock group often stirs up comparison to the organic orchestral tunes of Sigur Ros, however their latest release Magic Chairs (4AD – 2010) leans more towards Arcade Fire-ish pop. While a little less bold than their previous release, Parades (The Leaf Label – 2007) it still maintains the dramatic melodies that ensnare you into the thick layers of horns and strings. As a bonus, the concert includes a screening of a new film featuring Efterklang titled, An Island, directed and shot by Vincent Moon. I have been following the French filmmaker for several years through his contributions to the incredible music video blog La Blogotheque. He is known for his (often copied) “take-away show” style, which feature unplugged single-take live performances that manage to capture a more honest portrayal of musicians and their music. A wonderful example of both Efterklang and Vincent Moon is in the trailer below.
A double dose of Americana is coming to Zürich the weekend of February 12th. Two contrasting views from two established bands.
February 12th
Zürich – Rote Fabrik
Band of Horses
Touring their third full-length release Infinite Arms, Band of Horses presents a country-rock glimpse into an increasingly relatable Stateside life of economic depression and uncertainty. Beautiful harmonies anchored by the soaring voice of lead singer Ben Bridwell, bring to life the “day late and a dollar short” sentiment right in front of you. Their straightforward lyrics call forth images of drinking beers under mid-western skies and trying to forget a relationship in a town so small you can’t avoid your lost love. Thankfully Band of Horses is not completely composed of self-reflecting sorrow and also offer a few rocking choruses that manage to get lodged deep in your brain for unprompted recycling. One thing is for sure, this band knows what they do best, and they do it very well indeed.
February 13th
Zürich – Abart
Cold War Kids
Contrasting to the group above, the Cold War Kids (as their name suggests) bring a postmodern indie rock view of American life with the gritty details of alcoholic fathers, doubt-ridden pregnancies, and stealing from the church offering plate. Their unique narrative-style lyrics and blend of soul and punk project a sound that demands your attention. However, their most recent release (Mine is Yours, January 2011) comes off as a more polished effort and aimed at radio ready releases. Certainly a good album in its own right, however it feels as if they polished off those delightful bits of grit and cleaned up those dirty smudges of soul which brought you to them in the first place. Of course one could never expect them to keep re-creating their amazing debut album (Robbers and Cowards, 2006), and perhaps we should not be surprised as their movement from obscure yet authentic to commercial economies of scale is more American than apple pie.
I’ve been loaded with a heavy burden at my day job lately but wanted to get in an update as things are starting to heat up around here. Apologies in advance for the monster post made up of mostly flimsy previews.
Next week there is a four-day stretch of back-to-back gigs in the Zürich area that would make some festivals jealous (at least around these parts). Lets start at the beginning.
November 15th
Zürich
Frightened Rabbit-Abart OR Ratatat-Live at the Plaza
Monday starts off with a tough decision between Scottish indie rock/pop and electronic synth/riff rock.
Frightened Rabbit has been slowly gaining momentum and attention with their catchy melodies and straightforward pop sensibility. The band is primarily the Scottish brother duo of Scott and Grant Hutchison, who share their names and the stage Monday at Abart.
Part synth, part hip-hop, part slashing layered guitar, part samples, Ratatat is many things at once, and yet one. The Brooklyn duo of Mike Stroud and Evan Mast are trying out the new venue at Plaza (connected to the Plazda Cava Bar, Badenerstrasse 109, one of my favorite joints). Ratatat’s last few releases (austerely named LP3 and LP4) have been a bit stale, but here’s hoping they show up with some of their classic cuts which would be sure to please the folks at Plaza.
November 16th
Kaufleuten, Zürich
Beach House
Beach House,once previewed on this blog here, are now back at Kaufleuten for round two. I happened to catch them here back in March and this dream pop duo did not disappoint.
November 17th
Hafenkneipe, Zürich
Blitzen Trapper
Touring their latest release Destroyer of the Void, Blitzen Trapper will bring their expansive 70’s Americana sound to the tiny harbor bar located just off the Sihl River. They are a curious blend of experimental folk, alt-country, with traces of psychedelic and even a bit of prog. Single-minded they are not, and whether it is a murky murder ballad, tender folk song, or a shining glam rocker, the many influences of this exceptional band have found a fresh voice.
November 18th
Volkshaus, Basel
The Tallest Man on Earth
Dylan comparisons are inevitable for this Swedish folkster with his strained voice and beautifully delicate guitar. Yet Kristian Mattson’s music has an honest quality which enable it to find its own way, as all acoustic singer/songwriters in the post-Dylan era must do. Best to just give it a listen and see for yourself.
Caribou (once previewed on this site here back in April) is back in der Schweiz, and this time he brings his not-so-easy to define sound to Zürich and Geneva. His latest effort, Swim, his fifth under the moniker Caribou, leans towards electronic dance/disco sounds, and it purportedly is inspired by what a dance album would sound like underwater. If you didn’t make to the last show it may be worth a visit this time around.
The critically acclaimed funk/soul revivalists are coming through Kaufleuten this Wednesday, touring their 2010 release, “I Learned the Hard Way.” The label “revivalist” is an unfortunate burden as the term conjures up the idea that whatever needs reviving must have, at some point, died first. However, Sharon and Co. make a strong argument that “the funk” is still very much alive, and it sounds better than ever.
The Dap Kings were born as the brain-child of Gabriel Roth under an old vacuum store in Brooklyn in the mid 90′s. Using period-authentic (also read – just plain old) analogue recording equipment, over the past decade they have mastered the formula for capturing the elusive feel of soul, a feeling far too fragile for the cold and calculated digital processing of today.
I think we could all probably use a little more soul on our Wednesday. See you soon.
For those of you anxiously fretting your days and nights away wondering when landlockedblues would return from the depths of its deep slumber, your day has come . . . sort of. Your previous editor has graciously relinquished the reins, er, helm(?) to the site. So the ship has a new captain, and although I am not nearly as qualified, skilled, or talented as the last, hopefully I can still steer us in direction of good tunes.
Same rules apply as before. Landlockedblues is (as of now) only but one man. If there is a gig coming through I am missing, especially outside of Zürich, drop me a note. If this is the sort of thing you are interested in contributing to on a regular basis, now is your chance.
Hopefully some new concert previews to come shortly.
All things must pass, they say, and so the time has come to draw a discreet veil over this enterprise, which was good while it lasted, but now it must, like gallstones after a diet of olive oil and Epsom salts, umm, pass. Your editor leaves the sometimes-merry nation of Switzerland at the end of June, and will therefore have even less of a handle on the nation’s rock morsels than he did whilst living here. If anything of peculiar interest relating to Switzerland emerges in the future (nothing less than, say, Elliott Smith forming a supergroup with Arthur Russell, Paul Hester and John Entwistle and playing a secret show at El Lokal), it may get a witty and urbane comment on here, but otherwise, so long, thanks for reading, and eat a peach.
An impressive crowd came to this impressive riverside venue to see the triumphant Built To Spill take up what many regarded as a ‘support slot’. However, the fact was that the Idaho rockers filled Dynamo for their set, an quite wonderful 45 minutes or so that concentrated more on glories past than solid forthcoming album There Is No Enemy. Doug Martsch, resplendent with beard and paunch, acts the part of 90s slacker made good to a tee. One minor quibble might be the lack of ‘You Were Right’, but nevermind.
Dinosaur Jr remain a predictable proposition. More or less constantly on the road, J.Mascis and crew seem to have run out of ideas some time ago, relying on raw, distorted noise, but the not the good kind. They are supported by a loyal and passionate fanbase, even in Zurich, but all innovation is lacking now, and that they had in the first place seems rather horribly dated. It is probably too cruel to call them grunge revivalists, and truth be told they have been doing this for more than two decades and not many have complained. To many ears, though, it is surely boring. A finer contrast in bands could therefore scarcely be found.
Perenially underrated and not getting any younger, Johnny Dowd remains an enigma to even the few who are aware of his wild, rather disturbing talents. The withered, hunched figure of the 62-year-old sits as he performs, surrounded by his four-piece band. His Southern Gothic is a mix of grubby, warped Americana, with echoes of Nick Cave, Johnny Cash and frequent collaborator Jackie Leven; it’s grim, but thanks to his nihilistic sense of humour and a sound heavily reliant on the hammond organ and keyboard work of Mike Stark, Dowd remains a highly original artist in his dotage.
Any truly incendiary atmosphere is prevented by amount of empty floor space in front of Dowd, although the El Lokal crowd is nothing if not enthusiastic – and knowledgeable, with several requests for songs from Dowd’s extensive back catalogue. Apparently Dowd himself was a bit under the weather, and admitted to a lethargy that he is usually without. Nevertheless, this physical ennui added something to the bleak resignation that lurks inside his best songs. Not one for parties, Johnny Dowd.
The one possible let-down from this evening was the contribution from Kim Sherwood-Caso on vocals and guitar. Granted, Dowd often needs a stronger voice to get to grips with the vocal lines he has written but can’t reach, but Sherwood-Caso found singing in tune decidedly optional tonight, and wore an expression of at best boredom, at worst sullenness, for the duration. Your Zurich show isn’t exactly going to be a case of stage-dives and crowd-surfing, but her lack of enthusiasm stood out. Dowd, meanwhile, plodded on with the show, caught up in his own world, before taking handshakes and congratulations as he left the stage. We had a go. Flubbery.
