Born to Die Lana Del Rey

After grabbing the attention of the music industry with tracks like Video Games and Born to Die, Lana Del Rey’s (real name Elizabeth Grant) debut album was one of the most anticipated of the year – and it’s only February! Born to Die features a unique blend of 60’s pop, old Hollywood Glamour and urban beats that Del Rey herself describes as “Gangster Nancy Sinatra.”

While “Video Games” may have launched Lana Del Rey into mainstream media, “Born to Die” solidified her foothold in the alternative genre. This haunting song has a cinematic feel as Lana Del Rey’s voice resonates over electronic beats and orchestra strings,

“Off to the Races” doesn’t quite hold up to the brilliance that is “Born to Die”. This track and the next track “Blue Jeans” (a chill track with a melancholy vibe) are both solid songs but definitely not the strongest points on the album.

“Video Games” is the track that started it all, This hypnotic track with bittersweet vocals and atmospheric tones made waves on the TV show Ringer and propelled Del Rey into mainstream media.

“Diet Mountain Dew” combines funky R&B beats with a 60’s pop vibe to create an infectious tune but unfortunately that infectiousness doesn’t carry over into the next track, “National Anthem”, as Lana forgets she isn’t a rapper. This track is an eclectic mix of echoing vocals over rap beats. Not a strong point on the album but here at B-Sides, we like the fact that she is willing to take risks and experiment with her sound, even if it doesn’t work out quite right.

“Dark Paradise” opens with an orchestral piece that would make most movie soundtracks jealous then leads into a soaring chorus that features Del Rey at her vocal best.

Lana Del Rey cited Britney Spears as one of the artists she is most influenced by and you hear that in the chorus of “Radio” with high Spears-esque vocals over a easy-going melody.

And what album would be complete with a wistful Ode to a Lady of the Night?  “Carmen” fills that requirement. Del Rey creates a cinematic feel on this track, similar to “Born to Die”.

“Million Dollar Man” pays tribute to broken-heart ballads of years gone by, with its bluesy-jazz club vibe over orchestral pieces. This track is by far the best ballad on the album.

“Summertime Sadness” shares the same melancholia as “Blue Jeans”. Good album filler but nothing special.

Lana Del Rey may not be a Pop Queen but she could give them a run for their money with the track “This is What Makes Us Girls.” The catchy pop elements mixed with a cool alternative edge makes this track one of the standouts on the album.

“Without You” is a sugary-sweet love song with a cliché song title. But it’s nice to see a change from her deep, brooding vocals as she showcases high-airy vocals on this track.

“Lolita” is another track where Lana forgets she isn’t a rapper/R&B artist but this time it works. Combining urban beats with her 60’s alternative edge, this track may become the most addictive on the album. Prepare to have it on repeat.

“Lucky Ones” rounds out the album and draws it to a close. This sappy track just doesn’t have the pop and sizzle most of the other tracks have and could have just as easily been left on the cutting room floor.

Born to Die was an interesting debut album effort from Ms. Del Rey and we here at B-Sides look forward to what the future holds for her as she grows as an artist.

Photo by Jeff Snow

When Dale Earnhardt Jr. Jr. revs up their indie band engine, do not be surprised if they leave you in the dust. Similar to the race-car driver their name is derived from, Dale Earnhardt Jr. Jr. moves with precision and fearlessness, creating walls of melodic synths and guitar that crescendo wildly, resulting in near-euphoria. Their music most times, is unpredictable: one moment they will be exploring Beach Boys-like territory, with wavy synths crashing down on a soothing shoreline. Others, the group experiments with atmospheric sounds, as jangling percussion accompanies layers upon layers of vocals.

“We’re just trying to be grateful for all of the opportunities we’ve received,” says Daniel Zott, one half of Dale Earnhardt Jr. Jr. Zott and musical partner Joshua Epstein hit the ground running last year: from festival performances, to releasing their first studio album, It’s a Corporate World, the duo have become known for their powerful live performances, and their memorable hooks. “It’s been a journey,” Zott continues on, his calm demeanor the antithesis to his wild onstage persona. “We’re just aiming for big dreams.”

Big dreams and aspirations have served as a catalyst for the duo since their 2007 inception. Now the group can check-off an array of goals accomplished, including making a music video in another country. The band’s latest rendition of their classic, “Nothing But Our Love,” was filmed in Iceland, a place of significance and importance to the group. “It was an amazing experience being over there,” Zott tells me. “It’s a beautiful country, and most of Joshua’s family is from there.” Inspired by the story of an Icelandic woman in the 1930s, the performance is somber and melancholic, dedicating itself to an individual who was known for working with the disabled.

“You have this beautiful story of a woman helping handicapped children in the 1900s,” Zott explains, “who just forged on regardless of the skepticism she faced. To be in that place and to be playing a song with lyrics that resonate with her situation, it was just a beautiful experience.” This is what adds to Dale Earnhardt J. Jr.’s mystique: they do the unexpected, taking chances that result in accomplishment. After all, who else do you know has covered Gil Scott-Heron’s “We Lost Detroit?”

“We thought it would be fun to have a song about Detroit,” Zott says. “We performed it live before we recorded it, and since it was so well-received live, we decided to record it.” The late Heron was a source of inspiration for the band, putting their cover of “We Lost Detroit” on their album, It’s a Corporate World. “He’s not as well-known as he should be,” Zott tells me, referring to Heron. “He’s a brilliant poet, and should by known by more people. That’s why we love doing covers of songs that most people haven’t heard of.”

Heron, as well as Detroit’s musical culture have contributed to Dale Earnhardt Jr. Jr.’s music. “Detroit is always going to be diverse,” Zott explains. “There are a bunch of new and exciting bands out here just doing their own thing, and they’re going at their own pace as well.” Mentioning Detroit acts Phantasmagoria, Chris Wills and even up-and-coming rapper Danny Brown, Zott gets excited as he proudly describes the city’s eclectic music scene.

“We had a CD release party for It’s a Corporate World, and Danny Brown opened up for us,” says Zott. “That’s just how Detroit is: we have so many different things going on. I would definitely like to do more of that; it was really fun.” When asked if he would collaborate with Brown, Zott’s answer was optimistic: “something like that would be cool. You never know.”

The group has big plans: besides having recently performed on Conan, and finishing up a tour with Fitz and the Tantrums, the band have plans to tour some more and release their next record some time this year. “We’re going to try and finish it in the spring, although it will probably come out later this year,” Zott explains. “Then after that we’ll try and go back on tour.”

Zott is all about being different and taking chances. “There’s no boundaries, no rules; we kind of do whatever we want,” says Zott. Dale Earnhardt Jr. Jr. will continue to race on, doing what they want to do, and letting no one get in their way.

Dale Earnhardt Jr. Jr. Tour Dates

02/12/2012 London, UK
02/14/2012 London, UK
02/15/2012 London, UK
02/16/2012 Manchester, UK
02/18/2012 Nottingham, UK
03/03/2012 Avon, CO
03/06/2012 Norman, OK
03/07/2012 Little Rock, AK
03/08/2012 Dallas, TX

After a few years of media coverage in said TV shows, movies, and touring, Band of Skulls are ready to release their sophomore album, Sweet Sour, and B-Sides has an early review. The album is both a ballsy effort of branching into new territory (heavy metal solos) while maintaining their garage-blues rock that likens them to bands such as The Kills and The Black Keys. Songs such as the opening track, “Sweet Sour” and “ The Devil Takes Care of His Own” epitomize the heavy metal ingredient of the album. While “Lay My Head Down” and “You’re Not Pretty But You’ve Got It Goin’ On” illustrate the bands’ signature transitions into genre crossing bridges and breakdowns. Overall, it’s more cohesive than their previous album, and the band has tightened up their compositions while elevating the scope of their songs for larger venues. The album will be released February 21st stateside.

Band Of Skulls will begin touring this year with The Black Keys in the UK throughout February, and then perform in the US beginning in March with We Are Augustines. Check below for the list of tour dates.

Band of Skulls 2012 Tour Dates:
02/01 – Eindhoven, NL @ Klokgebouw ^
02/03 – Nottingham, UK @ Capital FM Arena ^
02/04 – Edinburgh, UK @ Corn Exchange ^
02/06 – Manchester, UK @ Apollo ^
02/07 – Manchester, UK @ Apollo ^
02/09 – London, UK @ Alexandra Palace ^
02/10 – London, UK @ Alexandra Palace ^
02/17 – Darlington, UK @ InsideOut
02/18 – Leeds, UK @ Stylus
02/19 – Stoke, UK @ The Sugarmill
02/21 – Glasgow, UK @ The Arches
02/22 – Aberdeen, UK @ Lemon Tree
02/23 – Inverness, UK @ The IronWorks
02/25 – Belfast, IE @ The Limelight
02/26 – Dublin, IE @ The Academy
02/27 – Leicester, UK @ O2 Academy
02/29 – Norwich, UK @ The Waterfront
03/01 – Oxford, UK @ O2 Academy
03/02 – Wolverhampton, UK @ Wulfrun Hall
03/04 – Exeter, UK @ Exeter Phoenix
03/05 – Brighton, UK @ Concrode
03/13 – Austin, TX @ Antone’s *
03/16 – Houston, TX @ Fitzgerald’s *
03/17 – Dallas, TX @ Granada Theater *
03/19 – Atlanta, GA @ Variety Playhouse *
03/20 – Nashville, TN @ Cannery Ballroom *
03/22 – New York, NY @ Webster Hall *
03/23 – Philadelphia, PA @ Union Transfer  *
03/24 – Washington, DC @ 9:30 Club *
03/26 – Boston, MA @ Paradise Rock Club *
03/27 – Brooklyn, NY @ Music Hall of Williamsburg *
03/28 – Providence, RI @ The Met *
03/30 – Toronto, ON @ Phoenix Concert Theatre *
03/31 – Montreal, QC @ Corona Theatre *
04/02 – Detroit, MI @ St. Andrew’s Hall *
04/03 – Chicago, IL @ House of Blues *
04/04 – Minneapolis, MN @ First Avenue *
04/06 – Denver, CO @ Ogden Theatre *
04/07 – Salt Lake City, UT @ The Comlex *
04/09 – Seattle, WA @ Neptune *
04/10 – Vancouver, BC @ Commodore Ballroom *
04/11 – Portland, OR @ Dante’s *
04/12 – San Francisco, CA @ The Fillmore  *

^ = w/ The Black Keys
* = w/ We Are Augustines

“In The End”, “This Isn’t Everything You Are” and “New York” are somber – to – soaring power tracks with a tone and depth that lends itself to an atmospheric quality. “I’ll Never Let Go”, “Called Out in the Dark”, “The Weight of Love”, “Fallen Empires” and “The Symphony” are upbeat rhythmic tracks with electronic beats and catchy choruses that keep the album from drowning in melancholia. “The Garden Rules” “Lifening”, “Those Distant Bells” and “The President” are slower ballads that show off the softer side of Snow Patrol, most featuring intimate acoustic guitar as well as eloquent keys under Lightbody’s mellow vocals.

Fallen Empires is Snow Patrol’s most raw and genuine effort to date. This album should have no problem holding its own in the alternative scene, despite countless numbers of new bands exploding on the scene everyday.

Catch Snow Patrol on THE SNOW PATROL 2012 TOUR in Ireland and the UK. Concert dates and venues will be available on Snow Patrol’s website, but hurry and get you tickets fast! Some dates have already sold out.

11. Lana Del Rey, “Video Games:” The “gangsta Nancy Sinatra,” Lana Del Rey could not have described herself any better. Backed by orchestral bombast, the songstress unashamedly attempts to hold onto a love that is no longer present. “I say you the bestest,” sings Rey, her bad-girl demeanor disguising a vulnerable heart that becomes more apparent as the song comes to a climactic close. “He’s drunk and I am seeing stars, this is all I think of,” says Rey desperately, naivety blinding her from seeing a dwindling love she believes still exists.

Photo by Phil Kneen

10. The Vaccines, “Post Break-up Sex:” Ah, the consequences of trying to put a relationship past you, in one of the most extreme ways. You would think that a song whose subject matter deals with such a morose narrative, would be awkward, right? Luckily, The Vaccines have a knack for writing infectiously catchy songs, and “Post Break-up Sex” is one of them. “I can barely look at you, don’t tell me who you lost it to,” a hint of disgust in Justin Young’s voice as he addresses a regretful girl over poppy, fuzz guitar. The song’s brevity symbolizes what post break-up sex is, which is this: it sucks.

9. Cut Copy, “Need You Now:” Make no mistake: this is not a Depeche Mode cover band. Cut Copy are well on their way to poppy, electronica superstardom, and “Need You Now” is all the evidence you need. Syncopated, bouncy synths, jangling tambourine and Dan Whitford’s Baritone drone, accompany a battle for love. “I need you now, to fight somehow,” sings Whitford, as upbeat, energizing drums assist Whitford’s journey to find his lover.

Photo by Jessica McGlothlin and Fire Girl Photography

8. Cults, “Go Outside:” From its xylophone-driven melody, to its tribal-esque sound, “Go Outside” could also be a contender for best song of the summer. Although Madeline Follin’s child-like vocal delivery comes off as nonchalant, there is a level of insight and awareness that, upon a first hearing, is hard to catch. “I think it’s good to go out, cause if you don’t you’ll never make a memory that will stay,” says Follin. Wow: I guess our parents were right when they told us to go outside every day.

7. The Weeknd, “Wicked Games:” Disclaimer: once you listen to this song you will feel extremely dirty about yourself. The Weeknd holds nothing back in this tell-all tale of his lustful desires for a seductress, while being committed to a girl he no longer loves. Add some alcohol and drugs into the mix, and you have a man whose waning confidence and requests for love, are left unattended by a night enshrouded with pain, frustration and disgust. “I’ll give you all of me, even though you don’t love me,” says The Weeknd. Feeling dirty yet? I thought so.

6. Beastie Boys, “Make Some Noise:” Hip hop’s rambunctious, party-loving trio has only gotten better with age. “I burn the competition like a flamethrower, my rhymes age like wine as I get older,” says co-vocalist MCA, his raspy delivery a punch to the gut of skeptics and Beastie Boys non-believers. As always, it would not be a Beastie Boys song without a memorable hook: “make some noise if you’re with me,” their declaration a testament to 32 years of making us shake our rump and fighting for our right to party. Do not worry Beastie Boys: we have got your back.

Photo by Tim Lytvinenko

5. Bon Iver, “Calgary:” There is always an enchanting atmosphere in Bon Iver’s music. Justin Vernon, veiled behind distorted, auto-tune effects and crescendoing synths, introspectively searches for redemption, his journey an ascending into an abyss filled with mystery and discovery. “Who goes in and then stays inside, oh the demons come they can subside,” sings Vernon, a flicker of hope in his vulnerable delivery as he confidently acknowledges the tribulations placed before him.

4. M83, “Midnight City:” Mystical and enchanting, “Midnight City” is the soundtrack to a night of transcendence. Vocalist Anthony Gonzalez ventures the city streets he calls his “church,” his softly-distorted vocals painting vibrant pictures from various settings, only to create an atmosphere of longing and nostalgia. You can imagine Gonzalez walking the city streets with intrigue and admiration: a neon street here, a well-frequented lounge there and one of the tastiest saxophone solos ever, to top it all off (kudos to you James King). “Waiting for a ride in the dark,” says Gonzalez. Please, take us with you.

3. The Naked and Famous, “Young Blood:” The hook says it all: “Yeah, yeah, yeah, yeah” says vocalist Alisa Xayalith defiantly, her half-sung, half-monotone delivery a slap in the face to conformity, and a yearning desire to stay young. Fuzz-guitar and droning, buzzy synths sway somberly behind upbeat drums, the perfect accompaniment to Xayalith’s melancholy dance.

2. Foster the People, “Pumped Up Kicks:” Behind this song’s sunny and cheery demeanor, actually lies a narrative inspired by delusional youth and homicidal thoughts. Disguised by wavy, upbeat guitars and an infectious bassline, the dark lyrical content comes off as an unpredictable surprise, leaving listeners in disbelief as they ask themselves, “did this guy really just say this,” while still tapping and moving their head to the beat. “Pumped Up Kicks” is an ode to songs like “Semi-Charmed Life,” or “Gone Daddy Gone,” reminding listeners that you cannot judge a song by its happy cover.

Adele's "Rolling in the Deep" debuted at the top of our 2011 best of list for songs (photo via Adele's Facebook page)

What do songs about love, homicide, rambunctiousness, promiscuity and redemption have to do with one another? The answer is simple: these songs were some of the best that this year had to offer. We experienced what a broken heart feels like; we went outside to embrace another day; we put on our kicks and hopped to a merrily sound with a not-so-merrily narrative (seriously, did anyone really think that was what the song was about?); and lastly, we danced in a midnight city, nostalgically taking a walk on 80s synths and dance beats. Are you ready to reminisce on the best songs of 2011?

1. Adele, “Rolling in the Deep:” Do not deny that you sang this heartbreak anthem at least once, if not more, this year. Adele’s cries for relationship gone sour, was everybody’s go-to song as they cried their pains away, while strutting their stuff to the powerful, crescendoing Motown-esque guitars and drums that accompany the lonesome songstress. “Think of me in the depths of your despair, making a home down there as mine sure won’t be shared,” says Adele, her fiery fervor enough to leave the auditory senses melted. Yikes.

11. Lykke Li, Wounded Rhymes: Lykke Li is dangerous. Behind her girlish qualities, is a woman whose displeasure with unrequited love has since transformed into something much larger and powerful than what we were first introduced to with Youth Novels. Nostalgically, Lykke Li attacks love like the greats: Ella Fitzgerald and Bessie Smith, Lykke Li follows in a similar manner, fearlessly treading behind her false hopes in finding love, her journey never-ending. Lykke Li’s sadness is indeed a blessing; a blessing that, although tragic, is beautiful. Wounded Rhymes is a reminder of the unpredictability of love, and the many feelings it can leave us to experience.

“Get Some”

As soon as the droning buzz and thumping drums kick in, you know Lykke Li means business. “You gon’ get some,” says Lykke Li with power and assertiveness, her delivery made that much more forceful by an onslaught of echoed background vocals and whizzing guitars.

Click for B-Sides #10 Album of 2011

The first single off the album, “Lonely Boy”, is a perfect indication of the shift from their last albums’ soul-rock, Brothers, to their current sound that evokes fast paced retro-bop. Dan Auerbach stated the shift toward a solid rock album and composing on the spot in studio was their main intention with the album. To help conceive the album, the band tapped their previous producer, Danger Mouse, who produced their breakthrough album Attack & Release, as well as “Tighten Up”.

The album as a whole is catchy. It’s sleek and glossy with none of the grime of their previous albums that defined their image and sound. This isn’t a bad thing considering their current status as a top of the chart rock duo.
“Stop Stop” and “Dead & Gone” are destined to be crowd favorites when they’re played live. “Gold on the Ceiling” harkens back to the bands’ grimey bar house sound, while “Little Black Submarines” begins like a long lost acoustic White Stripes track until it breaks into the Black Keys signature guitar riffs. “Run Right Back”, “Sister”, and “Hell of a Season” are infused with a healthy dose of The Clash with a hint of Hall & Oates “You Make My Dreams Come True”. “Nova Baby” sticks out from the bunch as the least Black Keys sounding track of the album, but fits the overall radio ready sound of the album.

El Camino may not have the same in your face attitude of the previous albums because it doesn’t need to. Having embraced their humble beginnings and rocked venues to rubble, The Black Keys have earned their place at the top and the album is a celebration of that.

The Wilderness of Manitoba

Chamber folk rockers The Wilderness of Manitoba are gradually rising to the top of folk rock supremacy. Hailing from Toronto, Canada the quintet succeeds in capturing the attention of their listeners through the use of intricate, luscious vocal harmonies and beautiful arrangements. On tour with cello-driven trio Rasputina, The Wilderness of Manitoba took time out of their schedule to talk about touring experiences, recording their latest album and the reemergence of folk music.

B-Sides: When You Left the Fire came out earlier this year, and the reception from both critics and fans alike have grown exponentially. How has it been seeing your debut album being so well-received?

Sean Lancaric: It is a welcome surprise. No one can predict these things, and it makes us feel good that people are responding. The music is coming from an honest place, and I think listeners can hear that.

Let’s talk about the album a bit: was the writing process organic and smooth most of the time, and how was it recording in a church?

SL: Everyone in the group is a songwriter, and brings songs to the table. We all feel free to suggest ideas, but the final verdict goes to the primary songwriter. Everything about how this started and continues to grow is organic: if we have to force it, it’s not worth doing. That said, there are strong opinions in this band, but in the end we all care about one another and what’s best for the song. The church was brought to our attention when we were asked to record back up vocals for our friend Shawn Clarke. We liked the space, and started recording shortly afterwards.

I like how you guys go with a “top-down” approach considering most do the opposite. Has this always been the band formula due to everybody being a vocalist, or did this grow out of trying to find other methods of recording?

SL: A good song should be able to be played with a guitar and voices in our opinion, and it’s how all of our songs begin. The voices are important to us and are sorted out first, but when we start the process of recording we explore different approaches and fill in the space that the song has given.

Hailing from Toronto how has the eclectic music scene influenced your style of writing music?

SL: We’re fortunate to be a part of a really vibrant arts scene/community. We’re incredibly inspired by those around us, and we love to support the community that has supported us for so long. Artist’s pushing artists to be better: it’s a great place to create.

I like how you guys will sometimes use different instruments depending on the venue/to give a certain song a new flavor. How did that come about? Do you just like to experiment and see how the instrument takes a song in a different direction?

SL: We always try to play with what we can carry on our own backs. Touring and generally playing anywhere is much easier this way. The space is always the final member of any band, and he is the first to get to the gig and the last to leave. It’s best if everyone else in the band listens to “him.” We love adapting to each unique space.

Will and Scott you performed under The Wilderness of Manitoba moniker before the addition of Melissa, Stefan and Sean. How was it performing as a two-piece before becoming a quintet, and were there certain reasons why you asked Melissa, Stefan and Sean to join over the many other local artists you knew?

Will Whitwham: The growth of the band was a really organic process. We played as a two-piece in the beginning, but realized that we needed more voices to play the songs that we had already recorded for our EP. We were all friends in the city, and knew of Melissa and her abilities, so she was the third, and we played a show or two as a three-piece. Stefan came onboard shortly thereafter, and within a few months Sean was playing with us, and all of the pieces were in place.

Will I read in another interview how your mother wrote a song for the group’s EP and there are many other songs written by her for you guys to use. What led to incorporating “Evening” on the EP and was she thrilled to hear your guy’s interpretation of the song?

WW: “Evening” was the first song that the four of us (pre-Sean) sang together and recorded. It was a tough time, as Will’s mother had just recently passed away and never did hear our version, but we used her song to bond as a group and pay tribute to a great woman, mother and musician. We included her original version on our EP as well as ours.

The folk scene throughout the world seems to be reemerging with yourselves, American groups such as Fleet Foxes, Okkervil River and UK folk rock group Mumford and Sons. How is it contributing to the scene, and do you think it will continue to have resonance and create an impact like the folk scene of the 60s?

SL: It’s nice to know that music we love and love to make is coming into a more mainstream consciousness, and its also nice to see folk bands doing so well in North America and Europe. The 60s were an incredible time for many more reasons than just the folk scene, and one could draw some similarities to present day events. Many of our heroes were in the 60s folk scene. Will the current trend have such an effect? Who are we to say.

How has the tour been with Rasputina so far? Any cool experiences that have happened on tour?

SL: The tour is going very well. We are safe, healthy and having fun. Some things we all have enjoyed are talking to the friendly people in Asheville, North Carolina, sampling the various local beers and driving The Blue Ridge Mountains. We obviously didn’t do those two things in that order…

What is next for you guys after your tour?

SL: Canadian winters are best spent in studios, and that is exactly what we’ll be doing. Expect a new record to emerge from our l’hiver hibernation.

Photo via Morrissey's Facebook page

Iconic British rockstar Morrissey performed at the Bass Concert Hall in Austin, TX. Opening for Morrissey was alternative rock songstress Kristeen Young. Young is indescribable: her music relies solely on the piano as she bashes away on chords that produce a delightfully cacophonous sound. Unrelenting and abrasive Young becomes possessed by a musical apparition during her live performances, her voice distinctive and powerful, accompanied by thumping piano keys and electronic sounds.

To question Morrissey’s impact and influence on English pop and rock music would be a foolish mistake. From his contributions in The Smiths, to his own solo career, Morrissey has gradually made the rise to superstardom, resulting in sold out performances throughout the world, and even festival appearances like that of the Coachella Festival, and our very own SXSW.

Starting off the night was Kristeen Young. The lights dimmed, leaving one lonely, flickering light illuminating the mysterious Young. In her eccentric attire Young took to her piano and went through a collection of blisteringly-intense tracks from her latest release, V the Volcanic. The EP’s title song was a treat for the audience. Charismatic and sensual Young made the stage her dancefloor as she elegantly moved around splashes of vibrant colors projected onstage. Giving the audience a lighthearted laugh the vocalist even went behind one of the security guards and began moving her hand around him, resulting in an array of laughs throughout the concert hall. Ending with “Imitation of Life” the stunning songstress sung over staccato snare drums and bass, her stream of consciousness-like delivery contrasting against the minimal arrangement behind her.

As Young left the stage the lights came on again, revealing a barricade that separated the stage from the audience. Perplexed I wondered why the Bass Concert Hall needed a barricade, but my curiosity was answered soon enough. Audience members from all sides of the hall immediately ran to the stage: some came from the outer sides of the hall, while those brave and gifted with long legs climbed over seats just to make it to the front before it became crowded.

Morrissey did not keep us waiting long: going into “I Want the One I Can’t Have,” Morrissey and his gang of rockers had us nostalgically reminiscing of our first encounters of The Smiths. Mysteriously enticing, Morrissey still can rock out just as he did during his musical beginnings. From the melancholic “Maladjusted,” to the Vegetarian anthem “Meat Is Murder,” Morrissey’s distinguishable baritone delivery resonated over droning, discordant guitars and punch-packing drums. Performing alongside a large backdrop that displayed images of meat factories and the slayings of chickens, Morrissey was hidden by darkness, his voice soaring over the concert hall. Walking offstage briefly the band took over: sonic guitars and the hitting of a large bass drum and gong engulfed the concert hall with an array of sounds, until diminishing into a wave of gradual silence.

Ending with “Still Ill” Morrissey had every woman, and maybe even some men, left swooning over him. Taking off his shirt the frontman threw it into the crowd, resulting in battle of strength from a group of crowd members who wanted to keep the prized item.

Morrissey’s performance was outstanding, but what truly left me astonished, and somewhat appalled were the audience members fighting for his shirt. Whether intentional or not, would it be wrong to say that Morrissey’s concluding action before he walked offstage, was a sheer representation of the human’s instinctual desire to fight for things we do not necessarily need? Morrissey has always been a man of controversy, specifically for animal rights. Maybe Morrissey was trying to make a point: like the animals we dismember for our own pleasure, we do the same for the materials we want, but do not need. We will pull, fight and yell for what it is we want, without taking the thoughts of others into account first. This is why Morrissey is still the legend he is today: his music and actions are insightful, revealing a certain understanding of the world around him.

Photos by Eli Watson

Rasputina performed at The Parish in Austin, TX. Opening up for the strings-driven trio were folk rock newcomers The Wilderness of Manitoba.

The Wilderness of Manitoba is a great combination of old and new school folk. Their strength lies in their surreal and flawless four-part vocal harmonies, accompanied by minimal, yet powerful instrumental arrangements.

Rasputina is a strange blend of fantasy, theatrics and Victorian era allegories and fashion. Declaring themselves as a band that has existed for “more than 20(0) years,” Rasputina appeals to the masses with their unorthodox melodies, driving strings and eerie vocal harmonies between front lady Melora Creager and Daniel DeJesus.

Starting off the night’s festivities were The Wilderness of Manitoba. Going through songs off of their latest release, When You Left the Fire, Manitoba had enthralled everybody in attendance. From the bootsy, foot-stomps of contributing vocalist/percussionist Melissa Dalton, to the soothing and lush guitar strums of Will Whitwham, the group was flawless in their delivery. “Orono Park” was an instant fan-favorite: soothing vocal harmonies atop silently strummed guitar and banjo, Manitoba left us mesmerized. “Summer Fires” is one of the group’s many gems: dynamic drums from Sean Lancaric, fluid bass from Scott Bouwmeester and dreamy strings from cellist/multi-instrumentalist Stefan Banjevic, all accompany the vocal unity between Dalton and Whitwham.

Following The wilderness of Manitoba were Rasputina. Veiled in darkness the group went to their places: frontlady Melora Creager, cello in hand, glared at the audience in a way that left us petrified and shocked. Alongside members Daniel DeJesus and Dawn Miceli, Creager went right into “Hunter.” Creager and DeJesus compliment each other so well. Whether it’s a call and response in their discordant harmonies, or intricate cello parts, the duo feeds off of each other’s energy. Going through songs “Giants,” “Rats,” and “Sweet Sister Temperance,” the trio had audience members captivated. Creager’s incorporation of effect pedals is impressive: one moment her strings are soothing and elongated. The next, filled with distortion and fuzz, producing staccato-like sounds that attack with piercing forcefulness.

This show was interesting in that it wasn’t like any typical performance. A certain surreal, atmospheric mood was maintained throughout the night. From The Wilderness of Manitoba’s beautiful and powerful performance, to Rasputina’s appreciation and admiration of the Victorian era culture, this show was intriguing and unique.