Carissa’s Wierd ::: photo by Josh Lovseth

Mat Brooke: “This is so much different than playing house parties and basements.”
Jen Ghetto: “You can’t even believe it.”

Some bands, no matter how gifted the musicians are or how beautiful the songs they write, are best suited for basements, small clubs and the intimacy of headphones. And having seen the rapturous whisper that is Carissa’s Wierd barely able to compete with a chatty crowd of a thousand at The Showbox last Friday, I’m positive when I say that they are such a band.

Last Friday, the lauded and long-missed Seattle band took the stage for the first time in seven years in front of the largest crowd they had ever played at a nearly sold-out Showbox. Seeing them take the stage with looks of disbelief and trepidation, trying to fathom that the crowd was there for them and their repeated heartfelt thank yous, was by my estimation, an unmissable moment in Seattle music history. Unfortunately the din of conversation that challenged the delicacy of Carissa’s Wierd and a back bar full of people hell bent on proving Seattle will talk through anything, didn’t seem to agree with the momentousness of the occasion or the reverence it deserved.

It wasn’t all conversation that was challenging the band on stage, all over the Showbox there were people shrieking with unabashed ecstasy and making sounds usually not heard outside of the bedroom. And throughout the Showbox, which I traversed trying to find the best spot to actually hear Jen, Mat and Sera harmonize, games of “Who’s the Biggest Cariss’a Wierd Fan Here?” were being played. It’s a game jam band fans are most familiar with, the one where people yell out “Oh I know it!” or “Oh my God its _____” at the first note they recognize. They then proceed to sing along at the top of their lungs to further prove their devotion to and archival knowledge of the band. 30-somethings around me giggled about how seeing Aveo and Carissa’s Wierd made them feel like they were in college again and everywhere I looked there were wide grins and lots of happily tear stained cheeks.

Those sounds, as well as Mat’s emphatic thank yous to the crowd (including the telling “thank you so much, this is the biggest show we’ve ever played”), didn’t distract from the show as much as the conversation; rather they punctuated and reminded that what was happening at the moment was special, a once-in-a-lifetime event. The songs that got the biggest reactions from the crowd were the few songs like “Blanket Stare” and “Alphabet on the Manhole” that didn’t make Hardly Art’s retrospective, where knowing and singing along was a mark of true, original fandom.

Had I been such an original fan, and this wasn’t the lone time I had the chance to breathe with the band’s sighing songs, perhaps the chattiness wouldn’t have bothered me so much. But I wasn’t. I just discovered Carissa’s Wierd this year, courtesy of Kevin Cole’s afternoon show on KEXP and have spent the majority of this year listening to their albums on repeat and kicking myself for having never seen them. When Hardly Art announced they would be reissuing the band’s records, including a “Best Of” and that Carissa’s Wierd would be performing once again, I actually yelped with joy and sent an ALL CAPS thank you to my friendly Hardly Art press person. I didn’t care that I’d paid a lot of money for copies of the original releases on Amazon, I just relished in the fact that I would be able to hear these songs that have lived in my heart and headphones all year, live and against all odds. The world was a wonderful, giving, redeeming place and from the moment the show was announced, I counted down the days with giddy anticipation.

And, as long as you could hear them and appreciate the perfectly mixed sound that night, the band delivered upon the heart-aching promise of their albums. The emotion of songs like “You Should Be Hated Here” and “So You Wanna Be a Superhero” hit you square in the chin, which was inevitably quivering. Jen Ghetto sings in a sighing whisper that you find yourself craning towards even when listening on your headphones, thin on forcefulness, but thick with longing and sad-knowing. Mat Brooke’s voice haunts like the ghosts of loss that many of Carissa’s Wierd’s songs center around. And at times, the strains of Sarah Standard’s violin felt as if they were being played upon my spine. There were moments of magic, where with your eyes closed, the songs felt like long forgotten lullabies being sung just for you. That is to say, exactly how they sound on their albums and how I imagine they sounded in those basements and house parties a decade ago.

Even with the largest crowd of their life, Carissa’s Wierd stayed true to their original incarnation, as that band that thrived in the intimacy of small shows, sticking to the softest and slower part of their canon and refusing to sing louder or faster to match the size of the show. And just as Carissa’s Wierd wouldn’t change for their one-night reunion, it would seem Seattle hadn’t changed for Carissa’s Wierd. The faithful fans were there early and they stood rapt, hanging on every word, hands raised towards the stage in blissful praise. Meanwhile, the disinterested or less knowledgeable arrived late, chatted away mindlessly and once again completely missed the beauty and subtle brilliance in their presence. I for one am grateful that the Carrisa’s Wierd reunion show only lasted an hour and a half, but that the band and their songs get to live forever in my headphones, just where they sound the best.

Carissa’s Wierd ::: photo by Josh Lovseth

See the full set-list and more photos from the show, after the jump

Read the rest of this entry »

Something to make your Friday go a little easier.

If you’ve got a bit of time, you can watch Mudhoney’s pretty good in-store at Easy Street from last Tuesday courtesy of SyncLive.

Also…

Grand Archives visited Daytrotter yesterday. Mason Jennings did on Tuesday.

Mason Jennings doesn’t play music to be cool. He plays because he has something to say.

For his newest release In The Ever, in record stores today, Jennings took to the Minnesota woods and home recorded much of the content. In a recent current.tv self-interview, he talks about the new record, we get clips of a few of the new songs, and he addresses the thinking behind “I Love You and Bhudda Too,” calling it wordplay and more of a nursery rhyme than an article of his own personal belief. One listen to his catalog of records from the past few years though, and one can easily find a pattern of overt lyrics about brotherly love and social consciousness.

While this album does have it’s share of unconventional songwriting, something that it’s fair to say has been somewhat hit and miss over the last few albums, Mason’s voice and singing style are naturally unconventional, and thus it’s tough to hold him to the same standard. His voice is low yet he’s become completely unafraid of his higher registers and is singing high for much of this record. Both “Fighter Girl,” and “I Love You and Bhudda Too” feature some unusual playfulness at his high end. And In the Ever, just as I wanted, does have a live version of “Your New Man” on it. Yes. I love that song and haven’t been able to find an mp3 anywhere.

In the past couple years you may have seen Mason opening for Modest Mouse (who’s Issac Brock put out his last record) or Jack Johnson (who’s Brushfire Records is putting out this record), or headlining his own tour with Ferraby Lionheart along for the ride. In 2008, he just rode through Seattle with a sold out show at the Showbox, will be touring Europe with Jack Johnson and G Love in June, and will be playing Bonnaroo and Lollapalooza. It’s looking to be a good year for Mason Jennings.

For the next week you can listen to In the Ever at Spinner. Yes, the entire album. Or snag an mp3 below.

MP3: “Fighter Girl” - Mason Jennings from In the Ever

Myspace: Mason Jennings

Mason has been a pretty DIY guy, and this video for “Fighter Girl,” the first single of his upcoming release In The Ever, is pretty understated and fits his personality really well. His previous video for “Be Here Now” was kind of a weird one.

Mason Jennings will be at the Showbox this Saturday, May 17 with Missy Higgins and Brett Dennen. It’s already sold out.

In The Ever hits record stores, next Tuesday May 20.

Myspace: Mason Jennings

Mason reveals the details of his next album, slated for a May release on pal Jack Johnson’s record label, to Rolling Stone:

When Johnson’s career skyrocketed, he offered Jennings a spot on his label, Brushfire Records, and Jennings has finally taken the offer. In the Ever, due in May, features folky tunes and meditative lyrics — “I Love You and Buddha Too” holds the power to end all holy wars. “I made the album at a house in the Minnesota woods using Garage Band,” says Jennings, who will open for Johnson this summer.

Rad. As long as it has “Your New Man” on it, I’ll be happy. Mason releases the albums that he wants to make, and while the last few haven’t exactly been commercial successes, as long as he stays true to his style, he can always count on me to support him.

In putting together this post I realized I never put up the picture set of Mason’s last visit to Seattle at Neumos. I’ve now rectified that.

Flickr: Mason Jennings, Ferraby Lionheart @ Neumos - June 4, 2007

[A day late. But it's the intention that counts, right? -josh]

I’m always thoughtful on this day (MLK Day that is). While I am not fortunate enough to have this day off of work, I acutely appreciate the person to which we are meant to honor on this day as I personally feel Martin Luther King Jr. deserves respect as the greatest American to have ever lived. I found it rather amusing that there was such media uproar regarding the out-of-context Hillary quote this last week, and their claims of her minimizing King’s role in relation to that of Johnson’s role as President, and with an especially dubious racial undertone to it all. In my mind, King’s role in history is unimpeachable. To even consider that his contribution could be ignored or diminished with regard to the realization of civil rights for all citizens of this country is beyond ridiculous (and not at all what Hillary was saying). After the initial moment of amusement though, I was reminded that history is young yet, and the reason for this day. This day is a manifest reminder that Martin Luther King Jr. was the embodiment of American values, and this day is a defense against those who would threaten or diminish that memory.

On his program last Friday, in response to the false furor of the media, Bill Moyers, a close assistant to President Johnson at the time, recalled the relationship between the two and how each was involved in passing the Civil Rights act of 1964, and then the voting rights act of 1965. What was acheived would not have been possible without each personality doing what they did best. For Johnson that was politicking. For King, that was marching and speaking. I highly suggest you watch and listen to his short commentary. It’s a highly educational essay from one at the heart of the debate and an apt remembrance of two larger than life figures.

Then take a moment to listen to his landmark “I Have a Dream” speech and reflect. Reflect on what it means to live, nay participate, in a democracy. Reflect on what it means to be an American (and not a Patriot). Reflect on a the constitution King layed out for future generations to strive and accomplish in an America that is still yet to be realized in full.

And since this is a music blog, here’s a track I always come back to on this day.

Mason Jennings - “Dr. King” from Birds Flying Away
dr. king - mason jennings

At least once a year, I go into a week or so of complete obsession with Bob Dylan’s catalogue. This years bout was spawned when I received the soundtrack for the forthcoming Dylan bio-pic, “I’m Not There.” The two-cd soundtrack is filled with one amazing cover after another, by some of the most relevant and talented musicians today. When perusing the 34 tracks, I was pleased to see it didn’t read like Dylan’s greatest hits. Of course someone covered “All Along the Watchtower,” but the majority of the album delves in to the depths of Dylan’s catalogue from his earliest recordings to his Christian rock album of the late 70’s.

The song I was most excited to see represented on the album, is one my absolute favorite Dylan songs - “The Lonesome Death of Hattie Carroll” (listen to the song here) off Dylan’s thrid album “The Times They-Are A-Changing.” I consider “The Lonesome Death of Hattie Carroll” as one of the great American protest songs, while I imagine most folks would give that honor to the title track of the album. Unlike “The Times They Are A Changing,” “The Lonesome Death of Hattie Carroll” plays as a defeated dirge, in the narrative story style of earlier great American song writers. It’s not brash or hopeful, it’s matter’o'fact and woeful. And sadly, it sounds like a story that could be easily repeated today - where is our generation’s Bob Dylan to write about Abu Ghraib and The Jena 6? While Mason Jennings does a fine cover for the I’m Not There soundtrack, it lacks the authenticity of the original. It doesn’t break my heart the way Dylan singing it does.

The soundtrack and the devoted listening it has inspired has had me thinking about my other favorite Dylan songs, though sadly none were featured on the album. “Girl from The North Country,” sung with Johnny Cash on Nashville Skyline, an album which featured a number of Dylan’s most beautiful vocals. (Which is not as oxy-moronic as it sounds, Dylan’s voice on “Lay Lady Lay” is perfectly melodic.) The other song in contention for greatest Dylan song ever (in my mind) is the wonderfully vindictive - “Don’t Think Twice It’s Alright” from The Freewheelin’ Bob Dylan.  I am also a sucker for “It’s Alright Ma, I’m Only Bleeding” - which is just about my favorite song title of all time.

And all this listening and loving of Dylan has got me wondering what your favorite Dylan song is? What about your favorite Dylan cover?

oh mason, it has been too long. years in fact. just when i had forgotten how effing good you really are, since you haven’t been to seattle in a while, you come to neumos and kill it. you started off your set with a solo version of ‘Simple Life’ and from that moment you were on fire. your first song with the band, ‘Fighter Girl’ from your new EP had me once again wondering why people don’t take more notice of you.

the new song ‘Your New Man’ was definitely my favorite part of the night along with downright chilling renditions of “Nothing” and “Jesus are you Real?” it seemed like you played forever, but nobody left, even after you left the stage. i haven’t seen such a strong incitement for an encore from the crowd in ages (maybe ever?).

i’ve often wondered whether you would ever be headlining the bigger venues with the big boys, and tonight you proved you deserved to. yeah, i know every mason show is a damn carleton college impromptu reunion in this town, but that makes things a bit more fun and light hearted and it’s gotta feel alot like a hometown crowd. no piano though this time though huh? thats okay. that whole bit is a bit overdone these days. you did it when nobody else was doing it and now everyone is into it. you and your acoustic is all you need really. 

your tour mate ferraby pretty much kicks ass too. i’ve never really dug into his music, but after seeing him last night, i was most definitely converted. he’s kinda got that bob dylan thing going, huh? i thought it worked out pretty well.

come back soon ya hear.

I was perusing the sites of a few local venues to flesh out my calander for the next few months and I was pleasantly surprised by what I discovered.

     June 1 - Menomena - Neumo’s
     June 4 - Mason Jennings - Neumo’s
     June 20 - The Cave Singer’s - Neumo’s
     June 23 - Sage Francis - Showbox
     June 29 - Sea Navy - Mars Bar

and best of all…. the one to write down, right now:

July 14 - Sound on the Sound’s First Concert - The Blue Moon

We hope to get a few of our favorite Seattle bands to play for us at Seattle’s venerable dive bar. We’ve been wanting to host a concert for quite some time now and we’re over the moon (oh god. the coming pun was not intended, but i’m not backing out….) that The Blue Moon has offered us their hallowed halls.

I just got this in the fanclub mail today:

Mason Jennings’ is pleased to announce the release of “IF YOU NEED A REASON EP”, which features 5 songs including “If You Need A Reason.”
…
Here is a note from Mason on the EP…

“The cover for this EP is a drawing by a friend of mine who I grew up with in Pittsburgh named Joshua Duff. The songs on it were songs I recorded for the record Boneclouds. They didn’t fit within the economy of that record but I felt as if these five fit nicely together on their own and am excited that they are now available for you all to hear. “Sacred Place” is a song I wrote after I was given my mantra in California by a woman named Nancy DeHerrera. She is a wonderful woman who was, among countless other amazing things, the liaison between Maharishi Mahesh Yogi and the Beatles in Rishikesh, India.

“Fighter Girl” and “To You” were songs I wrote during a west coast tour in the Autumn of 2004. All three of these were recorded in Minneapolis at my friend Chad Weis’ studio on the same day I recorded the songs “If You Ain’t Got Love”, “Which Way Your Heart Will Go” and “Jesus Are You Real”. The song “Boneclouds” was written in an old wooden chapel at a camp in Northern Minnesota in July, 2005. It was recorded in Cannon Falls, Minnesota by my friend Noah Georgeson the following September as wild turkeys ran through the woods outside.”

Mason
Minneapolis, MN
11/12/06

Mason Jennings is one of my favorite artists out there right now who is just now being discovered and getting props from other musicians. His newest album from this year “Boneclouds” is not nearly as mass market accessible as some of his other albums, however it contains some of the most mature songwriting yet from Mason. He manages to sing pop songs disguised in a folk songs clothing. He has been a real life troubadour for years who continuously manages to create joyous songs and tribute songs, love songs and story songs, religious songs and political songs, and everything inbetween all with the same serious voice and apparent conviction. With such conviction that you just believe every song is extremely personal and wonder whether what he is singing about right at that moment happened to him.

I’ll have a review of “Boneclouds” near the end of the year.

Related

MySpace: Mason Jennings

Official: Mason Jennings