ChaseMacri.com » Wilco

Ocean Rivals

Chase — Sun, 25 Jul 2010 06:08:15 +0000

This article is an artist profile of a local St. Louis rock band called Ocean Rivals that I did for the upcoming issue of Eleven. I interviewed the band before writing the article. They were my first “band interview.” The “Quick Tracks” at the end are short descriptions of two of Ocean Rivals songs. Here’s the article:

Ocean Rivals are a rock band. What you see is what you get. Listening to their music for the first time feels familiar. It doesn’t sound particularly new, it just sounds right. Their influences are culled from past half century of rock and roll: the Beatles, the Kinks, Oasis, Wilco, and Spoon, to name a few. However, Ocean Rivals’ sound cannot be summed up by any one of those bands alone. Their music feels old yet fresh at the same time, but most of all, it sounds damn good.

Ocean Rivals are four guys who have been playing in the St. Louis scene since they first learned how to play their instruments. Vocalist and guitarist Daniel Alexander and guitarist Andrew Joseph have been making music together since they were teens, and they formed Ocean Rivals with bassist Scott Edward and drummer Robert Lewis (and a third guitarist who has since left) after their respective bands broke up. “We felt like they had the same drive and mentality for the kind of music we wanted to play. It just felt natural,” says Daniel.

That was almost three years ago. Ocean Rivals have since put out a record, and are applying the finishing touches to a new full-length entitled Summer’s Dogs. While all the drums and the mixing are being handled by Firebrand Recording, they’re doing the rest themselves. Since there is no rush on the finished product, why not be a bit picky? “We really wanted to take the time to dial in very specific sounds for all the guitar parts” Daniel explains. Despite doing most of it on their own, there was no shortage of gear to go around. “We’ve been in the scene so long, and we’re friends with really cool people and bands, it’s so easy to call someone up and get a Les Paul for this, or a nice vocal mic for that.” It’s nice to have friends with toys.

Summer’s Dogs should be out by the end of the summer, and Ocean Rivals can been seen live August 6th at Lemmons with another St. Louis (and Eleven) favorite Troubadour Dali. Be there, and see if anything sounds familiar to you.

Quick Tracks:
“Submarine Plot Thickens”
An anthem with swing and swagger. A straight rock intro that gives way to something more complicated. Excellent vocal delivery of several tongue-twisting lines with a melody that twists and turns as well, but remains in your head. Think Modest Mouse and Oasis filtered through a Fender Twin Reverb washed in sea foam.

“The Cruise Ship Song”
A banjo and piano driven, folky pop tune about taking a boat ride off the edge of the world. Could be a Beatles B-side sung by Being There-era Jeff Tweedy. Cute and delightful. Check them out yourself as both tracks can be downloaded at http://www.oceanrivals.com/freetracks.zip

Check out Ocean Rivals at their Myspace page here
Eleven Magazine

Berry Live at McPeak’s Barn 10/27/08

Chase — Tue, 28 Oct 2008 03:32:00 +0000

I just arrived home from seeing my very first live concert at Greenville College Professor Rick McPeak’s barn just outside of Greenville. I’ve been out to the barn a couple times. Once at the end of last semester for some St. Paul’s get together, once for helping Thomas Johnson want the garden he planted there. Every time I went there it was warm, tonight was not at all warm. It was downright cold, indeed. 41 degrees. The concert was in benefit to Travis Hall’s “Pumpkin Patch of Peace.” Travis started the patch to help a village he met in the middle east with building a well. He plants the seeds in the summer, and waits a few weeks for harvest. This year, in spite of some tricky weather, was a plentiful harvest.
In celebration of the plentiful patch of peaceful pumpkins, the GC community was invited to the McPeak barn for food, fellowship and some rock and roll. After several rounds of piping hot chili and soup, washed down with a variety of breads and brownies, Rachel Bowden played a set. While having seen Rachel play a few times before, I was not there for her set though I heard it was enjoyable. I missed her set because I ran home to pick up my guitar for Joey Lemon.
While eating my delicious chili and brownies, Joey asked if I still had the Rickenbacker guitar I bought about 4 years ago now. About a year after I first purchased the Rick unbeknownst to Joey he bought the same guitar that I had. Obviously great minds think alike. It’s a beautiful instruments, that feels and sounds great. He wanted to know if I still had it because, while on one of their “Amtrack” or “Bus” tours between Sacramento and Las Vegas someone stole his. I extended the obvious condolences and he jokingly asked if he could play mine, assuming I had it on me. I of course didn’t have it in the car, but offered to go get it since I lived pretty close. Joey didn’t want to inconvenience me, but I went and got it anyway. That was why I missed Rachel’s set. Oh, I also had to restring the guitar because the strings were hella old.
I arrived back at the barn with my freshly strung Rick just in time for the beginning of Berry’s set. They had just finished setting all their stuff up when along came a blast from the past. Paul Goodenough nearly swore when he was my Rickenbacker (since he didn’t see me bring it in.) Matt Aufrecht and Joey were both elated and they were ready to start.
You’ll notice I only mentioned three names. Berry is now a three piece. Joey Lemon on vocals and guitar, Paul Goodenough on drums and vocals, Matt Aufrecht on piano and vocals. No bass guitar (formally filled by Sam Campbell, Kit Hamon, and many others.) No second guitar (formally filled by Zach Heyveld though about 3 years ago). No secondary keys (formally Chris Kav, Tim Mon, Liz Goodenough who also played flute.) Three piece.
Also, because they’ve been touring on buses and trains and stuff, they’ve really simplified and shrunk the size of their gear. Paul has always played a simple kit, but his kick drum was 16′ x 12′. I have NEVER seen a kick drum SO SMALL in my life. Oh, his lone tom had to have been 8 x 10, maybe, and he was playing a piccalo snare. Teeny tiny drum kit, Paul.
Needless to say, by the looks of their gear (and every rock and roll gearaphile snob will critique a band by their gear while they’re setting up always before they play their first note because that’s what you have to do to be a gearaphile snob because we ALL know that an LTD through Mesa Dual Rect stack WILL sound like shit before a chord is even thought to be strummed) I wasn’t sure what to expect. Berry opened with (I think) Running from Place to Place which is a song from the Floundering EP and I was amazed by how tight and full they sounded. Matt covers the low end (although on Empathy, he played a lot of lower keys throughout, really bassing up the mix). Berry has always been pretty good at dynamics, but they were GREAT tonight.
Their set was comprised of new stuff and old stuff, though they didn’t do Fifty-eight, they did do Tick Tock, Courtney Luv, Middle Man, There Are Several (which, no matter how many times I hear it, I’m always surprised when Joey screams doing the first noisey section) I think they played about 11 songs and it was wonderful.
Seeing Berry play made me think of two things: 1) it’s amazing how huge they sound this three guys and no bass guitar. 2) how can this “less is more” principle be applied to the two styles of music I love to play most: hardcore and post-rock.
While hardcore is rooted in the “play as hard and as fast as possible” mentality, there is plenty of room for dynamic shifts, tempo and meter changes, breakdowns, rock stops, builds and feedback for the music to be more than a non-stop onslaught of brazen loudness. My hardcore implemented these ideas some, but could’ve stretched this idea much further assuming everyone in the band in on board with the idea. Which made me think about how difficult it is to find several people who are: 1) very creative, and also 2) share the same vision for the music your group is trying to make. All the bands I have been in have had no more than 5 people in them. Even five is borderline too many people. Because its very hard to find 5 people who are 1) very creative and 2) of the same vision. While all five guys don’t have to be monotone in the musical ideas they have as that may lead to very sterile, uncreative music, they do need to know where they’re taking this music and it cannot be in several directions.
More often than not, you’ll have a band of four or five people and they will be lead by one, MAYBE two creative geniuses who will push the other members forward either dictating what they will play, or giving them a very neat outline where they can choose what crayons they’d like to use as long as they color within those lines. I think this is particularly true of groups that follow more of a pop-song format, though many, take Radiohead or Wilco for example, all contribute creatively to the formation of a song even though the bar bones structure was written by Yorke or Tweedy respectively.
A band like Berry, this probably also the case. Joey writes the songs, then the band destroys it a little, or completely, and then bring it back into a usable form that is similar, and dissimilar to what it was in the beginning and is now also a creation of the whole band’s rather than just Joey’s. While in my case in Pilots, I came with a pretty well crafted song, the band learned it, maybe adjusted a part here and there, or threw in a different back beat, and the song’s done. VERY seldom could I bring a melodic idea to the group and something great would come of it (with one exception, the song “His Hands” began as a simple riff, and through several jams did Matt and I come up with a structure that eventually gave way to a song.) But even this exception is much different to most of our songs. It’s over 6 minutes long, has three very dynamic sections from very quiet to loud, and has an extended intro and outro. Not at all like a few of the songs I wrote that were V-CH-V-CH-BR.
In another way, how can I apply these dynamic ideas to post-rock? Is it possible to create the same kind of melodic weight and transcendence of an Explosions 6 minute song in 2 and half using dynamic ideas that Berry does? Instead of slowing building a giant crescendo use more subtly choices for notes that build to chords and use scissors to cut and paste the low end giving certain “heavier” sections bottom end and weight while leaving “lighter” sections trebly and airy? Maybe? Perhaps the one of the beauties of post-rock is repetition and the way it weaves a melody like a theme throughout 3, 4 and 5 movements of a piece. This is undoubtedly true, but is it possible to do both?
I don’t know. I’d like to try. This makes me wish I’ll run into a few more people who I’ll be able to create music with again and that we’ll be “of one mind.” Perhaps JB will live close soon and we’ll find a drummer and a bass player who will make post-rock
music with us. Or Pilots will reunite in January like we’re taking about. Who knows. Until then I’ll just have the next time Berry makes it down, or see the Color Revolt or something like that.

New Wilco, for real this time

Chase — Sun, 20 May 2007 04:48:43 +0000

The new Wilco album Sky Blue Sky which was released this past Tuesday, March 15th features a band growing older, growing more comfortable with themselves, and with each other. Wilco’s last two releases 2002′s epic, landmark album Yankee Hotel Foxtrot and 2004′s A Ghost is Born is, as John Brit could describe, Wilco perfecting the art of deconstructing the folk song. Wilco began there career as an alt/country band with a folk frontman with rock tendencies and with each album the band added more weird sounds, textures, ambiance, noise, which took them from straight alt-country to something else entirely. Wilco is a band that understands the rock ethos, the working man, the Midwest, alienation, longing and regret, and can say so tongue in cheek (“Radio Cure”) or with painful honesty (“Elt”).

While the band has alternated members with seemingly every album, this line up has been the same since slightly after A Ghost is Born‘s release, on last years live album Kicking Television, and now on Sky Blue Sky.
The record was culled from a collection of live performances recorded in a circle at Wilco’s loft in Chicago, where they also recorded Yankee Hotel Foxtrot. But the two albums approach the recording process from two entirely different angles, and achieve two completely different sounds, both emotionally and sonically.

Sky Blue Sky is a mature, aged Tweedy and Co. just simply playing songs. In a interview Jeff Tweedy spoke of the band feeling that it was “more brave” to say what’s really on his mind in the lyrics and just play songs amidst the turmoil in the world today. The result is a feeling that we the listeners are sitting on the couch next to Jeff and the band, telling us stories, feelings, and thoughts that are candid rather than cryptic. It’s as if we are invited inside Wilco’s house and asked to listen to what’s on their hearts, rather than trying to figure it out between the lines. Consequentially the album feels very open, even light, and refreshing. This is the magic of Jeff Tweedy. He can overwhelm you with sheer power, layers, and poetry as well as in simplicity.

Sonically, the album sounds like a completely different band if you’ve only ever heard Yankee Hotel Foxtrot or A Ghost is Born. No deconstruction of the folk song, no insane density; the opposite of the “destroy to recreate” songwriting method previously employed (good thing or bad thing? I’m not sure on this release.) Minimum of overdubs lends a very live, what-you-see-is-what-you-get feel (including slight mistakes, like a note or two in Cline’s solo during “Impossible Germany”), but the band still manages to rock and hard on several of the tracks like “Shake It Off” and “Walken.” My only complaint is Jeff’s vocal should’ve been nudged down and Glen kit should’ve been nudged up in some parts, especially the softer parts, ’cause it sounds like the band is too far away from Jeff’s voice at times.
Overall, I like this new offering from these slightly older, slight more content Chicago-based boys very much. It’s soft, and sweet, but still rocks and still makes me scratch my head. And, oh, the plus-DVD version has 8 sweet live versions of the songs in the loft with comments from Jeff and the band in between about the album. Very nice.

Particularly favorite track: On and On and On
Overall rating:

new wilco

Chase — Wed, 25 Apr 2007 05:34:22 +0000

There’s a new Wilco record coming out next month. It’s release date is May 15th. It’s called Sky Blue Sky. I’m stoked. Almost as stoked as I am for the new Radiohead…

The new Copeland record…

Chase — Fri, 19 Jan 2007 01:30:28 +0000

…is absolute drivel. It’s abysmal. The lyrics are completely uninspired and vague for no reason at all. I don’t believe a word Aaron Marsh sings. It’s gross that, with the packaging for the album, they compared him to Sufjan Stevens and Jeff Tweedy. I’m disgusted, I freaking can’t stand this record.

Ian

Chase — Wed, 17 Jan 2007 01:32:26 +0000

I agree with Ian. Go to his blog, follow the link, listen to Wilco.

The brand new Brand New

Chase — Tue, 16 Jan 2007 00:37:11 +0000

Last week I heard, and then bought, the brand new Brand New album. I highly recommend it. So does AP, they gave it a 5/5 and along with a review the one-liner at the top read: “America finally gets it’s own Radiohead.” Wait a sec. That’s quite a heavy-hitter of a word to throw around. I had to check it out as I am usually appalled at comparing anything to Radiohead save Wilco. Wilco was always the “American Radiohead” to me. I gave it a listen, and it’s incredible. Brand New has come of age. Gone are the ties to emo-pop and Taking Back Sunday and in place is a very serious, mature rock band who new what they wanted to do when the entered the studio. This album sounds like Copeland meets Cursive or rather Copeland’s band minus Aaron plus Tim Kasher. Go to their myspace to hear a couple songs from it.

I’ve got a cool idea for this art project I’m starting. We throw a lot of stuff away at work. Cardboard, scrap metal, bad screws, old drill bits… I’m gonna use some of it for this picture of Jesus I’ve got in my head. I think it’s gonna turn out pretty good. More updates to come…

I feel so constricted

Chase — Mon, 25 Dec 2006 01:05:16 +0000

I resent this feeling just as much as I resent always having to be the one taking initiative.
Things have been weird and distant and I agree fully when he says “distance has no way of making love understandable.”
Not seeing you, not hearing your voice uninhibited by satellites and muffles, not feeling the warmth from your body
Is it too much? It’s only been a week.
We have so many left still
I don’t like the way life is right now, even though I know it’s where I’m supposed to be
At least that’s what I suppose
I haven’t heard anything either way about it (have I really asked?)
I don’t know if I should be out there trying harder for a better job, or if I’m where I’m supposed to be
Things on my body hurt and worry me
The band seems to be always falling apart
A bunch of my friends are doing things over new years and I wasn’t even invited
I don’t have a place with them, or at home, or in Saint Louis, or the alma
Everytime I’m back here I don’t want to leave, and I want to forget about everything I have and start over
Fresh and new in this old place

I know that’s not true
I know that I desire fulfillment that will only come from G-d
I trust him, I know he has a plan for me and it’s just out of my sight (do I really?)
It’s just so hard to rely on what I don’t have proof of
On what I will never have undeniable, without a doubt, complete proof of
I want to just give up, settle for a day in, day out job and live life like everyone else
At the same time I know I would hate that, and wouldn’t be satisfied with that either so I don’t know what to do
I do know what to do but I don’t want to do it
I want it to be easy
I don’t want it to be such a struggle to believe, to have faith that soon I’ll get what I’ve always wanted
I want a chance to make music for a living, I want a chance to record music for a living, and I want to make my life for her…
For the idea of a her, at least

Which brings me back to last night where I felt for the first time what she has felt so many times and what she had told me about in that month in that season on the way to that place
I was scared
I didn’t like feeling that
I still don’t like feeling it even now
And I don’t want to resent talking to her tonight
Or any night
Do I trust myself?
Will I be okay in the future if things work out?
Will I be able to resist the inevitable?
Or am I just kidding myself into thinking that I’m going to be famous, at least moderately so, and someone somewhere will want to do things with me…
Is it just vanity?
Is it a hope in disguise?
Am I unsatisfied?
I don’t believe I am
Many times over has this been proved
Who will be perfect in every way?
And is perfection in that respect worth it? Most of the time they’re freaking idiots
Saying that stupidest things, and that would drive me insane
I just don’t want to think about it
I don’t want to fantasize about this unreality
I don’t want to ever feel like I’m missing out on anything
I want to be utterly satisfied
Does this lead me back to G-d?

What of that guy anyway?
Would you please give me a sign?
Would you please help me not to forgot to pray to you?
Would you please help me not to be selfish?
Would you please help me to love you?
I asked you for a sign over the break, the break is almost over. (Haha, as if you didn’t know.)
I had forgotten about it, too. How lame is that.
How can I require… that’s a strong word.
How can I even request anything of you when I don’t recall I put the sheet in?
So freaking lame.
(This is a good mix so far by the way.)

Why can’t I feel this way?
Is life at all like pop music?
Or is it how it is described at the beginning of the movie about that record store with that guy from being john malcovich and that horrible romantic-comedy with Diane Lane about dogs, or with dogs in the title?
Is it like music or movies or literature at all?
Are each reflections that are made better or worse depending on how well it’ll sell?
What is this I’m doing?
These stupid questions that just poor out when I ignore them and then feel like I have nothing to lose.
(Haha, that was kind of creepy with the play on “stupid” there in the mix.)
This could go on forever.

I want a chance.
I want to feel like what I’m doing serves a purpose.
For now, and for after.
I want to be happy, and with you in a relationship.
I want to be happy with my relationship.
I want what you want, and I want to know what it is.
I want to know what I’m doing is right, and I’m going in the right direction.
I’m still asking for a sign by tomorrow.
Maybe I’ll even pray about it tonight.
But don’t hold your breath.

Mix:
Wilco – Handshake Drugs
Creedance Clearwater Revival – Green River
Foo Fighters – DOA
Beatles – Here, There and Everywhere
Billy Joel – The Longest Time
Elliott Smith – Stupidity Tries