4 posts tagged “rilo kiley”

It always comes back to music for me.

Music is my soundtrack to all of life's events, both trivial and tantamount to shaping who have become and am becoming.  Music fuels me when nothing else can motivate me to keep pressing forward.  Music makes me laugh, and cry.  Music is cathartic, especially live.  As Third Eye Blind once sang, "The four right chords could make me cry." 

Music is there, even when it's 4am and no one's answering their phone or online.  Music is fun and silly, and intelligent and challenging.  Music can evoke a mood, or change it for the better.

Music is my oxygen.

Music can also take me back, certain songs triggering memories so succinctly that they feel real again, feel as if the events were unfolding right this moment.  I can close my eyes and remember it all:  the way I felt, how cold or warm I was, who was there and what we did.  Certain lyrics will forever affect me, forever connect to certain people or places.  Such is the case with Pictures of Success by Rilo Kiley.  In late 2007, I suddenly found myself feeling suffocated by life, by my failed aspirations, by my own mood swings, and by the illnesses in my family, namely my grandfather and father.  I had to escape.  I had to leave town and recharge completely.

In the end, with a lot of luck, as if the universe understood what I was in need of, I found myself in California right before my birthday, and spent the actual day slinging back margaritas with some of my best friends in the world on a patio in Tijuana.  It was perfect weather for me - late spring temperatures for my home city, with sunny skies and breeze.  Everything about that trip was exactly as I wanted it to be.  In the entire month of November, I'd blared Pictures of Success over and over, as if willing the fates to work out, singing along:  "They say California is a recipe for a black hole/And I say I've got my best shoes on/I'm ready to go..."  And I was ready.  I walked away from that trip in late December, turning to my boyfriend and saying, "That was what I needed.  I feel strong again.  I feel ready to cope now." 

That was December 17th, 2007.  By December 1st, 2008, my foreboding feelings over my grandfather had proven terribly true, with my grandfather going from back pain to heart attack to cancer to terminal to passing away.  So much can happen in a year, much more than we ever anticipate.  I dare not consider how well I would have handled that year without that time in the sun, to breathe in the ocean air and revive myself. 

And even now, as I miss him terribly, that song drifts into my head, to remind me of that strength I found.  I wish I had a plane ticket now;  I'm definitely ready to go, once more. 

What music blog is complete without a yearly wrap-up on the releases of the year that stood out, for positive or negative reasons?

Admittedly, I have not been as in touch with the releases of the year and must preface this entry with stating that there are going to be glaring omissions from this list. Life has kept me from music this year, be it keeping me from concerts I wished to see, keeping me from the time to listen to albums I want to hear, or making it difficult to listen to certain artists without feeling uncomfortable. However, I do have several albums upon which to rave or rant, so here's what you get.

This was a year where my stalwart music artists took the backseat for others, where single songs possessed my devoted attention, while albums were generally shunned. It was a year of nostalgia, as I turned to older favourites for comfort in trying times. But beyond that, I found this year's music lacklustre and not to my liking, perhaps due to the concentration of artists in genres I'm not fond of. For several months, I was “off music”, something that has never happened before to me. It was disorienting, to say the least.

The concerts I saw this year were fewer than I would have liked, but none of them disappointed. All of them delivered beyond my hopes and expectations. It was a year of seeing new artists and old favourites. If I were to rank a top five of shows I saw this year, it would go a little something like this:

5. Rilo Kiley at The Phoenix: Solid set, great energy, tight openers including Thao Nugyen

4. Paramore with Jack's Mannequin at The Kool Haus: Amazing energy, three solid openers, and Jack's Mannequin renewed my love for Andrew McMahon

3. Melissa Etheridge at Massey Hall: Three hours of non-stop, high energy music with powerful and moving banter between songs. A first time for me with Melissa and hopefully not the last.

2. Matthew Good at Massey Hall: This man never disappoints me with his intense delivery on every song, his caustic wit and his genius songwriting. So grateful this became a live album.

1. Amanda Palmer at The Mod Club: It had every element going for it – incredible setlist, stellar performance, fabulous openers, and incredible theatrics and stage presence. Easily one of the best performances I've seen Amanda give (and I have 8 other points of reference).

And now, without further ado, here we go with my personal 'awards' for 2008:

Album That Sends Me Into Fits Of 80's Nostalgia: Saturdays=Youth by M83. This album is utterly fantastic, with tracks like Couleurs, Highway of Endless Dreams and Skin of the Night leading the charge into a soundscape that evoked Erasure meets Conjure One meets Arcade Fire's intelligent layering and music craft. I easily find myself lost within the tracks of this album in a way that lands on par with Explosions In The Sky and Max Richter.

The Album That Lived Up To The Hype: Donkey by CSS. I'm not much of a trend follower, and even the critical darling pieces often leave me cold (see: You Say Party, We Say Die!; most of Radiohead's post-OK Computer output; Coldplay's discography). CSS however live up to the excitement, and Donkey is just so much fun to dance around to, one can't resist it. There's not a single bad track, although some are stronger than others. I'm fond of Believe Achieve, Jager Yoga and Let's Reggae All Night, myself.

Reviving The Now Crowded Male Singer-Songwriter Folkie Genre: Charmed and Strange by Yoav. I first had a taste of Yoav's music as he opened for Tori Amos' American Doll Posse tour in 2007. At first, I took one look at a lone guy and a guitar and immediately wondered how Tori kept finding Howie Day part nauseum. Yoav, however, is far more clever as a lyricist, and his musical palette is more acoustic Red Paintings than Jason Mraz. Adore, Adore, There Is Nobody, and the soulful One By One set Yoav miles ahead of a crowded field.

Bringing The LOLZ To Musicals: Dr. Horrible's Sing-Along Blog. Joss Whedon remains my master after he cleverly proves that you can give a product away for free and then sell it... and make a profit! Neil Patrick Harris singing about freeze rays? An Evil League of Evil run by Bad Horse? Each song is so silly and fun, I can't help myself. Once More With Feeling was one of Joss' finest Buffy hours. Perhaps he should write an actual musical, complete with ridiculous stage sets? I can dream!

The Slightly Guilty Musical Theatre Junkie's Pleasure: I Stand by Idina Menzel. Are some of the lyrics cliched? Sure. Are some of them dripping with the saccharine Celine Dion is famous for? Hell yes. Does Idina kick ass and take names vocally, making the album enjoyable all the same? You bet your (tattooed) ass. Check out Brave, I Stand, I Feel Everything.

Solid But Sorta Overrated: Third by Portishead. This is where gasps of indignant objection begin. I am not, let me stress not implying Third isn't a solid album of quality music, good news for a band that took such an extended hiatus. But on repeated listenings over time, I can't say the album stands out enough as a whole to make me want to listen to it over and over. Some tracks are absolutely stunning (We Carry On; Silence; Nylon Smile), while the others are solid but not worth the prostrating critics gave it. I coin this Radiohead syndrome.

Letdown of the Year: Acid Tongue by Jenny Lewis. When Rilo Kiley's Under The Blacklight came out, my personal theory for the album not being to par with their previous outings was that Jenny and Blake were both 'holding back' for their solo projects. Unfortunately, that may have not been the case with Jenny. It's not a bad album, per se; tracks like Jack Killed Mom and Pretty Bird resonate with me. It's just not memorable; each song blends into the next, lacking the wordplay jabs and sonic shifts throughout Rabbit Fur Coat.

Best Album That's Not Really An Album: No, Virginia by The Dresden Dolls. Consisting of outtakes and old live favourites finally recorded for official release, No,Virginia feels rather all over the place at times. But when viewed as a b-sides/rarities collection, this is acceptable, and the quality of the material is enough to enjoy it. Dear Jenny, Mouse and the Model, The Gardener, Lonesome Organist Rapes Page Turner... All the typical fun and punk cabaret you'd expect from the Dresden Dolls.

Best Return To & Reinvention of Roots: The Slip by Nine Inch Nails. Is Trent in angsty form? Oh yes. Do I detect a strong flavour of the 80's tinged Depeche Mode-ness of Pretty Hate Machine? Yes, yes I do. Does this album deliver both rocking and despairing tracks with a lyrical flavour that feel more self-aware and self-mocking than self-loathing? Damn right it does. I love this album rather passionately, and offer you 1,000,000, Discipline, Demon Seed and Letting You as the places to start your love affair.

Favourite Local Album: Meeting The Future At Full Speed by Karen Kosowski. I've already covered this album in extensive detail in this blog, but it deserves its mention here. Karen remains one of my favourites among the Toronto-area indie artists I've come to know and love, and this album only builds on her previous stellar album, Out Here At Sea. Earnest and hopeful, its electro-pop vibe will leave you humming your way through the day, even at its darkest.

And now, *drum roll* the big awards...

Best Album of the Year (live): Live At Massey Hall by Matthew Good. After such an extensive catalogue, it was long overdue that the raw emotional intensity of Matthew Good be captured for prosperity on CD, and this disc is special in that, other than edits to correct lost audio the night of, it is an uncorrected live album. Having been at the show it was recorded at, it takes me back to one of the best concerts I saw this year. The set strongly slants towards Hospital Music material, which to me is one of his very best albums. In light of the loss of my grandfather to cancer, 99% Of Us Is Failure hits particularly hard and is one of the highlights of the 2 disc set. Many songs are much richer live (She's In It For The Money is painful to listen to because of the raw pain in Matt's delivery; A Single Explosion closes on a haunting powerful note), which makes this album a must have for fans and a fantastic introduction to his genius.

Best Album Of The Year (studio): Who Killed Amanda Palmer by Amanda Palmer. I've been with Amanda since a friend encouraged me to download Girl Anachronism in 2002, and I am with her for the long haul. I dearly love her work within the dynamic of The Dresden Dolls, love the playful cabaret feel of the drums and piano coupled with incisive and something darkly amusing lyrics. This album bring those elements of lyrical finesse and dark humour, but it also brings a more personal, deeper look into the human condition with songs like Strength Through Music and Have To Drive. Coupled with Ben Folds' guiding advice (the usage of a very raw demo vocal for Leeds United was a brilliant move that only adds to the song) and the gorgeous strings created for the album, Who Killed Amanda Palmer is the album Amanda was born to write, and the one album that you must try, no matter what preconceptions you may have of The Dresden Dolls or Amanda herself. Get started with Astronaut, Leeds United, Guitar Hero, Another Year and Have To Drive.

And now, a few older discs worth mentioning...

Rediscovery of the Year: Act I: Goodbye Friends of the Heavenly Bodies by Neverending White Lights. An album from 2005, it's always been one I have endorsed to fellow music lovers. The ethereal moody feel of Daniel Victor's compositions, complimented by haunting and heartbreaking lyrics performed by a who's who of the Canadian alt rock scene, this album crept up on me and demanded centre stage in 2008. The lyrics weave a set of stories about loss and love that interconnect subtly, adding a delicious cohesion. Sample The Grace, I Hope Your Heart Runs Empty or From What I Once Was.

Better Late To The Party Than Never:  Kala by M.I.A. I'm not generally a girl who goes for hip hop, rap or R&B; it's just not my scene. The odd song will catch my ear, but nothing that has me buying a CD, not since Salt N Pepa's Very Necessary. But with Kala, M.I.A. has created something so utterly fun and sassy, one can't help but be drawn in. Paper Planes caught me, hook, line and gunshot sample, and that has led to an affair with $20, Come Around and XR2. Where was I in '92? Wishing for music this ridiculously enjoyable!

Better Late To The Party Than Never, Part Two:  The Awakening by Melissa Etheridge. Passed a copy of this by a friend prior to my live experience with Melissa, it's fast become an album dear to my heart and almost a metaphor for my entire year. While some may find the spiritual elements a little off-putting (there is some God mentions, but most of it is general spiritual belief), it's an incredible testament to the journey Melissa went through emotionally as she battled breast cancer. There are scathing political references as well, fitting in light of this election year, and songs of regret and heartbreak. But the end feeling is one of being able to rise above everything, if we believe that all can be possible, and that there is something larger than us. A solid, well-written album that doesn't have a single dud to it.

" But it's a sin when success complains,
and your writers block-it don't mean shit.
Just throw it against the wall and see what sticks.
Gotta write a hit
I think this is it.
It's a hit..."

It's A Hit - Rilo Kiley

Deja vu:  same venue, same band, same tour, and even the exact same vantage point (directly in front of the keyboards upon which Jenny Lewis was destined to play)...  Such was my second Rilo Kiley experience.  The crowd brought the same mix of hipster-chic college girls who were too busy dancing drunkenly to notice their faux intellectualism was fooling no one, genuine indie-loving intellectual artsy types, high school girly-girls dreaming of being as cool as Ms. Jenny Lewis, and the quietly fangirling folk (present!). 

It also brought with it a new player:  the 'assholes because we believe we're anonymous and can get away with it' guys, who broke the feel-good vibe of the show a few songs into the set by shouting out, "What do you do when your new album sucks?"  Oi.  Any Toronto local will tell you that out and out rude concert behaviour is less common here than in other places; hell, many artists will tell you Toronto is one of their favourite places to play for reasons of decent audience.  While Jenny's jaw dropped in shock, Blake's quiet seething gave way to responding, "At least we have an album!"  Jenny piped up, adding, "Let's hear your album!", to which there was much applause. 

Alas, the bastards had half a point:  their latest endeavour Under The Blacklight does fall flat when placed alongside The Execution of All Things or More Adventurous, but it certainly doesn't out and out suck.  However, the slant of the setlist towards the new material is my one complaint for the show, although the set was more varied this time around as compared to leg one of the UTB touring.  That said, the new material plays better live than the album versions, if only for the charisma and stage presence of the band.

But before reviewing the show, a few words about opener Thao Nguyen are necessary.  My first encounter with Thao's music was the song Tallymarks, part of a mix I downloaded to accompany, of all things, a piece of fanfiction (the best fanfic out there, IMHO - if you're remotely interested in Kristen Bell, Jason Dohring, Joshua Jackson, Katie Holmes or massive mocking of Tom Cruise and Scientology, help yourself to The Liberation of Katie Holmes HERE) as its soundtrack.  The song's haunting quiet melody and Thao's rich voice, coupled with her simple but poignant lyrical imagery ("Love is not why we leave/It is real live dreams and make believe people/You can't build cathedrals out of finger steeples/And we drop drop tears like tallymarks/And it builds like snow, 'til it keeps us apart...") have made it a desert island track.  Needless to say, part of the selling point of seeing this tour despite the similar set was Thao.  Thao, accompanied by her band The Get Down Stay Down did a fantastic job opening up the show, with a bluesy-rock set that conjured shades of Janis Joplin at points, much to my delight.  Not being as familiar with her work, I cannot recite the entire setlist, but two of the songs played that night (Beat (Health Life and Fire); Geography) can be streamed on Thao's profile page on my new hangout, TheSixtyOne.com.

And now, Rilo Kiley...  What can I say that I didn't rave about in my previous review?  Their live show is tight, and Jenny Lewis runs the show, which makes me feel a little sad for Blake Sennett, who is truly overshadowed despite his own talents by the JennyLust of the fans.  I actually enjoyed the previous leg's inclusion of solo songs by each of the founders, if only because it gave Blake reason and chance to step to centre stage and shine.  This tour, Blake has Dreamworld and Ripchord, which becomes strangely ironic as he quietly sings, "Nobody loves you".  The show had an incredibly strange feel to it, almost as if it were a goodbye, which I have to admit I could see as feasible.  My one major theory concerning UTB's failure to live up to Rilo Kiley standards is that it truly feels as if Blake and Jenny were holding their best material back for their respective solo projects.  I'd like to pretend the sun isn't setting on Rilo Kiley's time, but it may at least be that the band is destined to be placed in hibernation for a prolonged period.  In that light, I'm grateful I managed to catch this performance.

A few highlights:

Capturing Moods:  Kicking it old school!  It was nice to see the band reach far back into the archives and deliver a song that isn't hyped to death from their older works. 

Does He Love You?:  Strong on the last Toronto outing, and strong this night as well.  Jenny's voice is so heartbreaking on this song, you want to reach to the speaker upon which she'd perched to sing and give her a big hug and a tissue.

A Better Son-Daughter:  This is my favourite RK song, without question, and was one of the few songs I was disappointed not to hear on the last leg.  It alone was worth the price of admission, and delivered with enthusiasm and gusto.

Picture of Success:  Another beloved favourite that didn't make the set last time around, this song became near anthem in its meaning last winter as I plotted to find a way (and eventually made it) to California for my birthday, for reasons of personal soul-searching and adventure.  Listening to the song unfold on stage, Jenny's melancholy voice enveloping the room, I again had my best shoes on and I was quite ready to go.
  

SETLIST:  Rilo Kiley @ The Phoenix, Toronto 5/28/08

Close Call
The Moneymaker
Dreamworld
Capturing Moods
Breakin' Up
Does He Love You?
Ripchord
The Absence of God
With Arms Outstretched
Hail To Whatever You Found In The Sunlight That Surrounds You
It's A Hit
A Better Son-Daughter
Silver Lining
I Never

Encore:
Picture of Success
Portions For Foxes > Spectacular Views

"You never knew why you felt so good
in the strangest of places
Like in waiting rooms
and long lines that made you late
and mall parking lots on holidays."
Spectacular Views - Rilo Kiley

Seeing a band live for the first time is nervewracking for someone who, like me, considers music as essential as oxygen to his/her existence.  You have certain expectations walking in the door - songs you 'must' hear, the image of the band or artist hitting every note perfectly, having the best seat in the house, and so on.  You have high hopes, and as you make your way through the line, ticket clutched in hand, you can't help but worry.  What if they're lousy live?  What if this band I hold so dear turns out to be a flop?  It becomes that much more intense when the artist in question is one of your most beloved.  When artists of such import fall, it is that much more crushing to one's musical soul.

Standing in line on the crowded sidewalks outside The Phoenix, I have to confess having such fears about seeing Rilo Kiley for the first time.  While I managed to catch Jenny Lewis on her solo tour with The Watson Twins in 2006 (and was blown away by the woman), this was different.  This was a different dynamic, a collection of songs more dear to me, and I began to fear I may have built the band up to impossible heights in my mind during the weeks leading up to the show. 

At 10:45pm, Rilo Kiley took the stage (late, even for them).  As the first notes of It's A Hit began to reverberate in the small general admission club, I was immediately reassured.  Every note, every nuance, every line from Jenny's mouth was on, perfectly executed and delivered with a bright smile at the eager fans crowding the small stage that barely held all the members of the band comfortably.  Pressed against the stage, I bore witness to one of the best concerts I have ever seen, lapping up every musical moment like a hungry dog with a very meaty bone. 

If nothing else, you have to give Blake Sennett, Jenny Lewis et al. their dues;  after years of writing and performing together, the band is tight and the singing duo have perfected a stage presence and chemistry that accents the playful wit of many of RK's lyrics.  Staple single Portions For Foxes becomes just that much more fun as Jenny and Blake trade looks and roam the stage.  The powerful vocals on I Never reach new heights as Jenny throws her fist in the air, almost seeming to reach for a heavenly source of strength to belt out the end of the song.  Blake trades saucy banter and grins with the audience prior to and during Ripchord that leave me giggling and gleeful.  The music is fantastic, and the audience takes great joy in singing along with the 'classics' like With Arms Outstretched and Paint's Peeling, but it is the entire package that helps the band transcend from great to legendary live.

While many fans have found RK's latest album Under The Blacklight to be an inferior effort when placed alongside The Execution of All Things or even the mainstream-friendly More Adventurous, the new tracks are made for live performance.  The album likely fails to achieve its goal because it is a groove-happy sort of album, one meant to dance to, not to simply listen to.  The lyrics are less introspective, granted, but live, you simply want to shake your Moneymaker and let go of your cares for 90 minutes.  Smoke Detector, Silver Lining and 15 particularly benefit from the live presentation. 

If the show held any weaknesses, it was the choice and length of set.  With such an extensive back catalogue, one would prefer a longer set, if only to make room for neglected gems like  The Good That Won't Come Out, Picture of Success, Glendora, or A Better Son-Daughter (my personal favourite RK song).  The strong lean towards showcasing tracks from Under The Blacklight is understandable, nay predictable, but given the lukewarm reaction to the material, it may have made more sense to select older songs to blend in with them.  The decision to bring a song from Blake and Jenny's solo endeavours into the set was a treat, and the reworking of Rise Up With Fists! gave the song a different flavour, one that I almost prefer to the studio version.

I could continue to gush about the highlights of the show (Jenny's stage presence, the intensity of Does He Love You?, the cowbell joy of Breaking Up), but frankly, I think it ought to suffice to say this:  if you have the chance, do NOT miss this band.  Run, don't walk, to Ticketbastard and snap up seats.  You will not be sorry.

Setlist

1. It's a Hit
2. Close Call
3. Portions for Foxes
4. Paint's Peeling
5. Breaking Up
6. Dreamworld
7. Moneymaker
8. Wires and Waves
9. Ripchord
10. With Arms Outstretched
(Blacklight Loop)
11. Silver Lining
12. I Never
13. Smoke Detector
14. 15
15. Rise Up With Fists!
16. Greetings In Braille
17. Spectacular Views

Encore
18. Does He Love You?