I’ll be getting my Outside Lands post up before you can say ‘Win Butler and Mavis Staples’ (yep, that happened), but in the mean time I found this little nugget. Justin Young was feeling under the weather, so Charlie Fink and Tom Hobden of Noah and the Whale joined the Vaccines for a Triple J session in Australia (both bands rocked the Splendour in the Grass festival). Watch the Waccines performing a jolly version of “If You Wanna”.
I did catch the Vaccines at Outside Lands, by the way, and their set was a rollicking good time.
That pretty much sums up all the news ’round here. Outside Lands begins in mere hours, and I’ll be heading over to Golden Gate Park to check out the action. It’s the first time I’ve been since its inaugural year, so I’m pretty pumped. I’ll do my best to get some lovely photos for you all! I also get to meet some Owls tomorrow.
Speaking of the Owl Mag (because I wasn’t talking about these kinds of owls), vote for us in SF Weekly’s Web Awards poll, for “Best Local Music Website”. And you know, if you want to put me in there somewhere… (‘sexiest geek’? kidding.)
In other news, the Vaccines are going to be on Jimmy Kimmel this coming Tuesday, August 16th. They’ve also posted new international tour dates, and will be at Outside Lands tomorrow. Big things happening. If you’re going to OSL and happen to take a great picture, submit it to their Instagram contest for the “Wetsuit” music video.
So without further ado, here is Feist’s new single, “How Come You Never Go There”. Her new album, Metals, will be released on October 4th.
Feist’s fall tour dates are:
10/15 Amsterdam, Holland @ Carre Theatre
10/17 London, UK @ Palladium
10/19 Brussels, Belgium @ Cirque Royale
10/22 Berlin, Germany @ Tempodrom
10/29 Philadelphia, USA @ World Café Live 20th Anniversary
11/02 Brooklyn, USA @ Howard Gilman Opera House
11/04 Chicago, USA @ Riviera Theatre
11/06 Atlanta, USA @ Tabernacle
11/08 Dallas, USA @ Majestic Theatre
11/12 Los Angeles, USA @ Wiltern Theatre
11/14 San Francisco, USA @ Warfield Theatre
11/16 Portland, USA @ Arlene Schnitzer Concert Hall
11/17 Seattle, USA @ Moore Theatre
11/18 Vancouver, Canada @ Performing Arts Centre
11/20 Edmonton, Canada @ Northern Alberta Jubilee
11/21 Calgary, Canada @ Jack Singer Concert Hall
12/01 Toronto, Canada @ Massey Hall
12/03 Montreal, Canada @ Metropolis
12/05 Ottawa, Canada @ National Arts Centre
12/06 Quebec City, Canada @ Grand Theatre Du Quebec
Music royalty orgnization PRS for Music published its annual Adding up the UK music industry report today, presenting dismal figures for 2010. Even live music revenues, which had been on an impressive rise over the past several years, fell 11.8% between 2009 and 2010. UK industry revenues overall fell 4.8%. Yikes.
Is there anything good in a landscape that seems as bleak as London fog? Well, yes. Will Page, the chief economist for PRS for Music, advises in his report that the UK industry should ‘get small’ and ‘get abroad’. The first theme involves “reducing the transaction costs of managing metadata”, which I won’t pretend I understand. I’ll leave that topic for the grown-ups.
The second nugget of wisdom, though, I will happily discuss. The report found that royalties societies in the UK (like PRS for Music) did significantly better than those in the US (like ASCAP) over the 2010 year. Page acknowledges the huge potential for growth in exports, including in emerging markets like Brazil, India, and China. Page writes: “According to the BPI, UK artists’ share of global sales is estimated to be 11.8 percent in 2010, with one-in-ten sales in the US being a UK act and up to one-in-five in markets like Germany and Australia.”
While the report doesn’t talk about folk/new-folk/acoustic music specifically, I’d like to think that some of this growth has to do with the very artists I write about so frequently. While Adele may be queen in terms of sales figures (she was “responsible for almost 10% of all artist albums sold in the first four months of the year”), it shouldn’t be ignored that Mumford & Sons’ Sigh No More hit number 2 on the Billboard 200. (And performed at the Grammys. And graced the cover of SPIN.) Their rise to the top is the gift that keeps on giving, through both their exposure-building US tours (bringing along artists like King Charles and Matthew and the Atlas) and the efforts of label/club night Communion. Even buzzy indie rock darlings the Vaccines grew out of the same tiny music establishment in southwest London, Bosun’s Locker (back when Justin Young was Jay Jay Pistolet, and shared a flat with Marcus Mumford).
While other UK folk acts have yet to reach the same status as the waistcoat-wearing Sons, they are certainly on the way. Noah and the Whale grabbed attention for their polished new sound and teaming up with director-photographer Autumn de Wilde on “Life is Life”. Alessi’s Ark made the New York Times at SXSW. Matthew and the Atlas and James Vincent McMorrow recorded for Daytrotter. Emmy the Great’s Virtue got a review in Pitchfork. Slow Club made waves (and Mashable) by debuting new material on Turntable.fm (with Paste magazine).
These are just the things that came to mind, but the fact remains that these artists are much closer to US recognition than they’ve ever been before. I can casually talk about Laura Marling or Johnny Flynn without getting blank stares, and I can buy the Communion compilation in Mojo magazine at an airport. I no longer have to scour Youtube for new-folk material–I can just click on iTunes (or Spotify). Back when I first found this whole ‘scene’, things like the Black Cab Sessions, Bandstand Busking, and even Jeremy Warmsley’s Welcome to Our TV Show (and the later version, Jeremy Warmsley’s New Thing) were about all I had. From my perspective, the rise in popularity since those early days (three-ish years ago) seems massive.
Furthermore, another BPI survey found that 83% of people are proud of the achievements of British music. While I’m sure they were dealing with Brits proper, I’m pretty proud of those achievements, too. For even though these new-folk artists often acknowledge American musical influences, there is something quintessentially and inescapably English (or Scottish, or Irish, depending) about them. So by all means, UK music industry–follow the advice of Mr. Page and ‘get abroad’. I’ll welcome you with open arms.
These two video releases make ‘slightly creepy’ look more than slightly appealing.
The Vaccines have released a video for “Norgaard” (above), their take on the age-old tale of dudes lusting for jail bait. My main take-away from this video is that everyone in it is extremely attractive (which may have been the point).
Summer Camp have given PledgeMusic-exclusive access to the video for “I Want You”, their fabulously dark stalker anthem. It’s in the same vein as their videos for “Ghost Train” and “Round the Moon”, using footage from cheesy 80s movies to great effect. This is hands-down the best so far, and I’d encourage you to take a gander here. And if you haven’t pledged yet, you now have an even better excuse.
What did I expect from the Vaccines? A band that had been so hyped, positioned as the second coming of good ol’ British guitar rock, and just as quickly trashed—reviled for being ‘posh’, for being clean and ‘mum-friendly’ (although “Norgaard” is a touch creepy). Where was the edge? The Clash-style grit and vigor? Certainly not on tracks like the diminutive “Wreckin’ Bar”, which throws in a reference to F. Scott Fitzgerald before declaring “I know you’re your Mother’s daughter, Well brought up; royal blue, I haven’t got the time for you!” Feels a little false, right?
Drowned in Sound perhaps raised the question of the title most succinctly, pondering: “Is it a snarling piece of punkish rhetoric? Or is it a more an resigned throwing of hands in the air, a What Did You EXPECT from the Vaccines?”. I’m inclined to think it’s more of the latter, that Justin Young and the boys are nodding their well-coiffed heads in acknowledgement of the ridiculous media frenzy. If you examine the album through the lens of rebellious punk or old-school rock’n’roll, it comes off like a little girl trying on her mother’s make-up. But the Vaccines aren’t either of those things, and shouldn’t really be judged by the million ready comparisons (the Strokes, the Ramones) that keep being offered up. It’s true that the Vaccines wear some of these influences on their designer (or overpriced vintage, more likely) sleeves, but I think they’d be the first to admit that they are not rock’s new Messiah.
Being a long-time listener of Justin Young’s singer-songwriter alter ego, Jay Jay Pistolet, I wasn’t surprised by the eleven tracks of What Did You Expect. Although the styles are obviously quite different, Jay Jay was to folk as the Vaccines are to indie rock. Those songs are also easily digestible, sweet and simple, not changing the game so much as providing a pleasant escape. That all may sound harsh, but I don’t mean it that way–not everything needs to rock the boat. I fondly remember listening to JJP’s “We Are Free” while walking around London on a sunny day, and I enjoy infectious tunes like “If You Wanna” and “Norgaard” just as much. The Vaccines are most successful when they hit their beachy, sun-drenched stride, more Wavves than Jesus and Mary Chain.
While some songs on the album are weighed down by their glossy production and dragging tempos (“A Lack of Understanding”, “Family Friend”), others truly perfect summer escapism. Say what you want about “Wreckin’ Bar” and its lack of profundities, it gets stuck in your head and makes you tap your toes. Such is the case with much of What Did You Expect from the Vaccines?: it’s not earth-shattering, but it’s a good time. When you’re bobbing along to “Blow It Up”, you won’t really care that the band is more well-to-do than working-class. You’ll just want a dance floor.
It’s been a big week for some new-folk staples (even though Justin Young of the Vaccines has abandoned his singer-songwriter roots, he’ll always have a place in my heart). The rock band made their US television debut on the Late Show with David Letterman performing “If You Wanna”, and released their new music video, “All In White” (check it out here). Their highly anticipated album, What Did You Expect from the Vaccines?, will be available May 31st.
Emma Lee Moss (Emmy the Great) and Elizabeth Sankey (the lovely vocalist of Summer Camp) have formed a new band called Jessica and Elizabeth Wakefield–yep, named after the Sweet Valley High twins. Though there isn’t much info about the group yet, Wears the Trousers found a Youtube video of their first live performance. The two are also on Twitter as @WakefieldJess and @WakefieldLiz.
Benjamin Francis Leftwich is getting ready for the July 4th release of his album Box of Stones. His music video for the single of the same name came out earlier this month, and the first 1000 people who preorder the album at HMV will receive a special signed version.
Those are all the bits and pieces of news I have at the moment. I’m getting pumped for Noah and the Whale’s first of two San Francisco shows tonight–stay tuned for a review.