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Posts Tagged ‘Middle of the Map Fest’

(Above: “New Dawn Fades” for Peter Hook and the Light.)

By Joel Francis
The Kansas City Star

“This is the way,” Peter Hook sang during the opening song. “Step inside.”

The smallest crowd of the night at Middle of the Map’s outdoor stage was all too eager to follow.

Hook is a founding member of the influential post-punk band Joy Division. The British group famously broke up on the eve of their first U.S. tour. The surviving members were well into their second life as New Order by the time they finally reached America.

peter hookAs the bass player in both bands, Hook’s new group finally gives fans – many of whom weren’t alive during Joy Division’s late ’70s run – a chance to finally hear the beloved songs performed by a founding member.

The execution was as straightforward as it was magical: Both of Joy Division’s studio albums in their original order and arrangements, with a couple non-album songs at the end. The experience mimicked what fans have enjoyed for years at home, only exponentially better.

“Closer,” the second of Joy Division’s two albums, opened the night. After a brief break, the band returned to perform “Unknown Pleasures.” The combination of “New Dawn Fades” into “She’s Lost Control” – separated by a side break on the original album – generated one of the strongest one-two punches of the 90-minute set. By the end of “Love Will Tear Us Apart,” Hook had his shirt off, tearing around the stage with a maniacal smile, acting like it was the first time he had performed the band’s best-known number.

A combination of cool temperature and constant mist of rain actually improved the atmosphere. Joy Division’s music is many things – groundbreaking, intense, visceral – but it is not made for a sunny afternoon.

Hook was ably assisted by the five-piece Light, which included his son, Jack Bates, handling many of his dad’s signature basslines. The remaining three members are veterans of Monaco, another of Hook’s bands.

Although the audience was intimately familiar with the material, there wasn’t a lot of singing along. Instead there were a lot of and spontaneous hugs and high fives when favorite songs like “Isolation” or “She’s Lost Control” started. There were also lots of closed eyes as fans let the music and experience wash over them.

Setlilst: Closer: Atrocity Exhibition; Isolation; Passover; Colony; A Means to an End; Heart and Soul; Twenty Four Hours; The Eternal; Decades. Unknown Pleasures: Disorder; Day of the Lords; Candidate; Insight; New Dawn Fades; She Lost Control; Shadowplay; Wilderness; Interzone; I Remember Nothing. Transmission; Love Will Tear Us Apart.

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(Above: Acid Mothers Temple perform at Kansas City’s Riot Room in April, 2013.)

By Joel Francis
The Kansas City Star

Note: This feature was scheduled to run in the Kansas City Star.  Because of our language barrier, Kawabata Makoto requested an interview via e-mail. Unfortunately, the Mothers’ touring schedule didn’t give Makoto much time to respond to my questions. His short answers necessitated using quotes from the band’s Website. Ultimately the feature was shelved.

The Acid Mothers Temple welcomes all, but entry can be daunting.

The ambition of Kawabata Makoto, the founder and leader of the Japanese rock band, is both impressive and intimidating. For fans, the group and its affiliated side projects has released more than 80 titles since forming in 1995. For musicians, Makoto offers several homes across Japan where musicians can jam and do whatever they like. There is a good chance, however, that neighbors will report these free spirits as terrorists.

“Our slogan is “Do whatever you want, don’t do whatever you don’t want!!’” Makoto said in an extensive interview on the Acid Mothers Web site. “When all the Aum Shinrikyo (the group behind the 1995 poison gas attack in the Tokyo subway in 1995 that killed 12 people) stuff was going on in Japan a few years back, the neighbors mistakenly thought that our house was a secret Aum hideout and managed to get us evicted. Also, mountain villages are always suspicious of outsiders, and sometimes we are ostracized by the community. These kinds of problems pop up from time to time, but there’s not much we can do about it.”

It’s not unusual for a Mothers’ composition to reach well beyond 20 minutes. Makoto wears his influences like badges of honor, naming albums in homage to Pink Floyd, Miles Davis, Frank Zappa, Jimi Hendrix and Led Zeppelin. The music often sounds like an update to the rock scenes in Haight-Ashbury and London in the late 1960s. Psychedliec rock may be an easy handle to hang on the band, but Makoto prefers the term trip music.

amt“As I see it, psychedelic rock is a type of rock music that evolved under the influence of the drug culture,” Makoto said. “For me trip music does not mean the same as psychedelic rock. … A simple explanation of what I mean by a trip is something that allows you to hear sounds that you do not usually hear, or that allows you to experience those dangerous frequencies that mount a violent assault upon your soul.”

The writing and recording process is relatively straightforward. Makoto gathers whatever musicians he can find in a collective attempt to record whatever he is hearing in his head. Beyond that, anything goes.

“Music is constantly changing, depending on time and place and atmosphere, and attempting to tie it down never breeds good results,” Makoto said. “Our recording process is basically to improvise the broad structure of the songs, then to overdub stuff later. The line-up depends on who’s available on the day. So I suppose you could say it’s down to fate, since we don’t adjust the schedule to try and fit in with everyone’s plans. “

Makoto formed his first band in 1978, when he realized there was nothing on the radio like the sounds in his head. Completely self-taught, Makoto and his bandmates played through trial and error. It took four years, Makoto said, for him to realize there was a standard way to tune the guitar.

“I have always only mastered just the bare minimum of technique so that I can play my own music,” Makoto said. “I believe that it’s best in all things to have neither too much or too little. If you have too much knowledge or technique, then you’ll naturally want to show that off to others. At that point it ceases to be music, and just becomes a display of skill. That is not what I want my music to be.”

The Mothers’ were the final act of last year’s Middle of the Map festival. Unfortunately, their start was delayed and the band was unable to play a full set. Makoto is hoping to play a full set this visit.

In his many trips around the world, Makoto has noticed audiences behave differently depending on the country.

“Japanese audiences come to hear the music and that American or European audiences come to enjoy themselves,” Makoto said. “I don’t know which attitude is better. If you’ve paid your money to get in, then you should have the right to enjoy the music in whichever way you like. You can listen quietly or if you’re bored you can chat with your friends, it’s up to you. Maybe it’s more important for the musicians to try and play in such a way that people won’t feel like chatting.”

With Makoto’s AMT label dropping new albums in March, April and May and the band a third of the way through a six-week tour, it doesn’t look like the Mothers will be slowing down anytime soon. But Makoto knows there may be a day when his days of exploring new sounds and textures will come to an end.

“My personal goal is to recreate the music played by a heavenly orchestra I heard once in a dream. If I ever succeed, I will have no more need to play music,” Makoto said. “The other members of Acid Mothers Temple may have different goals – I don’t know. But even if I were to quit, I would like AMT to continue to exist, since I think of it as less of a band and more of a collective will.”

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(Above: Mission of Burma play a rare show in Kansas City as part of the Middle of the Map Festival on April 6, 2012.)

By Joel Francis
The Kansas City Star

Mission of Burma’s invitation to this year’s Middle of the Map festival mirrors last year’s inaugural invite to Daniel Johnston. Both artists exist miles away from the mainstream, have dedicated cult followings and usually skip Kansas City on their infrequent tour itineraries.

The post-punk quartet held the last slot at the Record Bar on Friday night. Anticipation was so high the venue was one-in, one-out more than an hour before Burma was scheduled to go on. Halfway through the band’s 75-minute set, however, about half the room had cleared out.The two biggest contributing factors to this exodus were likely the late start time – the band didn’t go on until after midnight – and the emphasis on new material slated for release on the group’s fifth studio album this summer. Fans that stayed, however, were rewarded with not only a preview of what looks to be a strong continuation of a critically acclaimed catalog, but many of the early songs everyone came to hear.

Early number “Donna Sumeria” captured the essence of Burma. As drummer Peter Prescott lays down a deceptive disco beat, guitarist Roger Miller’s fingers fumble over the frets, creating a snakey melody. The lyrics invoke the Sumerian goddess of love and turn the dance goddess Donna Summer into an abstract plea for peace in the Middle East. Miller’s brief turn on the flugelhorn at the top seems like an abstract experiment, until soundman/manipulator Bob Weston reinterprets the horn back into the mix later in the song.

All of this may seem more fussy than anything the Ramones or Sex Pistols had in mind, but the core of Burma is still very much noisy, rebellious punk music. During their original incarnation from 1979 to 1983, the band managed a handful of singles, an EP and one full-length record. Since reuniting in 2002, they have nearly quadrupled that output. Although Friday’s set tipped heavy toward the new, all facets of the band were on strong display.

After previewing “Dust Devil,” the band’s newest single, they paired the 2006 track “Let Yourself Go” with their anthem “That’s When I Reach for My Revolver,” which had the crowd chanting along. Encores of “This is Not a Photograph” and “Academy Fight Song” kept the energy high.

The lead-up to Mission of Burma started six hours earlier at the Record Bar with Deadringers. Thee Water Moccasins and Life and Times did a great job setting the table for Burma, proving that the local music scene can stand neck-in-neck with that in any other town. Thee Water Moccasins recalled a more avant Yo La Tengo at times. The unabashedly poppy “No Control” provided the best moment from their 45-minute set. The Life and Times were propelled by the frantic drumming by Chris Metcalf. Both bands seemed to be as excited to be in the house with Mission of Burma as everyone in the audience.

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