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Celebrate Moon Glyph’s First Vinyl Release

15 Jul

Since its inception not-so-long ago, Moon Glyph has dared to only release music via the “dead” medium of the cassette tape.  Even so, they’ve found great success, and worked with some wonderful local and national acts.  Having mastered the art of the tape, the boys decided it was time to make a comp, but do it on vinyl.  Thursday, July 15th, Moon Glyph celebrates the release of Regolith Vol. 1 at the Turf Club.

The vinyl is beautiful, white, and shiny… unlike the definition of the word – Moon Glyph’s site says “Regolith” is a term used by lunar scientists to describe the loose scree of stones covering the solid rock of the moon.  So head on over, hear some of the amazing bands, and pick up a vinyl.

Track list:

A1 Leisure Birds – “Burn the Beach”
A2 Magic Castles – “Patron Saint”
A3 Dante & the Lobster – “Waiting for the Moon”
A4 Velvet Davenport (with Ariel Pink & Gary War) – “Surfer    Girl”
A5 Camden – “Headstone”
A6 Vampire Hands – “3D Yin-Yang”

B1 Daughters of the Sun – “Mystical Babe”
B2 The Blind Shake – “Lucky Day”
B3 Skoal Kodiak – “Tinsel Tongue”
B4 Moonstone – “Exhortations of the Prophet M.”

Details:

MAGIC CASTLES, VAMPIRE HANDS, VELVET DAVENPORT, CAMDEN (Cole of Daughters of the Sun)

Turf Club
9pm
$5
21+

FREE MP3:

Leisure Birds “Burn the Beach”

*Disclaimer, but in no way an influencer: Staciaann works with Steve who runs Moon Glyph.

The Depot

10 Jun

We’re no Dara Moskowitz Grumdahl, but we do like to eat and like it even more when we get to try out food before a restaurant opens. The Depot Tavern, the much anticipated restaurant/bar from the fine folks at First Avenue opens up to the public on Friday and it does a lot for our late-night eating options downtown. Hell, we would have been happy with a Best Wurst cart on the corner (and given that the Minneapolis City Council is moving ahead with street vending permits, we might still get that) but The Depot should become a place to be, not only when stumbling out of the Entry late at night, but also for afternoon meals or dining out with friends. The Depot pulls off one of those great things, food that should be great while hammered but you would also happily eat sober, and with its comfortable atmosphere and clean, open design, you can feel good about eating there anytime.

At the press preview on Wednesday night, about a third of the menu was available for sampling and in the true spirit of DIY journalism and starving artistry, we tried to eat as much as possible. Executive Chef Karl Lichtfuss said that his vision for the menu at The Depot “…was to have a lot of fun and creative things that people still recognized as good bar food. It’s really just the kind of stuff I’d want to eat while sitting and having a beer with some friends.” The selections from the “Small Bites” menu started the palate tingling with that bar-food spin with a Guinness Cheese Soup whose tangy cheddar kick was backed by a smooth and rich Guinness flavor that would make our ‘Sconny neighbors jealous. The “Spuds”, fries done up in refined peanut oil had a great crisp and light flavor to them, the Russets were thick-cut and substantial, with a tangy, curry ketchup offered to us a by a diminutive dapper man, where the Sweets, sweet potato fries were light and airy with an electric rock salt twist. To end up the Small Bites section, the Coconut Curry Chopped Salad appeared to be plain lettuce and tomatoes, but a single bite was a revelation and the salad is imbued with a subtle and totally addictive mix of cumin, sweet coconut and curry spices so that before you’ve figured out what all the flavors are on your tongue, you will have scarfed down the healthiest drunchies around.

From the “Big Bites” porting of the menu, both the Green Pork Chili and New Orleans Po’Boy had slow cooked, fork tender meats going for them, a tantalizing pork swimming in a rich mix of tomatillo and peppers for the Chili and finger-licking mess of gravy-laden beef slopped on the Po’Boy. The Po’ Boy is one of those sandwiches that could haunt you, you’ll wake up in the middle of the night and think, “I could really go for one of those Depot Po’ Boys,” it’s just basic done so right. We are inveterate watchers of Anthony Bourdain’s No Reservations, and he’s always after the late-night meat-and-starch combination to soak up the booze, and we might finally have it here. The Baked Mac & 4 Cheese worked better in it’s towering presentation than in actual consumption- it was a touch dry and despite the promise of cheesy zest, fairly ordinary. Maybe instead of the dusting of paprika, some cayenne to give it some oomph? We are, however, partisans of the Penne & Cheese at Eli’s on 12th & Hennepin, so maybe Chef Lichtfuss should head around the corner and have himself a plate there.

Rounding out the snacking for the evening were a couple bites of the Veggie Burger- there are a number of vegetarian-friendly menu items- and the patty was not a disappointment. No dry black bean or Morningstar patty slopped out of shrink-wrap here, this succulent mix of lentils, ground chickpeas, onions and spices was more like having a samosa filling between a bun and was a substantial and hearty fix, especially when paired with the Sweet Spuds in a basket. The Monte Cristo was a lovely bit of architectural layering and again, maybe a little dry, but there was no arguing with the flavors- the salt of the ham and turkey slices up against the sweet blackberry preserves, held together with a beautiful fried egg, that’s late night eating like a king. With hours until 2am, a roll-open garage door that turns the front room essentially into a patio, TVs to watch the action in the Mainroom, Entry or over at Target Field, the Depot just makes it hard for us to think that we would ever leave First Ave. If they open up a hotel, we’re in real trouble.

Check out all of Staciaann’s pictures of the venue, crowd and food here at her Flickr.

Video Premiere: Toki Wright- By The Time I Get To Arizona

15 May

“Every man must decide whether he will walk in the light of creative altruism or in the darkness of destructive selfishness.” -Martin Luther King Jr.

Gimme Noise posted this yesterday, but it is worth sending out as many times as possible to as many people as possible. Shot over the Minneapolis May Day parade, here is the video for local musician and activist Toki Wright‘s cover of Public Enemy‘s “By The Time I Get To Arizona”, the group’s 1991 protest song over Arizona’s reluctance to honor Martin Luther King Jr. Day as a holiday. Several other groups have recorded 2010 updates, in response to Arizona’s recent draconian and authoritarian anti-immigration legislation, including Flobots and Queen YoNasDa. The Arizona legislation, SB 1070, which authorizes local law enforcement to demand identification proving immigration status based on “reasonable suspicion”, has been criticized from all corners, with President Obama calling the law “misguided” and prompting many cities, including St. Paul, to boycott travel and business with the state.

The law has been criticized for it’s potential for ethnic targeting and racial profiling- as an unaccented Caucasian male, the thought of being asked to prove that I am in the country legally is absurd to me, but it is very real to many. Regardless of what Arizona’s other issues with border crossings and immigration may be, SB 1070 fundamentally undercuts a tenet of the American judicial system- the presumption of innocence- by placing the burden of proof and presumption of guilt upon those stopped and questioned. For as much as Glenn Beck and the Fox News cohort like to bandy about loose charges of Nazism, Seth Meyers of Saturday Night Live put it the most directly- “…there’s nothing more Nazi than saying ‘Show me your papers’…It’s their catchphrase.” And nothing says “America” like kicking fascism’s ass, even and especially when it appears in front of us.

Cake In 15 Presents: Chastity Brown

10 Apr

For more information on how to get tickets to this special event, please email staciaann@cakein15.com.

Ok Go Wants You to Watch This… No Matter What

19 Jan

Ok Go… do you remember them? They’re the guys on treadmills that do that “routine” in that video? That amazingly wtf routine that made them viral? The one you tried to do at the gym, but failed miserably because you just couldn’t get eight treadmills lined up correctly?

Ok Go has a new album out. With a new album comes new videos. Ok Go wants you to watch their new video for the single “This Too Shall Pass.” However, their label EMI uses You Tube, and thus forbids embedding as embedding = no cash for EMI. The band, however, understands that maybe you don’t want to/won’t go to You Tube, so they’ve made the video available to embed via Vimeo, even though EMI won’t see a penny. It’s all explained quite eloquently here.

Ok Go explains the overall problem with today’s music industry like this:

What we’re really talking about here is the shift in the way we think about music. We’re stuck between two worlds: the world of ten years ago, where music was privately owned in discreet little chunks (CDs), and a new one that seems to be emerging, where music is universally publicly accessible. The thing is, only one of these worlds has a (somewhat) stable system in place for funding music and all of its associated nuts-and-bolts logistics, and, even if it were possible, none of us would willingly return to that world. …All the same, if music is going to be more than a hobby, someone, literally, has to pay the piper. So we’ve got this ridiculous situation where the machinery of the old system is frantically trying to contort and reshape and rewire itself to run without actually selling music. It’s like a car trying to figure out how to run without gas, or a fish trying to learn to breath air.

OK Go – This Too Shall Pass from OK Go on Vimeo.

So, for now, here’s the bottom line: EMI won’t let us let you embed our YouTube videos. It’s a decision that bums us out. We’ve argued with them a lot about it, but we also understand why they’re doing it. They’re aware that their rules make it harder for people to watch and share our videos, but, while our duty is to our music and our fans, theirs is to their shareholders, and they believe they’re doing the right thing.

So watch the Ok Go video above via the band’s Vimeo posting… and then go BUY their album to make up for it.

Oh, and watch this again.  It’s brilliant.

Jay Reatard Dead at 29

13 Jan

Goner Records just posted this on their site:

It is with great sadness that we report the passing of our good friend Jay Reatard. Jay died in his sleep last night. We will pass along information about funeral arrangements when they are made public.

Download Mp3:

It Ain’t Gonna Save Me

Tiny Little Home (Demo)

Crazy Heart

12 Jan


At a special sneak peak of Crazy Heart (opening at the Uptown Theater January 15) presented by Vita.mn, writer/director/producer Scott Cooper spoke about a conversation early in the production process with actor Robert Duvall. Duvall, a family friend and executive producer on the film had asked Cooper about what he needed for the project. “What we need,” Cooper said, “besides you and money, is T Bone Burnett and Jeff Bridges.” He got them both and the strength of Bridges’ performance and the deft musical helming of Burnett turn Cooper’s directorial debut into an affecting and tight story that should be getting a lot of attention during the awards season.

The tale is an old one, the story of a lost man finding redemption through new love, following Bridges’ hard-bit country singer “Bad” Blake as he stumbles through a lifetime of broken relationships, bar tunes and booze. Bridges gives Blake some of the air of The Dude, with his goatee and greasy hair he’s loosely making it work, aggrieved by his fast talking manager (James Keane), watching his protegé Tommy Sweet (Colin Farrell, in full long hair and beard) get ahead faster as he gets left watching the the dust, all with a drawling aplomb. When Jean Craddock (Maggie Gyllenhaal) a sweet reporter with some bad relationship history and a cute 4-year-old named Buddy (Jack Nation) comes into his life, he slowly gets a new and changed perspective and reconnects with his talent. If it sounds cheesy, it should be, but like Blake says about the good songs, “It’s like you’ve already heard them before.”

Most of the tunes for Crazy Heart were written by Burnett with actual vocal performances for the film delivered by Bridges and Farrell, grounding the film with an authenticity that buoys the love story drama. Musician Ryan Bingham penned “The Weary Kind”, the song that Bad spends the movie trying to write and ought to be a contender for a Best Song Oscar, one of a number of tunes on the soundtrack that could be up for contention, but as Cooper put it, they didn’t want to split the vote so a song about a pimp could win.

In the end, it shouldn’t be such a surprise that this movie is a contender. Cooper originally wanted to tell the story of Merle Haggard, following Haggard around and working closely with him before realizing that Merle’s ex-wives would make the rights to that story impossible. But Crazy Heart had the backing of actors and a production that believed in it, stars forgoing salaries to work on a passion project (the entire film cost $7 million, a Hollywood pittance) and retains that hard-won plausibility of a life story- during the Q&A afterwards, there were several people who piped up about seeing themselves or their fathers in Bad Blake. You already know the story line of a lot of the best songs- it’s a running joke that country singers only really have one song- and films about heartache and redemption are often the same. It’s all in the delivery, and Crazy Heart hits all the right notes.

Staciaann was on site documenting the event for Vita.mn, when that goes up, we will update the link here.

Merry Christmas…

24 Dec


…Here’s some health insurance reform! Lord know it ain’t perfect and is lacking in those sweeping reforms that might have been included (proving, once again, that business bottom-lines trump populist rage in this country- how do you think Dick Clark stays popular?) Still, as the Senator Klobuchar says, it is “an important step forward,” mainly in that it is a step anywhere. Atul Gawande at the New Yorker made a persuasive case about how the lack of an over arching plan but lots of pilot programs has worked in the United States in the past (farming reform a century ago.) So here’s to the American process of trying things and keeping the best results- think Brian Wilson and Pet Sounds- and everyone staying healthy and warm today.

Also, because he voted for the bill and because he is one of the best presents we got in 2009, here is Senator Al Franken proving that he indeed belongs in the Senate, because at least he knows where all the other states are.

Picking Up Crumbs: Holiday Theatre Picks

3 Dec

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This picture has nothing to do with holiday theatre, but was tagged “theatre” because the show was at the Varsity and should inspire you to be grateful about your life.

That said, in the tradition of generosity and goodwill (directly in opposition to the wishes of Mother Nature that people be miserly humbugs hibernating alone at this time of year) we put together a list of holiday-esque type shows we feel good about for the A.V. Club. It is not a fully comprehensive list (for that, a tip of the hat goes to Jay Gabler over at the TC Daily Planet who hoarded more shows than a squirrel does chestnuts) but a nice mix of ones you could take mom to, take mom to after a few egg nogs or to get away from your mom after a couple egg nogs. Anyway, don’t let it ever be said that we didn’t get you nothing.

Video Premiere- The Mad Ripple “Death Bed Bride”

16 Nov


If you ever sat in the basement of Java Jack’s, this is one of the songs that is part of the orthodox canon of the Mad Ripple Hootenanny tunes, along with Brianna Lane‘s “Porchlight” and Stook!‘s “A Song Is More Then Just A Song”, “Death Bed Bride” is part of the liturgy of the Hoot, sort of a Trinity of sing-along pick-me-ups. Now that the Hoot has gone nomadic, it only seems appropriate to have shot the video in King’s Wine Bar, new home for musicians and drinkers in Sexy South Minneapolis, a place where even the unofficial mayor of St. Paul can show up in a Santa suit and have a good time. Here’s to Jim Walsh and all the saints behind the bar across the city, may they save us from ourselves.