Carl Sandburg Visits Me In A Dream

I’m going to refrain from a full-out review of Andrew Bird’s Fitz and Dizzyspells EP simply because there’s not a whole lot of new material on it. Frankly, I’m a little confused by the release of this extended play; most of the songs appeared on the most recent album Noble Beast, but simply under different names.  “See the Enemy” is really “Anonanimal” while “Ten-You-Us” is really “Tenuousness”, etc. Nonetheless, there are certain perceptible differences between the ‘original’ and alternate versions, and the timely release of these tracks is enough to remind me of how wonderful an album Noble Beast really was. “Sectionate  City” gets some better treatment than on the previously released live EP Solider On, reminding me of the time His Birdness came to Northwestern and performed this same piece for one of his first times. As a live cut, it was simply magical and I remembe being so entranced by it. In terms of the studio version, though, I’m not as enthralled.

Check out Fitz and Dizzyspells (EP)

Listen to “See the Enemy”

Listen to “Sectionate City“

How can you be a noble beast? How can you be a simultaneously polite, chilvarous, and law-abiding individual and yet be a complete barbarian? Well, CSV favorite Andrew Bird (His Birdness) wants you to believe that it is possible.  But as much as I want to believe him, I simply can’t.  And ultimately that is the real downside (tragedy? I don’t know) of His Birdness’s new album Noble Beast.

As a listener, you will notice immediately that this is not a ‘typical’ Bird album. By that, I mean that Noble Beast isn’t as challenging or provocative in its musicality as Bird’s previous album.  I want some dissonance, I want some haunting whistles and strings.  And I want catchy rhythms.  What Bird gives is a little of each, and it makes for a good album, but it doesn’t make for a great one.  I have to credit Bird with exploring new instrumentation, working with more lush arrangements, and even trying out different vocal styles.

First track “Oh No” has all the wordplay one has come to expect from Bird, and is certainly enjoyable (and fairly accessible).  Then again, there’s nothing to this song that really differentiates itself as birdlike (avian?).  “Masterswarm” has Bird in a soprano role to begin the track, and then bursts out into a pizzicato samba groove that continues to grow on me as I write this.  “Fitz and Dizzyspells” seems more like a natural progression of Bird’s musical maturation, and is quite enjoyable in its unabashed optimism and fluttering violin and its sing-along whistling.  “Tenuousness” and “Nomenclature” are satisfactory folk standards, but the weak “Not a Robot, But a Ghost” and “Unfolding Fans” that follow make the middle of the album quite sluggish.  But the album concludes quite strongly, with the highlight “Anonanimal” shining brightly in its sun-drenched electric guitar, perfectly executed vocals, and the hand-clapping-violin bridge that explodes into a wonderful rock song.

I’ve realized that this review has gone on too long.  I don’t mean to give the impression that I didn’t like this album–my expectations were outrageously high to begin with, I suppose.

But definitely go and buy a copy of this album–Buy Noble Beast.

Listen to “Fitz & Dizzyspells”

Listen to “Anonanimal“

Many of you may be aware of my absolute obsession with all things Andrew Bird.  His Birdness continues to produce both sonically and visually magnificent works of art.  He recently (2 weeks ago, and I’ve been negligent!) performed at a free concert at Millennium Park in downtown Chicago. The stunning ‘bandshell’ designed renowned architect Frank Gehry was the perfect eclectic backdrop for the one of the most eclectic, engaging, captivating artists I know.  This was my third time seeing Bird, and I have to say it was my favorite.  He was as intense as ever (his socks off and bow flailing) but he had this unmistakable moxie to him that made him even more affable.  The LED screens on and beside the stage also added to the allure, as they showed live footage of Bird from multiple angles.  Martin Dosh and the rest of Bird’s crew was also in attendance-on stage, that is-and together they put on an electric show.  As a long-time fan of Bird’s, the most amazing moment for me was towards the end when the people in the way back (you have to come on time, my friends!!) rushed to the front of the stage to sing along with Bird. It seemed the culmination of long journey for Bird as a musician-and a musician in Chicago.  To have such an enthusiastic outpouring of support must have been an incredible experience for him, and Bird looked obviously honored and touched.

Faronheit is so awesome, for they actually recorded the concert in excellently quality for you to enjoy!  And I’m sure they spelled Fahrenheit wrong on purpose…

As Andrew Bird continues to put together songs for his new album (from the looks of it, it won’t be out till possibly later this year), he is blogging the songwriting and album-making process for the New York Times.  In his first post, he discusses how he drafts up melodies first, and then comes up with the vocals.  It was surprising to hear that a lot of the time his vocals aren’t meant to reflect himself per se, but rather it is a coincidence that they happen to do so.  So go ahead and check it out.

Listen to “How You Gonna Keep ‘Em Down on the Farm” (4.7/5)

More coverage of Andrew Bird on CSV.

While not a part of the Fingerlings series that Bird has released in order to showcase his live talents and satiate his fans’ desire for more material, His Birdness has released another collection of live, unreleased, and works-in-progress EP entitled Soldier On. Some of these tracks I was able to hear when Bird came to Northwestern last May (“Sectionate Cities”) while others are completely new to me (“The Trees Were Mistaken”). The EP points toward a more extroverted Bird, as the listener finds him playing intricate melodies with his trademark loops.

Overall, it just impresses me the way that Bird has no preoccupations with releasing rough drafts of his music. But what impresses me even more is that he will go back and refine these songs for an album–he’s not afraid to reveal his imperfections. He illustrates to the listener (or at least to me) that the artistic process is a humbling one. And despite all the success he has had over the past few years, he has no qualms in acknowledging that he still has work to do, a mission to fulfill.

Pitchfork has a review here on Soldier On.

Listen to “Sic of Elephants” (4.8/5)

Listen to “How You Gonna Keep ‘Em Down On the Farm” (4.7/5)

2. Jens Lekman – Night Falls Over Kortedala

You may recall me referring to my man-crush on Jens Lekman, and nothing has really changed since then. Lekman’s sage-like wisdom about life and relationships always comes across with the utmost earnestness (and comedy). Lyrically, NFOK is certainly interesting, with the situational “Postcard to Nina” or the comically romantic “Your Arms Around Me”. Discopop tracks (“Sipping on the Sweet Nectar”) combined with funky fresh tunes (“Kanske Ar Jag Kar I Dig”) make for an album that has only one rival from the entire year. Cheers, Jens. More on Jens Lekman here.

Listen to “Your Arms Around Me” (5/5)

3. Andrew Bird – Armchair Apocrypha

What an amazing year it has been for His Birdness! While not touring around the country for his incredible Armchair Apocrypha, Bird has been busy taking with his violin. Complete with lush stringed instrumentation, Bird’s lilting vocals, and the addition of Martin Dosh’s stylings, Armchair Apocrypha lends for music that (as some have described) may cure some forms of cancer. Bird also finally tackles the various analogs between himself and the namesake of his last name–he seems to have embraced his birdness in the end. Click here for a really great post on the album.

Listen to “Dark Matter” (5/5) [via Sound of Marching Feet]

4. The National – Boxer

I know everybody and their mother has put this album pretty high on their albums of the year, but the bottom line is that it is justified. Matt Berninger’s vocals conjure up images of an earnest poet who has plenty of worthy things to be said. Berninger throws around such vivid, subtle imagery ( ‘Standing in an empty tuxedo with grapes in my mouth’), that it often takes a keen listener to pick them out over the symphonic, horn-glazed tracks. Boxer is a collection of emotive and dynamic songs that uniquely find a way of coming together as a document of the everyman’s conscience. More on The National here.

Listen to “Ada” (5/5)

5. Iron & Wine – The Shepherd’s Dog

The Shepherd’s Dog seems to take influences from everywhere, from the dusty trails of ghost towns to the asphalt paths of boisterous cities. It’s an album that celebrates the extroverted and the reserved, one that appeals to the ears but sings to the soul. Each track has a sparseness to it, but yet the multi-layered richness of Beam’s voice and his plethora of instruments add an incredible voluminousness each song. This album simply doesn’t miss. More on Iron & Wine here.

Listen to “The Devil Never Sleeps” (5/5)

I came across this video from La Blogotheque a while ago, and I can’t figure out why I never shared with you. For more of His Birdness, click on the label below this post that says “Andew Bird”.

First, listen to him live on your computer as he twangs it up with a Charley Patton song, “I’m goin’ home” (4.37/5)
Tonight, watch (and listen) to him live on your t.v. as he performs on Conan O’brien
Also, check out the CSV archives on Andrew Bird:
– Listen to the mp3 of his Dr. Stringz performance
– Read the album review of Armchair Apocrypha
– Read about and see pictures from his performance at Northwestern University (plus hear “11:11″ live)

Andrew Bird came to his alma mater Northwestern University to play an exclusive show for students, where he dabbled in pizzicato and conversation for a couple of fascinating hours. I was fortunate to have been able to sit front row with my buddy Jed, as we witnessed the fancy footwork and idiosyncrasies of Mr. Bird.

For someone who proclaims himself to be so damn “easy going” in his song “Why?”, it might come as a surprise as to how stubbornly good Andrew Bird really is. He isn’t necessarily the greatest of showmen, but I suppose that’s part of his act. His perfectionism and his impeccable concentration allow him to elevate himself (note: he nearly played half the show on his tippy toes) to a level that transcends that petty artist-audience banter. It also seemed as though Bird had some special connection to the Pick-Staiger auditorium in which he also played as a student at NU. It was clear that it was nostalgic for him to be back at Northwestern, in the acoustically phenomenal auditorium where his songwriting travails began. At the very end of the show, he decided to play “Weather Systems” with the justification that he thought it would sound right in the venue. But really, that was him wanting to hear his own songs in a space that could truly appreciate them, musically and lyrically.

Indeed, it was a rather fantastic show, as he furiously tapped his feet on the handful of loop pedals at his disposal. Not to mention his sudden kicks and jumps, the rotating speakers, or even his simple “Nervous Tic Motion of the Head to the Left”. Each song was carefully chaotic, as he went from guitar to violin at an almost frantic pace. Anyone else would have looked awkward or hurried, but Bird made it seem effortless, surreal. Even more, he drenched he audience in a slew of delightful sonic matter. I felt enveloped, suspended in his violin, his lyrics in my mouth, as if I had something to do with the creation of his sound.

Among the various highlights of the show were his latest “Imitosis” and the now classic “Nervous Tic Motion of the Head to the Left”. “Why?” came across more involved and intricate than I remember–the looping was done perfectly. Bird even tried out a new song, “Sectionate Cities”, which could have easily been another track on Armchair Apocrypha. “I figured I would try a new song on you all,” he remarked to eager fans with the disclaimer, “there’s no better to place to choke, I guess”. Bird also shared some of his own stories about his songs; perhaps the most interesting was that “Why?” was about his college roommate failing to get a rise out of Andrew. Or, as he explained, that much of his songwriting starts with questions (he’s much more interested in the questions) and a couple of words whose tonal quality interest him. From there, it’s that quirky Birdness that takes over and makes his songs what they are.

Listen to Andrew Bird- “Why?“
Listen to Andrew Bird-”11:11 (Live)“

I’m veering a little off course with this post, as I get ready for two awesome shows coming to Northwestern. We’ve got Wilco coming Friday (about to release Sky Blue Sky…more on that soon) and then we’ve got His Birdness (Andrew Bird) coming on Monday night.

But I’m in a Chicago kind of mood tonight, and so I figured I’d give a little taste of some cool Chicago blues from Jimmy Rogers’ “Chicago Bound” and the harmonica stylings of Charlie Musselwhite on “Chicago Sunset”.

I’m sure you’ll enjoy these goodies, but just in case you’re not totally satisfied, I’m gonna give you a little Wilco love as well.

Check out Jimmy Rogers–Chicago Bound
Check out Charlie Musselwhite–Chicago Sunset
Wilco-I’m Trying to Break Your Heart (Live Version)