Retroselective: The Best of March 2009
March saw Purple Rain storm through a three-night Tonight Show residency, U2 took over Letterman, Jimmy Fallon jumped into his Late Night position, Kanye West hit American Idol and SXSW came and went. Along the way these were the the moments that we felt best represented the month of March.
P.O.S. covers Pearl Jam: P.O.S. is not at the top of my list of artists I’d like to see covering Pearl Jam. In fact, I hold that band in such reverence, that I’d rather just hear them play their music over anyone else trying their hand at it (I’m looking at you, Aaron Lewis & Tori Amos—leave “Black” alone, thanks). However, P.O.S.’s inventive and authentic cover of “Why Go” shows not only that Stef is a talented individual with an inherent love and knowledge of rock music, but that “Why Go” is still a hell of a song 18 years after it was released. The cover is a faithful, impassioned version that appears to be recorded in Stef’s bedroom, and he cheekily dressed in flannel for the occasion, which was a nice touch. He also manages to take a subtle dig at Kanye (“there’s no autotune in Grunge music”) before tearing into the track, which really takes off in the chorus, when P.O.S. introduces a simple keyboard riff into the song, and his “solo” in the bridge is really fresh. It works really well not only because it was so unexpected and original, but because P.O.S. is truly a gifted artist. [Erik Thompson]
P.O.S. Covers Pearl Jam’s “Why Go?”
Handsome Furs @ 7th St. Entry: Since getting the Handsome Furs amazing sophomore album, Face Control in late January, I had been looking forward to the band coming to Minneapolis for their show at the 7th Street Entry. Face Control quickly became my favorite album of the year and I have yet to get sick of it, so the expectations were pretty high for the show. Luckily the band not only met, but easily exceed the lofty bar that I had set and performed an amazing set that left me buzzing days after the show. Their set only made me go back and appreciate the album even more and further cemented the duo as one of my favorite current acts. [Josh Keller]
The music in Watchmen: Say what you want about the film itself, but hearing “The Times They Are A Changin’” and “All Along the Watchtower,” among others, really propelled the film. Well, except for “Hallelujah.” Even guilty pleasure My Chemical Romance’s cover of “Desolation Row” was kind of cool, at least in the context of the film. Add to this, “Unforgettable,” “The Sound of Silence” and setting-appropriate tracks like “99 Luftballons” and “Everybody Wants to Rule the World,” and you have a good example of how music doesn’t just exist in a vacuum; it can intersect and intertwine with other arts, shift according to context, and live and breathe apart from its original manifestation. [Kyle "Guante" Myhre]
Fever Ray’s Fever Ray: It’s an absolute pleasure to come across a piece of music that leaves you at a loss for words. Fever Ray is an album that is constructed around the thoughts of the Knife’s Karin Dreijer Andersson and it follows her as she continues molding her minimalistic style through icy beats and electronic moans. Where the Knife was a collective which offered little spotlight to the individual, Fever Ray adds a bit of personality to Dreijer’s songs, lending humanity to her voice where the Knife was, and is, a faceless outfit. The final result is stunning and one of the few must-listens of the past month. [Chris DeLine]
(Janelle Monáe @ Vice Bar)
SXSW: It should come as no surprise that the best part of March for me was the SXSW Music Conference in Austin, TX. While I saw a number of great bands, these are the ones that impressed me the most:
#1) Shad: The Canadian rapper showed that his live set is just as good as his recent album, The Old Prince. Expect great things from this guy.
#2) Little Boots: This British dancetronic diva has some extremely catchy beats. Am looking forward to her debut record “Hands” out this June.
#3) Ty Segall: Out of all the new garage bands this guy is probably my favorite. Was concerned at how his one man sound would translate to a live show but he put my worries to rest with the help of a drummer and bassist.
#4) Woods: These guy’s low-fi indie pop was probably the best unexpected experience of the festival. I hadn’t even planned on catching them but I am glad I did.
#5) Janelle Monae: Once again, this R&B dance queen is going places. I hope one of those places is back to Minneapolis for another show soon. [Jon Behm]
SXSW Report: Part 1 | Part 2 | Part 3
Bonnie ‘Prince’ Billy @ the Walker’s McGuire Theater: I have been a Will Oldham fan for a while, but have never had the opportunity to see the singer/songwriter live. Performing under his legendary Bonnie ‘Prince’ Billy moniker, Oldham came to the great McGuire Theater for two shows this past month. I caught the second set, which lasted close to two hours and was a tour de force featuring one of the most gifted songwriters of the last decade performing to a captivated audience. [Josh Keller]
Bonnie ‘Prince’ Billy @ the Walker’s McGuire Theater
All-ages shows! People always talk about the need for more all-ages shows, and this month had some great examples of why. I watched a full room of teenagers singing along to Kristoff Krane’s “Easy Way Out” at the Key in Northfield, a collection of very young punk bands at Eclipse Records playing to their friends and families, an all-ages version of the Hip Hop Against Homophobia show at District 202, Hyder Ali’s all-ages release party at the Depot in Hopkins, Substance’s “Manifestation” pre-show at the 7th St. Entry that included a surprise appearance from Sage Francis; all of these shows prove that there’s a big untapped audience in the Twin Cities—everyone who isn’t 21 years old yet. Here’s to hoping that more bands and promoters take advantage of this. [Kyle "Guante" Myhre]
The Dead Weather: The Dead Weather came about as a result of Jack White taking ill on tour. Alison Mosshart of the Kills stepped in to take over vocal duties, things worked, and here we are. Toss into the mix Dean Fertita (Queens of the Stone Age) and Jack Lawrence (Raconteurs/Greenhornes) and you’ve got the Dead Weather. The band’s first two songs, including an odd-ball cover of Gary Newman‘s “Are Friends Electric?” are beasts, gripping rock by its throat and not letting go. When the songs were first released I literally listened to them back-to-back for two hours… and not once did I think that they were any less powerful than the first time I heard them. Horehound, the band’s full length debut, will be released in June. [
The Dead Weather: New Music from Jack White
Bob Mould @ Varsity Theater: One of the best shows in March took place at the end of the month, as Bob Mould thrilled a packed Varsity Theater with a mainly acoustic set filled with hits both old and new. It was a real testament to the talent and staying power of the man that some of the best songs played that night were from Mould’s fantastic new record Life and Times, due out on April 7. Of course, he also played some classic Hüsker Dü songs (on the 30th anniversary of the bands first show ever at Ron’s Randolph Inn in St. Paul) and some marvelous Sugar songs as well. But the real highlights of the set were the five songs he played from Workbook, his first solo record which has been out for 20 years now, and going by the fiery and fantastic versions he played at the Varsity, it’s obvious Mould is proud as hell of the songs on that record. His voice is still as amazing as ever, and was always a beacon to be drawn to amidst the chaotic walls of sound he’s shrouded himself in over the years. A brilliant, engaging show from one of the unequivocal legends in rock music. [Erik Thompson]
