Rock
Marcus Doucette
By Kenya Evans His distinctive voice graces our radio waves as a host on 88Nine, Radio Milwaukee; chalk up his tranquil tone to his meditative practices as a Yoga instructor. By night you may have found him scratching and mixing on the 1’s and 2’s at local hot spots like Jackalope Lounj and Hi Hat Garage – maybe you even caught him opening for Meshell Ndegeocello at Turner Hall in November. A DJ on the local scene for eight years, Marcus Doucette describes his work as “The Mystic Art of Just Being Yourself.” What made you turn to DJing and radio jockeying after school? I [graduated] from Marquette University back in 1998 … I had a really hard time finding a job that was anything other than another paycheck and another week of getting by. At first, DJing was an accident (because I had some records), then it was for fun (because I worked and partied too much anyway), then it was money (because I always needed it). Then something happened; with all of these motivations in mind, I sort of got lucky and landed a gig at 91.7 doing their world music slot, and that was the best opportunity. With the freedom to play music that inspired words, I found that radio was a great place for me to be. Two years at WMSE honed skills that would become a job at 88Nine. The odd thing is this is the job I had never “planned” on getting. What do you think of the Milwaukee arts scene? I have always thought of the scene here as being creative as well as progressive. With MIAD in town and the overall support of events like Gallery Night, Milwaukee has talent as well as some support for that talent. Add a party-like vibe and you have a sense of my sense of the scene in town. What are you working on and who are you working with? Right now I’m doing work with anyone who wants to work with me … currently a musician named Eltron, and another DJ, Dirty Francis, as well as The Architect, Tarik from 88Nine. How do you draw people to your work? Come to my show, I’ll probably ask you; we’ll have a beer and work it out on the dance floor. Talk about your approach to your art. I don’t really consider myself an artist in the traditional sense of the word. If you mean “being involved in creative endeavors,” then maybe, but just barely. I do appreciate it when someone calls me one; I would say that I use a little art in what I do – and that’s stretching the definition a bit. With DJing, I feel my approach is all about the moment. I’ve never been able to plan a set because the impact of the room is very important and the “art” in my DJing is all about how the environment affects my Center … what spins off of that becomes my set, […]
Dec 1st, 2007 by Vital Archives
Northern State
By A.L. Herzog Female hip-hoppers Spero, Hesta Prynn and DJ Sprout are pushing thirty, but they still sound like snot-nosed kids who rhyme as if double-Dutching in the schoolyard or cheering at a high school football game. On their third full-length record, their political agenda is never in question, and though they’re outspoken, they’re also hilarious, if sometimes unintentionally hard to follow. “Sucka Motha Fucka,” thematically along the lines of TLC’s “No Scrubs,” offers concise wordage, several “oh snap!” moments and a name-check of Al Gore. The girls also name-check themselves and each other quite often. It’s annoying filler that may be an imitation of what “rap” is supposed to be. Three albums in and their clear lack of composure perseveres. “Cold War” and “Things I’ll Do,” two recommended songs, open up dialogue on gender relativity. Talk of marriage, babies, money, work, etc. are addressed on the former, while the latter is an anti-feminist rant that, because it’s so cheeky, remains completely inoffensive. What is offensive is that purposeful tracks like the aforementioned are amongst loafers like “Cowboy Man” (ripped from Madonna’s “Ray of Light”) and Spice Girl-esque concessions like “Run Off the Road,” single “Better Already,” and closer “Fall Apart.” Isn’t there a better group to imitate? A smart, spry group like Northern State definitely shouldn’t go away; with ducks in a row, they’d be commendable. If given the chance, maybe the fourth time can be their charm.
Dec 1st, 2007 by Amber Herzog
Richard and Linda Thompson
Richard Thompson is a hardly a household name these days, but back in 1975 he was a true cult artist.
Dec 1st, 2007 by Blaine Schultz
Bottomless Pit
Could Bottomless Pit have chosen a more apt title for their excellent debut release than Hammer of the Gods? The songs on this eight-song disc pummel and crack with the deliberate force of Thor’s enchanted hammer, Mjolnir.
Dec 1st, 2007 by DJ Hostettler
Robert Plant/Alison Krauss
If you’re an Alison Krauss fan, this is another jewel in what must be a heavy crown. If you’re a Robert Plant enthusiast and have admired his career of lefts and rights, you should pick this one up. If you’re one of those Plant fans who are still waiting for “Achilles’ Second Last Stand,” you should pass.
Dec 1st, 2007 by Troy Butero
The song remains the same?
By Ellen Burmeister Once regarded as the epitome of the excesses of the 1970s rock landscape, Led Zeppelin is currently undergoing a revival of sorts, which is expected to culminate in a much-heralded reunion concert in London this December. For those of us who can’t book a flight to Heathrow, an admirable substitute came to the Riverside Theater November 9 as a 50-piece subset of the Milwaukee Symphony Orchestra. Under the direction of composer/arranger Brent Havens, they presented “The Music of Led Zeppelin”, a “rock symphony” of fifteen of the band’s best loved tunes. Notching up the rock chops of the ensemble were – most notably – vocalist Randy Jackson, guitarist George Cintron, electric violinist Allegra, and drummer Powell Randolph (granting the crowd a sampling of a truly Bonham-worthy solo on “Moby Dick”). While no one can match the vocal acrobatics and writhing tight-pants sensuality of Robert Plant at his peak, Randy Jackson proved that the art of rock vocals is a worthy equivalent to that of any other highly trained vocal discipline, especially when backed by a professional ensemble. Almost academic in his approach, Jackson gave a thrilling “reading” of the varied styles in the Led Zepplin playbook – classic rock, blues, and even English folk – and played some great acoustic guitar as well. Kudos to guitarist Cintron and violinist Allegra as well. Jimmy Page’s fabulously inventive and complex riffs got their due props thanks to this unique splitting and doubling of his musical vision among these two talented musicians, particularly on “Black Dog” and “Heartbreaker.” And – despite the challenges of competing with an amplified bass line that approached “11” – the Milwaukee Symphony Orchestra brought a rich timbre to the tracks. Subtle changes such as the addition of an oboe to the flute meanderings on “Stairway to Heaven” or the lush backup lines on “In the Evening” reminded the appreciative audience of the beauties hidden in tracks so often taken for granted. And of course, “Kashmir” never sounded more exotic or epic as when a full orchestra takes on its throbbing rhythm and evocative harmonics. The capacity crowd was visibly proud of its hometown orchestra (a terrific outreach project for the MSO if there ever was one) and participated wholeheartedly in every opportunity for interaction that arose. By the time “Stairway” reared its ubiquitous head (complete with the rarely heard guitar and vocal prelude), there was an overwhelming sense of satisfaction in the crowd. No one was alarmed by bustles in their hedgerows. VS
Nov 12th, 2007 by Vital Archives
Ian Ball
Fans of Southport, England’s Gomez have long realized that with three songwriters in the band, there was bound to be a bit of venturing into solo-land, for true-blue songwriters can only collaborate and play nice for so long. Ian Ball has no desire to see his outfit disband, but is keen to try some orchestrations of his own, which are in turn are subtly lovely, genuine, organic and pleasing in their simplicity. It’s fair to call Who Goes There “piano-driven,” but don’t let that lead you to think this is a typical boy-and-his-piano heartstring-tugger. Rather, Ball has mastered an uncanny knack to make the absence of guitar largely unnoticeable. Instead, he magically manages to serve up a heavy rotation of a crunchy Fender Rhodes, mellow acoustic piano, electronic loopery and glass-clear glockenspiels that override the soft strummings of acoustic guitar in a playful way, lending a fresh sound to songs of love and its trials, which are lyrically a little cheeky, but never campy. Ball even manages to make getting high from enough drugs to tranquilize an elephant (“The Elephant Pharmacy”) sound charming. Ball’s skills as a solo artist lie in his ability to bring living-room ballads uncannily within reach, despite his intensely personal storytelling style. From the introspective, self-soothing opener “Sweet Sweet Sleep” to the bouncy “Automatic Message” and whimsical “When We Were Cool,” Ball doesn’t get in anyone’s face – just garners slow, but solid, appreciation. VS
Nov 5th, 2007 by Erin Wolf
Citay
The average person does not listen to instrument-led rock music. At most, it’s used as background noise while cleaning, studying, or even sleeping – earning a position not much higher than a Sharper Image sound machine. Without prominent vocals, it’s easy for most to lose interest. Unless, like the not so itty-bitty eight-piece Citay committee, there is a generous amount of aggressive ‘70s guitar to demand attention. The noise comes when least expected, as during the unassuming Elliott Smith-like “On the Wings.”Since the disc’s undertones are mellow, these interjected rock-god moments are startling. Also surprising – and out-of-era – is the Metallica-meddling on “Former Child” which, thankfully, bows out a minute or so into the almost eight-minute track. Now, eight minutes may seem drawn out, but Little Kingdom is never difficult to connect with, even at its most noisy, lyrically free and instrumentally hefty. Not quite as kitchen-sink as today’s symphonic indie bands with as many members, Citay’s wackiest accessory is the mandolin. In addition, songwriter Ezra Feinberg plays nine instruments and provides tender vocals in select songs like the whimsical “First Fantasy.”Not only does he rival Sufjan Stevens in gratuitous musicianship, but also channels Sufjan’s minimalist, folksy vibe throughout “Moonburn,” the album’s closer – beneath the hell-raising retro guitar shredding, of course. If your Led Zepplin III or Pink Floyd Animals vinyl is wearing thin, Little Kingdom is an ideal segue into the current century. Apologies if it’s only released on CD.
Nov 1st, 2007 by Amber Herzog
James Luther Dickinson
As producer and musician, Jim Dickinson has had a hand in masterpieces by Aretha Franklin, The Rolling Stones, The Flamin’ Groovies, Big Star/Alex Chilton, Ry Cooder, The Replacements and Bob Dylan – not to mention raising his sons, The North Mississippi All Stars. As a solo artist, Dickinson released his debut in 1972 (the classic Dixie Fried) and waited thirty years before following it up. Reminds me of a joke my grandpa used to tell about “a long time between drinks.” Dickinson has picked up the pace significantly since; Killers From Space is his third album since 2002. His choice in material and the very way he inhabits a tune go a long way to defining that particularly indefinable brand of Memphis strange. Ranging from Tin Pan Alley to blues to gospel to all-out rockers, Dickinson’s weathered vocals put the listener front-row-center to characters that may be down and out, but have more soul than they can handle. “I Need You” reveals menace that in lesser hands would be camp. Here its wheezy harmonica and piano interplay suggests the last gasp of Jay Hawkins at St. James Infirmary. Dickinson is a national treasure; he should be on a postage stamp.
Nov 1st, 2007 by Blaine Schultz
Enon
Enon waited only a year between the release of their sophomore album, 2002’s High Society, and their third disc, Hocus Pocus, and to a lot of fans’ ears, the lack of wait time showed. Perhaps the band realized this, because now it’s been a four-year wait for new material. The result, Grass Geysers…Carbon Clouds, is the best news possible for Enon fans: not only is the band back with a vengeance, but they spent all that time producing one of the best indie-rock dance records of the year.? Where Hocus Pocus featured a number of low key, mellow dinner party background tracks, Grass Geysers pushes the dinner table to the side to make room for the dance party. “Mirror on You” sets the pace, all fuzzed-out bass, handclaps and Matt Schultz’s shake-it-shake-it drums, with bassist Toko Yasuda’s pixie voice catching the listener’s attention right off the bat. A scant minute-forty-six later, “Colette” delivers more of the same; the synth-bass jam “Dr. Freeze” provides still more after that, its alien Ed-Wood-film-produced-by-Martians vibe providing the best ring entrance theme for a nonexistent luchador ever heard. The closest the album comes to taking a breather is the fantastic and instantly memorable “Mr. Ratatatatat,” a midtempo stomper that utilizes Enon’s secret weapon—the interplay of Yasuda’s demure Japanese vocals with guitarist (and ex-Brainiac gunslinger) John Schmersal’s barking croon. In an alternate universe somewhere, this song is already a smash chart-topper. That should be taken literally. This band isn’t just otherworldly; they’re multi-dimensional. The best we can hope for in this universe is that club deejays everywhere latch onto the unstoppable dance beats pounding their way out of Grass Geysers and into awaiting ears. If it takes another four years for Enon to produce a follow-up, that’ll be just fine. It’ll probably take many years beyond that to tire of this one.
Nov 1st, 2007 by DJ Hostettler
Bruce Springsteen
Bruce Springsteen’s career has been truly beyond reproach. Even those who aren’t fans have to acquiesce to the fact that he’s the definition of integrity in a business that thrives on the opposite. And while his popularity may have waned in the nineties, he still created provocative music that meant something both to him and to his audience. This is evidenced by recent releases from a number of young artists mining his sound and his aesthetic. Ah, but they could never be the real thing. And here in his 24th year of recording, Bruce produces yet another finely-crafted testament to his “Boss” title. Magic contains the most direct and immediate collection of rock music Bruce has put out since Born in the U.S.A. in 1984. The saxophone, the piano and the rest of the E Street Band are back in full regalia on songs like “Livin’ In The Future” and “I’ll Work For Your Love.” The driving rhythms, melodies and narratives are also back, particularly on “Last to Die.” But Bruce doesn’t stop there: on the title track he displays the entire spectrum of his talents as a creator. “Girls In Their Summer Clothes” is as innocent as it is wistful. And though it may turn some people off, there are also a number of songs that touch upon his acoustic, rootsy leanings, sparse and epic. Bruce makes albums that are the equivalent of audio novels. They tell stories, weave descriptions, paint landscapes and define characters. But he also always gives us a little prize wrapped in the theme of it all: the emotional resource that compels us to be the authors of our own existence. “Love (and attitude) is a power greater (and stronger) than death” he sings in his tribute to a deceased friend on the hidden track 12, “Terry’s Song.” Yep, that’s the magic.
Nov 1st, 2007 by Troy Butero
