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Archive for the ‘Darlingside’ Category

[ATTENDED: September 29, 2019] Philly Music Fest

For those counting, this makes four concerts in four nights, which is frankly insane (and thanks to my poor wife who tolerates such excesses).

But the whole reason I wanted to go this evening was to see Man Man (more in their own post).

But, in fact, the entire Philly Music Fest was pretty fantastic.  I would have certainly gone to three of the four nights if I could have.  This little festival is a testament to the amazing music that Philadelphia is producing, and they didn’t even include two of my favorite Philly bands, Mannequin Pussy and Control Top.

The first night I actually didn’t know any of the bands.

  • Wednesday 9/25 at Milkboy (a venue I haven’t been to yet)
  • Secret American
  • Sixteen Jackies
  • Ceramic Animal

The second night was an amazing line up! (more…)

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[ATTENDED: September 27, 2019] Darlingside

This is now the fourth time we’ve seen Darlingside and our second time seeing them at SOPAC.  SOPAC is a great intimate seated venue with excellent sound (and a very strong air conditioner apparently, holy cow was it cold in there).

The last time we saw them there, there was an opening band.  But this time there was no opener.  Rather, Darlingside would play two forty-five minute sets with an intermission between.

We also brought S.’s mom as a treat, believing that she would love their harmonies.  And she sure did.  I think we know what to get her for Christmas.

Our seats were great–second row, although I joked with S. that we were too far to the left (instead of dead center).

So this was their second time in the same venue.  Some things were the same.  I don’t remember exactly, but I feel like at the last show they were lit by these same very cool old-fashioned bulbs (which you can see in a picture below) as well as the stage lights.  I enjoyed that they were somewhat connected to the music–growing brighter as things got more intense. (more…)

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[NOT ATTENDED: January 17, 2019] Henry Jamison/Guster

S. and I love Guster and will see them as often as we can.  They are a fantastic live band.  So when they announced a show on a very special day for us, we were especially excited–and even imagined requesting a shout out.

Then five days before the show on Jan 12 we received this disappointing email.

Your event is still on, but it’s been rescheduled.

Guster Fillmore Philadelphia Thursday, January 17th
NEW DATE: Saturday, March 23rd with the doors opening at 7PM

Please Note: On Thursday January 17th Guster will be appearing on Late Night with Seth Meyers on NBC.

Although obviously it was pretty exciting that they were going to be on late night TV!

Then January 14, Guster sent out this email

(more…)

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SOUNDTRACK: DARLINGSIDE-Live at Newport Folk Festival (July 27, 2018).

Darlingside never disappoints and this stream from Newport Folk Festival is an excellent opportunity to hear them live.

The sound quality is excellent and their voices are more clear than on the record!

I had no idea this was only their first time at Newport Folk est and Harris is suitably excited (even though it’s only 11AM).

It’s also an opportunity to hear their one of a kind banter.

The harmonies on “Go Back” are just heavenly.  And they are positively angelic on “Singularity.”

The introductory cello solo at the beginning of “Harrison Ford” was a delightful change.  And the guitar really rocks loud on “Eschaton” (almost like a real rock band!)

There’s also the hilarious band member introduction (different at every show).

Auyon says that they were able to play for a boys and girls camp, Camp Grovernor.  But something was lost in communication and the camp director thought the band name was “Don Mitchell,” (their banjo player).  And the director was asking, “Is it Don Mitchell and the…”  Auyon explained that the Don Mitchell is silent and it’s just Darlingide.  This got him to wonder what the band would be if each member was the main character.

Dave Senft plays kick drum, bass and guitar.  Dave had a child recently so it would be Dave Senft and The Weird Uncles.
Harris Paseltiner plays cello and guitar. Harris lights his beer light in body and light in color and as far as I can tell utterly devoid of flavor…  so Harris Paseltiner and The Lightest Beers.
Don Mitchell plays banjo and guitar.  Don is from CT and is steeped in New England traditions, like nativism and xenophobia which he demonstrates every time he uses Midwestern as an insult…. which is particularly irksome to those of us in the band who are from the Midwest.  In the spirit of brotherhood, Don Mitchell and The Midwesterners.
Auyon Mukharji plays mandolin and violin and with me we would be Auyon Mukharji and the Best of Friends.

Harris: it’s the first time he’s ever been earnest.  It must be something in the water.
Don: that was the height of Midwesternness.
Auyon: and it felt really good.

This the first time I’ve heard them play the Neil Young song “Red Sun” which sounds great of course.  It’s done a capella, too.

  • “The God of Loss”
  • “Go Back”
  • “White Horses”
  • “Extralife”
  • “Harrison Ford”
  • “Singularity”
  • “Eschaton”
  • “Red Sun (Neil Young)”
  • “Blow The House Down”

[READ: February 4, 2016] “Five Arrows”

This is strange little story about a man who moves to an island because his gangrenous foot smells so bad that he has ejected himself from polite society.

But it is told from the point of view of a young boy, Insu.  Insu is from the village of Bupyeong in Korea.  But he has lived in The United States and Germany for the last two years.

Insu is shocked at what has happened to their village–the river which five years ago was so clear you could see the bottom was now dammed up and cloudy.  The locals were trying to grow carp.

It turns out that Insu and his friend are rowing across the river to find Big Uncle and Little Uncle.  They are skipping school and know that the uncles can keep a secret. (more…)

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[ATTENDED: June 10, 2018] David Wax Museum

Our whole family saw David Wax Museum play at XPNFest a few years ago.  They were great (and were very friendly afterwards).  We knew we wanted to see them again, so when we saw that they were playing this tiny venue at SteelStacks (and that admission was FREE), we couldn’t pass it up.  The fact that it also coincided with the Food Truck Border Brawl (in which food trucks from NJ and PA battle for most popular dish) did not hurt!

The weather sure did though.  It was rainy and a but chilly.  Not ideal food truck weather.  So, rather than making a day of it, we drove down for dinner.  We enjoyed our food truck food and then headed inside for the show.  I think it was supposed to be outside, but they wisely moved this show inside to be incredibly intimate.

It was also fun to have the kids with us for this show (even if Clark chose not to sit with us and we wound up keeping them up and out pretty late–but hey it was almost summer). (more…)

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SOUNDTRACK: DARLINGSIDE-Pilot Machines (2012).

The first Darlingside EP had no information about the band.  It was almost a blank slate.  This, their first full album at least gives us this:

Darlingside consists of David Senft, vocals and guitar; Harris Paseltiner, cello, guitar and vocals; Auyon Mukharji, mandolin, violin and vocals; Don Mitchell, guitar and vocals; and Sam Kapala, drums and vocals.

Yes, drums.  This is the final Darlingside album with drums and the final Darlingside album with a sound that is not their current sound.  At this time Darlingside was more of an indie folk rock band who sang with great harmonies and had some unusual instruments.  But they still rocked in a fairly conventional way (in fact the drums are often front and center).

“Still” bursts forth with harmonies (ahhhs) and loud drums. They play with a loud/quiet dynamic within the verses.  It sounds like Darlingside if you squint your ears.  The lyrics are pretty funny, (and now a message from our sponsor) and it’s really catchy too.  But those drums really modify everything.

“The Woods” opens with the kind of harmonies that Darlingside would become known for.  But this song has a propulsive drum moves things forward.  It also highlights some great wild violin and a short spaced-out outro with some heavily processed vocals.  “The Woods” and “Ava,” both have really big loud moments.  Ava starts with a thumping bass and picking guitars but it builds nicely with some great tension between the vocals and guitars.

“Drowning Elvis,” has a very spaced-out drum groove, lots of strings and a clean guitar sound.  “The Company We Keep” features mandolin and high voices.  It’s a pretty, folkie song.

“Blow the House Down” is familiar to fans because they have re-recorded it and play it live consistently.  “The Ancestor” was also recorded without the drums for their next album.  This version has a kind of low thrum underneath the song but the drums are just a kick drum.  It sounds pretty close to the familiar version.

I’d actually like to hear this whole album re-recorded in their current style (no disrespect to their drummer), but the rock band format changes the whole sound of the songs and it would be interesting to hear how they differ.

Having said that, this rock band format also makes some great songs.  “Only Echoes” starts as a slower, moodier piece but midway through it dramatically shifts gears and grows really loud with a buzzy bass and distorted guitar and smashing drums.  It’s the most un-Darlingside song I can imagine, but it’s really great.

“When Fortune Comes” and “My Love” are quieter songs.  “Fortune” focuses on their harmonies (there’s no drums).  While “My Love” has shuffling drums and an upright bass.  The lyrics are also a bit rougher than expected: “You weren’t the first to call me….an arrogant son of a bitch but…”

“Terrible Things” opens with snapping drums a rocking staccato guitar line.  The singers do a series of single note “coo” sounds that’s pretty neat.  The vocal harmonies are really cool and a little spooky, too.  It’s a neat song.

“Sweet an Low” has a very smooth sound (and an extra vocalist–Caitlyn Canty).  The final two minute are kind of an extended jam with this little electronic device.

When I first listened to this after falling in love with Darlingside’s current sound, I didn’t like this very much.  But having listened a few times, I really like these songs.  They’re very well crafted with some excellent details.

[READ: February 5, 2018] “Fletcher Knowles”

This excerpt is from a then novel-in-progress and it is a doozy.  It’s very funny and very meta and once again I can’t imagine where the story is going to go from here.

The story begins with the character saying that his name is Fletcher Knowles.  And he is going to tell his story.  He says that he is going to tell everything from memory and that you should never doubt your own memory.  Nor should you trust anyone who says that they doubt their own memory.

So he is going to tell his story exactly as he wants to.  Which means he is not going to: (more…)

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SOUNDTRACK: DARLINGSIDE-EP1 (2010).

It’s amazing in retrospect how bland the first Darlingside song on their first EP is.

Darligside is a unique band, with gorgeous harmonies and unexpected instrumentation.  Their songs are gorgeous.

But this album is very different.  The first main difference is that there is a drummer–a real drummer named Sam Kapala.  Kapala is quite good, but wow does that change the entire tone of a Darlingside song.  Second, the band doesn’t sing everything in harmony.  Rather, there is one main singer (I think David) with the other guys singing fairly standard backing vocals.

The whole Ep has a kind of raspy-voiced-folk rock exploration feel.  The first song “Good Song” still has some mandolin, but only sparsely and the chorus melody sounds so much like another song or songs that I can’t get past it

“Surround” has a bit more of that Darlingside feel–the music is a bit more esoteric.  But the vocals are the same–that raspy-voiced lead singer.

But each song gets more interesting.  “Malea” has more of that cool violin and some really good drumming.  There’s definitely flashes of greatness on this EP, including in this song–although they need to bring in some of that cool vocal stuff.

“Catbird Seat” has some lovely violin and great whispered vocals.

“All That Wrong” starts almost a capella with some quiet guitar. It builds slowly until the middle section with the fast guitar and mandolin and the squeaky violin solo which is awesome.

“In the Morning” ends the disc with a quiet vocal melody but it eventually adds more singers and starts to sound more and more like the Darlingside we know.  In part because the drumming is left out almost entirely.  It feels like with three more songs they’d be on the verge of creating Birds Say.  But not yet.

[READ: January 22, 2018] “If Told Correctly”

I think the reason for William’s constantly publication is that it is so easy to fit at least one, or even more of them into a space in a magazine.  Got a small column to fill?  Grab 7 Williams stories.

This is a collection of five such stories

None of This Would Have Been Remotely Feasible
This story begin with the narrator admitting that she is smart and likes jokes.  So this is suitable for certain people.  The police found her in a pile of snow saying she didn’t want to live anymore.  Her mother saved her life. “This morning I was walking toward a tree… A woman was crying Melba! Melba!”  Perhaps it is a dog, that’s what we’re led to believe.  The last sentence is just a random jumble of words: “After a pause I looked into the world but I never found those.”  What? (more…)

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