Album Review: The Helio Sequence - Keep Your Eyes Ahead

Originally published Feb. 13, 2008 in The Orion

The Helio Sequence
Keep Your Eyes Ahead
Sub Pop Records, 2008
3/5 stars

The Helio Sequence's second album on Sub Pop is a fusion of the label's bands. With a roster like Sub Pop's, borrowing musical formulas from labelmates is not necessarily a bad thing.

The opening track, "Lately," begins with the tranquility of The Album Leaf. Guitars linger and the band channels the earnest sound of Band of Horses.

The Helio Sequence retains its dreamy pop silhouettes, but the softer songs on the album will surprise fans. After losing his voice on tour, singer and guitarist Brandon Summers backed down from his vigorous form of singing and worked his way up to the whispering tones heard on the nostalgic track "Shed Your Love."

"Keep Your Eyes Ahead" is a familiar sound, but the two-piece impressively re-creates the intensity of a full band and adds personality that makes the songs infectious. The chorus from "Can't Say No" sums up the album: "Even if you wanted to, you can't say no."

Workshop encourages relaxation through odd activities

Originally published Feb. 13, 2008 in The Orion.
Direct link to article

In a bright corner near the tall glass windows of the 1078 Gallery, Maria Navarro sets up a table and a few chairs and lays out a collection of colored pens and markers.

What looks like a children's coloring table is actually the working space where Navarro leads a workshop in "being a stranger."

The word stranger often has a negative connotation, but the word can also mean looking at things with a pair of fresh eyes, Navarro said.

She uses the idea of looking at things with a new perspective in her workshop to encourage awareness and creativity, she said.

Navarro was born and raised in Colombia and has kept a journal since the age of 11, she said. After moving to the United States, she was trained in the Alexander Technique at the American Conservatory Theater in San Francisco, and has been teaching for 25 years.

Frederick Matthias Alexander, a Shakespearean orator, created the technique in the late 1800s.

The teaching technique focuses on body movement and the way some gestures, especially in the head and neck, can negatively affect thinking. The technique is usually taught one-on-one, but it can be structured to work in small groups.

Navarro moved to Chico when her husband, Laird Easton, was hired by Chico State as a history professor, she said. Navarro quickly became involved with the 1078 Gallery as a co-chair and member on the board of directors.

Her first workshop was Sept. 14, 2006.

While a lot of the workshop time is spent on writing in journals, Navarro uses the Alexander Technique to encourage participants to become aware and comfortable with themselves and the environment, she said.

The workshop is free, but Navarro asks for a $5 to $10 donation for the gallery, she said. Participants can also attend on a drop-in basis. The workshop is set up to welcome newcomers, but also builds up for participants who attend on a regular basis.

"I wanted to create an island in the middle of the day when people can be aware of their presence," she said.

The workshop routinely begins with an activity that Navarro refers to as "claiming your space." Participants sit down and take time to become relaxed in the environment.

Anything goes after the first activity, Navarro said. Each workshop session is different and she tailors them according to who attends.

Writing activities vary and are timed differently, she said. Some require quick unconscious thoughts while others require deep thinking.

"I use time in a playful way," Navarro said.

One writing activity gives participants three minutes to finish sentences like "Now I feel…" and "I welcome…" Another activity, called the "Dream Police" gives participants 11 minutes to list things, people and ideas they would save if they only had 11 minutes to collect them, she said.

"Just when you think, 'I don't have anything to write,' there is so much you can play with," she said.

Unlike most workshops, there is no pressure to share writings with others or the fear of being judged, Navarro said.

"You don't have to talk to people," she said. "You don't have to make eye contact."

Other activities require more movement. Navarro encourages participants to energize themselves by exploring five rhythms, identified by improvisational dancer and shaman Gabrielle Roth.

Participants are asked to move in ways that reflect the rhythms of flow, staccato, chaos, lyrical and stillness.

During all activities, Navarro either turns on quiet music or uses her voice to initiate rhythms.

Navarro's soft and inspirational voice is attendee Libby Shipley's favorite part of the workshop, Shipley said.

"She gains your trust," Shipley said.

The artist travels from Red Bluff to attend the workshop, she said. She learned about the workshop when she visited the gallery to look at an exhibit. The workshop was taking place and Navarro invited her to join.

"I enjoyed myself and didn't know why," Shipley said.

1078 Gallery director Pat Macias is often working in the gallery during the workshop and sees Navarro engage a lot of people who go into the gallery with no knowledge that the workshop is taking place, Macias said.

"Maria helps them fit right into this environment," she said.

Most of the participants are professionals with full-time jobs, but Navarro hopes students will start attending the workshop as a de-stressing activity, she said. Like yoga and Tai Chi, movement exercises and journal writing are creative outlets that increase awareness and clear thinking to enhance one's life.

"We are cultivating friendliness with writing," she said.

Album Review: Vampire Weekend - Vampire Weekend

Originally published Feb. 06, 2008 in The Orion

Vampire Weekend
Vampire Weekend
XL Recordings, 2008
5/5 stars

It is risky releasing an album early in the year because it is likely to be forgotten when the time comes to write "best of the year" lists. Vampire Weekend took a chance with its self-titled debut, but with remarkable lyrics and a refreshing indie-rock formula, the album will be sure to top lists at the end of the year.

The band, consisting of Columbia University graduates, takes listeners on a world tour, both musically and lyrically. The first track, "Mansard Roof," begins with an organ melody resonating the sounds of a sonar system and calls attention to French style architecture.

Musically, the band relies on Africa's syncopated beats. The drumming is fun and hardly keeps a single pace. Guitar and bass lines move like a game of hopscotch while keyboards add quirk adornments.

Plus, any band that namedrops Lil' Jon and Peter Gabriel in the same album is worth a listen.

Benefits put tour money in The Makai's pocket

Originally published Feb. 06, 2008 in The Orion.
Direct link to article

A smaller band usually prepares for tour by rehearsing, getting a van ready, saving money for gasoline and loading equipment. Buying plane tickets is not usually in the equation.

For the first time, Chico metal band The Makai is crossing the Atlantic Ocean for a European tour. The self-booked tour will begin Feb. 27 in the Netherlands and take the band to Germany, France, Italy, Belgium, Austria and the Czech Republic.

Before the band leaves, it will play two benefit shows to help cover tour expenses. Nick's Night Club will host the first show Friday, featuring a diverse lineup of metal, indie-rock and folk music.

While some band members have been to Europe as tourists, guitarist Ian Makau, guitarist Zeke Rogers, drummer Jesse Shreibman, vocalist Brandon Squyres and bassist Jeff Worrel are excited to travel to Europe as a band, Squyres said.

The Makai formed in 2004, but it was not until 2005 that the current lineup came together and started touring.

The band has booked tours in the United States, but arranging a European tour is much more difficult, Squyres said. The Internet has made networking easier, but some language barriers still exist.

"In e-mails some people wrote in broken English," he said. "Sometimes, I wasn't sure if we had a show or not."

Not being familiar with venues or bands in other countries requires more time to plan, but Rogers had help from contacts he established in the Netherlands while touring Europe with former bands, Rogers said.

The band leaves in less than a month, but it hopes to add at least 10 more shows to the 15 that are already confirmed for the tour.

"It's like an Easter egg hunt," Rogers said.

The band has already dealt with language barriers through e-mail, but that issue will diminish when speaking with people face to face, Squyres said. However, audiences may have a hard time understanding Squyres' caustic, screaming vocals.

"Nobody understands me anyway," he said.

Grinding vocals are typical of metal music, but along with grueling guitars and changing tempos, The Makai engages audiences with its high energy. Band members really get into playing their instruments and seldom stay in one standing position.

High energy will fill up the various European venues. Band members know some shows are scheduled at pubs, but other venues will be a surprise, Rogers said.

Europe has a big "squat" scene, he said. Squatting is when show organizers or bands make use of abandoned buildings and fill the empty space with live music.

The idea of taking over an abandoned space may seem second-rate, but hospitality is actually superior compared to a lot of established venues, Rogers said. The "do-it-yourself" aspects of music are cherished, and show organizers take care of the bands by providing them with meals and a place to sleep.

Meeting hospitable people on tour helps save money, he said. Renting a van, gasoline, borrowing equipment and plane tickets add up to roughly $8,000.

The Makai do not have high hopes for raising a lot money at the benefit shows, Rogers said.

"A few hundred dollars helps," he said. "But we just like playing with our friends who play good music."

Sleazy Earl Ray and the 2 Drink Minimum is one of the performers on Friday's bill and the band expects the show to raise enough money for The Makai's members to enjoy themselves in Europe, Sleazy Earl Ray said.

"We'll make, I'd say, probably about $40 worth of free drinks," he said.

The shows display more of the band's excitement for the European tour, Shreibman said. While Chico's P.A.W.N.S. and Gruk have also toured Europe, The Makai hopes more Chico bands will see they can tour outside the country, too.

Sleazy Earl Ray and the 2 Drink Minimum would like to tour Europe in the near future.

"I've heard they have good beer there," Ray said.

Regardless of how much money the band makes, touring Europe will be fun, Rogers said. The band will play a second benefit show Feb. 16 at Monstros Pizza.

After returning from Europe, The Makai wants to venture to Japan, South America, Australia and Iceland, he said. More benefit shows might be needed for those aspirations.

Album Review: Saturday Looks Good to Me - Fill Up the Room

Originally published Jan. 30, 2008 in The Orion

Saturday Looks Good To Me
Fill Up the Room
K Records, 2007
4/5 stars

You never know what to expect on an album from a band with an ever-changing list of contributors. Saturday Looks Good To Me is a the electic project created nine years ago by songwriter/producer Fred Thomas.

"Fill Up The room" is a collection of well-crafted indie-pop songs with a surprising strenuous attitude. The album begins with guitars reminiscent of '50s and '60s pop, creating images of jukeboxes and teenagers sipping on milkshakes.

The album's unexpected change is largely due to Thomas taking over the vocals; past releases had female band members doing most of the singing.

The overall cheerful manner of the band is not lost. Swaying rhythms flow from song to song, violins add sweet sophistication and hand clapping creates a youthful, romantic sound.

The track "When I Lose My Eyes" builds up early, but the song hits a pleasant plateau that abruptly resumes, culminating to the climax during the last minutes of the song.

"Fill Up the Room" is a precious winter album that keeps you on your toes.

Downtown restaurant brings big-city feel

Originally published Jan. 30, 2008 in The Orion.
Direct link to article.

Small college towns are known for fraternity parties, hipster coffee shops and modest eateries, but a new dining option downtown is bringing the excitement of city life.

Located above Jamba Juice in the former Chevy's location on the corner of Broadway and Second streets, Crush 201 made its debut in late December, said owner Gino Fiori. Along with a handful of other business partners, the restaurant is co-owned by Celestino Gencarelli, of Celestino's Pizza.

The restaurant specializes in Italian food, but the owners do not want the restaurant to be classified as "just another Italian place," Fiori said. The food is based on traditional Italian recipes, but chefs experiment with ingredients to add a modern twist.

One of the most novel dishes on the menu is the grilled lamb "lollipops," he said. Priced at $15, the lamb is seasoned with rosemary, balsamic and tomato confit.

Even people who are not money-deprived students may find it hard to splurge on the full dining experience.

"It was a treat for me," said first-time customer Karen Mullner. Prices were reasonable, but she can only afford the outing about three times a year, she said.

Dining with Mullner was Cori Ong, who said she enjoyed one of the pork dishes and agreed the prices were high.

"It was a little pricey, but it was a lot of food," she said.

On the occasions when people cannot afford to have dinner at Crush 201, customers can mingle in the restaurant's lounge.

Besides a menu with appetizers, salads, brick oven pizzas, pastas and seafood, Crush 201 has a full bar and a long list of fine wines.

"Restaurants are about elements," Fiori said.

Most drinks are $7.75 and include such popular options as mojitos, cosmopolitans, Manhattans and martinis. In addition, Crush 201 has homemade tonics used in a variety of crush drinks. The "tonic crush" is mixed with Belvedere vodka or Tanqueray Ten gin.

Additional elements that make Crush 201 stand apart from other Chico restaurants are the location and aesthetics. Light coming out of the second-floor location immediately attracts the eye when walking downtown.

"We knew this building was a critical point for success," Fiori said.

The entrance is near the building's small parking lot and upon entering, bright lights and gold stairs lead to the second floor.

Once in the restaurant, the lighting becomes low and chattering voices of excited customers overwhelm the room. The bar is located on the left, the cozy L-shaped lounge is in the middle and tables are positioned on the outskirts, overlooking the street.

Another impressive aspect is the waterfall maintained between glass panes in the right corner of the room. The display is surrounded by rock-filled adornments that dispense light currents of smoky air.

Crush 201 is quite different from the humble Celestino's pizzeria, Fiori said. The upscale restaurant focuses more on the dining experience and serves about 1,000 meals per week. Everything works on a bigger scale with 50 employees.

"Economically this is a big machine," he said.

However, the commitment to the community is no different, Fiori said. Knowing Chico has an environmentally-conscious population, the owners make vegetarian food options available. In addition, much of the produce and meat is organically grown and purchased in Chico.

The business partners of Crush 201 are in tune with the people of Chico and have a lot of experience and pride in the outcome of the restaurant and bar, Fiori said. They also understand the importance of hospitality.

"No is not in the equation."

Siblings are busy bees on latest, Widow City

Originally published Jan. 17, 2008 in Chico News & Review.
Direct link to article


The Fiery Furnaces
Widow City
Thrill Jockey

Listening to The Fiery Furnaces’ "Widow City" is like glimpsing the inner workings of a beehive. Worker bees buzz around, crossing paths. Some days are calm while disaster strikes on others. The queen bee is Eleanor Friedberger, making all the calls along with her brother Matthew. The tempo of Eleanor’s voice alters between spoken word and short melodic stanzas. At times, the band’s interpretation of indie rock sounds mechanical yet remains charming. Each of the 16 songs on the band’s fifth full-length is a tumultuous story, linking to the next track. The instrumentation is stunning. Grinding and ghostly guitars intertwine with angelic harps, flutes and pianos. Moods change as fast as bees change their flight. Songs like “Navy Nurse”—at 6 1/2 minutes long—sound schizophrenic, and reflect society’s habit of multitasking. Listeners may be turned off by the band’s stop-and-go tempos, but this is a great album for those who like to wander off into the world of experimental art. “Widow City” leaves the lasting sting of a bee, but it is a sweet sting.

Relatively unknown Band of Horses follows up debut with the short-but-sweet Cease to Begin

Originally published Jan. 10, 2008 in Chico News & Review.
Direct link to article


Band of Horses
Cease to Begin
Sub Pop

The cover art of Band of Horses’ Cease to Begin says a lot about how the music on the album will sound. A cloudy night sky with a crescent moon over a rippled body of water reflects the band’s lovely and serene melodies. Comparisons to My Morning Jacket are more evident on this sophomore follow-up to 2006’s classic Everything All the Time. The band formed in Seattle, but band members have roots in the South, and BOH leans more heavily on its country influences here. However, the opening track and first single “Is There a Ghost” is too plain for it to be a single. It does not represent the rest of the album, which is a much more interesting mix of foot-tapping rhythms and soft, intricate patterns. If the band had more mainstream popularity, “No One’s Gonna Love You” could easily have been the wedding song of 2007. Guitar strings are plucked delicately as they accompany Ben Bridwell’s endearing voice proclaiming the song’s title. Clocking in at a little longer than half an hour, the album feels like it should go on for at least 10 more minutes and lacks closure as a result. Regardless, it’s a beautiful collection of songs, perfect for late-night drives by the lake.

Sweden's Shout Out Louds channel the spirit of The Cure

Originally published Jan. 03, 2008 in Chico News & Review.
Direct link to article

Shout Out Louds
Our Ill Wills
Merge

In 2005, Sweden’s Shout Out Louds released an album called Howl Howl Gaff Gaff that showed great potential with catchy lyrics and hip-shaking rhythms. The band’s latest release hits a level of sophistication that confirms the group’s ability to write meaningful pop songs. With uncanny vocals that resemble The Cure’s Robert Smith, the band’s ’80s influence is made evident as soon as the first track begins. The Shout Out Louds successfully manage to hold their own with simple melodies that evoke the deepest of emotions. “Tonight I Have to Leave It” is a bold statement about love—don’t bother with anything but real love. The album continues with a sense of vulnerability, but the dynamics are never lost. Songs that go over the five-minute mark work hard to leave a lasting impression and they succeed by stringing the heart along with airy synthesizers and cascading drums. “Impossible” and the title track have the feel and charm of an antique music box. The final track, “Hard Rain,” is in the same vein and closes the album with a feeling of satisfaction. Our Ill Wills is an album that deserves to be listened to from start to finish.

First major-label offering from Feist delivers

Originally published July 12, 2007 in Chico News & Review.
Direct link to article


Feist
The Reminder
Cherry Tree

Feist’s third solo album starts where 2004’s Let It Die left off. The Reminder is a cozy album with the warmth and security of a baby blanket, blending handclaps and a mix of low-fi indie-rock with elements of jazz. Leslie Feist, who has a history of working with successful indie bands Broken Social Scene and Apostle of Hustle, reaffirms that she can hold her own by showing different sides of her personality. Feist perfects the art of changing moods while keeping the album coherent. The album opens with “I’m Sorry,” a mellow, stripped-down track that sets a charming and sincere mood before jumping into the more upbeat and cheerful “I Feel It All.” And intertwining piano segments in songs like “The Water,” along with Feist’s tender voice—at times reminiscent of a singer at a swanky jazz club—make her sound vulnerable, yet powerful. While The Reminder may remind listeners of Feist’s previous album, it is nothing to complain about. This album will buy Feist some time to expand her audience while receiving play on VH1, gaining the attention she deserves.