Spectre Folk and Chris Lee’s Double Record Release at Union Pool, with Lee Ranaldo

Written by  Published in Live Reviews Friday, 31 August 2012 18:18

Spectre-Folk-Pete

Thursday night, Union Pool hosted Vampire Blues’ Double Record Release Spectre Folk’s The Ancient Storm and Chris Lee’s Bury the Kings. Vampire Blues is Steve Shelley (of Sonic Youth)’s new record label, and he also has producing credits on Chris Lee’s album, as well as being the house drummer for this show.

Spectre-Folk-jam

The last time I caught Spectre Folk was at Death by Audio more than a year ago, which I had almost entirely forgotten about until their set slowly jogged my memory. Through the course of Spectre Folk’s psychedelic jams, I found myself feeling something more familiar than just a reference to something I know I’ve heard before, somewhere; more than a duplication. In general, it feels like there are currently more traditionally-inspired psych bands popping up, but Spectre Folk takes all the '60s and '70s vibes and guitar fuzz, and elevates it to a more experimental level. As easily recognizable as psych can be, Spectre Folk finds a nuance of it that makes their songs feel like they have more purpose. As the project of Pete Nolan, who is also the drummer in Magik Markers, crafts songs in a way that feels like they aren’t just random good time jams; there’s more marked storytelling going on there. Nolan, with boxers hanging out of saggy-bottomed boot cut jeans, communicated his original ideas well through his fingers over the frets and his drawls into the mic.

Chris-Lee

Chris Lee had played right before with his band, which parlayed a bit of a funky vibe they were trying to infuse with folk and a tinge of post-rock. They started off strong with what sounded like groovy folk interpretations of what could be Sigur Rós songs, but then some of the wailing vocals didn’t move me so much. They had some cool segues between songs, playing through much of the time without pause, and filling the space with Lee tapping his guitar to sustain rumbling speakers, but the transition wasn’t always a smooth one between or during some songs. Strangely, much of their set had this silent coffeehouse vibe to the room that felt like someone should be lighting candles and passing out cupcakes while we listened to the show.

Lee-Ranaldo

Lee Ranaldo and his band capped off the night, and that was stellar. As a co-founder and guitarist of Sonic Youth, Ranaldo has honed this incredible ease of musicality and showmanship that any new band can look up to and appreciate. He started off solo on acoustic guitar, then brought his equally seasoned band out for a great set of straight rocking out. He touches on subjects like going back to his old hometown and seeing all his friends there in the same place doing the same thing they used to when they were 16, and distills it into a cerebral grunge jam that doesn’t dwell on things too hard as much as observes them. The highlight of the set was Ranaldo playing his guitar with a bow, looking a little like a magician wielding a musical wand.

Lee-Ranaldo-Band2

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Last modified on Monday, 03 September 2012 22:41
Kelly Knapp

I grew up listening to the music my parents listened to. My mom gave me some of her “Golden Oldies” cassette tapes, and I could sit in my room for hours harmonizing with The Ronettes, and staring at Del Shannon, who I thought was a total stud in his tiny black and white photo on the glossy fold-out insert. I listened to Willie Nelson because my Dad admired him so much, and I wanted to understand what was so great about him too. My first concert wasn’t a huge life changer; I saw Inner Circle at a local Jambalaya festival in Central Florida. Their biggest hit was “Bad Boys,” the theme song to COPS. If anything, that concert should have traumatized me. But, at the time I had no comprehension of any crassness. I just remember the guitarist making eye contact with me and smiling, and feeling excitement over having a brief connection with someone who was making me dance.

It’s the same thing with listening to music with words in another language. It’s not necessary to understand words or literal meanings. It’s the way the melodies and rhythms evoke feeling. It’s like that saying about art, how you may not be able to explain it, but you know it when you see it. I can’t always describe music (although obviously, I sure as hell try to), but I know what I like when I feel it, and I think those who can evoke that feeling deserve to be acknowledged for it. That’s what I want to describe. That’s what I want to share.

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