The Loop : Modest Mouse - We Were Dead Before the Ship Even Sank

Modest Mouse - We Were Dead Before the Ship Even Sank (2007)

No but seriously, Modest Mouse has some of the best song/album titles in rock and roll. Period.

I was working as a Sony college rep when this record came out. It was a HUGE priority for us, one that spanned over several months, and rightfully so. Like I said in regards to Radiohead, it just doesn't get much cooler than Modest Mouse. We were running a photo contest where fans could enter in pictures depicting the album titles (ie- Fly in a Jar, perhaps an actual fly in a jar) A poster needed to be made so they asked us to send in examples that would go on the poster. I was tasked with taking the "Dashboard" picture. I tried WAY too hard to be artistic with this, so one night, I got in my car and put on the record and drove down the 202 freeway to be inspired. I started snapping pictures of myself driving at different angles (which yes, I realize is probably illegal) eventually ending up in the parking lot of a Home Depot somewhere in Mesa, trying to take pictures. Eventually, the photo that was chosen was just one of me with my head on the dashboard in my apartment parking lot, which we found a copy of in the college department a few days ago.

The moral of this story is not only was it completely awesome to work a band like Modest Mouse, but in all the grandness that I tried to express in my "artistic driving down the highway" pictures, just a simple, straightforward head on a dashboard pic was needed. I think that goes for Modest Mouse too. This was far and away their most attainable record, one that came with an intense amount of pressure after their surprise runaway hit with "Float On" on their previous record. The nice thing about Modest Mouse though is that they really didn't seem to let it get to them. This is a band that's been there, done that, and still done whatever the hell they want. In that, they built a solid collection of songs with this record, tight and catchy, jammy when needed to but without some of the experimental stuff that fans had come to know with records like Moon and Antarctica. In fact, it was the best parts of Moon and Antarctica, cleaned up with a side of Johnny Marr.

While Dashboard had modest (ha!) success, it was deeper tracks like "Missed the Boat", "Little Motel" and "Parting of the Sensory" that really stuck out. The band just seemed more in touch with themselves but also with the expectations, finding a nice balence in between. I'm proud to have my face on a poster representing a record like this.

Watch this ENTIRE video. Try not to get choked up.

The Loop : Ra Ra Riot - The Rhumb Line

Ra Ra Riot - The Rhumb Line (2008)

Another one in the category of "dude, Ashley, wake up and listen!!!"

I first heard about this band right after I finished my internship at Epic. One of the marketing assistants managed the band and was in fact a former college rep, so after friending him on Facebook, he invited me to the Facebook group (remember those?) and I accepted. I had a lot of friends who were 'managers' and assumed that his band was just like some of the pop punk bands I saw filter through Phoenix with 'managers', usually someone related to them who updated the MySpace.

I didn't really do any investigating past that, until I got a message during the Summer of 2007 in my Facebook inbox to all the Ra Ra Riot group members asking if anyone had seen their drummer. They had played a show in Rhode Island and were at a party when he went missing. There were several other messages that followed asking for information, until the message came that he had been found dead just a few days later. It was absolutely gut wrenching to watch in real time and I truly felt heartbroken for them.

After the dust settled, they announced being signed to Barsuk Records, one of my favorite and most trusted labels. But even then, I got distracted and didn't follow up to hear what this band was about. It wasn't until I moved to New York and the name came up multiple times in conversation (namely from my roommate who is friends with aforementioned mananger, and manager himself [who, in going back to the term 'manager' actually does a legitimately awesome job, obviously. Hi Josh, I'm going to assume you're reading this :)] ) I finally got a copy of the record, but in my habit if totally failing, it only sat on my work computer and not on the iPod, where I spend most of my time.

However, amdist the shuffle of my much smaller work library, their songs would come up and I'd stop what I was doing to see what it was. I'd have it on in the background and slip in and out of consciousness as I worked. It got to the point where I'd be on the train and want to hear it, so I'd get all worked up until I could get to the office and listen to it. It slowly crept it's way into my life until FINALLY, I took it home and spent time with it on the subway, at home, etc.

It is NOTHING like I thought it would be, my first assumption being that it was a punk rock band (sorry, but there's riot in the name and I was a ska kid) Instead it's a beautifully orchestrated and dreamy mix of songs that could almost be the score to a movie. The string players are the ultimate rock stars, living out probably every dream of every high school orchestra member who "just want(s) to rock out, man!" Many of the songs were written by their drummer John Pike and performed in his memory. It really does carry as if you're in the middle of a dream.

This is a record that I am SO upset I missed out on, because I've listened to it SO many times that it could easily make my Top 10 of 2009 . . . except it came out last year, when I wasn't paying attention. In fact, a big inspiration for "The Loop" series was that I got to include and geek out about The Rhumb Line. This really is an incedible record that I often say "just keeps getting better with each listen" (which honestly, I don't remember about a lot of records . . . or any) Seriously. Try it. Over and over.

I just got chills when I heard the string parts at the beginning of this video. See what I mean? It just gets BETTER.

The Loop : Radiohead - In Rainbows

Radiohead - In Rainbows (2007)

[Below is a paper I wrote for my Media and Pop Culture class shortly after the album was released digitally. Obviously, this is an incredible album musically (15 step is the jaaaam) but obviously, it's conception and distribution is what makes it infamous. I was lucky enough to work on the physical release of this record on New Years Day. I mean really, does it get any cooler than Radiohead?! I decided to throw in this essay because a defining characteristic of this era for me is that I started to look at music much differently because I was into the "business" of it at this point. I'm not going to say that I had all of it right and in re-reading this, the things I know now certainly come into perspective. However, no story was more fascinating to me as a music business geek than this one.]


Somewhere, Over "In Rainbows". . .
Will Radiohead Change the Way We Buy Music?
by Ashley Harris

“Hello everyone. Well, the new album is finished, and it's coming out in 10 days. We've called it ‘In Rainbows’. Love from us all.”

In the early morning of October 1, 2007, that message appeared on the Radiohead.com website, one that had been watched religiously by fans of the band who had been waiting to hear when, the follow up to 2003’s Hail to the Thief, would finally be released. The band had toured in the summer of 2006 throughout the UK and United States, and seemed primed to release the record following the buzz that was created after the tour stint. It was widely known that Radiohead’s contract with EMI/Capitol Records had expired in 2004 after 13 years and six albums, so it was unclear who would be releasing the album and when. However, all speculation was answered when Radiohead took a step that has fans, artists and the music industry taking a moment to assess how much music is really worth, and how much a record label is necessary to sell it.

Ten days later, visitors to the band’s official website were directed to register to buy the In Rainbows album. They were then prompted to choose between the digital download or the “discbox”, which included special features as well as a digital download, the physical product being sent out in late 2007. Those who chose only the digital download were sent to the merchandise store check out, where an empty form asked users to enter their own price for the CD. No price was wrong, even if you entered zero. If fans had any doubts on if this was “too good to be true”, clicking the question mark next to the form shows a message that simply says “It’s Up to You”. From there they received a simple .zip file of MP3 tracks, a technology organized by the band themselves in order to make the process as efficient as possible. With traffic reaching millions within the first two days alone, it became clear that this was not a method that would happen quietly.

Immediately, the music industry was buzzing about what this might mean for the conventional wisdom that had run the major record labels for years. The move posed two major questions: not only how much they should be asking people to pay for an album, but also how long is necessary for a band to release it? Typically after an album wraps, it takes months of brainstorming and executing marketing plans, formulating marketing materials and coordinating press, distribution details and follow up efforts such as a subsequent tour in order to encompass everything needed to support the record. All Radiohead had to do was post one news bulletin (and, to be fair, a few press releases) about the album and despite the previous years the fans were waiting for the record, the release was only a short time after the album wrapped. Because it was self distributed, this saved what would have been hundreds of thousands of dollars for Capitol Records in previous years and yet still generated more buzz and press than ever before. While official numbers have been and probably will never be released, it’s been said that the traffic has been consistently in the millions. This prompted other artists such as Oasis and Jamiroquai to speak out on considering a similar approach to releasing their records. This is due largely in part by the seemingly quick tailspin of the record industry as physical product succumbs to digital abundance.

“By identifying that many people are stealing music and downloading leaked albums anyway, it's refreshing to see a band sort of "own" that concept, instead of trying to run from it,” said Albert Ching, multimedia editor for the East Valley Tribune in Phoenix, “many bands are already streaming their whole albums online - this is just the next, logical step. With the CD quickly dying out, people realize that ownership isn't as important as getting to hear the music.” While more people are listening to music than ever before, the music industry has seen a steady decline in physical sales of product, such as compact discs and vinyl records. This has sent the staff at the major and indie labels scrambling to stay one step ahead of everything happening. Efforts such as the “Ringle”, a physical single that includes a free ringtone and other digital features such as desktop wallpaper, have been enacted by Sony BMG. Digital download cards are used for singles and partnerships with subscription websites such as Rhapsody and digital marketplaces like iTunes have been forged and carefully monitored. Is the record industry really to blame for what has happened to the compact disc in the last decade? While the argument of the RIAA’s actions against illegal downloaders is another issue in and of itself, where has this disconnect happened between the audience and the artists? However, there must be consideration of the fact that despite trying to stay ahead, this industry has changed dramatically over the past few decades and wouldn’t the same kind of confusion happen with any industry forced to adapt so often in such a short amount of time? Imagine being in the vinyl distribution department of a record label when someone first brought in CDs. When new technologies and millions of dollars spent on previous schools of thought, its no wonder things fall through the cracks as the foundation is shifting.

Artists like Radiohead have taken into consideration this approach and possibly acting similarly. However, if this truly does change how records are distributed, what does that mean for the developing artist? What needs to be noted is just how long Radiohead had been on Capitol Records, under the old school thoughts of mass and grassroots marketing that made them who they are. While they had a good five years of do-it-yourself music making and touring, the majority of what made Radiohead successful was while they were under the major label umbrella. Giant sold out tours, while a testament to their success, were orchestrated by those in the offices at Capitol. Their biggest single, “Creep”, released in the early 90’s, had huge MTV and radio play, two other massive entities. Does this mean that any band coming out of their garage can distribute to the same kind of numbers as Radiohead without the same kind of solid base to jump off? Some bands are willing to consider it as an option. “People, especially artists, need to be apt and open minded to being progressive, and part of that is discovering and utilizing new business concepts and models to garner success,” says Stefan Pruett, lead singer of Side-Cho Records artist Peachcake, “This is coupled with having something genuine, real, true, earnest, and full of substance to offer.” Other artists who have equal amounts of fame as Radiohead, such as Arizona’s Jimmy Eat World, question otherwise. “Here you have these rock and roll dudes and I’ve met a lot of people in bands and they’re not always all there,” said Jim Adkins, lead singer, “A lot of times they’re probably not the best people to be creating some sort of business model.”

The answer to the question of no record label vs. major record label support may lie in companies like Netwerrk Records. The Canadian based record label and music management company hosts one of the most progressive models in the industry. While many artists opt for just the management side of the company, several who decide to operate on the label side do so by creating their own imprint label. This means that while they are officially distributed through Nettwerk (under the parent distribution of Sony BMG), they have control over many aspects of their own label, including marketing, packaging and touring. This is all under the supervision of Nettwerk through small “committees” dedicated to each artist. There will be one person in charge of one aspect of the artist career such as publicity, online marketing, etc. alongside their management (which may or may not be under Nettwerk.) This allows the artist to gain more revenue for their music and merchandise while still having the guidance of industry professionals. This model encouraged Nettwerk artists such as The Format to release their 2006 album, “Dog Problems” digitally without retribution nearly a month before street date, after the album had been leaked online. Artists like Josh Rouse have been able to bring in other artists to the label more easily than in the major label setting, and even host them under their own labels while still having Nettwerk support. This is a “meeting in the middle” approach to how to distribute both physically and digitally, while still letting the artist have control of their careers. It creates a sense of still relying on the industry but by working in a partnership rather than a dictatorship.

All in all, it is too early to see the lasting consequences of what Radiohead did with In Rainbows. No more than a few weeks out of the release were their management in the offices of “the big four” labels, eventually signing with ATO Records, under Sony BMG distribution. They’ve claimed that it was their intention all along as far as the discbox, but this also opens them up to the opportunities of major label marketing and promotion. Throughout music’s history, major labels have been attributed to creating some of the biggest acts of their time, and sometimes squandering the careers of other artists through poor representation. Indie labels have flourished or failed, with some like Fueled by Ramen selling parallel to that of any major label artist, and some longstanding institutions like Lookout! Records (original home of Green Day) folding under new technologies. Radiohead’s legacy of pioneering will now be not only musically, but in business as well. Unfortunately it seems like the music has been lost a little in all the shuffle of the way it was distributed, but in the end it’s the music that has made the listeners fanatical about what Radiohead is doing in every aspect of their careers. If anything, when you go to the Radiohead website and stare at the empty pricing box, it forces you to think how much an album is worth to you, how much the music means to you and what you’re willing to pay to support it.

This video has a staggering 8 million views. It says everything.

The Loop : French Quarter - S/T

French Quarter - S/T (2008)

In my time working with AZ local music, I started to see a trend in how the scene was segregated by genre and the groups that existed, played with each other the most and had similar sounds/band members. I spent a lot of time researching bands for my radio show, so much so that I began having fun nicknames for most of them. (please don't be offended friends, this are meant in the most endearing way possible) A few examples being :

Jangle Pop Mafia - The Format, El Oso Negro, Reubens Accomplice, Limbeck (honorary)

Screamo Mafia - Greeley Estates, Scary Kids Scaring Kids, The Cover Up

West Valley Mafia - A Change of Pace, It's Like Love, Micah Bentley

The Hippy Folk / Dance Party Mafia - What Laura Says, Black Carl, Kinch, Loveblisters, Matthew Reveles

Jailbait Mafia - The Summer Set, The Maine, This Century, Raining and OK

Arts District Mafia - Any Ryan Avery group (Father's Day, The Best Friends, Hi My Name is Ryan, Locking Your Car Doors) Andrew Jackson Jihad, Iji, Uggamugga, Porches, French Quarter.

The latter was the most fascinating of all, and the first artist I really discovered was French Quarter. French Quarter consists of primarily one guy, Stephen Steinbrink (who now simply goes by his own name) singing quiet, lo-fi folk music with just enough production shine. The defining characteristic of the arts district mafia, moreso than any of the other groups, was their pure DIY culture. They centered mostly around a venue in Downtown Phoenix called The Trunkspace, a one room, narrow and oddly shaped room that doubled as a coffee bar and had the architectural character that drew people to the "historic" Downtown neighborhoods ("historic" is sort of relative for Arizona, a state that was the 48th state in the union and less than 100 years old at that.) Many of the shows were no more than 10 dollars, bands shared equipment and groups of kids could be found huddled in circles in the parking lot or peeking into the windows. It is one of the defiant few "all ages" venues that exist downtown, standing tall as even Modified Arts shifts angles. Some of the bands were fantastic and some were terrible and noisy, but it was the passion and comradore that brought people back every show to see bands, side projects, side side projects and jam sessions. It was very much a culture of "hey, I'll give you a CD in exchange for a hug" and thrived on the support of the bands.

French Quarter had many of these DIY characteristics. He is signed to a local label (called Gilgongo Records) that has a staggering amount of releases in various types of packaging, many of which are attributed to Steinbrink. He has nearly 30 different projects listed on his MySpace from art magazines to tshirts to caps to music pressed on cassette, CD and vinyl as well as a host of split 7"'s with other "Arts District" bands, including Andrew Jackson Jihad. It drawls parallels to artists like Daniel Johnston, with less schizophrenia, of course. He has supported himself on nationwide tours, playing house parties and venues across the country, bringing along some of the Arts District bands or just playing with friends he's made along the way. One of the writers for State Press Magazine at ASU took a break from school for a semester and toured with Stephen, which was printed in the magazine, which I looked forward to. It was the romance of touring and exploring the country on music without all the BS that some other local bands have found themselves stuck to.

This record features many of the songs I would play on my show (back in the day when you could download music from MySpace, sorry Stephen. I swear I bought the record later.) including dreamy, buzzy songs like "Stay" and "In June". His lyrics are sincere and poingnant, and despite several collaborators listed on his site (as is the nature of the Arts District Mafia), it is clearly Steinbrink's. They don't point to anything inparticular, some about love but not necessarily. He's kept a sort of mystery in that sense, and in a Mafia of several "joke" bands, French Quarter is far from a joke. It's almost effortlessly brilliant, proving him as the stand-out performer in a sea of "loud" bands, with a simple guitar, smart hooks and distinctive voice.

It almost seems unfair to lump some of these bands together, because so many of them have their own sound and identity, however I think specifically with the Arts District Mafia, someone like Steinbrink was able to be fostered in this community and clearly takes cues from the culture that was created there.

The Loop : Band of Annuals - Let Me Live

Band of Annuals - Let Me Live (2007)

Band of Annuals have been a longtime victim of coincidence. Not only has there always been confusion between them and Raleigh band Annuals, but the minute Band of Horses exploded, with just as many beards, the Utah group was challenged with setting themselves apart.

But that's never been a problem. They host an incredible set of musicians, taking cues from their desert home to capture the "lonely desert jangle" I've heard describe the Southwest. I had a very vague understanding of Utah before, even having been so close in AZ, only to the point where I knew it was the Mormon "headquarters" and assumed everyone from there was Mormon as well. This band shattered all my misconceptions, existing as a portrait of small town musicians with deep deep rooted history, even though most of them aren't much older than me. Their first full length, Let Me Live already made it on my top 10 list of 2007 (#2, respectively), where I summed it up like this :

"I can't get over how well matched this entire band is. From seamless instrumentals to the two best male/female vocals I've ever heard, they have a sound that is simply uncategorize-able. A little bit country, a little bit rock and roll, and one of the few bands that still gives me chills."

And I still mean it to this day. Their Americana style has lent itself to playing with all genres of bands, like Limbeck and Daniel Johnston. They've existed in this very "hip" sector of music, while taking the tone of so many blues/folk musicians before them, drawing familiar, timeless references to whiskey, heartache and transition. They have spent most of their time on the road, digging through Arizona several times (which is how I first heard them, opening for The Via Maris) and making it to the East Coast not once but TWICE before an exploding van kept them stuck in Salt Lake City for a while. They were nothing short of ambassadors of the road, making it a point to meet and hear the stories of everyone they met along the way. Seeing them perform live and come in and out of my respective cities as is real as a band can get, and I know several people who make it a point to rally behind them because of their good spirit.

There is something timeless about this band and about this record. It definitely doesn't fall into the "quiet music" category, but at it's quietest moment is when you feel their synergy as a band the most ; with impeccable harmonies as as much pan as any man can convey in his voice and lyrics. It feels like this band is too talented for everywhere they play and for falling into the shadows of the aforementioned "Band of" and "Annuals" bands. They recently released an EP and are still playing in and around Utah, I just hope that the world-weariness that is set into his voice isn't reflective of this band's future. Music needs a band like this to keep touring and to be discovered in the most organic of ways, because they are the most organic of bands.

The Loop : Right Away Great Captain - The Eventually Home

Right Away Great Captain - The Eventually Home (2008)

As was made clear by the super-long review I did of Manchester Orchestra's first record, I quickly got really into that band. Chances are I geeked out via Facebook or MySpace like I tend to do and it caught the eye of a friend who mentioned that Andy had a side project called Right Away Great Captain. I knew I had seen the name float around in the course of my learning about Manchester, but I hadn't really thought twice. She pointed me in the direction of his first record, The Bitter End, which quickly sparked equal amounts geek-outs.

The project actually consists of 'concept' records, as described by Wikipedia as being "a concept record focusing on a 1600's sailor at sea for 3 years, each song being a journal entry to his family at home or his captain." I didn't know the theme for a while, and just assumed that Andy's world-weary lyrics in Manchester also carried over to this album, which pinned him as way older than his age. Even though I know now that it's a story, the lyrics still speak louder than most other 21 year olds are able to say.

While The Bitter End got me into the project, it was The Eventually Home that proved it's genius. As it were, it took me a long time to get the record. I had heard through various internet sources that it would be coming out, but forgot to follow up. Then, when it did, I forgot to remember to look for it. It happens to me a lot, actually, where I sit down to browse iTunes or go to a record store knowing there was something I meant to buy, then getting distracted by other albums or whatever. As it were, I didn't end up getting the record until early 2009 when my mood lent to the tunes and it finally clicked.

This record continues the story, but musically steps up to an entirely different level. I hate to even use the term "side-project", because Andy feeds as much passion into this as he does his full-time Manchester Orchestra gig. And even if he doesn't, it certainly sounds like it, even while telling someone else's story. It's a stripped down, guitar and piano heavy record, layered with dreamy vocals and harmonies from a familiar voice. The songs become less conversational and more hook driven, making the flow of the "story" even easier to digest, even if you aren't aware of it. According to Wikipedia, this album "conveys the journey of a 16th century sailor who has been betrayed by his wife who has committed adultery with his own brother. In this second part of the planned trilogy, the sailor returns home in the song Memories From A Shore."

Needless to say, I'm anxious to see where the third record leads. My only complaint being that this HAS taken a backseat (obviously) to his Manchester touring duties, because I'd LOVE to see this performed live. Unless of course, it's something that simply needs to exist in the story. Buy both records, start from the top, thank me later.

The Loop : Manchester Orchestra - I'm Like a Virgin Losing a Child

Manchester Orchestra - I'm Like a Virgin Losing a Child (2007)

[So this was first released in 2006 and then re-released after their major label deal in 2007. Since I didn't realize this, and absolutely HAVE to include this album, I'm considering the re-release. Not sure which one I actually bought.]

I went to SXSW in 2006, trying to gather ideas for my college radio station, being supremely bummed out every time I walked to a show to find it was 21+ (I was 19 . . . what a bust!) I spent my days in the panels and my nights getting to as many shows as possible and I was very fortunate to have a badge and be able to bounce around as long as my feet would keep up with me. Usually it wasn't an issue just walking into a show, but as I arrived to see Belle and Sebastian, I saw a huge line outside of Stubb's. Cool, whatever, I'll wait.

SXSW is very much like rock and roll summer camp. You go from place to place and everyone talks to everyone, because we're all there for the same reason. As I was waiting in line, I start talking to a young bearded guy with the general SXSW small talk ("So, what do you do?/ where are you from? /did you see Morrissey's sweet pomp in person? Me too!") I mention that I'm with college radio from Arizona and he mentions his name is Andy and he's in a band from Atlanta called Manchester Orchestra. He invites me to their Paste magazine showcase the next afternoon, and I graciously accept. However, the next day I was torn between that, a Rogue Wave Day Stage showcase and one of the many dorky panels I wanted to attend, so I ended up not going. (shame on me, Midlake and Josh Ritter both played. Man, I suck sometimes) Turns out, he had the wrong kind of badge and couldn't get into the concert, so I didn't see him after that.

A year later, I was browsing through (*surprise!*) Paste magazine and see a little write-up on the band, and I recognize the name and that familiar beard. "Hey, I met that guy! Cool!". I get all amp'd up and head to our campus record store to find some new tunes and low and behold there is their debut release "Like a Virgin Losing a Child" on the listening post. Finding the coincidence funny, I take a listen to a few tracks and buy it. Later that night, I'm looking through the local concert calendar (can you tell I'm a nerd?) and I see that Brand New is FINALLY playing a smaller venue in Phoenix, which I had been holding out for. I go to grab my credit card and I see that their direct support is . . . Manchester Orchestra. This is all in the course of just one day, and all too coincidental.

That night I post on my LiveJournal (geez, how many hipster cliches can I squeeze in here?) and write a bit about how I'm excited for the show, and how funny it is that Manchester Orchestra keeps popping up, and how much I liked the album I just bought. The next morning I see I got a comment that says

"Hey, I remember meeting you! Let's stand in line together at Brand New. - andy"

Talk about a small (internet) world. Making the world even smaller, I chased them around to see them live a couple times, worked this record as a college rep in Arizona and am now working the band's newest record in the Sony college department. And to this day, Andy STILL remembers the story. It's fun to see four years of a band's growth, starting from practically the beginning.

However, by listening to this record, you'd have no idea that they were a) a relatively new band b) super young dudes. The best part about this record is the timing. I often say my one biggest regret is that I can't quite comprehend how music is written, from scratch to what's eventually put down. I understand good music, and stuff I like, but am fascinated by the songwriting process. This band is one of the most fascinating, with an incredible pop sense amongst loud to quiet times. It's one of those records where I find a new thing I hear every time I listen. Lyrically it is haunting, especially knowing how young they are. You can practically peel the layers off of Andy, but never really scrape the meanings of these songs. This is someone who has channeled his world-weary into some really smart songs.

Not to spoil any surprises here, but this isn't the first time you'll hear about this band on this list. Needless to say, they've only gotten better.

Ha! Here's an awesome video of Manchester Orchestra playing at Stubb's in Austin, the same venue where we met in line. Looks like he finally got in :)