‘The veil of extreme uncomfortableness’ An interview with Quintron and Miss Pussycat

quintronandmisspussycat.com / Zack Smith

Longtime St. Louis favorites Quintron and Miss Pussycat are making their way up the Mississippi from their home in New Orleans this Friday. The band brings its mix of homemade electronic instruments and puppet craft in support of “Sucre Du Sauvage,” an album recorded as an art exhibit last year at the New Orleans Museum of Art.

In two recent phone conversations, Quintron discussed his St. Louis roots, the discomfort of recording as an exhibit, and his new title of Grammy nominee. Miss Pussycat shared some secrets to making her puppet shows, and fun things to do with rubberized fabric.

Robin Wheeler: You do have a St. Louis connection…

Quintron: Very much. If I can say I’m from anywhere, which is hard being a military brat … I’ve lived in New Orleans longer than I’ve lived anywhere in my life, but I had my formative growing-up years in St. Louis, Missouri.

RW: Of course, the question that follows is, where did you go to high school?

Q: Parkway North. My dad worked at McDonnell Douglas and we lived in Florissant for a long time. Then we moved to Creve Couer. He was in the National Guard and he was also an engineer.

RW: How did you come about recording your new album in the art museum in New Orleans?

Q: The curator of the contemporary wing of the New Orleans Museum of Art asked us to do something. She wanted to do, like, a retrospective exhibit of our work. She wanted to do something for a show. I’m not a visual artist. Miss Pussycat’s a visual artist, and that makes sense, with her puppets. She’s a painter and photographer.

I was like, I don’t know what you want me to do because I don’t do that kind of thing. So I thought, well, I know. I’ll use this opportunity to make a really weird experiment on myself [laughs]. Set up a recording studio and record an album in the museum. We had full 24-hour access. It was like we were employees and could be there anytime, day or night.

I ended up doing a lot of work when people weren’t there because I found it very difficult to work with the public there. I thought I could tune them out, but I couldn’t. I couldn’t. It was really annoying and I hated it when people were there, actually. I devised all kinds of ways to make it work. I’d turn my back to the public and rope myself off. I’d blast white noise in the room so I could just tune out the chatter, and nothing ever lifted the veil of extreme uncomfortableness. That part of the experiment was a failure, in a way. But having access to the museum — the whole experience — I wouldn’t trade for the world. I’m happy with the album. I wouldn’t have made that record in any other circumstances.

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Posted by | May 15, 2012 | Interviews, Music | Comment 

Festival review: Rockin’ and rollin’ on the river at the Beale Street Music Festival, May 5 and 6

Buddy Guy at Beale Street Music Festival. Photo by Joanna Kleine.

Thousands of music fans made their way to the “land of the delta blues” last weekend for the annual Beale Street Music Festival. This was my fifth time attending the long-running fest, part of the city’s month-long Memphis in May celebration in Tom Lee Park on the banks of the Mississippi River.

The violent storms and flooding of the past two years were replaced this year with sweltering heat and humidity, having fans wallowing in sweat instead of mud. The temperatures weren’t the only thing that was hot, however — the lineup was pretty amazing too. Unfortunately, we had to miss the opening night of the festival, which included heavy-hitters like guitar legend Johnny Winter, jam kings My Morning Jacket and indie diva Florence Welch of Florence + the Machine.

Arriving Saturday afternoon, we made it to the Bud Light Stage just in time to see our own hometown heroes Son Volt bring a little slice of the ‘Lou to Memphis. A decent crowd of Farrar loyalists gathered up close as the band took the stage — Jay looking a bit like Johnny Cash, clad all in black with thick sideburns. The band fought some loud feedback as they began, but it was quickly rectified as they eased into “Down to the Wire” from the band’s most recent album, “American Central Dust,” the twang of Mark Spencer’s pedal steel guitar cutting through the thick, humid air.

Son Volt played for just over an hour, turning out a comprehensive set spanning its catalog of material, including a suite of songs from the acclaimed debut album “Trace” to the delight of old school fans. A set highlight was the gorgeous “Highways and Cigarettes” from 2007′s “The Search,” featuring Spencer’s pedal steel married with Gary Hunt’s mandolin and Farrar’s haunting vocals. Farrar humored Uncle Tupelo fans by closing out with the classic “Chickamauga.”

In Memphis, music and BBQ go hand in hand, and the festival offers many options for local fare. We opted to singe our taste buds with some of Uncle Lou’s Famous Sweet and Spicy fried chicken, licking the fiery sauce from our fingers as blues legend Buddy Guy tore up the Orion Stage behind us. At 76 years old, Guy can still shred on the guitar and work the stage like the pro he is — even coming down into the crowd to play for a bit to the delight of fans. In addition to his own classics, he played inspired covers of “Fever” (appropriate considering the heat) and Cream’s “Strange Brew.”

Next we headed back to the Bud Light stage to check out ’80s Brit rockers the Cult. Lead singer Ian Astbury looked out of place in the sweltering Memphis sun in a thick black jacket and jeans, two fluffy foxtails dangling from his belt. His voice sounded relatively unchanged and guitarist Billy Duffy proved he is still worthy as well on classics like “Fire Woman,” “Wild Flower,” “She Sells Sanctuary” and “Love Removal Machine.” A few tunes from the band’s brand new album, “Choice of Weapon,” seemed to fall flat with the audience, however, including the dark “Lucifer.” Having grown up on the Cult, it was fun to hear some of these songs played live again, but overall, they seemed to be trying a bit too hard to at times to relive their glory days.

With the sun finally setting and the full “super moon” rising above the trees, Grace Potter and the Nocturnals took to the stage. I admit, I’d never seen Potter before, though many have told me how great she is live. She indeed lived up to the hype. Alternating on the guitar and keys, tossing her long, blonde hair around as she belted out songs like her hit “Paris (Ooh La La),” Potter and her band proved they can hold down a festival crowd of thousands in addition to the smaller venues they play more frequently.

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Posted by | May 9, 2012 | Concerts | 1 Comment 

Concert review: The Fray (with Dia Frampton) jump into the Pageant, Tuesday, May 8

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On Tuesday night, the Fray sold out the Pageant with ease. The fans struck out from every borough of St. Louis to see the spectacle and feel pop-rock piano music splash over them. Did someone order a Rolling Rock? No? Damn, wrong band.

Dia Frampton, former contestant and runner-up on the first season of “The Voice,” took the stage promptly with her sister, Meg, on bass. The six-piece band offered a touching version of Kanye West’s “Heartless.” Dia’s oddly southern lilt (she’s from Utah) helmed the chorus with power and created new insight into the song as she danced about in her bare feet and white, diaphanous dress. The starlet didn’t fair as well during a cover of Tom Petty’s “American Girl,” where she faltered over the “make it last all night!” part during the chorus, her vocals awash in the muddy mix.

The Fray began its headlining set with “The Fighter,” from 2012′s “Scars & Stories.” Isaac Slade’s shaved, bald head glistened under the lights. The wail of Ben Wysocki’s trebly, electric guitar bled into the warmth of Jeremy McCoy’s bass. The audience could be heard under every word of the chorus that Slade carefully uttered.

Slade adjusted his unblemished, Elton-John-on-a-yacht jacket, hopped on his piano positioned stage center and belted out “Syndicate,” from the band’s 2009 self-titled record. On “You Found Me,” the singer ventured into the audience and up to the second level of the Pageant. Camera phones appeared in every hand as he passed by delivering lines in falsetto.

Soon, Slade returned to the stage wearing a dark jacket. “The Wind” featured Slade on a Korg synthesizer and the band supporting him with velvety vocals. During “Happiness,” the singer wrapped the song’s heart-breaking lyrics over a quiet bed of instrumentation: “Happiness feels a lot like sorrow.”

Before “Turn Me On,” Slade confessed that when the band toured with U2 they played the song much too fast, “like a Foo Fighters tune.” Slade chuckled and broke into the radio-friendly jangler, which, to me, played more like a Maroon 5 track than anything by the Foo Fighters.

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Posted by | May 9, 2012 | Concerts | Comment 

‘Put on your boogie shoes’ An interview with Tim DeLaughter of the Polyphonic Spree

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There is nothing conventional about the Polyphonic Spree. Sonically they throw down with as many as 22 members simultaneously jamming, dancing and prancing about while creating layered grooves that are part gospel choir, part indie rock show and part cultish love-fest.

What appears initially to be completely chaotic is actually a well-organized machine that brings together a diverse blend of musical elements, including a choir and dense instrumentation. Since their inception, the Spree has carved a niche for themselves by bringing their musical carousel of mayhem and insanity to smaller and intimate venues.

Tim DeLaughter, who formed the band in 2000 from the ashes of his previous band Tripping Daisy embraces the chaos. Besides being a working and touring musician, DeLaughter runs his own and record store, Good Records, in Dallas.

Although they are in the midst of a spring tour, the Polyphonic Spree is not promoting a new album in the traditional sense. Instead they are again eschewing convention by releasing new songs as a series of singles first before going the traditional route of releasing a proper full album. This current tour, their first in four years, incorporates this new material into their set list.

In addition to making three albums they also have judicially placed their songs in various televisions shows and movies to maximize exposure. They have just released a new single called “What Would You Do?” and a new album is promised down the road.

I caught up with DeLaughter by email, and he shared his thoughts on the band, its live shows, a possible new record and creative process.

Rob Levy: How did the band come about?

Tim DeLaughter: I called some friends and family over. I had been writing on the piano because I was bored with guitar. We were storing the piano for a friend. I wanted a symphonic approach, and after a few improv sessions in my living room we played a 30 minute set.

How has this tour been going?

Really great. This is phase three. Tours have progressed naturally, getting better and better each show.

How do the songs on your records transfer over to a live show?

There is definitely a certain excitement and tone when playing live that can be difficult to capture in the studio. We build in many segues and space within our live set when possible. [They are] two different animals.

You are doing a Halloween show in the UK with all the songs from “The Rocky Horror Picture Show.” How did that come about?

We have been wanting to change it up a bit and do different things. Our agent in the UK came up with the idea. So we said yes.

What is the music scene like in Dallas right now?

There is always plenty going on. Something new, something different, eclectic.

It has been four years since the last tour. How has the band changed in that time?

We actually toured Australia a couple of years ago and have played several one off shows so it’s been a gradual evolution which is different than just being off for four years. If anything I believe we are more precise and have reached a place of full satisfaction delivery with our music live and with more purpose. Recording wise we are really exploring.

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Posted by | May 8, 2012 | Interviews | Comment 

Concert review: Pretty Little Empire, Scarlet Tanager and Thankful Tree serve up impeccable three-course audio feast at Off Broadway, Saturday, May 5

Pretty Little Empire at Off Broadway in St. Louis. May 5, 2012

Pretty Little Empire. Photo by Ben Mudd.

The lone-man outfit Thankful Tree took the Off Broadway stage after 9 p.m. with looping swells of guitar and brash puffs of harmonica to build the sonic backbones.

On top of that sound he plucked away on guitar and laid down soft vocals. People dressed in attire from different time periods and cultures drifted in and out through his songs’ melodies.

Scarlet Tanager jumped up on stage shortly thereafter and kicked the show up two gears. For the uninitiated, Scarlet bring a brand of rock that inspire you to lift your wine glass in the air to good and missed fortunes while a dress or suit of white. The crowd shouted the refrains back at the band after the songs had finished. It would be hard to imagine a better stage warmer. Scarlet brought the intense energy but piped it through a completely different filter than the headliner.

Pretty Little Empire opened with the crisply-new “Out of Control.” The soft opening of the song gives way to torrents of guitar. There was no looking back from there. Joined by the masterful David Beeman, Pretty Little Empire proceeded to kill it. Then resurrect it. Then kill it again.

The usual St. Louis show protocol is to vacate the premises immediately following the last song. Despite this — and despite the fact that much of the crowd had earlier attended either Kentucky Derby or Cinco de Mayo festivities — people hung around until close basking in the glow of a stellar show. Outside on the yellow-lit veranda, beer cans were clinked and dropped well into Seis de Mayo.

Posted by | May 6, 2012 | Concerts | Comment 

Concert review and set list: Social Distortion slows it down at Pop’s, Saturday, April 28

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Mike Ness seems tired, or maybe just bored. I saw him about this time last year at the Pageant and walked away thinking I had seen one of the greatest shows. But after last night’s Social Distortion show at Pop’s, I cruised back home over the bridge a little more than underwhelmed.
 
Social Distortion is currently rounded out by Johnny “2 Bags” Wickersham on guitar (who traded off guitar solos with Ness and looks just like the late and former Social D guitarist Dennis Dannel), Brent Harding on bass and David Hidalgo, Jr. on the drums. Hidalgo is the newest member of Social, joining in 2010, and deserves to be in the ranks of Chuck Biscuits and Derek O’Brien as a punk-rock drummer.

Decked out in his now standard fedora, black suspenders and high-waist trousers, Ness and company took the smoky and antique trinket-adorned stage to Muddy Waters’ “Mannish Boy” (it was the version with Johnny Winter). Of course, Ness made the dramatic appearance and bowed. Why the hell he doesn’t just get a punk rock gig in Vegas is beyond me. The classic blues song faded out and finally Mike Ness’ distinct Les Paul rang out the opening chords of “Bad Luck” and performed by far the most energetic song of the band’s set.

Social Distortion sounded fine for the first half of their set or so, ripping through those confessional hindsight rockers that Ness has come to master and even indulge in at times. Fan favorites like “Story of my Life,” “Sick Boy” and “I Was Wrong” reminded me of why I love Social Distortion so damn much. (And, yes, “Social Distortion!” replaced “self destruction” during the “I Was Wrong” chorus much to my pleasure and anyone else who has seen/heard that song live.) Mike Ness seems to know what we go through at our lowest points and how we feel in our moments of redemption. He captures those bittersweet sentiments perfectly in his songs.
 
However, as much as I love this band, it wasn’t too long into their rather brief set that I felt something was askew with the band. An organ/keyboard player graced the stage, and appeared to walk off stage as much as he played inaudible parts during the songs. But that wasn’t it. Something wasn’t right; the show just was not building up any momentum. There were moments when the musicians would be talking amongst each other and the venue was completely silent save for conversations regarding whiskey sours and leather jackets.
 
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Posted by | April 29, 2012 | Concerts | Comment 

Concert review: Baroness loves St. Louis, and the feeling is mutual at the Firebird, Thursday, April 26

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I’m still blown away by this show. In fact, I’m not even here. I’m not even typing this. I’m still standing at the Firebird, trapped in the world of Baroness, a world stark and desolate, lavish and beautiful.

Baroness is John Baizley on lead vocals and guitar, Peter Adams on guitar and vocals, Allen Blickle on drums and Matt Maggioni on bass. They are touring in support of their newest offering, and I use that word quite specifically, a double disk titled “Yellow and Green” set to be released on July 17 through Relapse Records. Following on the heels of the “Red Album” and the “Blue Record,” this new double disk will likely be presented to fans just as the show was last night: as an offering, as an experience. Get ready.

The crowd that traveled from far and near to see Baroness Thursday night at the Firebird was as you might expect them to be: a large mass of black clad, pale, stringy haired dudes with T-shirts advertising the other metal bands they listen to. And the vibe was also as you’d expect at a metal show: mosh pit, agro, lots of head banging. But there was something else: There was a lotta love in that room. It rose as high as the mountain of amps that framed the stage. It was as plentiful as the guitars and black T-shirts. It was as beautiful as the posters for sale at the merch table.

Somebody once told me that listening to music via MP3 or CD forms a tragedy for our ears. Sounds are distorted and rounded off, creating flat blended beige nothing. The opposite of that came out of the throbbing speakers at the Firebird. Intense is the best way to describe bassist Matt Maggioni. He looked like a thing possessed, rocking back and forth on stage as if at any moment the sheer force of sound would hurdle him into the crowd. Peter Baizley practically flirted with all of us unabashedly, tempting us with his vocals and wide, wide eyes looking out to make sure we were all enjoying the music as much as he was. His deep, forceful voice was complimented perfectly by Peter Adams. And Allen Blickle, well, this is how drums should always sound and it made me almost vow to only hear music live (or on the radio). Almost.

Drums do not sound like this when they come pre-packaged in downloadable form. There were moments when the guitars and bass would sort of step back and it sounded like the whole drum kit got pushed off a cliff and was hitting every rock on the way down. Boom, boom, boom, boom. And then, almost as if it were a rescue mission, the other guys would come back in and give us all they had.

From the “Blue Record” we got “A Horse Called Golgotha” and “Jake Leg.” From the “Red Album” we got “Isak” and “The Birthing.” Baroness closed with the last track on the “Red Album,” “Grad,” which probably got the best response from the already frenzied and delirious crowd. No encore, only a heartfelt thank you delivered to us humbly by Baizley. He proclaimed this the best show they’ve ever had in St. Louis and invited fans to come up and say hi after the show, told us not to be strangers.

Being a stranger after this show was impossible. There’s something really unexplainable about the connection made between music and audience at a live show, I’ve said it before and I’ll say it again. But last night, what was even more powerful was the love between Baroness and the music. I really sincerely hope that these guys don’t wait two years to tour again because that’s just too long to wait for a show this good.

Correction: The review originally stated that “Rays on Pinion” was the final song of the set. The final song was “Grad.”

Posted by | April 28, 2012 | Concerts | Comment 

Concert review: Mucca Pazza (with the Mad Titans) march, literally, through the Firebird, Friday, April 20

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The Mad Titans did their share to justify opening for the extravagant Mucca Pazza at the Firebird on Friday night, but it wasn’t easy.

There are bands, and then there are 20-something-piece marching bands like Mucca Pazza that occupy an entire venue.

The Mad Titans hail from North St. Louis and played a blend of surf rock. Their instrumental jams surfed the Cosine waves of underwater mortgages on now classic Nintendo tunes of Final Fantasy and Zelda. Their upbeat and fast-paced tunes kept the crowd nodding and bobbing while waiting for the Balkan brats from Chicago.

They closed with a rendition of “In the Hall of the Mountain King,” a fitting end, as they were soon banished to the pits of Tartarus by Mucca Pazza.

It has to be near impossible to steal a show from the circus punks of the Second City.

The members of Mucca Pazza emerged from the crowd in marching band outfits and swarmed in front of the stage. Just a few bars into the cacophony of brass, drums and guitar the entire band began a serpentine march through the crowd. How does the electric guitar player march through the crowd you say? He straps on a helmet with a loudspeaker duct taped to it. Just like the audience not a member of the group ever sat down. When they did manage to all occupy the stage they took up the entire width in two lines.

Throughout the entire performance the band sent out drones. Two cheerleaders would burrow in and pop up with blasts of brass to scare unsuspecting patrons. The brass would take up positions on opposite sides of the Firebird and duel not just each other but the crowd. Nowhere was safe, everywhere was boisterous.

Posted by | April 21, 2012 | Concerts | Comment 

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