Tag Archives: 2009
Band Spotlight: Heavy Hometown
This band spotlight is part of a special ZapTown series in correlation with the 2009 Broad Ripple Music Fest: http://www.broadripplemusicfest.com/
WHO: Heavy Hometown
WHERE: Casba, sponsored by A Squared Industries
LINKS: http://heavyhometown.com/
SAMPLE MP3:
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Heavy Hometown may still be young for a band, forming in early 2008, but immediately jumping into the Indianapolis’ live music scene, while recording and releasing their impressive debut Action Figures, the three piece acts like they have always belonged. Maybe its their diverse, sometimes noisy, sometimes soothing, and arrayed sound fits right in to the Midwestern palette of indie music that gives them that sense of “here” and “now.” You can purchase Action Figures through their website.
Eric Parks (bass and synths) talks about Action Figures and their role in the Fest.
With “Action Figures” out, what do you think are the best elements as to how that turned out?
First and foremost, we got the record we wanted. I don’t know if we knew exactly what we wanted when we started recording, but “action figures” was quite intentional. We were less than a year old as a band when we started recording it and experienced some intense interpersonal growth while trying to articulate what we wanted to each other. What came out was a solid chunk of mood. We’re definitely pleased with the overall sound, performances and arrangements.
How has creating an album like this expanded way of thinking as a band and how does it relate to your environment being that you don’t stick to geographic or conceptual boundaries?
While all of us have recorded outside of Heavy Hometown, this was our first record together. We had, at the time, about 40 songs to choose from, with several of those having been written within days of our first tracking session. We went through two nights of euphoria trying to figure out what the hell we were going to record. We went from a double disc debut to a 23 song LP, and whittled that down to 17 songs. We recorded those in a couple of weeks and then decided to eliminate five more songs to make the record that is now “action figures”. But the final set of songs struck us as a balance between motivic diversity and thematic unity. That was the biggest challenge for us, or expanding our way of thinking. Before “action figures” it was, “Let’s play everything we have.” So in a way it more like creating boundaries than expanding beyond them.
For a band still young yet constantly filling up your schedules with live gigs and the completed studio work, how has that philosophy of immediacy helped pave the way for the future of the band? What are your plans now?
I don’t know if it’s a sense of immediacy that drives our schedule as much as it is a self-gratifying desire to play. And by that, it’s not so much playing for audiences as it is being able to play in a different room, with a different PA, with different bands on the bill, and a different setlist. Plus, we like to calendar. Calendaring is where it’s at, man. We’ve got a few shows lined up to close out 2009, but we’re most excited to start recording an EP next month.
What importance do you feel something like the Broad Ripple Music Fest is to you as a band and to the local community?
BRMF is going to be a blast. It’s vital to the community of Indianapolis to have events like BRMF and Oranje and MOKB sponsored performances and first Fridays at Big Car and the Harrison Center. Cultures are formed by expression and action and participation. That’s what these phenomena are. That’s what proves to future anthropologists that our community was somewhat advanced.
Lotus Festival 2009 – World Music Returns To Bloomington
The Lotus World Music & Arts Festival returns to Bloomington, once again transforming Indiana into a creative, diverse, and multi-cultural destination for the world. In its 16th year, Lotus runs from September 24 through the 27th on and off the streets of downtown Bloomington (http://www.lotusfest.org/09LotusVenues.html).
Beyond the simple celebratory fun and festive nature of the event, everything that surrounds Lotus encompasses the philosophy behind the Foundation’s mission: to create opportunities to experience, celebrate, and explore the diversity of the world’s cultures, through music and the arts.
“Especially with all of the cultural tensions that exist in the world these days — tensions that we certainly see played out frequently in the U.S. — we hope that the Lotus World Music and Arts Festival encourages people to discover more about people and cultures different from their own,” said LuAnne Holladay, Assistant Director.
Not only is it a celebration of the world coming to Bloomington, it’s equally as much about Bloomington reaching out to the world.
“Because we have our festival in downtown Bloomington, Indiana, this international music experience is meshed with an experience of our particular town and local community, so it’s a nice fusion of local and global,” she continued.
The weekend will feature music from around the world including countries like Uganda, Argentina, Mexico, Iraq, Mongolia, China, Hungary, France, and many other regions.
The artist roster for this years festival is as follows (check with the website because performances and schedules are subject to change):
- Deborah Asante / Storytelling and jazz
- Rahim AlHaj / Virtuoso Iraqi oud
- Bajofondo / Electrotango from Argentina
- BLK JKS / Psychedelic, Afro-futuristic rock from South Africa
- Phyllis Chen /Virtuoso toy piano
- Cara Dillon / Irish traditional song
- Dragon Knights / Stilt walking street performance
- Gerard Edery & Maria Krupoves / Jewish and Christian songs
- EE: Magic Circus Marching Band
- Forro in the Dark / Northeastern Brazilian party music
- Hanggai /Folk music from Inner Mongolia & China
- The Horse Flies / Contemporary American folk
- Huun Huur-Tu & Carmen Rizzo / Electronica meets throat-singing from Tuva
- Jefferson Street Parade Band
- Kaia /World a cappella
- Kinobe & Soul Beat Africa / Ugandan song, dance, & drumming
- Srinivas Krishnan & Madras Broadcast / Indian fusion
- Little Cow / Ska/rock/funk/Gypsy fusion from Hungary
- Los de Abajo / Salsa, punk, and rock from Mexico
- Lotus Dickey Song Workshop / Old-Time song traditions
- *NEW!* The Megitza Quartet / Roma and East European world fusion
- *NEW!* Occidental Brothers Dance Band International / Central & West African dance music
- Orchestra of Tetouan / Traditional vocal & instrumental music of Andalusia & North Africa
- Parno Graszt / Hungarian Gypsy music
- Rupa and the April Fishes / Global agit-pop
- Saffire—The Uppity Blues Women / Acoustic blues
- Salaam / Middle Eastern & North African traditional music
- Stairwell Sisters / American Old-time
- That 1 Guy / 21st-century one-man band
- Väsen / Contemporary instrumental folk music from Sweden
- Vishtén / Acadian traditional music, song, and dance
- Watcha Clan/Global fusion from France
- The Zolfonoon Ensemble of Iran / Classical Persian
One of the highlights for Lotus this year will be the expanded parade finale on Saturday night that will create a climactic and interactive experience for the attendees. Holladay explains:
“This year we’ve got several bands involved, including EE: Magic Circus Marching Band (from Chicago), a small new parade band based in Bloomington (the Jefferson Street Parade Band), the IU Brazilian Percussion Ensemble, a couple of stiltwalker/puppetteers, and some special guests. It should be a blast.”
World music has always been an important extension to the culture and environment for not only the identity of the country it comes from but for the understanding of the world. Be it a reaction, a representation, or extension to the essence of life, festivals like Lotus help focus and bring the traditional and non-traditional into the modern world. And as radio programs like KXCI’s “Global Rhythm Radio” in Tucson (or the once exceptional and now extinct WICR radio program “Around The World”) among a few other dedicated and knowledgeable programs around the country , do its best to preserve and bridge the gap, the Lotus Festival is a rare find and a tradition that is worth exposing generation after generation to the senses and lifeblood of world music.
For links to ticket and complete festival information, maps, schedules, and more, visit the Lotus Music Festival website at: http://www.lotusfest.org/index.html
Oranje 2009
[All photos by Kimberly Brown.]
Oranje 2009 may be over but the memories and hangovers still linger. Anyone who experienced the event will tell you that — be it seeing the bands or artists, hanging with friends or just supporting the local community — Oranje is a vital and important extension to Indianapolis’ arts community.
The interactive arts and music festival allowed contemporary artists from Indianapolis and beyond to interact with peers of all artistic styles and specialties. Over 30 musicians including bands from jazz jamsters Twin Cats to Merge recording artist Why Oak, as well as bands like Holistic to The Last Good Year rocked various stages, tents, and warehouse rooms, some exploding with a galaxy of LEDs, psychedelic freak outs, and computerized invasions, all giving a unique experience to the night.
Artists were a plenty with booth after booth, pushing style and substance. For some like John Atkins (www.artatkins.com), Oranje has become a yearly habit as this was his third year exhibiting his art.
Returning artist John Atkins.
"The Last Snack" by John Atkins.
For Dominique Sansone, this was his first Oranje experience. “I don’t know what to expect, but I have a great spot by the bar, so I hope that helps bring people by,” said Sansone, who featured his sculpture work. The intereaction between artist and people is crucial to the success of a show like this.
Dominique Sansone surrounded by his sculptures.
For art therapist Kate Wagner (http://www.artifolio.com/artist/missionart/), something like Oranje is her therapy. Having something completely different and putting herself in a new landscape is a refreshing experience.
Kate Wagner next to her homemade pieces.
One of Kate Wagner's art pieces.
Artists like Zachery Lopez (http://www.zacharylopezstudioartist.com/Welcome.html), use Oranje to give viewers a chance to witness the creation process and on-the-spot painting.
Zachary Lopez works on a piece for attendees to watch and converse.
But for Nathan Monk (http://www.nathanmonkart.com/), his experience and work with found objects allow for spectators to be artists and create their own piece of art.
Nathan Monk uses found objects like cardboard as canvas or bottle caps as accents to create striking pieces of art.
One of Nathan Monk's small piece series.
Athomas Palmer of McFee Gallery (http://www.mcfeegallery.com/) can best sum up the experience of Oranje.
“For Oranje this year, music and art has improved this year. The experience is intense.”
Athomas Palmer with McFee Gallery.
For a recap and essence of Oranje, visit the organization’s website: http://www.oranjeindy.com/
2009 Monolith Music Festival Nears
Many will be westward bound as they emerge on the Red Rocks Amphitheatre in Morrison, Colorado. Monolith Music Festival may be closing in (September 12 and 13), but there is still time to get tickets to see some of the best independent acts of the 21st Century.
For a full schedule line-up including tentative times of both days, follow the link here: http://www.monolithfestival.com/lineup
Or, you can download the Monolith schedule grid by clicking the grid below:
Even though the sampling of artists is very limited compared to the extensive lineup, the Monolith Festival website launched a music player to let you dig your ear buds into some of the talent that will be performing. http://www.monolithfestival.com/story/news/monolith_music_player
How do you get tickets to this event? You can simply walk up to the Red Rocks Box Office and purchase tickets on site, or go here (http://www.monolithfestival.com/tickets) to purchase them online.
Although we highly recommend that you experience this event as it happens, ZapTown will be there covering the event, and will be posting an after show photo recap.
Bonnie Prince Billy – Beware (Music Review and Concert Preview)
Bonnie Prince Billy
with White Magic
The Vogue
April 11th 7:30 p.m.
* * * * * *
Bonnie Prince Billy
Beware (Drag City)
Rating: 3 out of 5
To my recollection, it has been a long time since Will Oldham has been seen on stage in or around Indianapolis. But he returns this weekend to The Vogue to play songs from a life-long richness of material, including his new album Beware (Drag City).
The last time I remember Oldham was not under the name Bonnie “Prince” Billy, but as the band Palace Music. It was that incredibly hot and humid part of summer. Verizon Wireless Music Center was known as Deer Creek and Lollapalooza was known as the biggest traveling alternative music circus in the country.
We had just arrived sometime before Noon and the sun bearing down was enough to begin a perspiring Midwestern sweat as your feet crunched on parched earth. Echoes of Oldham’s desperate voice was heard from the Second Stage, an extremely early time frame to experience Palace Music’s sobering style. But intrigued by the haunting and rather depressingly beautiful songs I heard on the recordings, as well as his mysterious candor, we watched as others began filing around the grassy field.
As I studied his lack of movement, taking in everything Oldham had to give, I noticed a tall guy with long, dark hair standing next to me. His shirt unbuttoned and arms crossed, completely entranced in the music. I had to glance a few times to let it sink in that I was watching this performance right next to Nick Cave. When all I really wanted to do was yell “Oh my God it’s Nice Cave in the flesh!,” as he finally peered over, I muttered a simple “Hello” and “Nice to meet you,” followed by a handshake. We ended up talking mostly about Oldham and the music as I remember a wide-eyed Cave telling me how genuinely impressed he was at Oldham’s creativity and his craftmanship. And by the end of the performance, Cave, along with the rest of us, parted ways, me with a musical imprint that has lasted to this day. It’s an impression that was as prevalent as the black-and-white photo of Slint that he took in a Southern Indiana quarry. The photo that is immortalized on the Spiderland album.
Years later, not much has changed. Oldham’s creativity is still an impressive journey that has spanned a couple more Palace Music albums and ten solo releases since that Lollapalooza stop. He can weave a tale through lyric that richly defines the joys and darkness of the human existence, taking in everything from the drawl of a lazy afternoon on the porch with the dog to the wilted flowers of an ex-lover to sexual demeanor that is woven like an innocent tale of romance instead of a dirty pulp reader. This is your grandfather’s music, and Beware continues that tradition of struggle through the simple life and struggle in its bare bones existence as a human.
With Beware, there is nothing distinctly new or outstanding going on in Billy’s conscious. The highlight of this album is not so much Oldham’s work — although that alone sets the foundation for what he does — it’s the amazing laundry list of guest musicians ranging from Chicago’s Rob Mazurek of the Chicago Underground, Isotope 217, and Exploding Star Orchestra to Leroy Bach, who once played in Wilco, to Jon Langford of The Mekons, and many more who have stepped foot on this release.
With the touches of a backing choir on the opening track to various accentuations from different instruments and more-glossy-than-I-would-have-liked studio techniques, Oldham always works best when it’s stripped down and ruggedly dirty from the angels and devils that crouch down on his shoulders. Singing persistently “I want to be your only friend. Is that scary?” makes you wonder if he sometimes scares his own self as he recites his words. This is a man that is haunted by the toils of human’s dark secrets. It’s a man who has spent a lifetime trying to understand by taunting, accepting, and berating our emotional condition.
His views on sex and religion, mortality and natural law is simple on the surface, but explicitly complex as demonstrated on “Death Final,” — “God bless us as we cross from green sides into darker. God love us as we lay in puddles of our own.”
It may not be my favorite of Bonnie “Prince” Billy releases — as I would rather revert back to Palace Brother’s Days In The Wake and Billy’s I See A Darkness — but Beware is still an album that provides enough unique satisfaction to enrich the appreciation of Oldham’s artistry and his dust-covered country confessions.
