Pittsburgh Net Radio

Richard Youngs- Soon It Will Be Fire (Sapphie)
This mix was originally a mix of my favorite songs from the Jagjaguwar and Secretly Canadian catalogue. After compiling some songs, I realized that I just wanted to include Richard Youngs, Julie Doiron, and Early Day Miners, possibly a few others. So, in the interests of interest, I have combined select tracks with other tracks from records I have recently purchased. The first track is from Richard Youngs's Sapphie record, re-released by Jagjaguwar in the early 00s. This record has surpassed Mingus's Black Saint as my favorite record of all-time. Along with that, this is one of my favorite songs of all-time. Recorded simply to a DAT machine, Sapphie is an amazingly minimal record, an ode to his deceased dog. My favorite memory of listening to it occurred when trying to find an alternate route to Broadway in McKees Rocks. The main road was closed for construction and I needed to get to work. I ended up driving through what seemed like a forest, occasionally passing some small run down houses.

Joe Pass- Stella by Starlight (Virtuoso)
I've been after this record for a few years and found it used at Paul's last week. Oh my god, it's great! It's so beautiful. Takes me back to Mr. Rodgers days and Johnny Costa. Check it out.

Hills- Red Bird (Hills Street Blues)
One of the highlights of 2006 was my good fortune to meet Will Dyar, Skinks drummer and now solo artist. Hills Street Blues is a six track EP that Will recorded himself with some musical help from Chris Cannon, Brian Dean Richmond, and Eric Graf. But mostly it is Will on guitar, Will on drums, Will of bass. It's a lot of Will. But after hanging out with him a bit, a lot of Will is a lot of a good thing. You can hear more of Will on the recent Skinks record, the future Skinks record, my new solo record (in May), and the Ninth Ward disc (forthcoming).

The Impossible Shapes- Florida Silver Springs (Tum)
Another group that I became acquainted with was The Impossible Shapes. Vale and Year played a show with them in Indianapolis, IN a year or two ago. Let me tell you, the Shapes have one of the best vibe-d shows around. Guitarist Jason was on tour with Magnolia Electric Co. at the time, but as the trio, they held it down real right! This track is from a limited edition record that was re-released in an unlimited number. Great melody on this one.

Jack Nitzsche- Prelude #4 in G, Op. 28 (Chopin '66)
Found this used at Paul's. I'm nuts about Jack Nitzsche production and this record of Chopin pieces done up in a 60s soul orchestra outfit fits me fine. Short, but very sweet.

Songs: Ohia- Two Blue Lights (Didn't It Rain)
Even though this was the record that brought Molina and crew into the spotlight, I always liked it the best. Always thought the lyrics and mood of this track was extremely beautiful. Sadly, I haven't kept up with Magnolia lately, but there's still time.

Peter Bjorn and John- Young Folks (Writer's Block)
Lately, I've been worried that no one is making good pop records anymore. I've found myself avoiding anything with words and really haven't been into many new bands, but I think that is changing. I heard this Peter Bjorn and John song on my friend's Myspace page (yeah, I guess it does work for networking and promotion). Anyway, the production is really sweet with lots of panned reverb, a natural drum sound, and a kicking bass line. Faith restored.

Lady Sovereign- 9 to 5 (Public Warning)
I found my way to Lady Sovreign through another friend. This record is wild and from what I hear her earlier eps are better. Anyway, it's a good bit of fun with tons of multi-tracked vocal parts. Oddly enough it reminds me of Paul McCartney when he would inject his songs with all those heavy accented asides, jokes, and narratives. This is like a whole album of those. So, you'll be alternately bopping your head and cringing.

Erlend Oye- Sudden Rush (Unrest)
Erlend Oye of Kings of Convenience made a really brilliant low key dance record with Unrest. A different producer did each track, but the record is seamless. Check out this chorus. Untoppable.

The Sea and Cake- One Bedroom (One Bedroom)
I'm going to continue on with another dance-y tune. Sea and Cake are easily one of my favorite bands. Sam Prekop's voice never gets old and I really can't get enough those clean instruments and polyrhythms. Supposedly, there is a new record set for the spring. Can't wait!

Oliver Lake Trio- 5/1 (Zaki)
Currently, in addition to my usual music projects, I'm also playing in an improv group with a vocalist and a flute player. This record was lent to me, because my free playing style seemed similar to Michael Gregory Jackson (the guitarist in this trio rounded out by drummer Pheeroan Aklaff). Eerily enough, I noticed a lot of the same phrasing techniques and melodic turns. But that's fine, since this record is extremely hot. The liner notes state how democratic the group was with everyone getting enough face time to investigate ideas within the group. It's always nice to happen upon some new music, even if it is 30 years old.

LaDonna Smith- Viola Coaster Rainbows (Eye of the Storm)
Last night I checked out violist LaDonna Smith's performance at Garfield Artworks and was blown away not only by her sheer virtuosity, but also by the emotion that seems to underlie her music. I often feel that free music sometimes loses the emotional core that seems to be the center of a lot of music. And often, when the emotion is there, it is pure aggression. But Smith, in addition to getting fierce, has a wonderful grace to her playing. It's really very captivating. This is a track from a solo viola record entitled Eye of the Storm. Also, check out her magazine, The Improvisor.

Thom Yorke- Rat's Nest (Splitting Feathers)
I just got the Splitting Feathers EP, which combines all the b-sides from The Eraser, and like many Radiohead related b-side records, it is very nice and interesting, but lacks the greatest of the album tracks, hence the b-side status. But, usually, I would like to hear more from an artist I admire than less. B-sides always give you a more complete picture of how the record was shaped. Or at least the ideas that were censored in the recording process.

Pairdown- Burning Up A Winning Ticket (Woodlab Vol. 1 February)
David Leicht of Pairdown has quickly become one of my favorite songwriters and Pittsburgh is very lucky (they don't apparently know it yet) to have Pairdown live within city limits. This song is featured on the first Woodlab compilation. (Woodlab is a new music series held at ModernFormations every second and fourth Wednesday of the month) I recorded this track in my kitchen with David and Raymond Morin on guitars and voice boxes. It was a nice intimate show for me and it was great to document it. Pairdown has an EP on Sort Of Records and there are plans for a full length possibly this year.

Richard Hawley- Long Black Train
I first got into a Richard Hawley project when I spent a few weeks in England in 7th Grade. The band Longpigs released a great double ep single thing where you paid a few pounds to get half of the single and then another few pounds to get the other half. Probably turned out a little expensive, but it was worth it. I really think their first record and especially those b-sides hold up today. I was saddened that the sophomore Longpigs album was horrible. It took a few years, maybe 5, before I happened upon Hawley's solo records. They have a strange quality. They seem classy. Classic, but not in the Springsteen, Neil Young, or Bob Dylan way. More like updated folk songs that don't seem to have an era or time. "Long Black Train" might be my favorite song ever. I waver on that, but if I had to listen to one song, continuously, for the rest of my life, this would be the song. Completely lovely.

ABOUT DAVID BERNABO

Courtesy of Unicorn Mountain - Dave Bernabo is a graduate of Carnegie Mellon's Tepper Business School, is an active writer, musician, and artist. His poetry has been published in Pittsburgh Post-Gazette, Falderol, and Oakland Review, and a collaboration with Greg Cislon yielded Holy Music and Art, a book of vignettes and experimental writing published by Incredibly Thin. David's musical output consists of five full-length albums and three EP's with Vale and Year, a solo album, and compilation and guest appearances. David is currently working on a book of writing and drawings called Real Titles.

David Bernabo on My Space

Posted by Brian Cosgrove at 03:20 AM | Permalink | Comments (0) | TrackBacks (0)

This set of music will be geared towards longer pieces of music. Possibly because I don't feel like typing. I fear arthritis from typing all day at work and then mouse-clicking while recording music at night and making small dots on wood, which you can see at the ModernFormations Spring Salon this April 2007.

1. Lonnie Smith | Play It Back | Live At Club Mozambique

This story might have been recounted before. My first trip to Village Vanguard luckily happened on a night that boasted soul-jazz saxophonist Lou Donaldson and the, at the time, bizarre Dr. Lonnie Smith, all done up in a turban playing a huge, crushing sounding organ. I think I was supposed to be visiting colleges, NYU and Columbia, but never actually made it due to two of three nights in jazz venues, and the other wandering around bars and whatnot with my dad. This night was one of the greatest nights of musical awakenings and whatnot. Lonnie Smith laid out shifting 10-finger chords instead of traditional solos and the whole room shook when he did so. People were screaming and aside from Steely Dan when I was 10 years old, it was the greatest show I had ever seen. Afterwards, I got into some Lou Donaldson records and like a lot of them, although some seemed too smooth. This track comes from a live set at Club Mozambique played and recorded on May 21, 1970. Among the many band members, you have George Benson on guitar, Joe Dukes on drums, Dave Hubbard on tenor, Gary Jones conga, Clifford Mack tambourine, Ronnie Cuber baritone. All songs written by Lonnie Smith with a Miles Davis cover and a Sly and the Family Stone cover. Rockin' set with much energy.

2. Derek Bailey | CLB Drums | PlayBacks

PlayBacks is one of the more interesting Derek Bailey releases. The record consists of 12 backing tracks provided by such musicians as plunderphonics-pioneer John Oswald (who plunders DBailey), John French, Jim O'Rourke and Loren MazzaCane Conners, Darryl Moore, Sasha-Frere Jones, and more. The track I picked has the percussion backing of Ko Thein Htay. There are warm drums, melodic percussion, and bits of bells. Derek Bailey almost sticks to strings of eighth-note harmonics and some notes throughout the piece, but I've always felt that some really interesting rhythms resulted from the collaboration. The liner notes quote Derek saying, "Throughout, I aimed to treat each track, many of which seemed to be complete in themselves, as a kind of ensemble I could play with rather than as a 'backing' track."

3. George Gruntz | Swiss Tease | Mental Cruelty

In 1960, pianist George Gruntz wrote the score to the film Mental Cruelty, which was a break from Swiss productions dealing with folklore. The film aimed something grander, like that of a "French nouvelle vague." Anyway, the score is awesome. Here is a short, but sweet piece of it.

4. Makoto Kawabata and Richard Youngs | Red | s/t

Released on VHF, this is a meeting of two very influential minds, Acid Mothers Temple mastermind Makoto Kawabata and Scottish, avant-folkish, minimalist Richard Young. The result is closer to Richard Youngs' side of the spectrum, preferring slow, acoustic drones over fast saturated licks and whatnot. This is a nice track, sprawling building pretty.

5. Bill Callahan | Footprints | Woke On A Whaleheart

Here is new music from Smog-man Bill Callahan. It's real cool, beefier than last time's mostly acoustic happening. I Like The Layers.

6. Susan Howe and David Grubbs | Untitled | Souls of the Labadie

In 1684, members of a Utopian Quietist sect, consisting mainly of Dutch followers of the French Separatist Jean de Labadie, left their headquarters at Wieuwerd in the Netherlands in order to spread the new oeuvre de dieu while preparing themselves for the coming millennium. The settled in Bohemia Hundred, Cecil County, Maryland, where Pennsylvania, Delaware, Maryland meet. This is the second collaboration between my favorite poet Susan Howe and one of my favorite musicians David Grubbs, of Gastr Del Sol and Bastro. You hear Susan's new poem and Grubbs on khaen baet, khaen jet, VC53 synthesizer, computer.

7. Gavin Bryars | Tramp with Orchestra IV (full strings) | Jesus' Blood never failed me yet

Though he has mellowed in his later years, Gavin Bryars composed/found one of the most beautiful and moving pieces of music of the 20th Century. Gavin Bryars displays nearly all the trademarks of late twentieth/early twenty-first century classical music: versatility, integration of visual arts and multimedia, explorations of non-traditional approaches, and extensive collaborations with other composers and arts organizations. Like several of his contemporaries, he has attracted popular attention through the combined innovation and approachability of his compositions, and writes articulately on a wide variety of music and musicians. His first love in music was jazz, and he performed as a bassist with Derek Bailey and Tony Oxley. Some of this influence shows in his use of improvisation. In the late 1960s, he began to study and work with several other innovative composers, including John Cage and Cornelius Cardew. In 1969, he began teaching at the Portsmouth College of Art, where he helped found the Portsmouth Sinfonia... Read More...

8. Federico Garcia | Canon for Violin and Piano

This is a piece by ALIA MUSICA Federico Garcia. ALIA MUSICA was created in September 2006 by a group of young composers based in Pittsburgh, with the aim of joining the cultivation of new music in the city.

The group premiered publicly with an inaugural season in March of 2007, sponsored by the Music Program at Chatham College. The combination of eleven very good new pieces (composed for the occasion by each of the ALIA MUSICA members), the high standard of performance achieved by the ensemble, and an enthusiastic support and reception by the whole community, produced a success that we had barely dreamt. But one that confirms the worth of our vision and ties us even more to the project and to the city. Please check them out. A great source for New Music.

9. Vandermark 5 | Some Not All | A Discontinuous Line

Check out Ken's writing in Notes from the Field. www.kenvandermark.com
THE VANDERMARK 5 TOUR OF NORTH AMERICA

Pt. 1: Midwest
I arrived back home after the duo concert with Paal Nilssen Love in warm, somewhat sunny Utrecht on Sunday, February 4th. On Tuesday the 6th I was in a van with the other members of the Vandermark 5, driving in a blizzard towards St. Paul, Minnesota. Our North American tour started west of Chicago so that we could loop back towards Canada on our way to the East Coast. The weather was terrible, everywhere along the highway there were accidents- cars spun out into the median, 18 wheeler trucks jackknifed and blocking traffic for miles, shredded metal and glass on the side of the road left from previous collisions. Somehow we made it to St. Paul not only safe, but on time for our soundcheck at the Turf Club. Despite the lousy weather we got a very nice turnout, I'm guessing that the people who live in St. Paul are pretty used to crap Februarys at this point. The band's performance was rusty; we hadn't had a chance to work together since our December recording session because I had been on tour in Europe since the start of 2007. As usual, after the gig we went to check in at our motel. What wasn't usual was finding all of furniture stacked in a pile in the middle of the floor when I opened the door to my room. After talking to the night manager, who was simultaneously eating two different pieces of cake during our chat, I found out that she had accidentally given the band rooms on a floor that was getting renovated. So we lugged our equipment and luggage to another room on another floor and tried to fall asleep on a bed that was identical to the one stacked in a pile in the room that was being "fixed up."

… The last two concerts of the tour indicated the strange nature of culture in America. Our gig near D.C., on the 16th , took place in a strip mall. The club itself, called Jammin' Java, was really okay, but when we pulled up in the van we felt pretty ridiculous. Who the hell would find us out here by the Pizza Hut and Bennigans? Surprisingly, we a decent crowd turned up. The next day we played at the Andy Warhol Museum in Pittsburgh. A nice contrast of High and Low that I'm sure Warhol would have appreciated. The concert in Pittsburgh was probably the most successful performance that I've been involved with in that city- the auditorium was standing room only. The quintet finished the tour by playing one of its best gigs on the trip. It feels like there is so much creative energy left to explore with this ensemble, which is unbelievably exciting after working on it for more than ten years.

Courtesy of Unicorn Mountain - Dave Bernabo is a graduate of Carnegie Mellon's Tepper Business School, is an active writer, musician, and artist. His poetry has been published in Pittsburgh Post-Gazette, Falderol, and Oakland Review, and a collaboration with Greg Cislon yielded Holy Music and Art, a book of vignettes and experimental writing published by Incredibly Thin. David's musical output consists of five full-length albums and three EP's with Vale and Year, a solo album, and compilation and guest appearances. David is currently working on a book of writing and drawings called Real Titles.

David Bernabo on My Space

Posted by Brian Cosgrove at 01:52 PM | Permalink | Comments (0) | TrackBacks (0)

Alan Lewandowski Interview

Dave Bernabo interviews Alan Lewandowski from Pittsburgh's Anita Fix and The Working Poor. Alan has been part of the local scene since 1997 and a member of the Rickety collective from the beginning. Alan balances two projects of what is often described as a 'surreal 'urban folk'. Anita Fix takes on more of a strange Velvet Underground/Nick Cave style while The Working Poor allows Lewandowski and his partner on vocals Lee Smookler the opportunity to make use of their country-folk influences like Hank Williams and Johnny Cash. All of this is regarding the sound of Anita Fix and The Working Poor is really up to it's own interpretation by the listener. Learn more about Alan from this interview with Vale and Year's Dave Bernabo. Alan discusses the history behind his music projects, his influences, what he's currently listening to and more. This will hopefully be the first of a reoccurring series with Dave interviewing random local and possibly national musicians. I've also mixed in some music from both Anita Fix and The Working Poor.

Courtesy of Unicorn Mountain - Dave Bernabo is a graduate of Carnegie Mellon's Tepper Business School, is an active writer, musician, and artist. His poetry has been published in Pittsburgh Post-Gazette, Falderol, and Oakland Review, and a collaboration with Greg Cislon yielded Holy Music and Art, a book of vignettes and experimental writing published by Incredibly Thin. David's musical output consists of five full-length albums and three EP's with Vale and Year, a solo album, and compilation and guest appearances. David is currently working on a book of writing and drawings called Real Titles.

David Bernabo on My Space

Posted by Brian Cosgrove at 12:58 PM | Permalink | Comments (0) | TrackBacks (0)

Courtesy of Unicorn Mountain - Dave Bernabo is a graduate of Carnegie Mellon's Tepper Business School, is an active writer, musician, and artist. His poetry has been published in Pittsburgh Post-Gazette, Falderol, and Oakland Review, and a collaboration with Greg Cislon yielded Holy Music and Art, a book of vignettes and experimental writing published by Incredibly Thin. David's musical output consists of five full-length albums and three EP's with Vale and Year, a solo album, and compilation and guest appearances. David is currently working on a book of writing and drawings called Real Titles.
David Bernabo on My Space

Episode #10

Lily Allen- Everything's Wonderful (Alright Still)
I'd like to think I'm above peer pressure, but at a recent visit to Paul's CDs I gave in and didn't buy this record on the "advice" of my friend. I'm not proud of it, but the record (from what I've heard) is really great. I couldn't get the hit "Smile" out of my head for a few weeks. There's a lot of interesting production techniques on here and the songs really can't be beat. That is why it is leading off this mix.

The Good, The Bad, and The Ugly- Behind the Sun (s/t)
It's been a while since the last Blur record, and the Gorillaz records don't really do it for me much. So, I had mixed expectations when I heard about this project. I think the individual players are greater than their sum, but I'm still really down with the record. Dangermouse production keeps it murky. This is my favorite song on the disc and I really love it. So, I'm gonna put some more time into this record and try to force myself to like it more.

The Constantines- The Long Distance Four (The Constantines)
I always thought of The Constantines as the Pearl Jam of indie rock (for lack of a better term). Very solid rock, good hooks, and will probably mild with age. Given the Cons last record, which I like a lot, I'd say my comparison is coming true. That's a bit beside the point, though. This track is from their first record and has remained my favorite from them. From the first time I saw them at the Brewhouse through some shows with them in Canada through a more recent show at Garfield Artworks, the Cons have consistently held it down, making non-pretentious, thoughtful yet powerful, full-blooded rock music.

Pearl Jam- No Way (Yield)
Yield was always my least favorite PJ record, but I'm coming around. I think it came out at a time when I was questioning (perhaps, wrongly) whether some of the grunge music I grew up on was valid. Yield marked the point where a lot of my friends questioned why I continued to ask for Pearl Jam records for my birthday. Anyway, I continued on and, for the most part, I think it was worth it. Pearl Jam has put out consistently good records. At this point, there's nothing amazing, possibly nothing even impressive, but a lot of their output still makes me smile.

The Roots- Game Theory (Game Theory)
Admittedly, when it comes to hip hop, I don't keep up much and am pretty ignorant about a lot of the output. But the Roots were a group I caught onto fairly early and never really left. Game Theory really seemed like a return to form, a good mix of hard beats, jazzy runs, and unforced experimentation. I'm a big fan of their production, great drum sounds, and lots of musical layers. Just really smart production and rhymes.

Miles Davis- Nothing Like You (Sorcerer)
Perhaps one of the most unlikely tunes to hear on a Miles record, "Nothing Like You" combines a 1962 Miles-led sextet with the writing and singing of cult personality Bob Dorough. Oddly enough, it is Wayne Shorter's first recording with Miles. Sorcerer was the third record with the Miles Davis's mid 60s quintet, and it's a cavern of dark twists and odd beauty. This sticks out like a sore thumb on the record, and that's why I decided to put it on a mix.

Steely Dan- Sign In Stranger (The Royal Scam)
I think this is the 10th mix I've made for PNR, and I have a feeling that I already included this track on an earlier mix. That said, if I put it on every mix it still wouldn't be enough. You gotta love a chorus that starts with "You Zombie." Suffice to say, I love Steely Dan and I love when other people do, too.

Weezer- Across the Sea (Pinkerton)
Like many people, I am real into the first two Weezer records. Pinkerton was my jam for a number of consistent weeks. I like the bells on this track and wished they would have continued with more orchestration and complexity. Alas, that, obviously was not the case. They just fuzzed out into boredom. But this is still a masterpiece of a pop record.

The Beatles- Everybody's Got Something To Hide Except Me and My Monkey (The Beatles)
Sometime in high school, I became obsessed with trying to write a song like this. Chord-wise it is very simple, but the bulk of the music is a moving bass line, a lead guitar, and that bell. Lyrics are great. Can't say much that hasn't already been said.

Loose Fur- Stupid as the Sun (Born Again In The USA)
If you've been listening to my mixes, you could probably sense how much I'm into Jim O'Rourke. While we wait (perhaps in vain) for another song oriented record, Loose Fur gives you a few Jim songs, which are always great to hear. Funny, deceptively complex, and shaking, this song is a lot of fun. If you have the time and cash, please check out some of Jim's earlier tape and drone records that have recently been reissued in the past few years. They are well worth it.

Centipede E'est- Blue Streak (Cheeks of Neptune)
Centipede are a Pittsburgh band. If you're listening to PNR and from Pittsburgh, you probably know them. Kind of an all-star group with Caulen and Jim Lingo from Boombox, and Sam from Johnsons Big Band, Local Honey and a bunch of other bands. And Nicholas Fallwell on guitar. I actually don't remember what he was in before. But anyway, this record is real good. Check it out. Check them out if you haven't already.

Scorch Trio- Sunnja Vega (Luggumt)
Easily one of my all-time favorite drummers Paal Nilssen-Love is joined by Raoul Bjorkenheim on guitar and viola and Ingebrigt Haker Flaten on double and electric bass and electronics. The sounds they get are amazing veering from Hendrix leads to beautiful soundscapes of plunking and whines. Amazing record from rune grammofon, which consistently releases some of the best records around.

Mary Celeste- Before the Rain and After the Rain (Like Selling Symptoms to the Sick)
The first day of recording this EP, I helped set up a few mics and then went to the hospital where I spent the next two weeks bed-ridden with a deadly blood clot. Luckily, I was not needed, cos my man Greg Cislon helped Mary Celeste make a great document of their band. Greg also adds some sax to this track, which trips it out pretty well. Anyway, it's a real cool EP. Check it out.

Sonic Youth- French Tickler (A Thousand Leaves)
I was late to the Sonic Youth game. I got into NYC Ghosts and Flowers when it came out. My descent into Sonic madness came with a research paper linking Sonic Youth with the Beat Generation. Twelve pages later and an A+, I was fully hooked. Especially when O'Rourke joined fulltime. Knowing that it shouldn't be heard to see how A Thousand Leaves to present SY comprise my favorite SY records.

Bjork- Gratitude (Drawing Restraint 9)
I might be repeating myself again, but this track deserves it. I think it's the most beautiful Will Oldham has ever sounded. Others might disagree - it's not his words/his voice. But that's fine with me. An amazing soundtrack. Here's looking forward to her next record.

A Tribe Called Quest- Excursions (The Low End Theory)
Thought I'd end this mix with a little Tribe. Can't get enough of Q-Tip's smooth voice.

Posted by Brian Cosgrove at 11:46 PM | Permalink | Comments (1) | TrackBacks (0)