Back in MY Day: Lo-Fi

[Editor’s note: From time to time we will be featuring the work of Indie Rooney, a music aficionado who’s been around the record store a few times and has plenty to say about the contemporary music world. This is his first column.]

Indie RooneyBah! So whatever happened to lo-fi? Used to be, you could move to Olympia, drop a guitar on a paint bucket, record it on a speak-and-spell, and have it out on K in a week. It was charming. We paid money for it and liked it!

Bah. These days “lo-fi” means you’re a virtuoso genius who thinks making a recording that sounds like garbage is an “artistic choice” full of “cred.” No! Lo-fi means you sound and play like crap. Time was, if you learned to properly play an instrument you were a “sellout” (remember “selling out?” There’s another column!). Now it means, you’re a “musician,” and people “expect quality,” and they won’t bother to download your free album unless you “play well” like a “musician.” Scare quotes also were cool!

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Check out This Song: Christina Antipa – “Lithium”

Hey, check out this song! It’s longtime BoW friend Christina Antipa playing a song that might be familiar to you, called “Lithium.”

Christina Antipa – Lithium

Christina Antipa

Photo by Joseph Traina

I really wish I could include cover songs on Ball of Wax. Sadly, it’s just not something I feel I can handle in that setting. Once you’re making physical CDs there’s just so much you need to deal with – permissions, royalties, yadda yadda yadda – that I just have a blanket ban on covers, unless they’re old public domain songs, or by friends who have given permission.

But! Now we have this blog, and while there still might be a legal grey area here, I feel a lot more comfortable posting the occasional cover song here without going through a bunch of legal rigmarole. If anyone really cares and complains, I can always take it down (call me, Courtney). In the meantime please enjoy this gorgeous interpretation of a grunge classic, and let it whet your appetite for the beautiful new original song by Christina on Ball of Wax 23.

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Album Review: Vinca Minor – Isolation

Vinca Minor – Isolation (2010, Second Shimmy)

Vinca Minor’s Isolation is the latest project and release from Ball of Wax contributor and all-around prolific local artist Matt Menovcik. You might know him such diverse acts as Ms. Led, Roxy and Clark, and Saeta. Vinca Minor falls more along the lines of Saeta than these others, while possibly more experimental. Long, moody, minimalist, ambient, reverbed-out synthesizer chord progressions and sparse piano feature heavily here, with occasional appearances by Menovcik’s trademark eerie, baritone vocals. Most of the album resembles film score music: 7-16 minute-long instrumentals reminiscent of Angelo Badalamenti, or interludes not unlike Kid A’s “Treefingers.” Consequently, it’s a bit odd to listen to without any accompanying visuals. Even the shorter compositions, like the acoustic-guitar driven “Waves” and “Raindrop,” which have lyrics, are still better described as “pieces” than “songs.” And I think that’s the point. This album is about texture and space, a soundtrack to a bleak mindscape.
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Frog Eyes Live at the Vera Project

On Sunday, October 10th of this past year a friend and I went to see the mighty Frog Eyes play the Vera Project along with a smattering of 30 or so other, mostly underage, folks. My decidedly overage (and tastefully bearded) friend was unfamiliar with Frog Eyes or any of the other projects of their prolific leader, Carey Mercer (Swan Lake, Blackout Beach, Blue Pine) which forced me to try to describe their music. Tom Waits fronting the Cramps only no one is in character? Birthday Party had Nick Cave been more influenced by Harold Bloom than Iggy Pop?  Wolf Parade in full out popularity indifference mode (Spencer Krug played with Frog Eyes before either Wolf Parade or Sunset Rubdown gained attention)?  Frog Eyes is, sure enough, a rock band. There are frantically played electric guitars, patterned drums, all sorts of yelping. Carey Mercer seems to sing about a vaguely ancient Greek mythology of his own creation, but I can’t really be sure. There’s no other band whose music I both love and don’t really understand, either structurally or lyrically. I can’t imagine picking up a guitar and starting to strum a Frog Eyes song like one might do with a Bowie song or something by Pavement. Where would I start? The Archilochos allusions? The growling? The best analogy I can think of for listening to Frog Eyes is looking at a painting or illustration by Hieronymus Bosch.

Describing Frog Eyes

Witnessing a Frog Eyes show, even a poorly attended one, has always been a thrill for me.  They’re both ferocious and guileless, filled with all species of freak-outs and sustained crescendos without ever betraying any sense of being an “act.”  Mercer is self-effacing and mild in his banter, neither ashamed of his sweaty exertions nor particularly in need of adulation or the trappings of being Cool.

While their entire discography is fantastic, last year’s Paul’s Tomb: A Triumph would have been at the top of my year-end list had such a list been created.

A Flower in A Glove
Lear in Love

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Introducing Our Contributors

As mentioned in my first post, I’m joined in this brand new blog endeavor by some friends who are interested in helping to highlight music and community in Seattle, the Northwest, and the world. So far they’re all musicians in their own right. I’m not going to be too worried about “conflict of interest” on this blog – when you have musicians writing about music that’s pretty much impossible as far as I’m concerned – but I’m guessing we won’t generally be writing too much about ourselves. So I thought I would take this opportunity to introduce Andrea, Louis, Jon, and Caitlin by way of their music. Read on for some words and sounds about and from each of them.

Continue reading

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Welcome to Blog of Wax

Welcome to the brand new Ball of Wax Blog (or Blog of Wax). I started Ball of Wax Audio Quarterly over five years ago with the idea of shedding light on and creating a document of some of the wonderful music that was being made all around me, much of which without any fanfare, press, or radio play. I also wanted to use this series of compilation CDs and the release events associated with each as a way to build community among musicians, whether local to Seattle and the Pacific Northwest or from across the United States and the world. It recently occurred to me that there’s really no reason to limit these efforts to one CD and one show every three months; we can harness The Power of the Internet to keep this conversation going throughout the year, bringing other voices on board and sharing some of our favorite music and thoughts on music with you, our readers.

Ball of Wax, as much as it’s been about community, has always been a dictatorship – a benevolent one, I hope, but a dictatorship nonetheless – with almost everything (except for the writing and recording of the songs) done by me. Blog of Wax will be much more of a group effort, and I count myself very fortunate to have a wonderful crew of co-contributors. Our inaugural group of writers includes Andrea Maxand, Louis O’Callaghan, Jon Rooney, and Caitlin Sherman, all of whom make music that has been featured on at least a couple volumes of Ball of Wax in the past, and all of whom will have much to share with you in the coming months. I hope to keep this community of writers growing, of course, but I’m very pleased to have this group all working together here at the outset.

Thank you for being part of our community. We hope you’ll enjoy what you read, hear, and see here, and we hope you’ll add your voice to the conversation.

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