At the end of 2008, I discovered a band from New Jersey called the Gaslight Anthem. This was just as the buzz around it was starting to build. Gaslight Anthem’s sound is a punk/soul hybrid, but the sum is infinitely greater than the influences. I have very likely listened to this band more than any other since then. I have anticipated no 2010 release as highly as “American Slang.” The reason is simple. The first time I listened to the Gaslight Anthem reminded me of what it was like to fall in love with rock & roll. And to be able to capture this emotion is no small feat.
“American Slang” does not disappoint in the slightest. It tackles the big stuff—the American Dream (or lack of its reality as in “You told me fortunes in American Slang”) is really the overarching theme. Rare is the record that can tackle heavy themes, but still keep the redemptive power of music present at every moment. “American Slang,” like the Gaslight Anthem’s previous albums, has done this. However, the beauty of the Gaslight Anthem has always been found in the details—the interplay of the guitars, the wonderful lyrics, and the joy that permeates every note—as much as in the total. But the total is beautiful.
This interview originally appeared in the April 12 Edition of the Tompkins Weekly.
One of my favorite bands to emerge in the last few years is Thao With The Get Down Stay Down. Lead by singer, guitarist, and songwriter Thao Nguyen. The band is rounded out by Adam Thompson on bass and Wills Thompson on drums. This alt-folk band plays really smart and infectious tunes that, from the fist time I heard them, established this as a band to watch. The band really has its own sound. In addition, the way the songs are arranged—often without a verse, chorus, verse type of structure—makes a vital contribution to the bands sound. Freed from the tradition song organization, the music is able to build in layers. To date, Thao and the band have released two excellent records, 2008’s “We Brave Bee Stings and All” and 2009’s “ Know Better Learn Faster.”
The Tompkins Weekly was fortunate to get to ask Thao some questions in advance of her appearance with the Get Down Stay Down at Castaways on April 18.
Tompkins Weekly: Where did the name The Get Down Stay Down come from?
Thao Nguyen : “There are no romantic origins of this name– someone said get down, someone else said get down stay down—but we can’t remember who said which.”
TW: The band is great. How did you all come together?
TN: “Thanks very much. Willis and I met in college and then we met Adam on a tour in Richmond, Virginia.”
TW: When did you start playing guitar and writing songs?
TN: “Roughly 12 years old for both.”
TW: Who or what are your influences?
TN: “Country, blues, Motown, old time, hip hop, being a lonely youth.”
TW: It seems to me that your songs don’t always follow a verse chorus verse model. Am I correct in this? If so how did this develop?
TN: “I guess that is correct—I have never noticed. I think this developed because I have selective attention to detail.”
TW: “You’re on the independent label, Kill Rock Stars, home to some other amazing bands. How is being on an independent label for the band?
TN: “I love Kill Rock Stars and I love that they are more independent than a lot of independent labels.”
TW: Your most recent album, “Know Better Learn Faster” and its predecessor, “We Brave Bee Stings and All,” have gotten a lot of attention. How do you feel your career is tracking?
TN: “I am grateful to play music for a living and I am glad some people have taken to us and I hope they don’t change their minds.”
TW: Do you plan on hitting the festival circuit this summer? Or do you prefer playing clubs?
TN: “I am interested in doing both this summer and in general—I’m not sure yet how are schedule is shaping up.
TW: You’ve done some work with Oxfam America around climate change. As a public person, do feel you have a responsibility to speak out on issues that matter to you?
TN: “I do work with Oxfam and climate change—mainly I work with Sisters on the Planet—a campaign that helps poor women who are most affected by climate change—as they are the world’s primary food growers and household providers. I feel my job helps me be of more help than I otherwise might be and it is my priority to take advantage of the opportunity to win more support for causes I hold dear.”
TW: What else are you passionate about?
TN: “I love: 826 Valencia, Food justice, SF War, women’s advocacy in general.”
TW: Who are you digging now?
TN: “Wolves in the Throne Room, Share This Place, Mos Def, Cesaria Evora.”
Singer, activist, poet, spoken word artist, DJ, record label owner, and publisher. All of these can easily describe Henry Rollins, who’ll be appearing at Castaways on March 28 for one of his legendary spoken word performances.
Rollins first came to the public’s attention fronting the hardcore punk band Black Flag
Photo: Maura Lanahan
between 1981 and 1986. To say he was a dynamic performer would be from all reports a huge understatement. On stage he wore only a pair of black shorts and by the middle of his tenure with Black Flag, he had begun lifting weights and created an impressive physique.
After Black Flag broke up in 1986, Henry Rollins started the record label and book publisher 2.13.61 Publications, named for his birthday. Since this time he has also formed the Rollins Band and continued his spoken word, writing, acting, DJing, activism, and work as a TC host.
On the acting front, readers have likely seen him, even thought they aren’t aware of it. He had a small part in the amazing movie “Heat,” which notably stars Al Pacino and Robert De Niro. As a side, if you haven’t seen this film, it is really excellent. In addition, he was the host of The Henry Rollins Show on the Independent Film Channel, featuring music and political guests. This show has unfortunately not been renewed.
As an activist Mr. Rollins has taken on a great many issues including, gay rights, opposition to the gulf wars, the case of the West Memphis Three. While opposing the wars, he has however taken part in USO tours. We touch on this in the interview that follows.
This is really just a cursory overview. If you want more information about Henry Rollins, specifically his time with Black Flag, check out the great book, Our Band Could Be Your Life by Michael Azerrad. Or, check out his books, music, website, and of course go see his show at Castaways. He’s a really interesting and talented guy. Needless to say, it was great to get the opportunity to ask him some questions via email.
Dynamic Meter: Do you write differently depending on the whether the final piece will be music or spoken word?
Henry Rollins: I don’t write out speaking stuff.
DM: How did 2.13.61 press come about? Was it a conscious DIY approach?
HR: I started it because I wanted to get my stuff out. I was in Black Flag when I started publishing stuff and definitely learned a lot from working there. There was no other way than DIY.
DM: You’ve toured with the USO to visit troops in Iraq and Afghanistan. How does this fit with your views about the war?
HR: Just fine. Soldiers don’t start wars, leaders do. Armies take orders and that’s it. I don’t like war but my argument isn’t with the soldiers. It’s not even their war, they’re just dying in it. These are corporate wars for basing posture in the region and access to oil to make the Middle East submit. The Military really has little to do with it. So, I like the troops very much, it’s this fake war that is obscene to me, what happens in war, what it turns people into, it’s just pathetic and totally avoidable.
DM: More about Activism. You’re a strong supporter of gay rights and freeing the West Memphis Three as well as others. How does activism influence your work? And vice versa?
HR: I think it’s all part of being responsible and trying to be part of your country’s welfare. As far as influencing my work, I guess it informs what I say onstage to an extent and where I travel to.
DM: You’ve also acted in movies such as “Heat” and TV such as “Sons of Anarchy.” Does acting provide you with a different creative angle than music or spoken word?
HR: Not that I am aware of. It’s just work to me and I am always glad for it.
DM: Black Flag has had a lot of influence. Was there a point when the band was still together that you felt this or did it come later?
HR: Honestly, it’s Greg Ginn’s band and I never felt more than just one of the singers so it may be an influential band but not because of anything I did. It’s Greg Ginn’s songs that you remember. As far as influence, it’s really nothing I think about in a practical sense.
DM: What are you working on now?
HR: I am on tour as well as working on two books and some liner notes for someone’s album.
DM: Who are you listening to or who is inspiring you now?
HR: I am listening to a lot of music from a thing called the Nurse With Wound list. My road manager has a lot of the albums so I have been checking them out
From the first moment I heard the falsetto voice come in and sing the words, “Set the sails I feel the winds a’stirring / Toward the bright horizon set the way / Cast your reckless dreams upon our Mayflower / Haven from the world and her decay,” I was entranced by The Low Anthem. This was at the end of 2008. The band had recently independently released its album “Oh My God, Charlie Darwin.” I loved this record (still do) and it made my best of 2008 list. But hardly anyone had heard of the band or heard the record at this point. When 2009 came around, Nonesuch Records (home to bands such as Wilco and the Kronos Quartet) re-released it to wide distribution—and to very wide acclaim. “Oh My God, Charlie Darwin,” made many best of 2009 lists and was hailed as one of the finest Americana recordings in recent years. I agree.
In 2008, I wrote about the record saying, “This record kicks off with what I think is the most beautiful song of 2008, “Charlie Darwin.” This indie-Americana trio played all of the various 27 instruments used to make the album. And in doing so created a masterpiece that speaks to our search for meaning in a chaotic world.”
Ben Knox Miller and Jeff Prystowsky formed the Low Anthem in Providence, Rhode Island in 2006. Together they released The Low Anthem’s first album, “What The Crow Brings” in 2007. Also that year, classical composer and musician Jocie Adams joined the band. And 2008 brought the release of “Oh My God, Charlie Darwin.” The members of the band all play multiple instruments including guitar, bass, harmonica, piano, clarinet, pump organ, and zither.
For The Low Anthem 2009 was a huge year. Not only did they have the re-release of “Oh My God, Charlie Darwin.” In addition, the band had appearances on television on Later with Jools Holland, and live at such important festivals as South By Southwest, Bonnaroo, Lollapalooza, and the Newport Folk Festival.
Now in 2010, they’ve already started working on a new record that will hopefully be released this year. Also, the band is currently touring as the opening act for the Avett Brothers and that’s what is bringing them to Ithaca on February 26 at the State Theatre. I usually don’t profile the opening band for a concert, but I’m so passionate about this band that I really want to focus attention on them. I got the opportunity to ask Jeff Prystowsky some questions. As the band was in Europe at press time, the interview was done via email.
Dynamic Meter:“Oh My God, Charlie Darwin” came out independently in 2008 and then was re-released by Nonesuch in 2009. The album, and the band, seem to be a great example of a slow build and giving music time to find an audience. How has this approached worked for the band? Was it intentional?
Jeff Prystowsky: We were just doing what made sense to us. We started small and grew as more people heard about the shows and the record.
DM: There’s a real intimacy to the sound of “Oh My God, Charlie Darwin.” How was the album recorded?
JP: We recorded it out on Block Island [an island located 13 miles off of the coast of Rhode Island], and set up a home studio in the basement of a house. It was ten days of madness and beauty.
DM: You all play multiple instruments. Are you all largely self-taught?
JP: Well, we’ve all had music teachers. Jocie is the only one with formal classical training. I’ve studied jazz bass. But yes, we’ve taught ourselves a lot of the other instruments we play.
DM: The band’s lineup has changed over time from duo to trio, and now quartet. What was behind the changes?
JP: Just trying to stay ahead of ourselves. We don’t want to get too comfortable with the sound.
DM: How do you write and arrange your songs?
JP: Ben and I write the songs and we bring them to the band to arrange. We have a roomful of instruments, and we all walk around and pick ones up until we find something that works.
DM: How do you put your live set together?
JP: It really depends on the room. Tonight we’re at a college. But two nights ago we were in a church. And three nights ago we were in a rock club, and before that, a theatre. Each setting has it’s own vibe and we write our set lists special for each night.
DM: What artists, musicians, and others have inspired you?
JP: Short answer: for songwriting, Bob Dylan, John Prine, and Leonard Cohen. For arranging, Tom Waits.
DM: What bands are you listening to now?
JP: We’ve been spending a lot of time listening through our record collection for songs that would fit the themes for our weekly radio show on WOXY.com called the Tra-La La La Radio Hour.
Nigerian Singer and hip hop artist Nneka just released her first US album, “Concrete Jungle.” Musically this is really a sound kaleidoscope—sounds, words, and music beautifully morphing and blending. Whether it is more DJ based tracks such as “Showin’ Love,” the acoustic based “Come With Me,” or the full band glory of “Focus” Nneka’s sound is completely infectious.
Lyrically she takes on subjects such as war and those who speak of peace but still wage war. “U talk about peace / Put it in ur mouth / The same mouth u use to declare ur bombs.” She’s also not afraid of the spiritual on tunes such as “God of Mercy.” With her words and her music, Nneka proves that a powerful message is enhanced when heads are bobbing and the listener can’t help but groove.
There will certainly be comparisons to Lauren Hill. But I dislike comparisons because they too often compartmentalize an artist and dissuade listeners from hearing what is truly unique and powerful about the newer of the two artists. And to confine Nneka in such a way would be to overlook all that is so amazing about her music and “Concrete Jungle.”
''Whether it's jazz or punk or anything else, you have to fight against the purists who want to narrow the definition. That's what kills music because it stifles it to death.''
—Joe Strummer
“American Slang.” The reason is simple. The first time I listened to the Gaslight Anthem reminded me of what it was like to fall in love with rock & roll. And to be able to capture this emotion is no small feat.
