Basement Office

Dismantling U2

Back in the day, I had a healthy obsession for all things U2. All throughout high school, U2 was my musical beacon, guiding me through the turgid times that were 90’s “alternative rock”.

The major lift

My U2 fandom started about two weeks too late to see them play ZooTV in Minneapolis (a missed opportunity I will never stop regretting) and blossomed through the release of two albums, Zooropa and Pop. In the years between album releases, generally 4 in U2’s case, I eagerly sought out and acquired as much of their back catalog as I could. For being a kid in North Dakota, I think I did an admirable job, thanks in large part to the blossoming Internet and the retail mecca that was Fargo.

I lived for any snippet of new material from the band. I was all over the leaked demos from Pop, and played the studio taped from Achtung Baby to death. I traded bootlegs before the days of Napster or BitTorrent and scoured CDNow via telnet for any old singles. The hunt proved plentiful and the days were good.

The minor fall

It was with this anticipation in 2000 that I looked forward to their next release All That You Can’t Leave Behind. According to Bono, U2 was out to reclaim the title of “World’s Biggest Band” and in doing so, they were going back to their stripped-down, 4-man-band roots.

Bono said these things because they felt like they had to apologize to their fans for the “disaster” that was Pop. Notice the quotes. I liked it. A lot of others did too. It was a bold move for a band that, at the time, people thought couldn’t get much bolder.

Unfortunately, I think it was a high water mark of sorts. ATYCLB, while providing some excellent stadium rock tunes (proven by their highly successful Elevation tour), was too clean and too awkward. Bono’s lyrics lacked the abstract nature of previous albums, and were forced and clumsy. The band was solid, but not spectacular, and certainly not innovative (c.f. Zoo Station, Love Is Blindness, Lemon, Daddy’s Going to Pay for Your Crashed Car, Mofo).

So ATYCLB tempered my obsession. Fair enough. In the meantime, I had found many other bands and was learning to enjoy the benefits of alternative country, indie rock, and the local music scenes.

When the buzz for U2’s next album started up, it didn’t register on my radar for weeks. Whereas before I’d be up on every last detail, this time around, any mention of the band recording a new album solicited a vague nod of recognition from me.

My first exposure to How to Dismantle and Atomic Bomb was Vertigo and was similar to that of millions of others all over the world — I downloaded it through iTunes, rocked out to it, and then forgot about it, more or less. True, I did have it in my head a for a couple of days, and Edge’s guitar proved to be equal to the “blistering” labels thrown about, but one song does not an album make. Especially in this case.

Marking the first time since I became a fan, I neglected to get the album on the day it was released. I think I finally picked it up on Thursday, if for no other reason than to help the band along in their release-week sales statistics.

My first time listening to HTDAAB was very similar to my first time listening to ATYCLB. Both albums start off with a near-perfect single then start to wander. And as the songs wandered, so did my attention. I kept hoping that maybe the next song would be the one that would bring the album together, that maybe there would be a place in the album that would anchor itself firmly as the center of the experience. Sadly, I found no such place.

Taken alone, the tunes are passable (more so than the individual tunes on ATYCLB, anyway), but taken as a whole, the album lacks direction. Absent still is the atmosphere that surrounds the music, the Berlin in Achtung Baby, the America in Rattle and Hum. What is left behind is a band that knows their place all too well and shows little interest in tearing down their walls any more.

Late to the party

I may be the last person in the world to get on the bandwagon, but lately I’ve been making heavy use of BitTorrent to download a whole slew of great live concerts. I’ve found high-quality shows by R.E.M., Damien Rice, Elliot Smith, The Jayhawks, Beck, and Bob Dylan with Tom Petty and The Heartbreakers. These shows are amazing and there are so many more left to get. I’ve been in a music slump lately, but this is doing a fine job of pulling me out if it.

Live from New York

I’m at the corner of 42nd and 6th in NYC, having seen the Olympic Torch just pass by for the second time. Internet access is being graciously provided by the Bryant Park Wireless Network. We’re having a great time on our trip; Grand Champeen has once again proven themselves to be the best and most passionate rock-and-roll band in the history of the world.

This is too much fun.

Two down, two to go

The concert gods have been extremely kind to me lately. After several lean months, the concert horn-of-plenty is overflowing.

On Saturday night, Grant Lee Phillips came to town and played to a standing-room only crowd of enthusiastic fans. Everyone was in a good mood, and there was a high level of rapport within the room. His singing was incredible and was made even more so when he was joined by John Doe for several duets.

Grant Lee Phillips is probably the singer I have waited the longest to see live. I got into him back in the mid 90’s when he was in Grant Lee Buffalo. I’ve always held his work in the highest regard; in my opinion, all of his albums are artistic masterpieces.

On Sunday night, Pittsburgh was treated to a free concert by Wilco as a part of the Three Rivers Arts Festival. As far as outdoor venues go, the Point State Park in downtown Pittsburgh is hard to beat. It was Wilco’s second year in a row at the festival and, judging by the comments made by Jeff Tweedy, it won’t be their last.

The band was simply amazing. I had my doubts after I saw them during their Yankee Hotel Foxtrot tour: they seemed uncomfortable with the music, unsure of each other, and reserved. Not any more. Chalk it up to the rehab or perhaps Jeff Tweedy’s new, stylish long hair — whatever the reason, they’re back. The new songs off of A Ghost is Born sound great live. The YHF songs have been tamed to fit into a live setting and as a result, they sound more fun than forced.

Tonight I’m going to see The Stratford 4 and on Wednesday, The Damnwells. Both are opening acts for other bands (Beulah and Julianna Hatfield, respectively — good times all around) and both are eagerly anticipated by me.

A well deserved reward

After nearly a week of endless work, I needed some kind of reward. A big Mexican dinner (at a favorite restaurant) and a trip to the South Side to see a show by Sodajerk was just what I needed.

I can’t say enough good things about this band. If they played every Friday, or if we could find several other bands in this city with as much heart and talent, our nights out would always be complete.

Ah, the memories

Wilco’s 1-2 punch of “Monday” and “Outtasite (Outta Mind)” on disc one of Being There has got to be one of the most perfect rock and roll moments ever recorded.

It brings me back to my fun semester as a college radio DJ, where I’d always end my 8-10 am Wednesday morning show with some kind of Wilco tune. I was the only one awake to bear witness to the show most of the time, but it was a great experience.

I don’t think there are many higher callings than working for a truly independent radio station. After that, one can only go downhill.

Music for a Friday

Alone in the office for the time being, I have been taking advantage of the opportunity to listen to music on my headphones at near-deafening levels.

Nostalgia for things Minnesota has dictated my listening choices this morning. Since moving to Pittsburgh, wifey and I haven’t really gotten into the local music scene like we did in Minneapolis. And it’s a shame, because I’m sure there are some good bands here, just as there were back there.

I want us to find bands that put some serious effort into their work. I want bands that will one day make us pine for Pittsburgh, like these guys from Minneapolis do right now: Kid Dakota, The Ashtray Hearts, the unbeatable Accident Clearinghouse, Mike Brady, Faux Jean, and the up-and-coming, hyper-energetic Revolver Modele.

Tonight we’ll try going out to a show. Three local bands are throwing three separate CD release parties. We’ll never know what’s out there if we don’t try.