By Steven Spoerl

Okkervil River is my favorite band. It’s not a statement I can make easily but it’s truthful. Ever since hearing Unless It’s Kicks for the first time and subsequently seeking out their entire discography I’ve found myself being constantly won over. The starkly depraved emotional songs, the dark bursts of violence, the dazzling wordplay and narrative all set to loosely structured music that seemed to breathe on its own was something I could place myself firmly behind. I’d rank every single one of their LP’s amongst the best of the 2000’s without hesitation- as well as their EP’s.

So, it should be no surprise that I had extremely high expectations for the soon-to-be-released I Am Very Far. Bandleader Will Sheff had said in interviews that he wanted the band to be terrifyingly concise (like a fascist machine) for this record- and it shows. Musically, I Am Very Far differs in both sound and structure from anything else they’ve ever put to tape. Almost clinical. The songwriting’s as strong as it’s ever been which shouldn’t be a surprise. At this point in time it’s almost common knowledge (or it should be) that Sheff is operating as one of the finest lyricists contemporary music has to offer. However, this time around the songwriting’s of a more ambiguous and vague nature- some of the themes (particularly that of violence) have been retained and brought to the forefront as a nice complement to their occasional nightmare imagery- which is a return to a particular brand of form (namely their Black Sheep Boy era) that the band works wonders with.

A lot’s been said about the recording methods of I Am Very Far (recording to tape, employing rooms full of guitarists, two drummers, orchestra sections, etc) but thus far, no one’s delved much into the actual songs. So, here’s a brief track-by-track summary.

The Valley: Opening with an effectively syncopated and palm-muted guitar progression and then being viciously interrupted by a gunshot snare is a beautiful opening- some nice instrumental flourishes are added but all ears are tuned in to the first verse here- and it’s quite a verse. Instead of the typical detail-centric rambling we’re treated to this; “We watch the sun switching in the sky, off and on, where our friend stands bleeding on the late summer lawn. A slicked back bloody black gunshot to the head- he has fallen to the valley of the rock n’ roll dead.” The song continues on to reveal their aforementioned friend’s throat’s been slit and at large, they seem somewhat indifferent about it as if they’re enveloped by some sort of barely-described dystopia- and are cranking out the music to match. It’s a hell of an opener- and rivals Our Life Is Not A Movie or Maybe as their absolute best opening track.

Piratess: This is where things get intriguing- the song opens with a cold pulsating electro beat that’s somewhat reminiscent of Talking Heads. They eventually add some electricity that comes surging through at all the right times- along with some fairly subtle instrumental tricks (faint bells and tape hiss). It’s fascinating to listen to and the closest to a dance song Okkervil’s ever made. However, most dance songs don’t include subject matter this violent- for proof here are the lyrics to the stunning last verse (as heard over a restrained and sustained organ); “Oh murderess, in the wilderness, with your victims all around you. As their combined love forms a pool your knife’s reflected in, now I’m ready too, with my throat to you. On this mountain, by this moon and what I want the most to do- is prove I’m not like them.”

Rider: Perhaps the closest song on this record to their more recent songs (The Stage Names/The Stand Ins). It actually sounds somewhat similar to Pop Lie and reminded me more than once of The New Pornographers (who had Will Sheff contribute guest vocals on their last album). It’s a fantastic rollicking rock n’ roll song that shambles along with glee, while maintaining the darker mood and theme of the album (by the end of the song, the narrator’s got a hole in his throat and is screaming)- an impressive feat. It ends in a fiery cacophony of noise as if to indicate some explosive disaster.

It’s the little things like that which convince me Okkervil River is one of the smartest (and best) bands making music today.

Lay of the Last Survivor: One of the few songs I was lucky enough to hear before I Am Very Far’s official release. However, I’d only been listening to a live acoustic solo version and as such was particularly excited to hear the studio version. After a few spins, I’m not sure which I prefer yet, they’re both gorgeous. The live version’s a little more heartfelt but there’s lush instrumentation on the studio version that props it up and makes it even more beautiful. Once again, it proves to be an adequate example of Will Sheff’s enviable songwriting prowess and includes another gorgeously sorrowful conclusion; “How right, we felt, with our hands tightly closed around something we broke- and then our whimpering sisters, sobbing well-wishers. Well, it’s over… just let my hand go.” Incredible.

White Shadow Waltz: Another song that reminded me a little bit of The New Pornographers (and, surprisingly, DeVotchka) at the start before expanding into something distinctly unique. It is here something becomes apparent; Okkervil River have succeeded in doing something next-to-impossible with I Am Very Far; creating a style. Not style mimicry- but style creation. All of the songs here share distinct traits and will, in time, become instantly recognizable as songs from I Am Very Far. I’m not even sure how to begin to describe what they’ve achieved here, musically. I can tell it’s complex, innovative, and a little challenging. There are elements of discord and unity. The narrative here is particularly unbelievable- following a character referred to only as White Shadow Waltz. It’s unquestionably one of the bands most striking works that demands attention and repeated listens.

We Need A Myth: Early word was that this was one of the band’s best songs to date. After multiple reasons, I find no reason to disagree. Everything great the band’s done from their earliest days (the Bedroom EP and Stars Too Small to Use) right up through their late work (everything from The Stage Names to the previous tracks on I Am Very Far) is brilliantly distilled here in a singular track. It’s dazzling to listen to and may rival White Shadow Waltz as their most inventive track. The amount of effective style changes is breathtaking (just like, as always, Sheff’s wordplay). “We Need A Myth’s” climactic moment is probably their best since either “Another Radio Song” off the Black Sheep Boy Appendix or “The War Criminal Rises and Speaks” off of Down the River of Golden Dreams. I’ve never heard a crucifixion analogy as unpretentious as the one “We Need A Myth” ends on. It’s a staggering work and one that I’ll be listening to far too many times in the future.

Hanging From A Hit: Opening with a musical intro that sounds startlingly similar to the score work of Jon Brion’s always enough to get my attention. It’s the albums quietest moment but just as engaging as any of the others. Utilizing a beautiful melody set over a waltz time signature it eventually works its way into a passionate climactic point. Okkervil River has always understood song structure- and just as importantly, overall sequencing- which is an aspect more and more bands are losing grasp of. In any other number slot, this song’s effectiveness would lessen but placed here, it’s perfect and more than that, necessary. Will Sheff also proves once again, that he’s one of the finest describers of damaged relationships; “And she says I smile polite, I tip and tithe and I see the sights with a well-trained eye. But I calmly cry, because I’m too much mine without him.” By the time the song’s ended, in case you thought they’d lost the darker violence element, there’s a beautifully worded description of a fiery death. It’s just more sorrowful than violent this time.

Show Yourself: “Show Yourself” starts off as an excellent song. It just has the misfortune of being grouped into an album with unbelievable songs making it the probable subject of being quickly skipped over. It prods along exuding minimalist restraint, something Okkervil’s been shying away from recently. Luckily, the narrative (particularly ambiguous here) is striking enough to keep listeners listening and by the end the band’s rallied themselves into as appropriate of a fury as the song requires. However, all that said, this is probably the weakest song on the record- which says quite a damn lot about this record.

Your Past Life As A Blast: Another intriguing departure for Okkervil River happens when this song morphs into something that could probably be adequately explained as “quasi-disco”. Yet again, though, disco doesn’t generally contain subject matter this dark- from “your throat, where it’s exposed, looks like a crime” to a desire for “you to come over here and do me violence”. It’s somewhat reminiscent of Arcade Fire which makes a whole lot of sense. The two bands share several similarities in musicianship, thematic content, and influence. Would’ve loved to have seen the show they recently played together in Dallas- fingers crossed for a joint tour in the future. Aside from all that, “Your Past Life As A Blast” succeeds again as both a transition piece as well as a context piece- while still being an excellent song. It serves as the perfect relaxed set-up for…

Wake and Be Fine: The first of the songs on I Am Very Far to be unveiled, first on Late Night with Jimmy Fallon (a performance which I probably watched about 50 times within a few weeks) and then as an available download on the site. It’s perhaps the most forceful song on the record and the most representative. The fiery lyrics, the vicious instrumentation, and the successful experimentation with expansion- everything distinctive about this album can be found here. It’s yet another spectacular triumph for the band as it’s even more powerful in the context of the LP as it was as a standalone single. That’s extremely impressive- and at 3:25 is the shortest track on the record, making it even more of a staggering gut-punch. It’s fiery, it’s concise, it’s a little bit terrifying, and it’s still one of the best things I’ve heard this year.

The Rise: From the shortest song on the record, to the longest; the grand finale. Opening with a minor chord piano progression it works itself into a crescendo augmented by a distortion-tinged electric guitar- the story seems to document either an impending apocalypse or an already-arrived dystopia. The latter of which would make sense in the context of the other songs on the record. There’s a rise and fall- and another insane musical interlude that- dare I say- reminded me a lot of The Beatles studio experiments.

It’s a fitting cap on what’s so far proven to be the year’s best record- quiet, restrained, violent, cold, empty, ambiguous, and wonderful.

I Am Very Far isn’t a record you should buy, it’s a record you need to buy from a band you should’ve already been paying attention to. For all of the lineup changes and style alterations- for all the self-imposed limitations and goals, Okkervil River have emerged with a record that could very well prove to be their absolute best. On May 10th, with no hesitation, I’m buying this record. On June 12th, I’ll number among those standing in line hours early outside of First Ave. & 7th St. Entry in Minneapolis to see Future Islands, Titus Andronicus (another favorite), and Okkervil River. I suggest you all do the same. Both the album and the show are trips worth taking.

MP3: Okkervil River – “Wake and Be Fine”
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Pre-Order: Okkervil River – I Am Very Far

By Jon Stone | @jwstone

The end of Pygmalion is indicated first by the exit of the tour buses parked along Oregon street and the second by the immediate cold-snap that seems to follow every year. I’ve been in recovery mode this past weekend: sleeping and pulling the sweaters out of storage. I’ve been thinking a lot about the fest, still — sad that it’s over, but happy, once again, that CU hosts such an amazing musical event and does so in a way that highlights some of the best artistic locals of the city: The Krannert Performing Art Center, The Krannert Art Gallery, the Art Theatre in downtown Champaign, Mike & Mollys’ cozy loft performance space, and of course, Canopy Club. What a town (or townS). What a festival.

I went into Saturday without expectations. None of the acts on the bill were bands that I had spent much time with in the past, so everything would be a new experience. It’s not a bad place to be when at a festival. I had no loyalties to any bands, no pretenses about who or what I would or wouldn’t like — only the promise that these were the bands scheduled on the final day of a festival: I couldn’t easily go wrong.

This proved, mostly, to be the case. Here’s my recap:

Ted Leo & the Pharmacists: I was a bit out of my element with Ted Leo, who leans so obviously into punk atmospheres. Punk is not generally my thing. I’ll admit, that despite the AMAZING drumming, all I got during the first half of their set was a more palatable/modern version of 90s punk bands that I was never really into. There was, however, a moment about 3/4 of the way into the set where things clicked out of Bad Religion/Pennywise mode and into something totally different. The band stayed in that place for the rest of the set and I was glad, because it was really amazing.

Roky Erickson with Okkervil River was next. I’ve had mixed feelings about this headliner since it was announced. It seemed like an awkward choice, but I was glad to see a full auditorium and a number of people that seemed genuinely enthused about the collaboration. And it was cool. The matchup between Roky and the Okkervil River boys worked — mostly. Honestly though, it was a bit dry. I listened to the first few songs, got the idea that the whole set would basically be about the same and bailed for this little old-time jazz band I really wanted to see across town. I wasn’t sorry I did.

The Viper and His Famous Orchestra: By the time I arrived, I was sure I’d missed them. I dashed out of the Roky show into the rain and hurried over to Mike & Molly’s, only to circle for 10 minutes before I found a place to park. When I got up to the show, it so happened that they were having trouble with sound and had not gone on yet. In fact, they went on a whole hour after their scheduled set time. Not so good for the folks that had been waiting for them to start for all that time, but perfect for me, the wet and weary straggler.

I loved this band. I have a soft spot for old-time anything and The Viper played both new compositions and songs from the early 20th century. The Viper and His Famous orchestra emanated classiness, humor, and big talent, with baritone uke, double bass, trombone, suitcase percussion and lap steel. They were charming and I would see them again in a heartbeat. (You should too — they are based out of Milwaukee, after all.

Cap’n Jazz: I cut out a few minutes early so I would be sure not to miss Cap’n Jazz. I arrived back at Krannert to see a large crowd gathered in the decadent lobby where Cap’n Jazz was playing. Try to imagine the asynchronicity here: decadent lobby, beautiful hardwood, low ceilings, foot-high stage usually occupied by a classical guitarist or pianist … but instead, Cap’n Jazz: howling, screaming, guitars blazing, sweaty (too-old-to-be) crowd surfers, nervous Krannert ushers pacing around the outskirts, and the unseen administrator reviewing the insurance policy and contract. It was insane. For a moment, I wanted to be up there, singing along, getting crazy with the fans. Then I remembered I’m thirty-two and this is the first time I’ve ever heard the Cap’n. Still it was fun. I sat with the other geriatrics in the back, nursing my sore festival back.

Caribou went on at 12:30 am at Canopy Club. Tired, but excited after the great stuff I’d heard about the band, I found a nice place to sit in the balcony and let Caribou’s beautiful trancey goodness wash over me. Not a lot of words are required here to say what needs to be said: Caribou was my favorite act of the fest. In fact, the two best acts of Pygmalion were its opener, Janelle Monae, and the closer, Caribou. Daniel Snaith brings a humility to the stage that stands in stark, but lovely, contrast to his genius — he was a wonderful performer. But Brad Weber, the band’s drummer, steals the show. He is incredible and such a privilege to listen to.

It was a festival. I had fun. Thanks to Ryan and Seth and Pygmalion for a fantastic weekend.  I can’t wait until next year. I’m holding out for Wilco as the headliner.

The Modern Skirts play three shows in our area this week. They’ll be at Schubas in Chicago on November 18th, Mad Planet in Milwaukee on November 19th, and the Project Lodge in Madison on November 20th. Please take this chance to catch these guys live if you can. If you have not heard their fantastic 2008 release, All of Us in Our Night (that’s the awesome album art above), please add it to your collection. You won’t be disappointed.

Speaking of great albums, Jo Jo from Modern Skirts was generous enough to share some of his favorite albums with us for our continuing 5 albums feature. Some great selections below, many that I’m excited to revisit.

Belle and Sebastian – Fold Your Hands Child, You Walk Like a Peasant
This album was the soundtrack to my years of poverty and depression. Just before Modern Skirts started, the singer and I were living in a house in a bad part of Athens, squeezed between two housing projects. We were working as cart pushers at Wal-Mart, boiling water on the stove so we could take hot baths because our gas was cut off. Dead car in the parking lot, etc. The old piano was out on the front porch, and at night I would drink wine and play as the hookers and homeless people passed by in the street. I would go downtown every night during this time and spend all my money at the bars and come home and read War and Peace cross-eyed drunk and listen to this album. I would sleep three hours and wake up and go into work, and then sneak out to my car and sleep till the managers would call me on the walkie talkie to find out why the carts weren’t getting in. Every time I hear “Fold Your Hands,” I think of boiling my bath water and wishing I could get a girlfriend. It’s hard to get a nice girl to go out into the projects with you at night.

Okkervil River – The Stage Names
“The Stage Names” was the my first road record. It came out during our first year of heavy touring. A lot of the lyrics have to do with being a small touring band on the road, which really resonated with me at that time. Being on the road had gotten really lonely and difficult fir me at that point, and it was nice to have a record to romanticize it for me again. We were in Florida when I realized how much I loved some of those songs. I remember sleeping on our friend Jeanice’s floor in Gainesville, Florida after a show and playing “Plus Ones” over and over again.

M. Ward – Post-War
Post War is my New Orleans album. We had been recording the self-produced songs from All of Us in Our Night for two weeks and all had our first Mardi Gras in the middle of all that. We had gotten really close with our friends down there, and our last night in town we went out in the French Quarter, which was pretty quiet in the wake of all the festivities. We were way back in the back of this bar called the Erin Rose, me and Jay and our friends Mary and Erin, and when we walked out, the sun was rising and casting a bright orange across the balconies on Conti Street. The sky was a deep pink and bright blue and the air was soft. It was a Monday morning and most people on the street were just getting up and getting to work. We got in Erin’s car and headed home and the first song on Post-War came on and it was just the most beautiful moment; sad, because we were going to be leaving the city I was in love with to go home, and beautiful, because we were with new friends on that beautiful morning in the city I was in love with. It occurred to me that I would remember that for the rest of my life. We went home and had a 7 am breakfast of leftover pork loin and king cake and packed our bags and left for Athens.

Tom Waits – Mule Variations
I was in a jeep with with our singer and our friend Bruce on a pitch black dirt road in our hometown of Elberton, Georgia when I heard Tom Waits for the first time. We drove deep into the woods and stopped on an old metal bridge for a while and Bruce played this album for us, and it felt like Elberton to me. Buying beer on a Sunday from an old black man at a shack out in the country with a cooler buried in the ground under an old piece of tin roof. The junkyards with the broken down school buses stuffed floor to roof with discarded clothes. Boiling peanuts in an old oil drum with the goats all around. I could hear the dirt on the floor in those recordings. There are better and stranger Tom Waits records, but this one feels the most like home to me.

Ween – Quebec
I had been listening to Ween for a little while when Quebec came out. It was the first Ween album I was able to anticipate before it was released. I was really taught to appreciate this band by some guys that lived across from my bandmates at the time; they were always taking these crazy drugs no one had ever heard of and watching midget porn and art films (kind of like what it’s probably like being in the studio with Ween, actually…) There was one night where they were putting these drops on their tongues and kind of lolling around the apartment, and they were listening to Quebec. To my ears, it was a different direction for Ween and I was sucked in immediately. I’ve had some of my own weird times with this record.

Buy: Modern Skirts – All of Us in Our Night
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MP3: Modern Skirts – “Soft Pedals”

Last night brought two of the best indie acts in the biz together for one special night of music at Madison’s Barrymore Theatre. The Walkmen’s return to form with the fantastic You & Me has proven to be one of my favorite records of the year. Who can argue with the continued greatness of Okkervil River, whose latest, The Stand Ins, is also amongst the year’s best. Having both acts under one roof was an indie rock fan’s dream bill.

Ed Oliver was on hand to capture some photos for you to check out below. As usual, please leave your thoughts/reviews in the comments. Who ruled the night? Did Okkervil River outdo their last time through the city?

The Walkmen

Okkervil River

Previously: 5 Questions with Will Sheff of Okkervil River

Photos: Ed Oliver
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Myspace: The Walkmen
Myspace: Okkervil River
MP3: Okkervil River – “Our Life is Not a Movie or Maybe”

Find more MP3′s at The Hype Machine or buy stuff from Strictly Discs | eMusic

Shortly after announcing their coming to town, we were happy to be informed the promoters made the right decision to combine The Walkmen + Okkervil River for one supreme night of live music at the Barrymore Theatre on Sunday, September 14th.

Tickets: $16.50 Advance / $18.50 Day of Show / All Ages
On Sale: Buy Now

The Walkmen will release You & Me on August 19th via Gigantic Music.

Remember: Okkervil River is your favorite band.

Myspace: The Walkmen

Find more MP3′s at The Hype Machine or buy stuff from Strictly Discs | eMusic

+Bookmark our Wisconsin and Chicago shows pages for all your concert announcements+

Ok, I fully expect some indie kids to faint or spill on their American Apparel t-shirt with this announcement. After all, this band was the group who, based on your comments, one-upped The New Pornographers at the Orpheum here in Madison last month. They seem to make a habit of that. Anybody remember their blistering opening set before the Decemberists at the Barrymore a few years back? I do.

Okkervil River will play the Barrymore Theatre on Sunday, September 14th. This show comes only a week after the group releases The Stand Ins via Jagjaguwar on September 9th.

Tickets: $16.50 Advance / $18.50 Day of Show
On Sale: Thursday, June 5 at 10am

Previously: 5 Questions with Will Sheff of Okkervil River

Photo: Ed Oliver
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Myspace: Okkervil River
MP3: Okkervil River – “Our Life is Not a Movie or Maybe”

Find more MP3′s at The Hype Machine or buy stuff from Strictly Discs | eMusic

+Bookmark our Wisconsin and Chicago shows pages for all your concert announcements+