"It wasn't necessarily, like, a super-erratic decision or anything like that," Parish tells the Cream. "I got into producing other bands and artists about four years ago. And actually, even before the band got started — when I was like 14, 15 — I wanted to be a producer before anything else. And then [Cage the Elephant] obviously took off and did more than what any of us could have expected."
Parish goes on to explain that his last performance with Cage the Elephant was Nov. 2 at Cynthia Woods Mitchell Pavilion's Buzzfest in Houston, Texas, although he'd made the decision to leave the band about a month before that. "Production is where my heart is" at the moment, Parish says, and he hopes to "make an honest attempt" at making that his primary career focus.
"Everybody in [Cage the Elephant] has been super-supportive," Parish explains. "I think they hated to see me go. It was one of those things where they were also happy to see me doing what my passion is right now."
Parish runs Talk Box Rodeo in Woodbine, and in the past he's recorded bands including Cream faves Penicillin Baby and Western Medication. If anybody is interested recording at Talk Box Rodeo, Parish tells us, they can reach out via talkboxrodeo[at]gmail[dot]com.
So, turns local stewards of wry, retro-Americana camp Those Darlins are enormous John Waters fans. Not just fans but, like, Play Misty for Me-level obsessed, stalking super fans (I hyperbolize! I hyperbolize!) of the of the agelessly dandy, perennially pencil-mustache-flashing oddball art-house actor/writer/director.
Last night, Waters brought his one-man A John Waters Christmas show to TPAC, and you bet your ass a couple of them Darlins made it out. Check out the simply divine meet-and-greet-style fan photo of band members Nikki Kvarnes “Darlin” and Jessi Zazu “Darlin” kickin’ it like Here We Go Magic with Waters above, culled from the band of bucket-list checker-offers’ Instagram.
For further evidence of divine Darlin Waters worship, venture after the jump to check out the crimson-hued portrait Nikki painted of a maniacally smiling Waters — which, according to a Facebook post, she intended on gifting to the famed stage and silver-screen trash auteur, along with a copy of the Darlins’ latest LP Blur the Line (which took the No. 6 spot on the Scene’s 2013 Top Local Albums of 2013 critics’ poll) and a bouquet of red roses.
As announced on Warped Roadies, a reality show about loading gear out of trucks on a cable channel that I don't get, The Protomen will join bands with names like Tear Out the Heart, Plague Vendor and Stray From the Path for the entirety of the Vans Warped Tour — from mid-June to early August. I can only assume that they will be the only band with the “Opera” genre under their name. Devoted Proto-fans may recall way back in 2008, when the band was up for a battle-of-the-bands contest in Atlanta. Better late than never, I guess.
For those of you keeping score at home, The Protomen aren't the first unlikely locals to join up with the Vans Warped Tour — just last year, electro-noise trio Five Knives landed on a short stint of dates and, before that, Wick-It the Instigator manned the ones and twos for disaffected youths/this guy doing the robot in Portland. Lineup additions are announced weekly on the aforementioned roadie show, so we'll keep an eye out for other locals joining up on the bill.
In other Warped Tour news, tickets to the July 29 stop at the Tennessee State Fairgrounds have gone on sale for the low, low price of $25. Scoop them up now, for the sneering teenager in your life. And if you want to see The Protomen play indoors, they're co-headlining a New Years Eve party with Diarrhea Planet at Exit/In.
It's time once again for our annual Boners Issue, in which we highlight the biggest Nashvillian goofs and gaffes of the past calendar year. From toxic bunnies to Islamophobia and beyond, 2013 was a year swollen and throbbing with boners of every shape and size.
Music Ruh-Roh saw a fistful of LOL-worthy boners this year — we'll call them "Intentional Accidental Racism," "Rocketowngate" and "Adam Gold vs. John Rich: Tweetpocalypse" — and we covered those in a section labeled "Honky Tonk Boner-Donkadonk." Click on through to the other side of the jump, where I've snipped and inserted the aforementioned boners.
Effin’ Awesome: Swearin’ is a fucking great band (Playing Dec. 13 at the Stone Fox)
Record Shop Angels: A new box set revives the glory of Nashboro Records (Release parties Dec. 17 at Grimey's and Dec. 18 at The Stone Fox)
Folk Scenes: A look inside the music of Inside Llewyn Davis and all its Nashville ties (Another Day/Another Time airs on Showtime Dec. 13; Inside Llewyn Davis opens at The Belcourt Dec. 20)
In The Spin: Halcyon Bike Shop’s fifth anniversary, Animal Collective at Marathon Music Works
Plus Critics’ Picks on Andrew Leahey’s brain surgery benefit, the Imagine No Gun Violence benefit, D. Striker’s RR Party, JD Wilkes and The Dirt Daubers, Fly Golden Eagle with Majestico, Blank Range and Quichenight, The Features with Wild Cub, Sun Seeker, All We Seabees, 8 off 8th Jingle Ball and more
I'm not sure how this nearly slipped beneath our usually well-tuned show radar, but consider us schooled. If you're looking for something that goes a little harder than Washed Out's kaleidoscopic chill-wave mood music tonight, one-time Clipse member and Kanye West crony Pusha T is headlining Anthem for what could be the best hip-hop club show of the year.
If you haven't been keeping up with Push since Clipse parted ways in 2009, he's become the standout star of Kanye's GOOD Music label, notably reinvigorating Chief Keef's “Don't Like”, featuring on "Mercy" on last year's Cruel Summer compilation and, this year, releasing his critically acclaimed solo debut, My Name Is My Name. If you're down for minimalist, sinister-sounding trap music with a brain, this is where you want to be.
King Push will be joined by Openmic, Purpl Monk, Ducko McFli, Thatguysoda and DJ Rate on the ones and twos. It's a pricey one — $30 for general admission and $40 for VIP — but consider this: Pusha T isn't going to be playing clubs for very long if he keeps on the same trajectory that he's been on. Mark it.
* Longtime Middle Tennessean indie-rock fans will undoubtedly remember The Katies, the power-pop outfit that helped lead the Spongebath Records takeover of the late '90s. The band, led by Jason Moore and Gary Welch, is still doing their thing, and above you can see Moore and Welch playing three tunes ("Hotel," "Your Broken Heart" and "Sideways") for Toy Box Studio's Stereo Sessions. Big-hearted power-pop with spot-on vocal harmonies. If you dig it, dig in.
* I don't need to remind you just how hard Those Darlins have been grinding along this year in support of their Blur the Line (which landed at No. 6 in our Top Local Albums of 2013 critics' poll). The Darls recently stopped by Colorado Public Radio's studios to perform a handful of Blur the Line tunes ("Blur the Line," "Optimist," "In the Wilderness" and "Oh God"), and you can see those videos after the jump. Sounding on point as always.
* And finally, Courtney Jaye, whose 2013 release Love and Forgiveness is among the most underrated local LPs of the year. Sometime Scene contributor Marissa R. Moss runs a little blog you may have heard of (Lockeland Springsteen), and she recently had Jaye stop by to perform her tune "Morning." Hell of a set of pipes CJ has on her. Watch that video after the jump.
So hey, who needs another dose of "Nashville's not just country"? Nashville 2.0: The Rise of Americana — not to be confused with that controversial love letter to ourselves, For the Love of Nashville, which aired on ABC Nov. 3 — aired Nov. 22 on PBS. As noted at the PBS site, Nashville 2.0 explores what the public broadcasters call "the vibrant Americana music scene," which "draws inspiration from country, folk, bluegrass, R&B, blues, roots rock, bluegrass, gospel, rockabilly, honky-tonk, alternative rock, folk rock and punk." The 53-minute doc features performance and interview footage of Dawes, Billy Bragg, Buddy Miller, Jim Lauderdale, Rosanne Cash (saying "Nine Inch Nails," for one reason or another), the Scene's very own music scribe extraordinaire Jewly Hight, fucking Mumford & Sons, The Mavericks, The Avett Brothers, Emmylou Harris and Rodney Crowell, Richard Thompson and ... well, hell. Dozens more. You can't expect me to list everybody.
Anyhow, all of Nashville 2.0: The Rise of Americana is now available to stream in high resolution on Vimeo. If you've got a spare hour, give it a look above. Then report to the comments section — I want 1,000 words from each of you on the definition of "Americana." As noted music journo Robert K. Oermann puts it (in what is almost certainly a nod to the famous quote from Justice Potter Stewart regarding the definition of pornography), "I can't describe it exactly, but I know it when I hear it."
Update: It appears as though the Vimeo link has been made private. If a public version of Nashville 2.0 becomes available once more, we'll update this post with a new link.
As Old Man Winter descends upon Nashville, I doubt I could conjure a better bill than one featuring the shoegazing producer/songwriter Ernest Greene — performing with his wife and others as Washed Out — and the ascendant local duo Jensen Sportag. Who else could warm our blood and bones with more groove-oriented mirth? There are few. In August, Washed Out continued its auspicious run with the release of Paracosm, a rich collection of earthy, hypnotic pop that should dispel any notion of Greene as a one-trick chill-waving pony. Paracosm builds on Washed Out’s strengths — the dusty, romantic somnolence, the “Feel It All Around”-isms — and shows the Georgia native to be a competent songwriter too. As for perennial smooth operators Jensen Sportag, well, we can’t stop extolling their immaculate, adventurous debut Stealth of Days, which was just released to the pleasure of experimental pop enthusiasts everywhere. Neither, for that matter, can The Wall Street Journal, Pitchfork, Vogue and many, many others. Read my recent review of Stealth of Days here.
Tonight's show at Exit/In starts at 9 p.m., and admission is $20 at the door.
Cash, feeling — as he describe in 1997’s Cash: The Autobiography — “invisible,” retaliated against Columbia by cutting the intentionally atrocious, self-parodying novelty number “Chicken in Black.” Though the song was intended to punish Columbia, country music fans also suffered. Call it collateral damage. His unequivocally worst song, “Chicken in Black” tells the convoluted tale of a three-way brain transplant ordeal between Cash, a slain bank robber and a singing chicken, or something. The plan worked, and the label dropped Cash in 1986.
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The link seems to be down. And by the way how come nothing about Lincoln…
Thanks Lance.. Let us know if you wanna come out tonight on us... Anthem