An Update from PA

You might think that seeing The Morning Benders with Grizzly Bear would be a very repetitive concert. And you would be wrong, as I was. While Chris Taylor (the bassist of Grizzly Bear) produced the Morning Benders’ Big Echo, and while that album definitely gives a Grizzly Bear vibe, the live show reveals all the intricacies that Chris couldn’t possibly have taught them.

The trip to Carlisle was one met with much anticipation, since I was aware (unlike much of the general public) that Grizzly Bear would be playing since March. However, it wasn’t until this past week that I found out that The Morning Benders would be there as well. A pleasant surprise, but nothing to get too excited about, I thought. Yes, I love Big Echo, but it really hadn’t clicked with me, and sounded almost too much like Grizzly Bear at times. For $10, I couldn’t really complain, and it’s always good to see someone live. I was clearly unprepared for the awesomeness. Opening with “Stitches,” The Morning Benders showed me one of my new favorite tracks from the album (my favorite being “Cold War”). The crowd responded really well, as did my friends Alan and Kyle – they had never heard The Morning Benders, and their socks were blown clear off. Chris Chu, the lead singer/guitarist, seemed almost as surprised by our response to his music as I was by the different light his band shed on it.

As the band continued to play song after song off of Big Echo I realized the album for what it was. No longer did it seem like a Grizzly Bear derivative with elements of Beach House, Animal Collective, and the Shins thrown in. No longer did I put off the album as kind of cool, but still not quite what I wanted. As soon as the show was over, I went over to the merch table and purchased a vinyl and a shirt, and I couldn’t be happier. Just to make sure that I wasn’t simply caught up in the moment of the show, I sponged out on my living room carpet and put on the vinyl today. I can say with absolute certainty that my opinion of the album has definitely changed; my hat is off to you, Morning Benders.

Grizzly Bear was absolutely amazing as well. Simply being only ten feet from the likes of Ed Droste, Chris Taylor and Chris Bear, and Dan Rossen… just wow. It was enough for me that they played “Foreground” (my fave!), but on top of that everything was just amazing. My only regret is not brushing up on Horn of Plenty and Yellow House! I recognized songs from the older albums, but felt slightly out of the loop. Still, Grizzly Bear were truly phenomenal. As I was talking after the show with Tim, the bassist from the Morning Benders, he told me that Grizzly Bear follows each performance with a grueling critique of their own work. If that’s not perfection in the making, I don’t know what is.

My sunroof was open,

the 75 degree spring air was circulating through my car, and I was listening to Morning Benders, Big Echo for the first time, thinking about how it would make great summer music and that I would have to post about it later. In fact, by the end of the first song, it was decided – this is exhilarating, amazing! By the sixth song, I was in love and wondering how I had become so infatuated so quickly – I’m usually unfairly critical on first listen! And on that sixth song, ‘Hand Me Downs,’ it hit me; I was so convinced that I was in love because I was listening to my beloved, number one rated, Grizzly Bear!

Not literally, but seriously, the same delayed, distorted, guitar, and that distinct (is it syncopated?) beat. All those elements were there in ‘Hand Me Downs’, and I’d never heard that specific sound and combination anywhere except in Grizzly Bear. As when in love, you write off weaknesses quickly – I wasn’t going to start denying that Big Echo was perfect just because one song was a Grizzly Bear tribute! I thought back to the first song with its climactic opening, 50s bop in the background, and thought, yes, that was unique, nothing like Da Griz, as George calls them.

I played the album a second time through a few hours later on my flight to Seattle. Worn out after reading War and Peace, and studying for Human Sexual Orientation (yes, these are my hilarious last semester senior year classes), I focused all my attention on listening to music for a while. But when I got to only the second song of Big Echo, again, I heard Grizzly Bear! In fact, this time I specifically heard ‘Cheerleader’ – that syncopation, and guitar sound!

What I failed to realize, but found out a few hours later, was that the connection between the Morning Benders and Grizzly Bear was not all in my head. In fact, Grizzly Bear bassist and producer, Chris Taylor, actually produced Morning Bender’s new album. So my point is not to rip on Morning Benders (I am still devoted to their album), but, to comment on producers and their ability to influence music.

Take Broken Bells for example – a collaboration between producer, Danger Mouse, and Shin’s front man, James Mercer. I mean, Danger Mouse produced the album flawlessly. He took risks, strived for perfection, and made something that sounds full and good. But, I’m just lost, what is it that he produced? Sure, James Mercer’s voice is sultry and hott, but there is no other substance. I really find it incredible that there is a material album at all! The songs are literally overproduced chord progressions (if that!) that carousel round and round until the song finishes. The album stands on nothing, but I’m telling you it tricks you into thinking it sounds good!

Then take, Damon Albarn’s Demon Days versus the new Plastic Beach.  I’m a huge fan of Demon Days. I mean it’s Gorillaz so of course there is clever composition and furthermore, Demon Days was produced by the meticulous Danger Mouse. Again, I’m not going to deny that songs such as ‘Feel Good, Inc.’ and ‘DARE’ showcase Danger Mouse’s incredible handy work. But when compared to Plastic Beach, I have to wonder whether Danger Mouse’s influence may have been limiting and stifling what Albarn already had going on. I wonder this because Plastic Beach has all the nuances, creativity, and dynamics that Demon Days doesn’t. Guess who produced Plastic Beach? Damon Albarn himself.

So what’s the ideal combination? I’m going to argue that it’s not pairing Danger Mouse with an already incredible artist. I feel like, it’s instead the Grizzly Bear combination, where the producer is literally part of the band. A similar case occurs in Radiohead, the elusive 6^th member of the band, Nigel Godrich, is as much their producer as he is part of Radiohead. In fact, Thom Yorke officially made Nigel part of his new ‘Thom Yorke’ posse.

I’m also going to take this opportunity to say, MGMT, get a new producer, step it up, you were a disappointment this year.