Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

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Arcati Crisis Update: new tunes, Muse, summer shows

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Gina and I held an epic-lengthed Arcati Crisis rehearsal last night.

Not only was it our first rehearsal after her run acting in Ms. Reardon Drinks a Little (which I helped her costume), but it was our first chance to catch up on various life and house news in person after two completely insane weeks.

After a slow start to the year, we’ve had an awesome few months as Arcati Crisis – three great shows in the last four months. We’re in good practice and good voice, too. So, why rehearse, rather than head out to an open mic?

The awful truth is, we have only learned one new song in the past 12 months – “Total Eclipse of the Heart.” We’ve effectively been a band touring behind an album, our late-2008 Live @ Rehearsal, Vol. 4. We only have two tunes newer than that release that in our repertoire – “Better” and “Holy Grail” – and both were in regular set rotation by this time last year.

It’s scary to think of us as having an “established” repertoire to tour behind for an entire year. I have musical ADHD – I hate playing the same songs all of the time. My solo material bears this out – the only thing that I play more than 50% of the time is my cover of “Like a Virgin!” Also, lack-of-attention-span aside, we need some new cover-tune artillery to shock and awe our regular audiences with.

As a result, last night we started on the biggest-ever group of new tunes since our inception – five of them! Two originals from me, two new covers (partially derived from fan feedback), and the newest one from Gina.

The one I’m most excited about is “Dumbest Thing I Could Do,” which is my acoustic version of a slutty dance song. I wrote it at the piano, influenced half by Lady Gaga and half by Heart. Gina has already lent it an entire additional layer of funk via harmony and Bee Gee’s style low guitar riffs.

I’m also intrigued by our lark into Muse’s “Starlight.” We don’t usually perform contemporary covers (our only one is “Falling Slowly”), but after hearing Gina deliver a incandescent version of this at a recent night of karaoke I knew we had to give it a try.

The original is devoid of harmony, so I spent a few evenings arranging vocals for each section of the song. They were murder to sing along to the CD or with E, but when Gina and I ran through the song I hit most of them in a single try. It was pretty obvious where I had selected some bum notes, and Gina quickly amended them and added an awesome portion of counterpoint.

(BTW, here is a freaking awesome video of Muse playing Starlight live @ Abbey Road Studios.)

The other cover needs more of an Arcati touch before I talk it up, and my second original and Gina’s new one are in their infancy. We’ll push farther into them as the more exciting pair gets locked into place.

I’m excited to stretch out our improved confidence across a handful of new tunes. Hopefully we’ll begin to debut them at some of our summer shows – so far, we’re playing twice each at the awesome Triumph brewery and the delightful 2nd Saturday event in Collingswood:

  • 6/13, 9:30pm – Featured Set @ Triumph Brewing Company Open Mic, Philly
  • 7/10, TBA – 2nd Saturday in Collingswood, NJ
  • 7/28, 8:00pm – Origivation Magazine Music Series @ Triumph Brewing Company, Philly
  • 9/11, TBA – 2nd Saturday in Collingswood, NJ

    • We’re still seeking an August event, plus one or two parties to play, so if you need some Arcati Crisis in your life please holler!

    I’m a dreamer (but I’m no Paul McCartney)

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    Last night I dreamed a song. It was not the first time.

    I used to brag in grade school that I could memorize my bible verses by osmosis. I’d just practice them before bed and then sleep with the bible open next to my pillow.

    I was joking, of course. It was just the good luck of a procrastinator whose talent for memorization outstripped his clear distaste of repeating maxims from centuries old dead guys.

    Well, it turned out that I wasn’t entirely joking. My subconscious studying continued into college, as I would compose French essays in my head while asleep and then jot them down in the morning before class.

    Ultimately, the brain – or, at least, my brain – has a lot of extra wiring that our (my) conscious thought can get in the way of. Resting opens those circuits, and when it came to bible verses and French homework it was installing a new stick of RAM into my biological computer.

    I don’t recall when I first started dreaming songs. I know the first success was “Standing” which came in so powerfully that it literally woke me up! It also surprised the hell out of me, because the genesis of it occurred entirely while I was asleep. I didn’t have the basic lyrics or a melody worked out, resting next to my head like my erstwhile bible. Like asexual production or spontaneous combustion, “Standing” wrote itself.

    If that sounds weird and implausible to you… well, it is, but I’m not the only weird and implausible songwriter out there. Allow me to present exhibit A, Sir. Paul McCartney, describing the genesis of “Yesterday“:

    “I woke up with a lovely tune in my head,” Paul McCartney recalled to his biographer, Barry Miles. “I thought, ‘That’s great. I wonder what that is?'” He got up that morning in May 1965, went to the piano, and began playing the melody that would become “Yesterday.” At first, lacking lyrics, he improvised with ” Scrambled eggs, oh my baby, how I love your legs.” While he really liked the tune, he had some reservations: “Because I’d dreamed it, I couldn’t believe I’d written it.” – Betsy Querna, US News

    There you go. It’s not totally unprecedented, because a Beatle did it, too.

    Dream songs don’t always write themselves. Sometimes a dream person writes them for me. In one instance, Madonna sang me a song while playing it on an acoustic guitar, claiming it was a cover by REM or Wilco. I woke up really wanting to hear the song, but searching it’s lyrics and melody yielded nothing. Or, in the words of Sir Paul:

    So first of all I checked this melody out, and people said to me, ‘No, it’s lovely, and I’m sure it’s all yours.’ It took me a little while to allow myself to claim it, but then like a prospector I finally staked my claim; stuck a little sign on it and said, ‘Okay, it’s mine!’ It had no words. I used to call it ‘Scrambled Eggs’. – Paul in Paul McCartney: Many Years from Now

    Of course, Paul didn’t have Madonna singing the song to him in his sleep claiming it was a cover! For a precedent on that, I turn to my resident loon muse, Tori Amos, talking about her ballad “Hey Jupiter” from Boys for Pele on VH1 Storytellers:

    Let’s see, I was lying in bed. Um, strange things happened to you on tour, Like strange Englishman start sitting at the end of your bed – apparitions of dead guys. And they start singing songs to you. And this guy was definitely dead, and he was definitely singing to me. So I’m confused about the copyright laws. I’m not sure if I need to call his ex-wife and give him part of the song or not. But why should I do that! She’s rich, she’s not nice. So … I kept the copyright, and the song’s mine.

    Thus, I didn’t have to credit my imagined Madonna (or anyone else) for the tune, and so the yet-to-be-recorded “Message” became mine.

    I’m not sure about last night’s song, yet. It didn’t come with lyrics like “Standing” or “Message,” possibly because in my dream I was distracted by the effort of walking on stilts while I was singing it. However, it did provide a full, two-handed piano arrangement. I literally woke up, walked to the keyboard, and played the song without much pause.

    I wonder, what is it I have to put into my brain to have it pop out songs like tiny ping pong balls from a lotto machine? Can it be predicted? Is it something I ingested yesterday? I’m pretty sure I’m not ingesting some of the things Paul and Tori have ingested…

    Or, are Paul and Tori and I just wired that way?

    Is one of your favorite singer-songwriters also a songdreamer? Please point me towards their story!

    a rewarding life

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    This is a story about rewards. Sort of. I’m not sure how to tell it, so I’ll just start at the beginning.

    A little over a year ago I met Britt Miller – comm professional, digital native, and visual artist. Once Britt learned about my blogging she egged me into using Twitter. The rest, as we are accustomed to saying, is history.

    It’s frigging crazy-ass history, actually. Playing streaming concerts, jumping out of planes, accepting awards, attending conferences in NYC – all of that borne out of Britt’s pestering me to get to know Twitter.

    Skyline by Britt Miller (@brimil)

    The two of us now share a “Fame 2010” plan of promoting and improving our respective arts all year. Last April, before all of that happened, Britt mentioned she was showing her art at the first ever “Earth Saturday” block party on South Street – an eco-friendly festival thrown by Big Green Earth Store and Whole Foods.

    I asked Britt if she wanted some music to go with her art and the end result was that I wound up playing a block party along with some of my local favorites like Christie Lenee and Dante Bucci.

    It was my first solo appearance in a long while, and it surprised me – even in the limitless space of an outdoor gig my songs felt big and sure, with just a few stumbles. It wound up being a major force in getting me into shape for playing and recording more than ever in the rest of 2009.

    This past Saturday was the second Earth Saturday block party, again at 9th and South, and again featuring art from both Britt and I. My set felt even bigger and surer this year, and Britt had a table of beautiful prints of her art – major Fame 2010 success!

    Britt is always pulling hilarious quotes of mine out of thin air, and before my set she had a great one. We were chatting with some twitter friends about my songwriting, and I made my usual disclaimer that it’s taken me a long time and a lot of work to get to where I am now – from being forbidden to sing in my high school halls to playing sets at eco-festivals. And, Britt said:

    Peter, you said this awesome thing once. I heard someone tell you that you were a great singer, and you said, “Thank you. I’ve worked for thirteen years to hear that compliment.”

    I don’t even remember saying that, but it’s indelibly me. To hear someone compliment me on my voice or my songs strikes me with awe – awe at what I’m hearing, and awe that nearly half a life of effort means I’m able to play music that people enjoy.

    I wish I could take that feeling and transport it back to 15-year-old me, plucking out the strains of “Dilate” on his first guitar almost this very day in 1997.

    Failing that, I’m sharing it with you. I hope you have something in your life that makes you as happy as my music makes me, and Britt’s paintings make her – especially when someone else stops to appreciate them.

    Open Mic-ing: Crossroads to McGillin’s, and the distance between

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    Last night I got it in my head to undertake a feat that I have only succeeding in once before – attending two open mics in one night.

    This is especially tricky for me, since I turn into a very unmusical pumpkin if I stay out past midnight, but this week I had motivation – I was determined to get my new tune “Dumbest Thing I Could Do” out of my living room (where I blurrily video-demoed it earlier this week) and into the ears of as many people as possible.

    Thursdays present a perfect non-pumpkin opportunity to do just that. First, hit the early open mic at Crossroads hosted by my dear friend Victoria Spaeth. Then hit a standard-timed one, playing in the first half. A popular choice is to hit nearby Buckets bar & Grill after Crossroads, but that puts me farther from home. Instead, I substituted McGillin’s, a super-popular pub in Center City.

    Crossroads Coffee
    Crossroads is an unpretentious coffee shop on Ridge Avenue in Roxborough/Manayunk. The counter at the front the shop opens up to a two-story, all-wooden room complete with a wrap-around balcony on the second level.

    While I wish it had more of their comfortable armchairs and that the balcony was given more attention, I love the space for its golden natural acoustics. You barely need amplification. Also, the staff is super-friendly (shoutout to MIKE!) – full of suggestions of pescetarian food and their favorite drinks (last night: chai latte with a shot of espresso, which would have turned me into a human squirrel, so I just had tea).

    The open mic was front-loaded with a lot of my favorite Philly performers. Vicky is quickly becoming one of the best singer-songwriters in the entire Philly scene, and now that she plays with a band it’s a rare treat to see her solo – especially doing newer tunes like “Electric Love.” (I’m still hunting a solo version of “Breathe & Release,” which may wind up being my song-of-the-year if she finishes recording the damn thing).

    After our back-to-back sets I caught up with Joshua Popejoy (disclosure: client; awesome acoustic rocker) who is putting the finishing touches on a solo record bearing the title After the Ash. I have been dying for a studio version of at least half of the tracklist, so I encouraged him to FINISH IT ALREADY! (I can shout these things because I actually finished my own long-promised solo record.)

    I also chatted up my open mic buds Bill McConney and Alec Stewart, both in fine form. Plus, Aaron Brown, who I’ve rhapsodized over previously. He’s got a songwriters-in-the-round show coming up at Tin Angel on 4/15.

    Crossroads Coffee House. Thursday night open mic, signup ~6:30pm, music ~7:15pm. Usually limited to ten acts, two songs each. 6156 Ridge Ave., Philly, 19128. (Hint: Take the 9 bus from Walnut up Ridge Ave.)

    After another songwriter (whose name I missed! I’m lame!) I had to excuse myself to bus down to CC, though in retrospect I could have spared another half hour. Deposited at Broad & Chestnut (by a Septa bus that did its best to run me over while I stood INSIDE THE BUS STOP), I wandered in a circle trying to remember which street leads to the special Underland occupied by McGillin’s.

    McGillin’s
    McGillin’s is the oldest continuously operating tavern in Philadelphia. It’s tavern in the classic sense – not dive-y in the least, a menu full of hearty, affordable food, and a lengthy beer list.

    The best time you can have there is with a big crowd – either of your own making, or during one of their famously great karaoke nights. However, it’s a Philly open-secret that they also host an open mic night on Thursdays in their upper level, with its 20-foot antique oak bar.

    The McGillin’s open mic is cool for a few reasons. The aforementioned food is high on the list. The setup includes a raised stage, sturdy stools, and a spiffy pair of wireless mics. The room can be still packed from happy hour, which gives you an audience happy to sing along to covers. And, host Mark is the friendliest possible dude in the world – affable, knowledgeable, and he makes me feel like I’m playing Madison Square Garden.

    Last night the lineup was sparse, which meant mega sets for all. I played a monstrous five songs, including “Bad Romance” (HUT!) and a slinky, sweaty, rocking version of “Dumbest Thing I Could Do” (YES!).

    While Mark played I got to know Philly bassist Mitch Beer. Mitch splits time between his supergroups BAM! and Soulfatronic while gigging with other local and national acts. He toured with Diggable Planets last fall, and might be heading out with them again soon! A very cool dude I hope to meet again.

    McGillin’s Old Ale House. Thursday night open mic, signup from 9pm, start varies. 1310 Drury St., 19107. (Hint: Walk south on 13th from Chestnut; Drury is on your right.)

    All in all, a great night of music. I even made it home before pumpkin time!

    Open Mic-ing: Time, and the stuff that happens there

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    Tuesday night Gina and I went out to our first open mic in a while as Arcati Crisis. Between a holiday break, my never-ending February malaise, and a death in her family, we’ve probably seen less of each other so far in 2010 than we have in any year since early in college.

    As a remedy, our first order of business was to head to one of our favorite open mics – at Time Restaurant on Sansom Street.

    Time is one of the nicest rooms hosting an open mic in Philly at the moment. Beautiful atmosphere, great wines and beers, an actual stage(!) with drums and an upright piano, and an always chill audience who actually listen. Plus, a super-cool pair of attentive hosts in Mark and Pete G.

    Then there are the artists. Time tends to be a hub of cool musicians, and you never know who you’ll run into. Tuesday it was Cris Valkyria, Casey Alvarez, Dante Bucci, Victoria Spaeth, and a lot of other familiar faces. New ones too – Benn Rabb visiting from Connecticut, and the nicest possible dude named Nathan, whose CD (and last name) is still in Gina’s possession.

    Unusually, there was only a single microphone stand around for the night.

    If you’ve ever seen (or even heard) Gina and I, nearly every one of our tunes has heavy duty harmony throughout. When I saw the single stand, I had a prima donna moment where I was like, “How can we even do this? WTF?”

    I decided to turn a weakness to a strength. What if we did our hardest core of hard core harmony tunes together – face-to-face on a single mic? Wouldn’t it just make the spectacle of us a little more spectacular?

    Well, I think it did. And, honestly, it was a lot of fun. We’re so used to our unamplified, unmodified voices that many times striking a perfect blend through a PA system can be more than a little daunting. What better solution than to just put the two of us into a tiny space and let us feel things out?

    We played a good set, and had a good time. If you’re a Philly songwriter – or, a Philly wine-lover who also digs singer-songwriters – Time on Tuesday nights is prime destination.

    Time Restaurant. Tuesday night open mic starts around 10pm. 1315 Sansom Street, Philly, 19107.