Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

Peter Mulvey

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Since i’ve been crushing heavily on Erin McKeown’s music lately, i just thought i’d log a little link to a prominent website about her at Imperfectly (which, incidentally, used to host the best Ani DiFranco web site on the internet). Erin fascinates me, because listening to her albums i can hardly imagine that these songs just come to her … it’s seems much more than she deliberately chooses a way for a song to sound and them molds it into the exact shape that she wants. However, no matter how she does it the results are completely arresting on record, even more so live.

Erin just graduated from Brown University last week with a degree in EthnoMusicology (she had to fly in from a UK tour with Peter Mulvey for the ceremonies), and she is touring the American folk-festival circuit this summer. I consider this success… whether or not she ever meant to be a rock star or a folk hero doesn’t really matter; what matters is that she has adoring audiences in each city she heads into, and that she heads out of every one with new fans (myself included).

Her long journey to this point started (apparently) with being named a semi-finalist by the songwriters’ association of washington dc before ever getting to Brown, and with gigging and selling tapes around Brown’s campus. At some point those tapes found their way onto a cd called Monday Morning Cold, and from the attention she garnered from that she moved forward to create last year’s Distillation. Five years. The difference between being a high school senior and a college graduate, and Erin McKeown is living the life that i would choose for myself above all other lives. She went to the school i wanted to attend, she writes songs i envy and adore, and she tours with Peter Mulvey (he was her opening act here in Philly!), and she’s not even 25. And i’m left, as i always am, wondering how she got there.


Of course, we all know how she got there. She had a relentless vision and an amazing talent, and she didn’t keep it a secret. However, it’s hard being relentless or anything else about music while i’m working every day and trying to line up an internship for next year and fretting about classes and paying my bills. Of course, musicians come from much worse all the time, but in the void of major label interest (that is, i wouldn’t be vaguely interested) i am in awe of the Ani DiFrancos, the Peter Mulveys, and the Erin McKeowns because at some point they decided that music was what was for them and that they needed to devote all of their attention to it. I think i need to make that decision or let the matter drop; if only i spent as much time on my music as i do writing for this website.

And therein lies the conflict: as much as i need to better myself musically, the time i spend writing for and administering this site feels like a definite way to prepare my voice and my patience for the world of journalism. I feel like having a successful blog (still an aspiration of mine rather than a reality) is the equivalent of Erin McKeown’s summer folk festival tour. Even if i got to write cd reviews for a local paper with a circulation of 100,000 – how many people read past the cover story? How many people read past the albums they want to buy to the reviews they aren’t really interested in, just to hear new & different opinions? Having your own successful website means you are in touch with an audience much more focused than any group your circulated publication could ever reach. So… to give this up would be to emphasize music over my course of study, when really in my mind they are equals now.

Somewhere in there i think i came to a conclusion that i’ve been working on for the last four years; I can tell because my stomach just dropped out of the center of my body as if i’m being spun on a tilt-a-whirl. Or, perhaps it is just time for lunch. I suspect that i’ll get back to you on this one…

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Wanna connect some musical dots? Would they just be tied whole notes, then? Well, last night i saw Peter Mulvey in concert from less than ten feet away for the sixth or seventh time. He and his sideman David “Goody” Goodrich turned in a short and moody set of favourites as well as a new tune, after which they chatted briefly with me a few different times. This has sorta become the defacto post-concert behaviour, because i’ve seen Peter so many times now that he’s grown to recognize me (and the wild war-whoops i usually let out from the audience when i’m not losing my voice). I gave him my demo cd last year and he told me last night that he and Goody listened to it on the way to their gigs and then he put it on a shelf of things he tries not to lose. I gave him my new demo (the first finished copy, so don’t think he stole yours away), and he gave me one of his discs in exchange and hugged me goodnight.

Peter’s set was (too) short because he was opening for Erin McKeown. Erin is a bundle of frightening folk/jazz guitar prowess and vocals that sliced the room right open. She was totally enrapturing. Erin was a student at Brown Univerisity not too long ago, which was my first choice school. Oh well. But, even cooler, Ms. McKeown (who i viewed from a meager distance of a yard or two) just got through with opening for Ani DiFranco, who we all know i love and adore.

Ah, but it gets better. Ani DiFranco has had (since before i could play guitar) a dedicated tabber named Leigh Marble, who i think was the first independent folk artist i had ever heard of back in those naive times. Leigh and i grew to sorta know each other by email – in that he’d tab something and then i’d send him some whiney little corrections i noticed from obsessively rewinding and replaying my tape of Ani on David Letterman. I think a few of my tabs might even be up on his legendary AniTabs page.


The most interesting element here is not that i know Leigh, though. It’s that Leigh split a 7 inch single with Erin in 1999 called Anticipation et Denouement, and listening now to the album i bought from her last night i’m vaguely recognizing songs that i first heard two years ago while restless surfing through Leigh’s site while waiting for him to post a new Ani DiFranco tab.


Yeah, it’s a small damn world. Even smaller once you pick up a guitar.

https://crushingkrisis.com/2001/04/3392757/

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A conversation i bet you’ve never had with your mother, online or in person:


Mom – Don’t forget that we’re going to the concert on the 26th

Peter – Dude, me forget a Peter Mulvey concert? What sort of crack are you on, exactly?

Mom – Dude, the good stuff!


Yeah, we’re strange…

https://crushingkrisis.com/2001/04/3136632/

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I’m long overdue on commenting on the best music of 2000, aren’t i? To be fair, i got some of my favourite albums of last year in a post-christmas shopping spree, so i needed some time to adjust to them. However, i think i might have a top five ready to go – only, it’s not so much a top five as it is five #1’s in different categories. Here we go…

Stories From the City, Stories from the Sea, PJ Harvey – Albums this good aren’t made all that often. Crunchy rock songs, flowing earthy ballads, and the ability to turn love into a tangible wavelength of sound for three minutes at a time. Hardly a single song misfires, and standouts like “Good Fortune” and “You Said Something” are easily some of the best songs to have been released all year. A must have.

The Trouble With Poets, Peter Mulvey – It’s hard to be objective about this album, because i’ve known it for so long. The live album that preceded it featured its title track, and i had seen Peter play over half of the album live in 1999 and early 2000. But, the album’s release was anything but anticlimatic; Peter’s sparse live acoustic sound is something totally different than the textured mix found on his album, complete with sighing backing vocals and drums that just emphasize the incredible rhythms he establishes with his guitar. Every song is good, but the title track is perfection itself.

You Were Here, Sarah Harmer – I would have never bought this album, except that i came into work early one day and heard it played straight through on our local folk station. Of course, i was busy making lattés and hardly could pay the sort of attention Ms. Harmer warrants, but i definitely was intrigued by her sound. On a whim i picked up her disc in my post Christmas shopping spree, and i have to say that it’s the best whim i’ve had in years. The album as a whole resides somewhere in the vast expanse between Ani DiFranco and Sarah McLachlan, but individual songs like “HideOut” and “Lodestar” defy such easy categorization as much as they defy you to not like them. Album opener “Around This Corner” is almost too catchy to even recommend to you for fear you might never listen to another first track the same way again, the wailing “Weakened State” conjures up more angst then any Limp Bizcuit song i’ve ever suffered through while still sounding great, and “Basement Apartment” definitely deserves to hit it big on college or AC radio. This album has something for almost any fan of female folk or pop music, so i suggest you listen.

The other two albums of the year are still in flux. Do i sell out and pick Madonna’s Music just because it’s Madonna and surpassed my wildest expectations. Can i really place indy-rock Death Cab for Cutie’s We Have the Facts and We’re Voting Yes amongst some of my musical idols without a flinch? Or, is Veruca Salt’s first post-humus effort deserving of the best of recognition for it’s shining moments even when there are terrible ones mixed in… I’m altogether unsure. I’ll tell you as soon as i figure it out…

https://crushingkrisis.com/2001/02/2426773/