The 9 person outfit that is Bon Iver, live, has become  a full realization of the 2011 self-titled, second record.  In Austin, Texas, Tuesday night at the Long Center for The Performing Arts, those ideas, fragments and soundscapes presented on the recent record become their own musical vernacular in a live setting, a testament to Justin Vernon’s vision for Bon Iver, the record.

With an orchestral setting as beautiful as the Long Center, all the little pieces crafted by Vernon on “Bon Iver, Bon Iver” to the bare bones of first record, “For Emma,” (and to a few choice song surprises) come into full light. Colin Stetson’s bass sax solo on “Lisbon, OH,”  Reggie Pace’s beat-boxing on the Bjork penned, “Who Is It (Carry My Joy on the Left, Carry My Pain on the Right),” the violins on “Wash.”, and the harmonies, beauiful– at times, 7-8 parts deep. Vernon lead vocal, an instrument of it’s own, leads the way as it does on “Wash.,” but takes a back seat with this band, as each song and performer wraps around his vocal and fills the spaces between words– many of which are rooted in nonsense, sounds, and should remain indecipherable or meaningful to each listener differently.  Maybe this as Vernon intended on record, to convey emotion vs. meaning, of a place that only has sounds to describe it– it becomes clearly evident with the live ‘Iver.’   It’s ‘Emma’s’ bare songs that provide subtle breathers for this band until the very end;  especially “Flume”, and the hootenanny-like performance of “Skinny Love,” to the communal closing of “The Wolves (Acts 1 & 2).”

With so many highlights comprising the Bon Iver musical vernacular, it’s hard to pick the most important pieces apart– as they all work so well together– but nothing completes Vernon’s ideas for what Bon Iver has become without the mesmerizing double percussion parts by Matthew McCaughan and Sean Carey. Both members carry Vernon’s fragmented compositions to new, emotional territories in a live setting.  Each giving muscle where muscle is lacking in Vernon’s songs.

If one thing’s for certain after seeing the 9-piece Bon Iver, this is a band that is truly loved and respected for it’s musicianship by it’s leader.  Each member fulfilling Vernon’s idea of what Bon Iver was, is now and what it seeks to become.  See this band now in a theater near you while you can.

Kathleen Edwards,  the oft-over-looked Canadian songwriter, has put out 3 great records in the last decade.  She opened the night with “Goodnight, California,” the haunting closing cut off of “Asking For Flowers,” and proceeded to mesmerize the Austin crowd with her 2-man band.  Edwards’ voice, and piano, echoed throughout the theater on “Mercury”, turning it inside out from the recorded version.  Sidemen, and a wonderful song-writer of his own, Jim Bryson, helped carry Edwards’ newer songs, “Wapusk,” and “Change the Sheets,” with subtle keys and acoustic guitar effects.  Her new record was produced by Justin Vernon this past winter and is due in January 2012.

For all the goosebumps and pindrops one could take in at the Long Center on a crispy, hot, night in Austin, Edwards’ rendition of The Flaming Lips’ “Feeling Yourself Disintegrate”, to close her opening set, almost stole the thunder right out of Bon Iver’s set– and judging by the outpouring of respect Vernon has for his band, crew, and the fans, I’m sure he didn’t mind.  Edwards’ performance of the Lips’ deep cut off of “The Soft Bulletin” was a thing of haunting, devastating, beauty– and a perfect summary of the night itself.

AW

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Filmed in the Winter 2010/2011 in Austin, TX. and directed by Sock Monkey Sound listener Shawn Kornhauser. The video is a kick to behold and is a shot by shot re-creation of the scene from the movie which you can check out HERE if you want to compare.

“It’s Cruel” by Literature sets the perfect pace for the chase and is available on a brand new 7″ single called ‘Cincinnati’ which you can download for free on their Bandcamp site. They also are putting out a full length in March, as well as an appearance at SXSW.  The band is touring the west coast now, check out the dates at  http://www.voiceacademyrecords.com/shows if you live out there.

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Live @ Krypto, Rockford, IL
07.01.2010

By Andrew Whorehall

Lizard Skynard performed their first live performance as a 5- piece band before a crowded room of wannabe music nerds in Rockford, IL the first of July, 2010.  The Austin, TX, via Chicago to Rockford, IL electrometal band brought all reasons to NOT doubt them to the table.  A tattooed, physically manipulated frontman matched by a monstrous rhythm section pushed this listener / viewer’s experience to a level of appreciation once reserved for bands accidently caught live in larger cities in long ago times.   Imagine the Deftones with Kevin Shields of My Bloody Valentine as dead serious as you can be in a band on your own in America, 2010.

“There is no treatment, there is no cure” as Lizardman scientifically professes live from, “Bell & Syndrome”, is as close as you’ll get to a marriage between 1980s speed metal, mid 90s angst and 2010 space metal.  The wash of feedback is massive, the drum rolls are jah-retarded (in a good way if it matters) and the bass is the hammer to the nail in the head that crashes on in, slow and deep.

Lizardman, the perfect frontman / performance artist / poet is hard to take your eyes off of, often staring down and gazing over  the crowd with an uncomfortable smile as the band tries to fool you into thinking they’re the backdrop to this act– while failing.  Perfectly failing.

Lizard Skynard is a ferocious band with or without the Lizardman, often providing the perfect score to an unaired live documentary.  If further proof needs validation, hearing “Space Eels” live off of their recently, self-titled, debut that night – proved no validation was needed.  A spaghetti western-sci-fi metal anthem destined to be. Hearing this live rattled any doubts I had thinking this was Lizardman’s band.   This is a band of 5 guys creating very serious, well orchestrated noise as if their lives depended on each second put out, from here on out.

Sure, this is a band with a Lizardman (it’s a foil, he’s a smart-ass, well-educated, sweetheart underneath it all and too smart for this f*cking planet- it’s obvious)- that’s the catch and he’s a wonder to watch and listen to, however;  this is a poet and entertainer, with a ferocious, well-oiled and classically trained, punk band ready to rip your f*cking brain outta your skull.

Do not miss Lizard Skynard live.

dD   |  andywhorehall.com

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