Tag Archives: Mudhoney

Concert review: Lee Ranaldo & The Dust and Elsa @Horseshoe Tavern in Toronto, ON | Oct. 11, 2013

There’s plenty of noise, but Lee Ranaldo and Steve Shelley’s new band doesn’t play Sonic Youth
Tom Beedham

Lee Ranaldo takes a cello bow to one of his infamously hot-rodded Fender

Lee Ranaldo takes a cello bow to one of his infamously hot-rodded Fender “Jazzblaster” Jazzmasters during one of his mid-song noise jams with The Dust at Horseshoe Tavern on Oct. 11, 2013. Photo: Tom Beedham

Blame it all on the Thanksgiving gravy spilled this long weekend, but for a pair of acts sharing the Horseshoe’s stage Oct. 11 as a platform for the albums they’re each in the throes of sending off as their first official releases, it was easy to see Elsa and Lee Ranaldo & The Dust were pretty appreciative of the situations that brought them there.

Concert photos: Lee Ranaldo & The Dust and Elsa at Horseshoe Tavern

Sure to get some attention on “Local Bands to Watch” lists yet to come, it’s little surprise Elsa was called on by Sonic Youth guitarist Lee Ranaldo to deliver some unbuttoned dreamgaze at the start of his show. And Elsa couldn’t have been more grateful for the opening set blessing imparted on them for the night; they made it known – both literally and figuratively – with some earnest stage thanks and a set fit for gifting.

Having evolved and quadrupled in size since songwriter and guitarist Jonathan Rogers brought the project into realization as a bedroom demo some time ago, Elsa now features second guitarist Matthew Goldman, bassist Jesse Mirsky, and drummer Angie Wong.

The band seized the exposure of their supporting slot and used the event to soft release their premiere 12” single, I Do (officially due Oct. 22 via Fucked Up guitarist Mike Haliechuck’s 12” singles boutique One Big Silence), but their set went well beyond the four-track listing on that EP, hinting it shoudn’t be long until Toronto hears a proper album from these folks.

If that follows, so might a sound that is markedly different from their EP preference.

While Jesse Mirsky’s bass has a subtle presence on most of I Do’s mix, emerging only at times from the lapping wash of hazy guitars provided by Rogers and Goldman – Rogers strums chords while singing, and Goldman demonstrates a strong right hand by plucking through whirling arpeggios on his Rickenbacker – at the Horseshoe, Mirsky was distinct and pervasive, his propulsive finger picking often evocative of a laid-back Peter Hook with a thing for disseminating Quaaludes.

They closed their set with a smoggy cover of lo-fi indie pioneers Guided By Voices track “Game of Pricks.”

Lee Ranaldo & The Dust didn’t forgo paying respects to their influences, either, cranking out covers of The Modern Lovers’s “She Cracked” and Neil Young’s “Revolution Blues” throughout the night.

The bulk of their hour-and-a-half-long set was otherwise a pretty even jumble of cuts from The Dust’s premiere, Oct. 8-released Last Night On Earth and Ranaldo’s last solo release, Between the Times and the Tides (full setlist below). That shouldn’t have come as a surprise, however. Although Ranaldo’s new group features bandmates from Sonic Youth and Text of Light – Steve Shelley on drums and Alan Licht on guitar, respectively – as well as jazz bassist Tim Lüntzel (Bright Eyes), The Dust is largely personelled by musicians that put in studio time on his last solo release, which distances itself from the guitarist’s previous noise-rock exploits with more conventional song-led structures in its sights.

Even when The Dust returned for an encore and a fan shouted a request for “Mote,” a Ranaldo-led cut from his and Shelley’s more avant-garde pinioned band’s 1990 album Goo, Ranaldo chuckled and dismissed it, citing its absence from the setlist for the night. But songs relying on such perpetual barbed clangour for escort don’t really come up in the guitarist’s new work, and as a result don’t find easy segues in the new material; it is a band more vocal about influences found in the contemplative folk rock ventures of songwriters like Leonard Cohen, Joni Mitchell, and Neil Young (hence the covers). Besides, Ranaldo doesn’t need validation for work that’s already proven successful.

Still, The Dust sated Sonic Youth-bred noise fans’ thirsts for Ranaldo-brand pandemonium when it wandered into some spontaneous and resourceful noise jams during the heavier sections of a few of the new songs; Ranaldo took a bow to his guitars during “Xtina” and “Hammer Blows,” and even smashed a jumble of Tibetan bells against his axe during “Lecce, Leaving”; Licht spent the night reigning over the eleven pedals he had surrounding his space on the right side of the stage and even tested the stage’s light rigging and bulkhead as neck slide devices during “Key/Hole.”

Fans even glimpsed some classic Sonic Youth nostalgia onstage. In addition to a more recently acquired (remarkably pristine – for Ranaldo) purple Deimel Firestar (not to be confused with the green 12-string Deimel seen on the cover of the Corporate Ghost DVD) and Jarell JZH-1x, the guitarist’s artillery included the signature Jazzmaster model Fender consulted Ranaldo on and manufactured in his name, the Saul Koll custom-built cherry F-Hole Jazzblaster Ranaldo’s used since tours in 2000, the Telecaster Deluxe that Kurt Cobain once borrowed (even though he played right-handed) to perform a cover of Fang’s “The Money Will Roll Right In” live with Mudhoney (!), and a motley herd of “Jazzblaster” hot-rodded Jazzmasters – almost all slapped with labels for unconventional tunings – among the ranks.

While the press concerned with Ranaldo and the rest of his Sonic Youth bandmates’ various solo endeavours continues to flog the jilted relationship of former partners Kim Gordon and Thurston Moore and the resulting hiatus of their band, the new groups have so far proven to mean cities are seeing its  members more often and, for longer combined periods of time. And with each of the members putting on different hats to explore and expand their separate careers, it’s worth noting that the time off to pursue other interests could result in stronger interests in Sonic Youth – so we can’t really complain, can we?

Sure, we’ll continue longing for a day when all members grace the same stage at the same time again, but until then, at the risk of sounding groaningly topical following Canadian Thanksgiving, we’re getting plenty to be happy about.

Ranaldo, at least, seemed content simply to air his satisfaction with hitting the Horseshoe’s long-lived stage at the end of his show.

“It’s nice to finally play this place.”

It was nice to have you, Lee.

Lee Ranaldo & The Dust setlist
“Tomorrow Never Comes”
“Off The Wall”
“Last Night On Earth”
“Hammer Blows”
“Home Chds”
“The Rising Tide”
“Revolution Blues” (Neil Young)
“Lecce, Leaving”
“She Cracked” (The Modern Lovers)
“Fire Island (Phases)”
“Waiting On A Dream”




Sub Pop featured prominently in Seattle hotel

Seattle’s Hotel Max now boasts an entire floor of Sub Pop-inspired decoration

Door-sized images from Seattle’s music scene grace the halls of Hotel Seattle Max for a collaboration with local indie label Sub Pop Records.(Photo: Rob Lovitt)

Wishing “welcome” never quite seems to breathe the same level of acceptance as “Come As You Are,” and Hotel Max Seattle appears to understand that.

In collaboration with Sub Pop Records, Hotel Max presently features an entire floor dedicated to the Seattle-based independent record label and the music it has famously liaised to the world, NBC News reports.

The exhibit confined to 19 rooms on the hotel’s fifth floor, the hotel hopes to showcase the city’s musical history, while Sub Pop celebrates its silver jubilee, an event that also means a free concert showcase in Seattle’s Georgetown neighbourhood, featuring live performances from J. Mascis, Mudhoney, Father John Misty, and more.

(article continues after video)

“Seattle’s music scene has always been a big part of what people come to the city for,” Hotel Max PR Director Kate Buska told NBC News. “It’s also Sub Pop’s 25th anniversary and we thought it would be great to bring that experience into the hotel.”

Introduced to a “club-like” atmosphere on the fifth floor, NBC says the collaboration involves all 19 rooms equipped with door-sized black-and-white images of Sub Pop signees like Nirvana and Soundgarden taken by 1980s/’90s Seattle grunge scene photographer Charles Peterson.

Beyond each door is a room featuring posters sporting QR-codes linking to Sub Pop’s website, a whole channel dedicated to video play of music from classic and current bands signed to the label, like Dinosaur Jr., Pissed Jeans, and The Shins, who are also accessible in physical format through in-room record players and vinyl sets.

“The awesome thing for travelers is that they can get exposed to some cool music they might never be exposed to otherwise,” Sub Pop Vice President Megan Jasper told the source. “They certainly get a flavor of the city.”

“Who knows, it could be the first record that a younger guest might ever play,” said Buska.