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SPOTLIGHT
ON... VIETNAM
Music
Concrete
Aware of how the Philadelphia freedom was rubbing Vietnam the wrong
way, and in the process of moving out of the Long Island City apartment
where I used to live with Michael I,, I called the boys to see if
they wanted my room. In a few weeks they were New Yorkers once more.
While
Vietnam was still in Philly, Vice Records, which was in its infancy,
was already talking to the band about making a record. After a few
months they firmed up an agreement to release a limited addition
EP. The good news was that the label sent them to the legendary
Magic Shop to record with wunderkind engineer Matt Boynton. The
bad news was that they had only one day to record the EP. The result
is the charming, soulful, but somewhat patchy five-song The
Concrete's Always Grayer On The Other Side Of The Street –
which didn’t see the light of day until the next summer.
The
Concrete is Always Grayer On The Other Side Of The Street
is an accurate representation of the band’s sound at the time.
Though they’d been away from New York for two years, they
kept it in their hearts for this slab of druggy jaded urban minimalism.
The nomadic yet sheltered life they’d been living is also
implicit in the misanthropic grit of the words and music. Michael’s
lines are delivered with nasal Dylanesque phrasing in random meter
– squeezing in a sentence here, a word there. The sparse sound,
minimal major-key structure, slow-mid tempos, and loose builds definitely
belong to a lineage that began somewhere around The Velvet Underground
and Nico and passed on through English shoegazers and wound up in
Vietnam’s veins.
The
Concrete is Always Grayer On The Other Side Of The Street was
met with a mixed reception – the few times it found any reception
at all. Vice didn’t officially promote the EP but did send
out a few copies for review. One negative write-up, which was more
of an attack against Vice than Vietnam, mentioned that the record
“arrived at my door with no press info, no web info, and no
prelude.” Sadly this one was published in Pitchfork - where
it counts most these days. The writer concluded, “I'd say
seeing Vietnam in a crowded, low-ceilinged bar with a bottle in
hand would yield a much fuller experience than listening to the
album in your living room. As of this writing I'm putting down PBR
#3, and that five-point-oh rating is starting to feel a little harsh.”
Along with the positive reviews, which were ecstatic, Vietnam continues
to use this hilarious final sentence in their press pack to this
day.
At
the beginning of 2004 the band finally made it to the West Coast,
playing with Brian Jonestown Massacre in Los Angeles. They left
with a small buzz, a manager, and an opening slot for BJM in New
York a few months later. They continued to play regularly around
the city as they geared up for a tour to support the record. And,
once again, they chose to move in order to save money for the trip.
©
New York Night Train , 2006
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