The Wake

Ian Anderson is a passionate man. He loves music and his palpable obsession has led him to early and remarkable success; starting his record label, Afternoon Records, just out of high school. Now, as a senior majoring in English at St. Olaf College, his label is garnering more interest and continuing to expand. In addition to his label, Anderson also founded “Sliver” magazine, a music website. He hopes to begin a career in journalism upon graduation in addition to promoting his label. He’s a shining example of how adolescent exuberance fused with a love of the universal language can prove an explosive combination. Anderson has been prone to signing bands of an age similar to his, appreciating the honest and fearless approach they take towards their sound. Achief acquisition was Haley Bonar, opted to release her second album on Afternoon Records this November. She’s likely the most recognized artist to take up residency on Afternoon, though the majority are deserving. Anderson’s own two bands, One For The Team and Aneuretical, though vastly different in style, are both on the rise. The Battle Royale released their debut, Sparkledust Fantasy, early this fall. With three out of the four members still in high school, the future is bright. Their single “Oh Martha,” is, in the opinion of this humble writer, the finest dance rock song of the last couple years. Two of the label’s newest acts, A Night In The Box and Mouthful of Bees, are doing their best to keep the success coming.

A Night In The Box is a rough and tumble blues trio based out of Minneapolis. Group members Alex Dalton, Clayton Hagen, and Travis Hetman, pals since high school, formed the band officially in the spring of ’06. This fall they met with Anderson, a longtime companion, and recorded The Hustle, The Prayer, The Thief, which was released in November.

Opener, “St. Bens,” hits you like a freight train barreling out of control. Rolling snares take you down with breakneck banjo and slide guitar teetering on the edge of creating an alternate universe. Hopping bass and clapping accent a dangerously paced harmonica. The song snaps to a halt and commences a slow mounting blues sing-along. Lead vocalist, Clayton Hagen concludes wondering, “Why I get the bends … every time you say let’s be friends … on the heartbreak greyhound to St. Bens.” “Blue River,” and “Can I Bleed,” highlight the group’s firm handle on the southern blues sing-along as their hearts ache as one. “Conductor Man,” and “For the Co-Pilot” are as fine a blues rock songs as have been heard since their golden age some thirty years past. The fast/slow hybrid, “Don’t Do Me Wrong,” yearns frantically for a lover gone missing. But the distraught feeling passes and the band struts on with their swampy blues axes swinging. Showing their tender sides, the boys croon and plead for just one more night on, “Lie To Me.” The band is at its most moving on the stripped down, stomp and clap, “The Hustle.” Clayton’s impassioned voice, backed with howling harmonies, shares a tale of fast living in a world without true religion. It’s as empowering a musical stance as taken by any of recent, in a class with T.V. on the Radio’s, “Let the Devil In.” Their apparent southern flavor may seem to contradict their Minnesota roots, but pay no mind. Blues comes from the heart, and they’ve got plenty of soul.

I give this album a 9.2 out of 10 on Carl’s, less self-important than Pitchfork, and less shameless than Rolling Stone, scale of review.

The latest release from Afternoon Records comes from the enigmatic quartet, Mouthful of Bees. The group’s got a brother/sister combination in front man Chris Farstad and percussionist Katelyn Farstad. Micky Alfano handles the bass while Mark Ritsema, keys man for label mates The Battle Royale, plays guitar and adds vocals. On January 23rd, the group debuted with eleven tracks of indefinable pop majesty titled, The End.

Mouthful of Bees and their album, The End make a beautiful addition to the proudly eclectic Minneapolis music scene. They’re the most unique band Afternoon has. They’ve got a welcoming yet foreign sound that only a few bands currently possess. Their unwillingness to follow the guidelines of conventional bands might draw comparisons to Canada’s Broken Social Scene. Their indecipherable, waning voices, struggling to fight their way atop the clutter evoke any number of emotions, drawing an equally impressive number of comparisons to singers young and old. Track opener, “The Now,” is a ride you won’t soon forget. One guitar takes its time, laying the tracks for the topsy-turvy scale ascensions of another. They reconvene for one final run at the finish; handclaps abound. The track to follow, “Jessica,” puts you in a relaxed state. Beach side strumming weaves a weary tapestry over thoughtful shakers and Güiros from Katelyn. Though, to make this beautiful track not so easily accessed, it starts with siren-like confusion and ends with a buzzing and spurts of techno effects. The 3rd track, “Under The Glacier,” brings the album’s finest breakdown. Three minutes in, it smoothly steps back with some soft singing, bells, and pacesetting snares. Lasting only moments, it’s abruptly cut, met with a fist full of bass drum/ bass guitar splendor, then back to heavy, confronting guitars for the finish. The album’s prettiest, yet most harrowing number, “I Saw A Golden Light,” indulges the sublime brother/sister harmonies for which you’ll be waiting. Katelyn’s timely hammering is fronted by sibling Chris’s indecisive voice and words. The undertone organ blends beautifully with the smartly played, note conscience guitar. “Sweet dreams, sweet dreams silence. Sweet dreams, sweet dreams silence all night,” sing the gene-sharing pair. They’re all across the board and tough to put your finger on; but if you’re not careful, that finger might soon be found holding a fake drumstick or sliding down non-existent guitar necks.

I give this album an 8.6 out of 10 on Carl’s, less condescending than Pitchfork, and less contradicting than RollingStone, scale of review.