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Wandering the streets at this hour with your kid and a bass guitar
In 2004, ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
lesser_celery pointed me toward a band with the appropriate name of My Favorite. I was going through a period of ferocious music acquisition, actively following the Dresden Dolls (discovered at the Ig Nobels in 2002) and about to fall heart over heels into PJ Harvey (my eventual advisor played "To Bring You My Love" at a party and I sat on the floor in front of the stereo for the rest of the evening). The band's website had an mp3 from each album available for download and all of their lyrics in fully punctuated prose and I listened to "Burning Hearts" and "Working Class Jacket" and was hooked. Between the writing of Michael Grace, Jr. and the singing of Andrea Vaughn, My Favorite's songs were catchy and literate, like character sketches or short movies. Their footprint was small but evocative. They had released two albums and an assortment of singles and splits since their genesis on Long Island in the early '90's; they drew inspiration from new wave, post-punk, '80's teen movies, Joan of Arc, Alain Resnais, classical Greek hero cults, and with the unerring timing of irony they broke up in 2005. I never saw them live. I watched the videos for "The Happiest Days of Our Lives" and "Burning Hearts" and bought a T-shirt quoting a line from "The Happiest Days of Our Lives" (your darkness is brighter than all the lights in the disco tonight) which I still wear despite severe cracks in the silkscreen. The closest I ever got in person was the April 2004 interview with Michael Grace, Jr. published by John Benson in Not One of Us #31.
In the years after the breakup, Michael was easy to follow. Minus Andrea, the band shifted shape for an EP and two albums into The Secret History, now with more glam rock and Catholic mythology; later, a further subset reformed as the "Second Empire" of My Favorite, releasing a remastered special edition of Love at Absolute Zero (1999) and a new single. Andrea was harder to track, though I was able to find her contributing vocals to Bell Hollow and Bagatelle. And then there were rumors and then there was a Facebook page and now there is The Chandler Estate:
We are a band rising out of the ruins of other bands (My Favorite, The Secret History, Mad Planets, Boycrazy) named after an abandoned property on Long Island, NY that became a commune for artists and outsiders. Our debut e.p. explores the idea of infrastructure literally and metaphorically: songs of NYC and San Francisco crumbling around their inhabitants, in the midst of both collapse and gentrification; the tenuous bonds of old friends and lovers over the course of several decades; those things or people that become visible only when they fail or fall apart. But there's also love, and hope, and dancing.
Andrea Vaughn, Darren Amadio, Todd "Todbot" Karasik, Bryce Edwards, and Tara Emelye Needham. Their debut EP Infrastructure came out in January. I found out this afternoon and bought it on the spot. It's really good. They sound like the bands whose ruins they rebuilt themselves from (three of them, anyway; I am unfamiliar with Boycrazy, although throwing Edwards' name into Google got me this magnificent interview with The Isotoners) and they also remind me a little of Consonant, Clint Conley's in-between-Mission-of-Burma band with Holly Anderson. They sound like themselves. Their lyrics are snapshot and poetic: I tried to sleep in the common heat, windows propped open with books I never read. He had an 8-track stereo, an overgrown patio, a view of the Golden Gate. Dandelion, sand, and seaglass edge the island where she stood last. On the sidewalk, in fading chalk, we left our mark. I like the way they mesh layers of guitar. I have missed Andrea's voice.
There should be more records after this one. In the meantime, check this one out.
lesser_celery pointed me toward a band with the appropriate name of My Favorite. I was going through a period of ferocious music acquisition, actively following the Dresden Dolls (discovered at the Ig Nobels in 2002) and about to fall heart over heels into PJ Harvey (my eventual advisor played "To Bring You My Love" at a party and I sat on the floor in front of the stereo for the rest of the evening). The band's website had an mp3 from each album available for download and all of their lyrics in fully punctuated prose and I listened to "Burning Hearts" and "Working Class Jacket" and was hooked. Between the writing of Michael Grace, Jr. and the singing of Andrea Vaughn, My Favorite's songs were catchy and literate, like character sketches or short movies. Their footprint was small but evocative. They had released two albums and an assortment of singles and splits since their genesis on Long Island in the early '90's; they drew inspiration from new wave, post-punk, '80's teen movies, Joan of Arc, Alain Resnais, classical Greek hero cults, and with the unerring timing of irony they broke up in 2005. I never saw them live. I watched the videos for "The Happiest Days of Our Lives" and "Burning Hearts" and bought a T-shirt quoting a line from "The Happiest Days of Our Lives" (your darkness is brighter than all the lights in the disco tonight) which I still wear despite severe cracks in the silkscreen. The closest I ever got in person was the April 2004 interview with Michael Grace, Jr. published by John Benson in Not One of Us #31.In the years after the breakup, Michael was easy to follow. Minus Andrea, the band shifted shape for an EP and two albums into The Secret History, now with more glam rock and Catholic mythology; later, a further subset reformed as the "Second Empire" of My Favorite, releasing a remastered special edition of Love at Absolute Zero (1999) and a new single. Andrea was harder to track, though I was able to find her contributing vocals to Bell Hollow and Bagatelle. And then there were rumors and then there was a Facebook page and now there is The Chandler Estate:
We are a band rising out of the ruins of other bands (My Favorite, The Secret History, Mad Planets, Boycrazy) named after an abandoned property on Long Island, NY that became a commune for artists and outsiders. Our debut e.p. explores the idea of infrastructure literally and metaphorically: songs of NYC and San Francisco crumbling around their inhabitants, in the midst of both collapse and gentrification; the tenuous bonds of old friends and lovers over the course of several decades; those things or people that become visible only when they fail or fall apart. But there's also love, and hope, and dancing.
Andrea Vaughn, Darren Amadio, Todd "Todbot" Karasik, Bryce Edwards, and Tara Emelye Needham. Their debut EP Infrastructure came out in January. I found out this afternoon and bought it on the spot. It's really good. They sound like the bands whose ruins they rebuilt themselves from (three of them, anyway; I am unfamiliar with Boycrazy, although throwing Edwards' name into Google got me this magnificent interview with The Isotoners) and they also remind me a little of Consonant, Clint Conley's in-between-Mission-of-Burma band with Holly Anderson. They sound like themselves. Their lyrics are snapshot and poetic: I tried to sleep in the common heat, windows propped open with books I never read. He had an 8-track stereo, an overgrown patio, a view of the Golden Gate. Dandelion, sand, and seaglass edge the island where she stood last. On the sidewalk, in fading chalk, we left our mark. I like the way they mesh layers of guitar. I have missed Andrea's voice.
There should be more records after this one. In the meantime, check this one out.
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There is, and it has marked some very good points in my life. Thank you for telling me!