Pink Mountaintops @ Waldorf -- 12/15/12

Most people know Steve McBean as the frontman of  Black Mountain, but he's also got a solo project that's been a little quiet for the past few years, Pink Mountaintops. The first -- and only -- time I saw them was a few years ago at my least favourite local venue, whose terrible sound put a damper on the show. So I was a little more than excited to see them again, especially at a much better venue, the Waldorf.

I missed the first band, Ford Pier Vengeance Trio due to a holiday party, arriving between sets and just in time to see Sex Church. Which I didn't actually realise until after, thanks to them only mumbling their name noncommittally once (maybe twice). They were a good fit for an opening band, a psychedelic rock sound with fuzzy guitars, which I was really liking, up until the lead singer joined in. The vocals wasn't very coherent, mumbled into the microphone, and I swear at one point he was just muttering random syllables. The band was full of really good musicians, and I really wanted to like them, but the vocals just didn't land for me.

Not too long after, Steve McBean took the stage alone and Pink Mountaintops began. The first song, "Comas" was just McBean and his guitar, but then a drum machine kicked in for "I (Fuck) Mountains" and the rest of the set to flesh out the sound. It was a contrast to the last time I saw them, a half dozen members large, this time more focusing mostly on McBean and his psychedelic guitar work, which was mind boggling at times. I also wasn't sure how McBean would fare on his own, as he's never really been one to interact with the crowd -- and for the most part he was silent -- but his presence while playing more than made up for it, especially evident in songs like "The Gayest of Sunbeams" with its upbeat, driving guitar.
Mid-way through the set he enlisted in the help of a couple friends, one on a floor tom and percussion and Ashley Webber on backup vocals, who were on and off stage for the rest of the night. (There was also a third guy who joined them for a song who was not playing any instruments, but rather handing out slices of cake to the crowd)
Other highlights from the night included "While We Were Dreaming" with the graphic but strangely moving line "

And if I could find your heart / 

I would pull it from your chest / 

And smash you with my fist / 

Til it was beating" 

and the heartbreaking "Tourist In Your Town" which ended the main set. McBean was, of course, back out for an encore of a couple more, the haunting "Vampire" and "Can You Do That Dance?" ending off the night with another high energy song.

When he first came out alone, I was a bit trepidation, but I should have known better to question Steve McBean. It ended up being a strong show, and I can only hope that this means more Pink Mountaintops is on its way soon.

Outside Love by Pink Mountaintops

Oh, Stephen McBean. The more immersed I become in your music, the more I am convinced of your genius.
Pink Mountaintops is a bit more of a solo project for McBean, frontman of Black Mountain, but that's not to say it isn't full of friends. Musicians from all over contribute to the album, including just about everyone from Black Mountain and members of bands like A Silver Mt. Zion, Godspeed You! Black Emperor, Destroyer and Lightning Dust, among many others. McBean does the majority of vocals, but is also assisted by GY!BE's Sophie Trudaeu and the Webber sisters, who are a great contrast, and a few songs even find them in front and centre. The album is a bit looser than Black Mountain, a little more experimental, but it never meanders or draws out; it is still as tight as anything you'll hear. Backed with piano, strings and even a choir, it is definitely gentler and perhaps even a little more cerebral than Black Mountain. There are shades of similarities between the two bands, but Pink Mountaintops veers more into the psychedelic shoe-gazing realm of things. Though it's not solely that, as they race through several different genres, never stopping for too long or looking back at any given style.

One thing I always look for in albums is how it flows; not just how one songs transitions into another, but the overall "tone" of the album. I prefer it to be a novel, where each song is a chapter rather than a collection of short stories, where each song stands on its own. (Metaphorically speaking... I don't mean it has to be a concept or "story" album.) Outside Love manages to have a near perfect flow to the whole thing.
Axis: Thrones Of Love sets the mood for the album, with it's slow and calm jangling, asking us right out of the gates "How deep is your love?" -- perhaps almost mockingly, considering the rest of the lyrics, not just in the song but the album as a whole. Execution picks things up for a more fast and rollicking number before Ashley Webber's beautiful vocals drive the haunting While We Were Dreaming. Vampire somehow manages to be even "creepier", with the spine-tingling rise from it's minimalistic beginning to the grandiose finish. Holiday, with McBean proclaiming that "everyone [he] love[s] deserves a holiday in the sun" and Come Down pick things up a bit with their cheer and energy only for Outside Love, another stunningly chilling song which pairs McBean with Jesse Sykes, to give a complete sense of desolation.
And I Thank You picks it up again, lyrically to be sure, and it gradually gains energy, musically, in the country-twinged song and The Gayest Of Sunbeams gives the album it's last burst of energy... and what a burst it is. Finally, the album closes out with Closer To Heaven and leaves us on somewhat of a high note. With its beautiful strings, choir vocals and McBean "pray[ing] sweet angel that we'll make it all right" it gives a cautiously joyous and uplifting ending to both the song and album.

There is a kind romance to the album, in a way. It is not unabashedly romantic, saying that love is a many splendoured thing that will lift us up and conquer all and is all we need. It acknowledges the doom that it can bring, as though expressed through someone that knows it's darker side. But it doesn't go too far in this tragic direction, either; it is skeptical without being cynical. In the end Outside Love has a grim optimism and while it somehow manages to be simultaneously vaguely disturbing and surprisingly uplifting, in both cases it is incredibly powerful and quite brilliant.

One last thing I will mention about Outside Love is that is has quite possibly the best cover and album art of the year. From the front cover (seen above), the above image of a book on crushed velvet, to the back cover, which is the back of said book complete with "author's" portrait, and even the insides, with the book sitting on the back of a toilet. Hell, even some of the promo shots, like the one to your right is all sorts of awesome. One of the big reasons I still buy physical CDs is that I love awesome album art and/or packaging, so it's always nice to see something like this, rather than a bunch of images dashed together with no meaning or relation. I think it would have to be my favourite album art or "theme" of the year so far.

Download Vampire

Download And I Thank You

Download The Gayest of Sunbeams

Clicky to exchange monies for music

Pink Mountaintops @ The Rickshaw Theatre -- 09/27/09

It's a shame when an otherwise awesome show get ruined by outside forces. Like shitty venues. If I never go back to the Rickshaw Theatre, it'll be too soon. Located just off Main & Hastings, the crazies were out in full force as we waited an hour after doors were supposed to open to be let in. Once inside, it was none too impressive. A converted movie theatre, it looked more like an old warehouse with a stage and seats. But who cares how it looks, right? As long as it sounds good? Well, no such luck in that category either. The sound was murky and echoy, and seemed to drop in and out. It didn't help that there was a myriad of technical problems, at least at the start of Pink Mountaintops set, and at one point a tech guy was fiddling with something mid-song, causing ear piercing feedback. I know Vancouver needs all the venues it can get, especially now, but.... no thanks.

But enough ranting about the venue, onto the show itself. The first of the all-Vancouveronian show was The Pack A.D., and boy, do they know how to put on a fucking rock show. The garage blues duo, consisting of singer/guitarist Becky Black and drummer Maya Miller, were all energy and blew the roof off (and given the venue, it wouldn't surprise me if that literally happened). The only reservation about them is a lot of their songs are kinda... similar; a fact they they jokingly acknowledge when introducing songs. I had heard a fair amount of them on CBCR3, but never really had any inclination to look into them any further. I'm not sure if that has changed, but I would probably not hesitate to see them live again.

And then finally, Stephen McBean and co. hit the stage as Pink Mountaintops came out. The Pack A.D. sounded okay on the sound system, with their minimalistic sound, but once you have six members on stage playing sweeping music, you definitely notice the faults. Despite all this, however, they still managed to put on a pretty great show. focusing mostly on the new album, Outside Love, they played a decent mix of old and new. A lot of the songs sounded a but edgier and more punched up live, but the slower songs, like Vampire, were appropriately (and beautifully) toned down. McBean didn't say much during the show, but it was hard to tell if that was his usual untalkativeness, or frustrations. He even managed to break three strings over the course of the set. It was probably due to his sheer awesomeness, but if I could find a way to blame it on the venue...
They played for about an hour and change, before coming back out for the obligatory encore of a couple songs. It was about as good a set as could have been done.

I know this review is mostly me trashing the Rickshaw, but man... it was pretty bad. I don't know if it was just the scope of Pink Mountaintops was grander than the theatre could handle, but considering their website boasts they are "a place with amazing acoustics and a top notch sound system"... mind you, it also lists "working bathrooms" as a feature, so....
I don't know how many shows they have had there before last night, so I am hoping it's just the kinks of a new venue, and that if they continue to hold shows there, they can get their shit together. But for now, I think I'll be staying away.