Pattern Is Movement

By the fall of 2007, Pattern Is Movement -- which started as a five-piece band -- finished shedding members, ending up as a duo.

Drummer Chris Ward recalled last week that the remaining members booked a tour before they'd even figured out exactly what the new incarnation would sound like. "That was the dumbest idea ever," he said of the tour.

They'd written a new album -- what ended up being 2008's All Together -- "not knowing that we could ever perform those songs," he said. "We hoped we could. We were banking on that. But we had no proof. We had never been a two-piece ever."

mp3 "Jenny Ono"

The dumb idea got dumber when the headliner of one concert canceled, and the venue offered Pattern Is Movement more money for a longer show; the band accepted. On the drive to the performance, Ward and keyboardist/singer Andrew Thiboldeaux picked four songs to cover to flesh out the set, and the drummer admits that it didn't go well. "The crowd didn't really like the show," he said.

But Pattern Is Movement's take on Radiohead's "Everything in Its Right Place" that night was an epiphany for both band and audience. "They loved that cover," Ward said. "They freaked out."

The original song is a keyboard and Thom Yorke's voice (both straight and heavily manipulated), and Ward said both were a good match for Thiboldeaux's falsetto and Rhodes - one of two keyboards he plays on stage, along with bass pedals.

"It anchored us; it just connected with the audience," Ward said. "I felt they were able to understand our songs a little more. ... That cover really opened up a direction for us as a band."

After three U.S. tours, the Philadelphia-based duo certainly has a better sense of itself, with the results on display at Huckleberry's on Saturday in a Daytrotter.com show. The covers these days are more cheeky --Beyoncé's "Crazy in Love" and D'Angelo's "Untitled (How Does It Feel)" -- and the band is undoubtedly sunnier than Yorke and company, but that Kid A-era Radiohead touchstone remains. With Rhodes, Mellotron, drums, and Thiboldeaux's airy voice, the sound is warm and burnished but complicated with the experimental textures of jazz and the subtle variations of minimalism.

While it's took the band six years from its 2001 founding to arrive at its current form, the destination isn't surprising. Ward and Thiboldeaux were a Christian-rap group in their early teens, formed a band in high school, and assembled Pattern Is Movement after college.

It was awkward to lose members regularly, Ward said: "Every time somebody saw us, we were a different band. 'Oh, there's four of you ... ? Oh, no, three, right? What? Hold on, there's two of you now?' ... You can't really get into a band when you don't have a clue what they're trying to do."

But that process helped the two recognize that they were the band by themselves. "As people started leaving, it just became apparent," he said.

mp3 "Right Away"

The duo wants to make complex, challenging music, Ward said, "but when you boil them down, he [Thiboldeaux] wants people to walk away and whistle them."

A great song, he added, "can always be pared down to a kick and a snare and an accordion, or a piano. That essentially is what we already are."

Pattern Is Movement will perform at Huckleberry's ( in Rock Island) on Saturday, June 6. The all-ages show also features The Netherfriends and starts at 7 p.m. Admission is $6.

For more information on Pattern Is Movement, visit MySpace.com/patternismovement. To hear the band's Daytrotter.com session, click here.

The Daredevil Christopher Wright

As you might imagine, there are a good many Christopher Wrights in the world, and one of them was a conspirator with Guy Fawkes in the Gunpowder Plot of 1605. But according to singer, songwriter, and guitarist Jon Sunde, his band The Daredevil Christopher Wright takes its name from a person he made up for a song.

"As far as we're concerned, he's a fictional character," Sunde said in a phone interview. "But it's interesting to hear about the Christopher Wrights of the world." (What's dryly funny is that the song bearing his name has the chorus "I want to grow up to be Christopher Wright.")

The use of such a common name with the vivid "daredevil" mimics the approach of the Eau Claire, Wisconsin, trio, headlining a Daytrotter.com show on Wednesday at Huckleberry's in Rock Island.

Sunde called it "pairing the profound and the mundane," and that means searching for enlightenment in the everyday. "Trying to shoot straight at love or straight at agony or trying to expound on the concept of romance - it's too big, it's too broad, it's too strange," Sunde said.

Reader issue #718 On the 1996 benefit album Sweet Relief II: The Gravity of the Situation, the songs of Vic Chesnutt were covered by everybody from Madonna to R.E.M. to the Smashing Pumpkins to the Indigo Girls. Early in his career, the singer/songwriter was championed by Michael Stipe, who produced Chesnutt's first two records, released in 1990 and 1991. Early in his career, PBS aired a documentary titled Speed Racer about his life. He had a small part in Sling Blade.

He has collaborated with a diverse slate of artists from Widespread Panic to jazz guitarist Bill Frisell to the Cowboy Junkies to members of Fugazi and Godspeed You! Black Emperor. Chesnutt's latest partnership is with the psychedelic-pop group Elf Power, part of the Georgia collective that spawned The Apples in Stereo and Neutral Milk Hotel. Chesnutt and Elf Power will be among the performers at a March 18 R.E.M. tribute concert at Carnegie Hall, at which they'll perform "Everybody Hurts."

I start with the résumé because even if you've heard Chesnutt's name, he's not exactly famous. He has an immense reputation but a relatively small audience.

RodriguezOn record, Rodriguez has an assured, slightly too-knowing voice, pleading to a drug dealer - "Won't you bring back all those colors to my dreams" - over a wistful, wheezing musical backdrop that gives way to agitation. The song is "Sugar Man" (available for free download at LightInTheAttic.net/releases/rodriguez/sugar_man.mp3), from the album Cold Fact, and based on them, one gets an image of a street-wise documenter of the dark sides of urban society: "The ladies on my street / Aren't there for their health."

On the phone, though, he's soft-spoken, apologizing that he needs to have questions repeated because of his phone and his hearing.

That disconnect makes sense when one knows that the gulf between Cold Fact and Americans' awareness of it is nearly four decades. Rodriguez released the record in 1970, and its follow-up in 1971, but the apathy that greeted them forced him to give up on music.

"I thought we were going to hit," he said last week. "Didn't happen, though."

localnatives.jpgYou've probably never heard of Local Natives, but Daytrotter.com wants to change that. Daytrotter is bringing in the unsigned California quintet to headline a show at Huckleberry's in downtown Rock Island on Sunday, January 18. The show starts at 7 p.m., admission is $7, and the bill also includes The Union Line and Voxhaul Broadcast.

The three bands our touring together in a pair of vans, and spending the night at the homes of whoever will have them. In an interview this week, keyboardist, percussionist, and singer Kelcey Ayer talked about Local Natives' debut record, and the band's efforts to get noticed and get signed.

The group is earning favorable comparisons to Arcade Fire and Fleet Foxes. Here's an opportunity to judge for yourself, with two Local Natives tracks and a Talking Heads cover, and a recording of the Reader interview with Ayer.

Pages