The Budgeteer’s heart-to-heart with Carrie Elkin

Matthew R. Perrine , Budgeteer News
Published Thursday, July 02, 2009

Say what you want about George W. Bush’s stomping grounds, but the community of musicians residing in and around Texas’ capital is unfailingly impressive.

The latest need-to-know name coming out of the fertile Austin scene is transplant folkie Carrie Elkin, who, it turns out, is just as entertaining in conversation as she in on record.

We chatted up the up-and-coming singer/songwriter in anticipation of her first trip all the way up to the end of Interstate 35:

Folkwax said Carrie Elkin’s voice is “simply revelatory,” and BBC Radio called her latest album “a real treat.” Submitted photo

Budgeteer: Reading your bio, you seem to move around as much as the Okies did in “The Grapes of Wrath,” so ... where were you actually raised? And what drove you to explore the country in such a way?

Elkin: Ha. Yes, you’re right. And, it turns out, I love “The Grapes of Wrath” … and the Okies.

I actually grew up in Ohio — a Midwesterner at heart. My parents were big into camping and spending time outdoors, so that got me into backpacking and rock climbing and things like that.

I think having a love for the outdoors inspired me to travel to new places: the mountains, the desert, the lakes, the oceans ... all of it. It simply sparked a curiosity in me. And that curiosity took me to live in all sorts of places. And living in all sorts of places inspired me to write more and more. And so the cycle started.

On that, how did you settle on Austin? Is its music community/arts climate really as inviting as portrayed in the media?

I was talked into moving to Austin by Colin Brooks, an old music friend I used to live with in Taos, N.M.

He’s an incredible singer/songwriter that really pushed me to move forward with my music career. I decided to have him produce my latest project, “The Jeopardy of Circumstance.”

I came to Austin for a month to record and basically never left … that was two years ago.

The music community is wonderful here, although I spend most of my time on the road these days and just look forward to returning home. Folks take care of each other here and the city is incredibly supportive of full-time musicians trying to make it happen for themselves.

Do you remember the first record you fell in love with, and when did you start writing your own songs?

… I remember it plain as day: Ozzy Osbourne’s “Blizzard of Oz.”

Do you remember that one? He was holding the cross with blood coming out his mouth. I don’t think I ever really noticed the record cover; I just liked the songs.

I asked for that record for Christmas when I was in fourth grade and actually received it. I think my dad was just going down the list, checking things off and not paying attention.

There’s a photo of me in my pink Care Bears night gown holding “Blizzard of Oz” above my head with this huge grin across my face. I think my papa was horrified when he noticed the cover.

Anyway, we still joke about that in my family.

I just went off on a tangent, huh? OK, songs, songs — apparently I started writing songs when I was 2. It says so in my baby book.

But I started writing the songs I sing now when I was in college. I was probably 20 years old or so.

Reading the track-by-track breakdown of your latest album was fascinating; is it difficult switching gears between “characters” (the grandfather talking to his granddaughter, the man who doesn’t respect women, etc.)?

I’ve never really thought about the transition between songs in terms of subject matter. I guess I think more in terms of tempo and how the audience is responding.

Oh no, now you’ve made me paranoid. Ha.

Your tour itinerary is pretty impressive. Do long stretches on the road ever get too exhausting, where you just feel you’d rather be in bed at home? And, considering all the places you’ve been, how did you end up booking a show up in Duluth?

It’s such a mixed bag, being on the road all the time.

On one hand, it feels incredibly liberating to lead this sort of bohemian lifestyle, but, in the end, it’s not so bohemian at all: It requires so much work and energy and social time and logistical planning. There’s a lot of freedom lost when it’s your job.

So, yes, it gets really exhausting and I always want to be in my own bed … in fact, I just got a new bed, so I dream of it even more now. Not in a million years would I be doing this if I didn’t love performing more than anything else. It makes me tick.

So, it’s worth all the exhaustion and the sleeping on couches with springs sticking out.

Regarding Duluth, it turns out it was my booking agents idea to book me at Beaner’s, and I’m thrilled about it. I’ve never been there, and, as we talked about before, I love exploring new places and meeting new folks.

I have yet to find a person I don’t like in Minnesota. Y’all are a good people.

I saw on your blog that you like Gabriel García Márquez’s “One Hundred Years of Solitude” — what else do you read to pass the time when you’re zigzagging across the country?

… Well, I read all sorts of stuff. At the moment I’m diving into [Paul Hawken, Amory Lovins and Hunter Lovins’] book called “Natural Capitalism,” which is about creating the next industrial revolution.

But usually while I’m on the road I like re-reading the classics or taking the completely opposite approach and reading David Sedaris — man, does he make me laugh real hard.

I guess I’m all over the board with the reading. I’ve been real into podcasts, too; lots of “This American Life.”

Finally, do you have any plans to reissue your first two albums, “Simplicity” and “Live at the Front Room”?

Maybe at some point. I actually have copies of “Simplicity” that I mail to folks on occasion if they really, really want it.

“Live at the Front Room” means a lot to me, but I hand-burned and stamped all the CDs.

I did all the packaging, too. I was broke and in college at the time and couldn’t afford to do it any other way. And so, I’m out of them and haven’t had the time to dive into that project again. Perhaps the next time I have a long chunk of time at home, I’ll put it on my list.

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Carrie Elkin will perform at 8 p.m. Friday, July 10, at Beaner’s Central. Minnesotan Brianna Lane is also on the bill. Cost is $5. Visit www.carrieelkin.com for a preview.

5Q :: Danté Pirtle peers into hip-hop’s casket with ‘Word.’

Matthew R. Perrine , Budgeteer News
Published Thursday, July 02, 2009

It hasn’t even been a year since former Duluthian Danté Pirtle dropped the Budgeteer-approved hip-hop disc “Pirtlean” and he’s already back with another big project, “Word.”

But this one could be considered a little ironic: It’s an urban musical about the end of hip-hop, as in the same art form he’s become so synonymous with.

We recently traced down Pirtle, now living in the Cities, to find out, among other things, if hip-hop is really heading 6 feet under.

In Danté Pirtle’s urban musical “Word.” the audience is taken to a world where hip-hop is diminished from its current existence. In the former Duluthian’s play, no one can legally purchase, sell or present the genre in any way, shape or form. Submitted art

Budgeteer: In a nutshell, can you describe the various subjects you tackle with “Word.”?

Pirtle: With the show, there a couple things that we tackle. One is obviously, Is hip-hop seriously ending and, if so, why? … I didn’t even think about it when I wrote the show, because originally I was just writing a play that was just going to be a hip-hop B-movie.

I just wanted to make a musical, but it grew into something a lot stronger than that. The issue is social inequality. That’s the main thing that really drove this play, because we have all different kinds of characters: some of these characters are just trying to obtain a love of some kind, even though this love may not bring it back; some characters are trying to establish themselves in an environment that pretty much doesn’t find them; and others are trying to adjust to a certain environment even though they may not seriously like it.

We also tackle interracial generation. … According to science, everyone originated from Africa — that IS the motherland, but not just for black people. It’s for everyone that you could possibly think of. It’s because of the social groups that say “If you look this way, you have to act this way” and “If you were brought up this way, you have to perform this way.”

What prompted this musical? Was it a hip-hop personality in particular or just the general direction the art form has been heading?

Like I said earlier, it was my friends that kind of got this started — and also Fab 5 Freddy. A couple years ago, I was looking on MTV and, at that time, a lot of the music being performed I just wasn’t feeling anymore. It seemed really materialistic and poplike, and it just didn’t seem to have as much respect as it once did. And when Fab 5 Freddy said, “Hip-hop has gone down to a brand-new low,” that really struck a chord with me. I was thinking, Maybe I’m on to something here.

But, other than that, my whole perspective of what hip-hop was completely changed.

… There are two different sides of hip-hop right now: There is what people think is hip-hop — they assume it is because it’s played on the radio — and what hip-hop actually is, because of the actually respect its kept. KRS-One said this, and he said it best: “Rap is something you do, hip-hop is something you live.”

… I’m not really saying that the art form wasn’t meant to end, but it really does just depend on the actual weight that the people are bringing to it. Anybody can rap on a beat — that’s what brings hip-hop to the masses — but the majority of it is poplike, and that’s what really hurts.

Obviously hip-hop isn’t all bad these days — who are some of the artists still producing music that you consider yourself a fan of? And what makes them worth your time?

That really goes back to that KRS-One quote: A lot of what people consider hip-hop because they’re listening to the radio and they just assume … “This must be what it is, because that’s all that’s being played.” But the majority of stuff that would be considered hip-hop is underground. You could go old-school or underground, because that’s where hip-hop really is — just that core and that respect, the overall energy is natural, it’s not diamond-encrusted, it doesn’t take 22-inch rims on it, it doesn’t take huge, silver medallions, it doesn’t take big-booty women to construct it. There’s a natural respect that the culture has.

There are some still producing that I consider myself a fan of, it’s just that I really have to nitpick. Mos Def is a good one, Common — anyone from the ruckus generation. If people are really big, hardcore fans, they’ll know what “ruckus” is.

Go soulful when you think about this, when you think about hip-hop. Don’t just go what’s pop, what you can put in the microwave and just eat – and this is something that I was going to bring to my cast but … I can have pulled pork, grind it up, put it on a grill and, when it’s well-done, I’ll put it between two buns and say, “Here, you have a hamburger.”

And I’ll ask them, “Is that a hamburger?”

“No, not really.” And I’ll be like, “Why?”

“Well, it doesn’t taste like a hamburger.”

“Ah, but it looks like one!”

That is the difference between rap as something you do and hip-hop as something you live: Just because it looks like something doesn’t mean it is.

Outside of “Word.” what have you been doing with your time? Are you still teaching?

I’m currently not teaching; I am trying to keep my head above water with this insanely hard-ass recession. I am not kidding, it is really hard.

Down here in the Cities, it is very, very difficult to keep up.

… More or less I’m just trying to get this show started and promoting my album on iTunes.

We’ll see what happens with the show, the one thing I’ve been focusing on — that and my friend’s gardening and lawn care company.

Finally, on a somewhat-related note, what are your Top 5 songs for the summertime?

I don’t have a Top 5. [Laughs] Why would you give me that question? Like, being really serious and then, finally … what are you trying to make out of me?

… The only song I can really consider is “Summertime” by the Fresh Prince. Think about it: If you’ve lived in a real urban area, you hear that and it's on — you know what the summer is about.

It’s funny, but, hey, there’s a lot of respect in that song. You may not dig Will Smith and the majority of work he does, but you respect that song because it reminds you of every summertime you’ve had as a kid. It’s true.

… That’s all I can think about. I listen to music, but there’s nothing else that specifically says, “Damn, I need to hear that this summer!”

That’s the only thing that comes to mind, because I was driving around the other day and I heard Will Smith’s “Summertime” on the radio. I thought, Hey … yep, it’s summertime now!

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While it’s too late to catch “Word.” at the Fringe Festival, bug Pirtle enough at www.myspace.com/pirtlean and maybe he’ll bring his production up to the Twin Ports.

Discover Duluth: Return to Congdon Park

Matthew R. Perrine , Budgeteer News
Published Thursday, July 02, 2009

Congdon Park, which celebrated its 100th birthday a little more than a year ago, occupies the nearly 34-acre stretch of Tischer Creek from Superior Street to Vermilion Road. It was donated to the city by Chester Congdon during the construction of Glensheen.

Tom Kasper, lead park maintenance worker and expert on the city’s parks, said that before Congdon handed it over, he hired a crew to equip the nature area with wooden bridges and large stone steps. While Kasper said all of the bridges had to be replaced within the last 20 years, a majority of the steps are used to this day.

It’s only fitting, then, that the popular entry point to the park at East Superior Street and Congdon Park Drive — a beautifully curated display courtesy of the Tischer Creek Garden Club marks the spot — features a trip down (sometimes too literally) some of those wide stone slabs masquerading as stairs.

Tourism season getting you down? Don’t recognize your favorite spaces because of all the strange faces? You’ve got a friend in the east end’s best-kept secret, Congdon Park; it’s a verifiable wonderland and, maybe even more appealing, it’s far enough away from the Lift Bridge that you can safely hide out until the last fanny pack-wearing vacationers make their way back to Minneapolis. Matthew R. Perrine/Budgeteer News
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What one first notices on this stark descent is really a mystery. Is it the canyons painted red with rhyolite? Is it the abundance of water? Is it the general sense of tranquility, like you’ve stumbled onto a secret place in the universe only a few know about?

Whatever it is, it absorbs you. Something this great shouldn’t exist within any city’s limits. Its high rock walls let you leave Duluth, if just for the duration of your stay, and allow you to completely ignore the fact that you’re surrounded by houses on both sides.

But the experience only gets better. As you walk over the conveniently placed footbridges (which are, in themselves, odd for a city park), you start to hear even more water. Coming down from high above is a mini-waterfall, breathtaking in its own right.

And, not to take too much away from the attached photo galleries, but this is soon followed by a series of cascading waterfalls among the twists and turns of Tischer Creek.

Congdon was on to something — a view shared by New York landscape engineer A.U. Morrell, who once wrote of the mining baron’s paradise: “There is no combination of stream and hillsides, woodland, waterfall and canyon in or near any other American city that is capable of development for beauty and utility comparing with that lying on both sides of Tischer Creek.”

Words of wisdom, my friends.

As an added bonus, if you somehow get too tired walking up to the park’s terminus at Vermilion Road, Congdon Park is equipped with a spacious, fairly level utility trail (which is quite a breeze) in addition to its fun-filled hiking trail.

Sure, you’ll miss out on all the views, but it’s nice to have at times, like when you slam a Mountain Dew Throwback before hitting the two miles of trails and remember, Oh yeah, this is still nature at its finest: In all of his rich-beyond-belief, turn-of-the-century wisdom, the almighty Chester Congdon neglected to install any porta-potties!

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“Discover Duluth” is an ongoing photo essay series by Matthew R. Perrine that highlights points of interest in and around the region. For more photos from this set, click on the accompanying photo galleries.

5Q :: ‘Fireworks’ marks the end of an era for Duluth dance

Matthew R. Perrine , Budgeteer News
Published Friday, June 26, 2009

You can make as many bad puns about going out with a big bang as you want, but, come July 5, Phoenix Productions will cease to exist in Duluth.

That’s right; one of the pre-eminent dance troupes in the Twin Ports is calling it a day. With tears in our eyes — well, almost … I mean, we’ve been following these talented dancers for a couple years now — we bugged co-director Erin Tope one last time:

With its co-directors Megan Abel and Erin Tope packing their bags for the Windy City, Duluth dance troupe Phoenix Productions is calling it a day. Submitted photo

Budgeteer: Whoa, whoa, whoa ... why is this the last thing we’ll see from Phoenix? Are you guys moving away from Duluth or something?

Tope: Sadly, yes, we are both leaving the Duluth area. I will be moving to Austin, Texas, at the end of August, and then we will be meeting each other in Chicago in January.

We are both going to attend Columbia College — Megan [Abel] for choreography and me for dance therapy — and hopefully we can tear up the town there!

On that, given the name “Fireworks,” I assume you guys will be going out with a big bang ... seriously though, what can we expect?

Oh, I think “big bang” is almost necessary, don’t you?

The show will be jam-packed with all kinds of dance. We have tango, salsa, ballet, jazz, modern, belly and swing. We also have some pretty impressive tricks up our sleeves — but what’s new, right?

It’s gonna be good, don’t worry.

How will dance fans remember your and Megan’s partnership here? And, what lessons learned during the Duluth years will you bring to subsequent endeavors?

It’s every performer’s dream to be remembered by fans, but to have it a reality is really wonderful.

We are hoping that we will just be remembered for our love of dance and the passion we put into sharing that love with the Duluth community.

We definitely can walk away from this with confidence knowing that we are capable of putting copious amounts of time and energy into a production, and knowing that we can successfully pull it off.

I feel I can accomplish anything because I now have a ridiculous — and confusing — love for hard work.

What do you have planned for the future?

Ah, that question has always burned a hole in my brain. The future is a mystery to me even though I plan on going to Austin and Chicago. I have never been one to set things in stone, so I can’t really say.

Although, I do plan to be in the circus someday....

Finally, there always seems to be some watercooler-worthy feuds going on between the different dance studios and troupes in town — what is it about your chosen field that leads to such cattiness? I mean, I’ve met most of you and you all seem like pretty down-to-earth ladies.

That’s funny, I didn’t realize that people noticed.

You know, there is always going to be some sort of drama happening in the world, it’s something that us humans can’t help.

As for the dance world, I think it’s because we spend so much time together — especially around show time, when we are stressed and just want to go home to sleep.

I really have to give it to the other dancers in Duluth, though, because, at the end of the day, I wouldn’t be where I am without them.

We all help each other out, and we all support and love each other.

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NEWS TO USE
“Fireworks,” Phoenix Productions’ last show in Duluth, will be held at 7:30 p.m. Thursdays through Saturdays through July 3 at the Play Ground. However, the final performance, on July 4, will be at 6 p.m. Cost is $10. Get tickets at www.duluthplayground.org.

Dulcimer Day organizer returns with Woman-Made

Matthew R. Perrine , Budgeteer News
Published Friday, June 26, 2009

As much as she enjoys the art fairs put on at Glensheen and on Park Point, Wendy Grethen has found them a tad disheartening of late.

“There aren’t signs saying where the vendors are from; the organizers don’t even display them,” she said. “When I went and asked people where they were from, so many were not from this area. There’s a good side to it — we get an opportunity to buy some things we don’t see around here — but as far as the local economic impact, that money goes to Iowa or the Twin Cities. Duluthians are in the minority at these fairs, and I don’t think it should be like that.”

Enter Woman-Made, an art and craft fair consisting of quality, locally produced items (at affordable prices, to boot), which Grethen is putting on the last Saturday in July at the College of St. Scholastica.

Woman-Made organizer Wendy Grethen performing at the opening of the Rainbow Center's recent art show. Matthew R. Perrine/Budgeteer News

“Duluth has a lot of live music going on,” the organizer said Tuesday at the opening of the Rainbow Center’s art show, “and I think an art fair is kind of live art. You get to meet the person, and I think that makes it more meaningful: You get to talk to them and find out how they came up with their ideas.”

While Woman-Made is in its first year, Grethen is no stranger to putting on fairs of its size (more than 25 Northland artists will be selling their wares next month): She put on three events in the fall — Get It Local, Get to the Point and Dulcimer Day in Duluth — and Treasures of the Earth, which was held in March, was “very, very well attended” despite not falling in a typical gift-giving season.

“I like the aspect of fairs, because it’s kind of a temporary town with a bustle of activity for a day,” Grethen said. “And people like to see new, unique things. At a store at the mall, you don’t see these types of things.”

While Grethen had trouble tracking down Northland women who specialize in mediums such as wood, glass and metal, she had a veritable influx of do-it-yourself jewelers. In fact, she regrettably had to turn away at least 10 jewelry vendors.

“It’s not a juried event, but I jury it in that I don’t allow too many of a certain kind — and then I check that they’re from the area, of course,” she said, mentioning that she also had to turn down a high-profile Twin Cities applicant. “She wanted the big booth, and it would’ve been nice to have that taken, but this isn’t for Minneapolis people.”

Despite the obvious drawbacks of an event being held for the first time — “It’s a risk for them, it’s a risk for me,” Grethen surmised — looking on the bright side isn’t too hard.

“There are economic benefits for artists selling their products directly: they don’t have to give the cut to a store,” she said. “There’s a limited number of stores where they can sell their stuff, and the consignment cut … here they get it all.”

Grethen, a freelance writer and videographer when she’s not putting together these events (and playing her beloved dulcimer, of course), can keep vendor fees under $30 because there aren’t any jury fees.

Perhaps because of this, she went on to say that many of the vendors at her fairs have been first-timers just beginning to explore their mediums.

“Just like a marathon can challenge a person to train,” she said, “with an art fair you have to get yourself ready and your products sellable.”

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NEWS TO USE
Woman-Made, an art and craft fair consisting of locally produced items, will be held from 10 a.m. to 4 p.m. July 25 at the College of St. Scholastica’s Somers Lounge. Call 525-5098 or visit www.greygreen.org/duluthfairs.

Downtown’s free concert series returns

Budgeteer Staff , Duluth Budgeteer News
Published Friday, June 26, 2009

Ladies and gentlemen, Rock the Block has landed. Just when you thought you were never going to catch a break, downtown Duluth’s free summer concert series comes storming back.

“This is the fourth year of the concert series and there was a real concerted effort this year to select bands that will get people out of their chairs and dancing in the street,” said Kristi Stokes, president of the Greater Downtown Council.

The party started Thursday with Don’t Panic, and it’ll be back every other week for your listening enjoyment.

Rock the Block kicked off Thursday evening in Duluth. Photo by Matthew R. Perrine/Budgeteer News.

This year’s Rock the Block lineup: Brandon Scott Sellner (July 9 near Dubh Linn Irish Pub), the Acceleratii (July 23, Score Sports Bar), the Lisa Wenger Band (Aug. 6, Grandma’s Sports Garden), the Centerville All Stars (Aug. 20, Aces on First) and, for the big season finale in front of Fond du Luth Casino, country star Neal McCoy will hit the cobblestone Sept. 3.

“When we first created the concert series, one of our primary goals was to get the downtown worker to stick around after the workday,” Stokes said. “But, instead, we got a bonus, because we were also finding many attendees who just decided to make a night out of it.”

And there’s more than just music.

“We provide a family-friendly venue that allows attendees to also enjoy the whole downtown experience,” Stokes said. “If they come out for the event, there’s still plenty of time to take in dinner or other entertainment options in our downtown waterfront.

“Special events really provide a great opportunity for our downtown waterfront to showcase what it has to offer.”

If you need any more information on this event, visit www.downtownduluth.com.

CD Reviews: Indie gems from in and around the state

Matthew R. Perrine , Budgeteer News
Published Sunday, June 21, 2009

Chin Chin parties like it’s $19.99

Sometimes the cover art just says it all.

Chin Chin's "The Flashing, The Fancing" (Definitive Jux, 2009)
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Such is the case with Chin Chin’s latest, “The Flashing, The Fancing,” which features Mindy Tucker’s iconic image of a sharp-dressed man (albeit a sharp-dressed man with one foot firmly planted on the floor of the discothèque) getting his groove on.

After the atmospheric, your-guess-is-as-good-as-mine album opener “The Flashing,” this much-hyped trio launches into “Stay,” one of the suavest retro articles ever issued. The song’s vibe isn’t just cool, it’ll have you up and dancing on your desk in no time. (Note to those unlucky souls who can see my office from Michigan Street: I’m sorry. I can’t drink at work, so my moves were bound to suffer….)

Even more rewarding is the next slice of groove pie, “Moments,” a more-subdued number that, ultimately, serves as this unexpected gem of an album’s calling card. Like most of the other “The Flashing, The Fancing” tracks, it’s decidedly influenced by the Me decade, but Chin Chin doesn’t pull a fast one on us and only pay homage to just one genre: The artists behind these songs have been soaking up a handsome array of the best sounds the ’70s had to offer, and what comes out in the wash is unadulterated aural bliss.

Don’t believe me? Next time you’re just relaxing at home with some close friends, slip on “It’s OK” and … well, I’m not saying it’ll turn into a key party or anything, but its leisurely tones will go hand in hand with your Tom Collins pitcher and sly party jokes.

As alluring as “The Flashing, The Fancing” is, what surprises me most about this album is that it was released by Definitive Jux, quite possibly the second-most-influential hip-hop label in the nation. (Its roster is comparable to that of Minneapolis’ Rhymesayers Entertainment, featuring such living legends as Aesop Rock, Cage and Mr. Lif.)

While label head El-P expertly pegged his last effort “a psychedelic Boogie Down Productions record” — and that is, by no means, a way to describe most rap music — Chin Chin’s out-of-place ways are more along the lines of RJD2. Musically these two acts are not the closest match, but that former Def Jux artist completely stunned a nation of hip-hop fans when he jumped ship to XL Recordings and released “The Third Hand,” a breezy indie pop record that was about a million miles away from his former output.

It wasn’t a bad record, but some people didn’t give it a chance because it was different. It was the sound of a talented musician evolving and trying to expand his repertoire.

I only mention RJD2 because I hope diehard hip-hop fans give Chin Chin a chance and, subsequently, for those about to dismiss this essential group because they’re on an “indieground” hip-hop label, think twice.

This is a record for many moods: Whether you’re scuffing up your keyboard ripping off hotter-than-hot moves you learned at Red Star or — there’s probably a better way to say this, but… — throwing a sexy party in your rec room, these stellar tracks will still be floating around in your head years down the road.

Get a free MP3 of “GG and the Boys” at www.definitivejux.net.

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Misc. covers Low, wins over our hearts

Like Def Jux head El-P, Badman Recording Co. label founder/producer Dylan Magierek rarely comes out of the shadows. But, when he does, you best be listening.

Utilizing longtime moniker Misc., Magierek has struck gold with “Happiness is Easy,” a grandiose ode to moodiness.

This album shares moments with such acclaimed artists as John Vanderslice and Low, moving from cathartic, somehow-enjoyable melancholy to cold-blooded murder ballads with relative ease.

Back to Low: Was comparing this beautiful new Misc. record to those of our hometown heroes an easy one? No, as I’m not a Sparhawk scholar by any means, but I thought it was one worth exploring — especially considering the fact that Magierek chose to cover “Sea.”

His reworking of the slowcore standard (from the Duluth group’s 1994 album “I Could Live in Hope”) is fitting, however: It matches the heavily medicated, somewhat-distant mood of the album, which was recorded between California and Oregon, and, considering everything else I’ve said up to now, it just works — and doubly if you agree with this vocal-comparison statement: “Yeah, Magierek does kind of sound like John Vanderslice….”

Anyway, while that Low cover rarely rises above the intensity of a well-executed North Shore excursion, Magierek does pick up the beat from time to time on “Happiness is Easy.” Standouts like “A Little While” and “Emmett Till” will never get confused for romper stompers from King Khan or the Black Lips anytime soon, but they wouldn’t necessarily kill a good mix tape’s buzz either.

We’ll call it “tempo purgatory,” because A) the only reason I got into journalism was to coin phrases that fall flat on their faces and B) it actually seems to work, since groups like Fitzgerald have all but established a genre in its name anyway.

And, hey, they have a dedicated legion of fans, so there’s a good chance others will hear what I hear in Misc. Magierek, I like what you’re doing with Badman, but I’d like to hear more sunshine-be-damned albums like this.

Listen to “Such a Fighter” at www.badmanrecordingco.com.

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Also released

Finally, America’s answer to the Proclaimers has revealed itself. The Wooldridge Brothers have everything going for them that those Scottish blokes do: a knack for producing jangly, inoffensive rock anthems that could conquer a number of radio formats; a squareness that borders on hipness; and a brother-brother songwriting team split between Milwaukee and Minneapolis. Oh … wait. Either way, the Wooldridge Brothers’ first studio album in a decade, “Days Went Around,” is a must-hear disc for fans of polished singer/songwriter fare (here’s looking at you, Storyhill obsessees) — and, yes, this means songs recorded by the Proclaimers. At least the ones that weren’t titled “I’m Gonna Be (500 Miles),” mind you. Best place to start? The Clash-does-Mellencamp tour de force “Does She Love Me Loud.” See www.wooldridgebrothers.com for the Brothers’ latest dates.

If I were a betting man, I’d have to say that Manchester, N.H., is no Seattle. Regardless, if you’re looking to fill a certain Alice in Chains-sized hole in your record collection (sorry, hapless reunions with a new lead singer won't cut it, boys), Vegas Temper’s “Molotov Season” is just the shiny piece of plastic for you. Album opener “Get it On” and standout track “Living or Dead” pack as much of a punch as anything those quasi-grunge rock gods put to tape. While these AiC comparisons may all but dry up when a slab of radio-ready platinum like “Shotgun” hits your ears, just remember: Layne Staley and Jerry Cantrell influenced a sea of hard rock bands, and every single one of them hit paydirt with songs exactly like this. I’m not justifying it per se, but you’ve gotta sell the cow somehow, no? Learn more about this group www.vegastemper.com.

I’ve said it before, and I’ll say it again: Brian Wilson is a musical genius without rival and the Beach Boys’ “Pet Sounds” is the single most influential record of our time. It has inspired countless musicians and, unlike those aiming to be the next Bob Dylan, they rarely disappoint. Following in the footsteps of such pop luminaries as the High Llamas’ Sean O’Hagan and the members of Splitsville, Minneapolis’ Jacob Swogger makes music so good you almost want to cry. The songs produced by this Umbrella Sequence member (as the Dusty Strobe Lights) on the “Summer” EP fill you with such a penetrating wave of glistening beauty that it’s almost unbearable. Remember the first time you got lost in the Polyphonic Spree’s “Soldier Girl” or the Format’s “Snails”? It’s a lot like that. While this four-track record is all too brief, I’m sure you’ll agree with me that more music should make you feel this way. Listen to samples at www.myspace.com/thedustystrobelights.