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Last December we took pride in posting about the Minneapolis Symphony Orchestra’s 1958 recording of Tchaikovsky’s 1812 Overture, which is a remarkable record for both artistic and technical reasons. Fans of Tchaikovsky are certain to have recordings of the Minneapolis Symphony (today the Minnesota Orchestra) in their collection –in addition to making the first recordings of the 1812 Overture to include the bells and cannons as originally composed (in mono in 1954 and stereo on that second recording), the Minneapolis Symphony produced the first complete recordings of the composers three magnificent ballets.

All of these recordings were made for Mercury Records during Antal Dorati’s eleven year residency as the Orchestra’s conductor — he is often regard as one of the finest interpreters of Tchaikovsky’s music on record, later conducting recordings of all six symphonies with the London Philharmonic, but the recordings he made at our own Northrop Auditorium are still regarded as some finest you’ll ever find. You have likely seen a copy of their 1812 Overture since there are more than a million of them out there. The gold record awarded by the RIAA hangs today in the office of current musical director Osmo Vänskä.

Because we are the best place to live in the entire world, the Twin Cities is home to not one but two world-class orchestras. The other is the Saint Paul Chamber Orchestra, which is the only full-time professional chamber orchestra in the United States. The SPCO is every bit as awesome as the Minnesota Orchestra — each has in the past decade or so tackled the monumental task of performing Beethoven’s nine symphonies, and each has made many albums which are both best-sellers and critically acclaimed.

As the Minnesota Orchestra was, in its Minneapolis Symphony days, associated with Tchaikovsky’s three ballets, the SPCO has a deep connection to one written by another composer. It happens to be one of our favorite pieces of American music.


The Saint Paul Chamber Orchestra’s July 1979 recording of Aaron Copland’s ballet Appalachian Spring was awarded the Grammy award for best chamber music performance, an honor only slightly sullied when then two-year-old Kanye West insisted it be taken away and given to Beyonce. Its a beautifully paced interpretation of the ballet, and a uniquely-engineered recording, making it of enduring interest to collectors. The record was made at the Sound 80 studio here in our neighborhood, overseen by engineer Tom Jung. The conductor was Dennis Russell Davies, a Juilliard graduate who spent eight years directing the SPCO, and is currently with the Symphony Orchestra in Basal in Switzerland.

On the flip side is presented Three Places in New England, one of Charles Ives’ most popular and distinctive pieces. That same July, the SPCO also recorded Schubert’s fifth symphony, and a third album by jazz group Flim and the BB’s was produced using the same 50.4 kHz digital recorder as a alternate to the intended direct-to-disc lathe. These three records are the earliest digital recordings made at Sound 80, and among the first digital recordings made for commercial release anywhere.

All three are of interest to audiophiles and record collectors, but the SPCO recording of Appalachian Spring is also a welcome return-to-form for the fine piece as well, as it is presented in Copland’s original instrumentation for a small chamber orchestra of thirteen musicians. While it had been awarded a Pulitzer Prize for Music after its debut in 1944, it is usually performed in an a weightier re-orchestration first composed soon after and popularized by Leonard Bernstein.

Copland himself conducted a revival of the original arrangement a few years earlier, commissioned by Columbia Records as part of its hit-or-miss “Copland Conducts Copland” series, a recording which likewise captures the earthy appeal unheard in the overlarge orchestra suite. As originally planned, his the ballet — which a bemused Copland often remarked was not inspired by the rolling mountains of Appalachia — presents a pastoral setting characterized by an inspiring sense of community and optimism. It is, along with his other ballets and his incidental music for Our Town, definitive Americana, while also something very much like our own version of Beethoven’s sixth symphony.

Until it was suggested he borrow its title from a Hart Crane poem, the piece was simply his Ballet for Martha, as he was working with legendary choreographer Martha Graham. In short it is the story of a congregation building a farmhouse for a pair of Pennsylvania newlyweds. Graham had commissioned Copland’s composition for a performance in the hall inside the Library of Congress, and its size determined his decision to arrange it for a small chamber orchestra. Like what we learned looking into the history of Tchaikovsky’s 1812 Overture when posting the Minneapolis Symphony’s recording, the final score was influenced by utterly pedestrian circumstances.

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The SPCO has performed Appalachian Spring as recently as on year ago, where it was conducted by Steven Schick (a recording of which you can hear here). Their original recording with Dennis Russell Davies on the Sound 80 record remains a monumental moment in Minnesota music, in many ways just as remarkable as the Dorati recordings which put the Minneapolis Symphony on the map in the fifties.

This weekend the SPCO will be performing Schubert’s Quartet in D Minor, Death and the Maiden, along with other pieces featuring violinist Patricia Kopatchinskaja. There is a free open rehearsal tomorrow afternoon.

We’re very excited to welcome Tuscon, Arizona folk singer Karima Walker to the shop for a performance on Wednesday night. She will be joined by Sterling Roots and Crow Call, one of our favorite local traditional groups. Today’s post is for them. Details about the show can be found on our events page here, and on Facebook here.

Crows lent their latin name to the constellation Corvus, a quadrilateral pattern seen in the southern hemisphere near Virgo and Hyrda. Its largest star is Algorab, which is the Arabic word for crow. Writing in The Fixed Stars and Constellations in 1923, Vivian Robson characterizes the star by its “destructiveness, malevolence, fiendishness, repulsiveness and lying.”

Crows have been with us since the dawn of history — Ovid claimed it was Apollo’s ire which made their feathers black, and aboriginals in Australia believed the birds performed the promethean task of the theft of fire itself. Crows are, in some ways, second to dogs as our first friends — although they remain distant relatives. Recent studies have proven crows can recognize and recall individual human faces. Its possible they can report to others the worst of us — crows may be one of the very few non-human animals capable of displacement, meaning they can communicate about things that are happening in a different spatial or temporal place than their current location. Crows can tell stories.

Creatures in the corvus genus has one of the highest measurements of relative brain size in the world (this is called the encephalization quotient, in case you’re wondering). In fact, we’re finding crows to be a smarter and smarter the more we study them, even capable of understanding causality, as demonstrated in this experiment.

While it was once believed crows lived for centuries, their actual lifespan is about twenty years — a captive crow named Tata was believed to be fifty-nine when he died in 2006, as reported in the Washington Post. Most crows are monogamous, and offspring remain with a breeding pair for several years to help protect the nest from raccoons, snakes and cats. Their communal roosts, commonly called a murder, can include as many as tens of thousands of birds. The poor residents of Danville, Illinois are believed to be outnumbered 4-to-1 by crows.

Crows are naturally curious and playful, clear signs of their intelligence. They will often toy with inedible objects such as litter, but they do not steal and collect shiny objects as is sometimes said. They would best be described as scattered hoarders, since they don’t keep their treasures in a single location such as a nest.

Inventor Joshua Klein presented a vending machine for crows at a technology conference in 2008. The crows would learn to pick up garbage and receive a treat in exchange. The indigenous crows on the island of New Calendonia create their own tools for extracting insects. Hooded crows in Israel have learned to use bread crumbs as fishing bait. Farmers have crafted a variety of traps to test the intelligence of crows for centuries, creating the anecdote of the counting crow. No account suggests any corvus could count as high as seven, however, as in the last song on the Counting Crows’ first album, August and Everything After.

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“A Murder of One”

The band likely takes its name not from crows who count, but from a once-familiar nursery rhyme. One could count crows to receive a premonition of the future. Here is one variation, which you’ll recognize reflected in the song.

One for sorrow, two for mirth,
Three for a wedding, four for a birth,
Five for silver, six for gold,
Seven for a secret not to be told.
Eight for heaven, nine for hell,
And ten for the devil’s own self.

Given the crow’s role in human mythology and superstition, it’s not surprising they appear frequently in our music. For instance, one of the strangest songs on the early Dylan albums is “Black Crow Blues,” notably for being the first on which he accompanied himself on the piano.

another side of bob dylan


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“Black Crow Blues” by Bob Dylan

Its surprising how the song presages Dylan’s sound from the late sixties and early seventies, where his jaunty and idiosyncratic piano style steps to the fore. That an alternate version more in the style of the other songs on Another Side of Bob Dylan was left on the cutting room floor suggests he was already interested in expanding the range of folk music as early as his second album.

crowFans of local music surely remember Crow, the bluesy rock band from the late 60s whose early hit “Evil Woman” was covered by Black Sabbath. Crow has broken up and reunited several times over the years. The cover of their second LP, Crow by Crow, depicts a gigantic crow as a member of the band.

A “black bird” plays a lead role in the second song on Brian Laidlaw’s extraordinary concept album about Bonnie and Clyde, Amoratorium. A crow is seen on the cover of the album.


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“Know my Rider” by Brian Laidlaw

The crows in Walt Disney’s Dumbo were endowed with wit and insight, and while it has been suggested by some that their appearance is representative of endemic racism in classic Disney cartoons, it should be noted they are the only characters besides Timothy the Mouse who treat Dumbo with kindness. The tragic singer Cliff Edwards performed the lead on their song, “When I See an Elephant Fly.”

This last song is from Crow Call, who inspired this little expedition into the spooky awesomeness of our black feathered friends.

10407062_566209380146176_5038564613021826923_nThey’ve described this song from their self-titled debut disc as being “about crows as messengers, being aware of their presence as harbingers in our lives and listening to what they have to tell us.” We chose Crow Call as one of our favorite local albums of 2014, but our previous posts about the disc have hardly hit on its eerie darkness. “They Know” is a fine example of how their music feels like Black Sabbath if filtered through Charlie Parr.

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“They Know” by Crow Call

Wednesday night’s show here at Hymie’s starts at 7pm and features The Sterling Roots, Crow Call, and Karima Walker from Tuscon AZ. While shows at Hymie’s are usually free, we are asking for a $5 donation since there is a touring artist on the bill.

Five years ago we moved the record shop five blocks east, and we’ve celebrated the anniversary each year with a block party on 39th Avenue! It also happens to be Record Store Day.

Saturday April 18th we’ll present fourteen of the best bands in town on two stages, and welcome a wide variety of local artists to set up on the street outside the building we share with the Blue Moon Cafe. We’ll have an awesome selection of special, limited-edition Record Store Day releases, plus all kinds of rare records we’ve been saving for the occasion.


Our new neighbors, Peppers & Fries, will be providing delicious scratch-made burgers and burritos, as well as pouring tasty pints on their patio across 39th Avenue. What’s more our old friends at the Frattallone’s Ace Hardware across Lake Street will have all kinds of fun, family-friendly activities.

Once again the awesome sounds on stage will be mixed by Mother of All Music, and the one and only DJ Truckstashe will spin every jam you can imagine between sets, and those local music lovin’ folks from Radio K will be here too!

As we’ve done in the past we’ll be clearing out the storage space and put crates n’ crates of FREE RECORDS on 39th Avenue!

Local artists you’ll find at the block party will include cartoonist and printmaker Dwitt, ceramic artist Benjamin Krikava from Fire on the Greenway and Vinyl Afterlife.

Best of all will be the bands…there’s not a single person performing this year we wouldn’t call a friend, and there’s not a single act we wouldn’t call one of the best in town. Here’s what you’ve been waiting for, our Record Store Day 2015 lineup…

HymiesRSD15 Chastity Brown

Nato Coles and the Blue Diamond Band

The Dumpy Jug Bumpers

The Ericksons

Barbara Jean

Jack Klatt

Brian Laidlaw and the Family Trade

Lutheran Heat

Jake Manders

Mike Munson and Mikkel Beckmen


Southside Desire

Whiskey Jeff and the Beer Back Band

Wizards Are Real

Once again, that’s Saturday April 18th. Free live music on two stages throughout the day, plus crates n’ crates of special Record Store Day releases!

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“Record Machine” by Pennyroyal

A few weeks ago we posted “Jitterbug Waltz,” one of our favorite Fats Waller melodies, and wrote about his role introducing the Hammond organ to jazz. He was an accomplished keyboardist, comfortable at the Hammond, the piano, and the pipe organ as well. He formed the bridge between ragtime and stride piano and modern jazz.

fats waller

what did i doAlong with “Jitterbug Waltz,” Waller composed many jazz standards, the most well-known of which are “Honeysuckle Rose” and “Ain’t Misbehavin’.”He and his longtime collaborator Andy Razaf also wrote “What Did I Do to be so Black and Blue?” for the Broadway show Hot Chocolates, which is distinguished as an early protest song reflecting on race relations in America. It was a hit for Ethel Waters and for Louis Armstrong (whose recording you’ll hear below), and was prominently featured in the prologue of Ralph Ellison’s novel The Invisible Man. “At first I was afraid,” begins Ellison’s unnamed narrator,

this familiar music had demanded action, the kind of which I was incapable, and yet had I lingered there beneath the surface I might have attempted to ask. Nevertheless, now I know that few really listen to the music.

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“What Did I Do to be so Black and Blue?”

Fats Wallers’ final recording session in 1943 featured a white musician, trumpeter Don Hirleman, at a time when integrated groups were rare. He died of pneumonia while traveling that December, and was remembered by more than 4,000 fans at his funeral in Harlem. It was said at the time “he always played to a packed house.”

As extraordinarily talented as Waller was as a composer and performer, he was also a consummate entertainer, known for his jokes and interjections during performances. The many sides he recorded as a singer capture his humor. These two tunes are from a single August 1934 session, included on the Bluebird collection you see up above. We are especially fond of the second one.

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“Then I’ll be Tired of You”

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“Don’t Let it Bother You”

The reason we chose to write a little about Fats Waller again today is that the Southside Aces will be performing his music, with special guest Mike Polad on the keyboard, tonight at the Minneapolis Eagles Club #34. It’s part of their ongoing second Thursday residency there, which we featured when they released their disc of the same name earlier this year. The music starts at 8pm (details, if you’re all about Facebook, here) and we highly encourage fans of classic jazz to check it out.

Here at Hymie’s we’re known to have old fashioned taste at times, even though we were recently singled out as Taylor Swift fans by Gimme Noise. We think, however, there’s a distinction between appreciating the traditions upon which our contemporary music is founded, and being bound to them. We have always had, for instance, a love/hate relationship with Wynton Marsalis, the trumpeter whose work is sometimes inspiring but whose neo-classical approach to the art form leaves us feeling stuck. And Lord knows its unpopular when we criticize ol’ sacred cow Jack White, but the truth is a performer doesn’t need to record on expensive 1/4″ tape or own a guitar which belonged to a long-dead bluesman to find their own place in the American musical tradition. In fact, all of the trappings of those retro settings favored by well-heeled traditionalists seem to staunch innovation.

See there are people writing new songs in old formats all over the country, and few musical traditions in America are truly endangered. This was the spirit at the heart of hip hop in the heyday of license-free sampling: using something old to make something new. The people creating those early beats were using turntable because they were the only ‘instruments’ available to them, which was extraordinarily clever. The ‘entry fee’ to American roots music remains strikingly low, for generations people have used what they can afford: a hand-me-down violin, a borrowed guitar or those remarkable inventions the jug and the washboard.

Anyways, we do recommend Taylor Swift’s 1989. although we’d encourage you to check out some of the various albums on our favorite local releases of 2014 list first — it includes a wide variety of styles and genres, and is incidentally not limited to releases which came out on vinyl, because good music is good no matter the format. We’ll always have a sweet tooth for old time American roots music, and that’s why we have so much enjoyed this disc by The Yellow-Bellied Sapsuckers, a duo who leave us with a sense of old radio and acts like the Skillet Lickers or dear ol’ Doc Watson, but who has have presented on their second album a collection of memorable new songs.

yellow bellied


An actual Yellow-Bellied Sapsucker is not a Yosemite Sam epithet, but a migratory woodpecker with a red cap and, you guessed it, a tint of yellow to their bellies. They’re protected by the Migratory Bird Treaty Act, ensuring them a safer future than, say, waltzes and polkas, which aren’t exactly burning up the charts or inspiring the tweens these days.

Nikki Grossman and Joe Hart, the duo billed as the Yellow-Bellied Sapsuckers, perform just those sort of social dance tunes on their second disc, Ocooch Mountain Home. You might think they’re standing off in some timeless rolling hill of Appalachia on the cover of the disc, but the Ocooch Mountains are actually in nearby western Wisconsin, some of the most beautiful land in the midwest and home to the Ark art center, a converted church where they recorded. The sparse arrangements on Ocooch Mountain Home are a warm blend of Appalachian music and midwestern folk roots.

Their “Goodbye Polka,” for instance, won’t have you changing into lederhosen, but it does skip along at a familiar 2/4. The original tune reminds us of the Cactus Blossoms‘ “Traveller’s Paradise” (which we thought of as ‘the goodbye song’ when we used to spin 45s during their Turf Club residency). A hidden track beyond this farewell is a cover of “Summer Breeze” by the fairly obscure Irish group Dr. Strangely Strange, which finds the Sapsuckers sounding as much like a drawling Uncle Tupelo as Old World folkies.

Their original tunes from the Ocooch Mountains are our favorites on the disc, especially the bright and sweet “Get a Good Grip on my Heart,” a duet which features accompaniment by our pal Patty Harison on his faithful accordion, and this fantastic waltz which could well have come from either Harry Smith’s Anthology of American Folk Music or Defiance, Ohio.

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“The Broke (Ass) Waltz”

Here and there Grossman and Hart harmonize as sweet as honey instead of the rougher delivery that puts them not so far from folk punks like Defiance, Ohio. On “Ballad of Will Wing” they sound more like the Anglins than anything contemporary. The variety keeps Ocooch Mountain Home from feeling stale. There’s some great stories in that tune and in “Ghost of the St. Louis Blues,” as well as some lilting dance numbers featuring Grossman’s fiddle and even an American Graffiti-type pop gem in Ronnie Dove’s old hit, “Kiss Away.”

This is what we meant when we wrote earlier that we’re glad there are people writing new songs in old styles, and its the sort of music that has quietly built a healthy following here in the Twin Cities, and their release show is fittingly scheduled for the Minneapolis Eagles Club #34, which has the finest parquet dance floor in town.

The Yellow-Bellied Sapsuckers will release their new album Ocooch Mountain Home this Friday, March 13th, at the Minneapolis Eagles Club #34. Also performing is Jack Klatt, who recorded his upcoming LP at the Ark alongside the Sapsuckers. More details here.


It’s been several years since Jake Manders released his self-titled album, which quickly became a favorite around here for its rootsy melodies and colloquial themes — each song seems to have a story behind it, but Manders is the sort of storyteller who leaves some details out to tempt your imagination. And that’s what kept us listening.

Just last summer we posted that we’ve been waiting too long for another, and it turns out he was recording his second album up in Northeast with Paul Flynn (the awesome engineer who has been doing some great work at The Space with some of our favorite local groups). Now ready to be released this Friday, Manders’ Acoustic Frequency is similar to his first album but the songs feel fuller, and more confident.


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“You Could be the One”

On Acoustic Frequency Manders is joined by Gretta Hunstiger, who has been playing fiddle with him for a while, including here at Hymie’s, as well as percussionist Daryn Christensen. There are otherwise fewer guest appearances than on his first album, but the new songs have a faster feel and bigger sound. On the first track, “You Could be the One,” you’re hearing Liz Draper on the upright bass. On one of Manders’ most ambitious songs yet, “I Am,” Erik Struve plays the bow bass. Other songs on the album feature Flynn and Tim Houlihan on dobro.

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“I Am”

Manders’ songs are a little denser and darker on this second album, but still have the quiet backstory that piques our interest. Christensen’s thumping bass drum lends an urgency, especially on our favorite track, “Chance Saturday,” which propels itself with an Old World drive, and in the second verse of “Here Today Gone Tomorrow.” Having played with Manders for so long, Hunstiger’s playing fits into his songs intuitively. Her supporting role is sometimes overshadowed by the harmonica, but is pretty essential to the sound of songs like that second one. She also has some standout solos throughout the album, stealing the show in an instrumental number on the second side and closing “Blind to See” with a memorable rising motif.

That song seems to be at the heart of Acoustic Frequency, in which the theme of finding one’s place in the world is placed against Manders’ background as an artist and an art teacher. He approaches the subject with confidence on some songs (“Worth Fighting For”) and anxiety (“Judgements”), but in both setting seems to struggle with the past. The details of the unspoken backstory aren’t important, because the album is about the day to day experience of accepting the person you are and the life you’ve made. Manders’ efforts to live in the moment reminds us of Charlie Parr’s “Over the Red Cedar.”

“My life is now suddenly complete,” he sings in the last song on the album, shortly after wishing he could disappear. Like several earlier songs, “Phantom” is about making peace with the past and moving forward. The song closes with a lovely ensemble arrangement. It’s a great piece of music and a moving conclusion. In “Phantom” Manders sings about walking in his neighborhood, which is also our neighborhood, and even says he’ll “shake it off,” which is awesome. That’s a great idea.

The record release show for Acoustic Frequency is this Friday evening at Patrick’s Cabaret. Baaron (featuring Ben Lubeck and Aaron Markson of Farewell Milwaukee) will open. $10 cover and free cd for the first fifty visitors (the album is also available on LP). Details on the Patrick’s calendar here, and on Facebook here

Looking into the long history of Rank Strangers, who played their first local show at the Uptown Bar’s “new band night” twenty-five years ago, isn’t as simply surreal as falling into Lewis Carroll’s rabbit hole — its like trying the explain the experience to someone who thinks you’ve had too much to drink. And Mike Wisti, who has fronted the band since its inception, hardly helps since he seems to enjoy the unexpected as much as we enjoy the scattered albums throughout the band’s storied career.

Any conversation with Wisti might take convoluted turns and quickly end up miles from Die Tucke des Objekcts, the last Rank Strangers album, which was released in 2009. Reading interviews with Wisti, let alone speaking with him yourself (which Dave did for City Pages a couple years ago) offers something deeper than the absurd rabbit hole — even his most casual observations are laced with insight and wit that take far longer to work through your system than a cake which says “Eat me” and makes you big.

Wisti’s journeys into the unexpected have made him one of the most successful recording engineers in the Twin Cities — his Albatross Studio has lent its subtle immediacy and warmth to several of our favorite records of recent years. And its wound Rank Strangers up tight with three albums’ worth of new songs. The first, Lady President, was delivered to record shop just before the new year, and the band has begun an ambitious series of in-store performances (they’ll be here Sunday afternoon along with the Union Suits) with the remaining releases planned for this fall and winter. If it seems like a lot all at once, it may be because Rank Strangers haven’t released an new record for several years.

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“When the Pendulum Swings”

rank strangersThe band has seven albums and a series of scattered singles under its belt — and was once said to have been scouted by major labels in those heady mid-90s when that might have actually meant something — hard as it is to imagine Mike Wisti as a big label character like Craig Finn, we sure would enjoy his Spin interview. Music writers have wondered why this band isn’t famous for years, all the way back to an epic 1996 portrait by Brad Zeller, one of our favorites critics. They responded by writing a song about it.

Whether or not Wisti would still go over Niagara Falls in a barrel, Rank Strangers are as inventive as ever on Lady President, “unconnect[ing] the dots and utiliz[ing] the element of surprise,” as they say. To our pleasure, the album is less rooted in the Guide By Voices less-is-more/more-is-better lo-fi foundation, and built upon surprisingly familiar bases. “Its a Riot,” for instance, starts like an outtake from Armed Forces but becomes a striking recreation of a 70s Kinks song.

The maddeningly dense lyrics — typed out on an insert which looks like a lost section of “Industrialized Society and Its Future” — find the band less confrontational than on Die Tucke des Objekcts, almost a little weary with the opening two tracks, “When the Pendulum Swings” and “Children of the Czar.” The first introduces a “Burn Down the Mission” mentality which returns on the second side with “The Last Piranha,” and the second seems downright resigned. Both are built on bright melodies which belie the often oppressive alienation in the lyrics.

Like Feste, the clown in Shakespeare’s Twelfth Night who “is wise enough to play the fool,” Rank Strangers don’t follow the same rules as the rest of the cast. Free to say anything without consequence, the band subtly mocks herd mentality in “Ringtones” and outright dismisses the King’s authority in our favorite track on the album, “The Governor.” Its joyous declarations accented by unexpected angular changes and a at one point an interplay between a guitar perfectly fuzzed and another magically, mysteriously melodic.

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“The Governor”

Duality drives much of Lady President, in lyrical references to the birds and the bees, shirts and skins and the Tin Man, but also in arrangements like “The Governor.” For a band which rarely follows conventional song structure, Rank Strangers seem consistently in tune with the concept of counterpoint — employing it in an almost-baroque tradition, for instance, with the relationship between Wisti’s vocal and bassist Davin Odegaards’ line in “Its a Riot,” while at the same time telling us in the chorus “its so old its new.”

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“Ivan After 5″

Last year the band put out a sampler CD, and posted the cover art for Lady President and its two sequels, Ringtones and The Box. We’ve already posted on the precarity of releasing multiple albums at the same time (or in sequence), and increasing your total catalog by 20% seems audacious (we estimated there, but we expect Wisti is going to do the math and let us know the actual number). We just don’t believe the next two records will be as this one — they must have stacked all the best tracks on this first album!

Rank Strangers second record shop performance to promote the release of Lady President is here at Hymie’s this Sunday at 4pm. The Union Suits will be playing an opening set. 

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