Flanfire

Future Wardrobe Summer Clouds?
My good friend Jonny Sanchez (who tunes my piano!) I first met as a founding member of Future Clouds and Radar -- and about the time the Summer Wardrobe's first record was being released. Recently I saw Robert (with Darin Murphy at the Mohawk) and Jonny (old FC&R photo from Ego's) playing on the same night for the first time in years -- but of course at different venues! Both of these creative guys have new records out with their bands, so it only makes sense to review both at the same time.


Future Clouds and Radar -- Peoria
There may be little more to say about the FC&R record, given the amazing writeup for the band in a recent Austin Chronicle -- but suffice it for me to say that Robert initially brought together a bunch of highly talented individual players and just let them grow into their roles in this band such that the sound has evolved organically over time. When Jonny left to focus on the Wardrobe, Robert just took over the lead guitar work. Josh Gravelin has given way to Joshua Zarbo who seems to have a light turned on as he plays his lines. Murphy took a brief leave of absence (I recall one night seeing Nina Singh on drums) but is back with his great voice and steady beat -- and the beautiful (and preggers) Hollie Thomas continues to bring that same mystique to the keyboards that I recall from her Halloween performance at the American Legion Hall a couple of years ago. Kullen Fuchs shows up when he can to add ambience (that is, trumpet, various keyboards, accordian, and whatever fits the mood).

To the fray. On the surface, the lyrics here speak of mortality -- the Chronicle's Austin Powell says the album brings "into question the worthiness of mortal accomplishment and mainstream acceptance." He also shows us a possible why -- Harrison's break from live music after the demis of his former band Cotton Mather. How can you live when your music, your very soul, is smothered or, worse, ignored? What makes your life worthwhile -- the recognition by others of your contribution, or is the experience of co-creating with the Eternal One enough?

"The Epcot View" -- "this dream's a self-made light show where some dark prince shall exhort us into battle licking the bones of his very last foe..." We are talking here again about the thane of transcendentalism whose house studio (the Star Apple Kingdom, same as the record label) is Harrison's version of Walden Pond. Old Edmund Ruffin is a real historical figure -- an ardent supporter of secession who took his own life after the war ended. Harrison grew up in Alabama (aka the Heart of Dixie) ... at a time when the longing for the Old South was still passionate. Or, in other words, if the product of our life is meaningless (or even negative?), what then do we do next? Thankfully, Robert's answer was to get up and get going again.

And why not? "Feet on Grass" suggests that, "they're gonna round us up and embezzle the loot, throw every model citizen under the jackboot -- and they'll shoot!" [Can anyone say, Ohio National Guard?] You have to resist the death culture! "Mummified" is a powerful description of the frustration of creation not recognized -- "beneath the ground, but I'm alive, I see you and I'm mummified." And, yes the music has an Egyptian flavor. "18 Months" continues the theme -- "I spent 18 months buried alive...." But the energy has returned, and you know we are talking past tense .. as he urges us to "feel my breath, join my fight." Anyone thinking of giving up? Play this record and dance all night to it -- this is good therapy. The anti-Jim Morrison.

"The Mortal" is a warning -- "the bereaved were so praised that idols were made and we all crawled like dogs straight from cradle to grave." Rather, we should "let each kingdom crumble until the one will shall be done .. that's the work, that's the real work." And the music here is a solemn march -- that extends into track 7. "Follow the Crane" is Robert talking to himself, "You're back. You took a break, follow me down right past the world right to here, a home where love can never sleep." And so he did -- and we are all enriched by that journey.

Now I got down to the Saxon for the band's CD release party and saw them again this week (without Kullen) at the Mohawk. Both sets were awesome -- and the band opened for Alejandro Escovedo at Antone's this week as well. Lots of songs from the double album from two years back that was so well received -- and I still kick myself for missing the show with the Tosca strings and East Side Horns and who knows what all else (at the Parish). Whenever you need to get outside the drudgery of everyday and remember your dreams, go see Future Clouds and Radar -- and tip the band extra well. They are MUCH cheaper than your shrink!

The Summer Wardrobe - Cajun Prairie Fire
Hidden in the crevices of the CD jacket to Cajun Prairie Fire is a tall tale of the Cajun Ocotillo Sundown and his travails and travels out west from the land of crawfish. There is real truth somewhere within these stories, and yet the discovery is less important than the music itself. Jonny Sanchez and his bandmates -- Marty Hobratschk (bass), George Duron (drums), and John Leon (pedal steel) once again have brought joy to the hearts of their fans with eight songs straight from Jonny's own journey [including a well placed cover of Roky Erickson's "Mine, Mine Mind"]. Mark Addison is also back as producer, and on occasion live (as for example at Lovejoy's one fine October night) one might find Kullen Fuchs or Claire Hamilton joining the band to liven up the sets. I have even see Addison himself on stage (at a most memorable show at Ruta Maya when Leon was otherwise engaged).

The combination of Sanchez's own guitar virtuosity and Leon's flexibility on the pedal steel join to create a unique sound -- with lots of reverb, lots of crescendos, and lots of bravado. Now the band has been playing most of these songs for quite a while -- and so for me the CD itself has some familiarity. But this music just does not get boring -- or old. I mean - "Baby Let's Switch Graves" and "When You Died" -- this is after all an imagination up there with that of the afore-mentioned Robert Harrison. And just as serious a guy underneath it all. Every Wardrobe show is a blast -- and one may wonder whence the lion and the witch.

"Highs in the Mid-90's" IS new for me -- gritty and rough, with the line "good wasn't good enough" to get us thinking. Over six minutes long, much of which is blazing guitar! "Ocotillo Sundown" is as smooth as silk, with lots of pedal steel, as Jonny sings that "everything revolves around the hammer and the sickle" (see liner notes). "Cajun Prairie Fire" is luscious, psychedelic music, with Duron's drums creating lots of space for the twin leads -- and what leads! "Is this a dream? Is this a lie? (followed by another one)? Is this the end?"

Gotta quickly mention the artwork on the jacket -- by Victoria Renard (who also took the photos for the band). Lots of symbolism -- some palm reading notes included. "Graves" is like New Wave power pop with a driving beat and very singable lines that you can dance to (while switching graves, what better than to dance on them?). I think David Bowie would want to cover this one. "Venus of the Merchant Marine" is also new to me -- starts off as a march (amazing how both these bands are feeding off the same themes while being so distinctly different at the same time). Lots of power chords make this a very rich number -- with a pungent lead line as the chorus (who needs words?). I am thinking velvet cream cake. With sorbet or better yet, gelato. And espresso. And moonlight.

The subtle shift into "When You Died" leads to an opening shocking statement -- just who are we talking with here? By this time, of course, who cares what Jonny is singing about -- you are so mesmerized by the music. But then again it IS Elevators music -- 6-1/2 minutes of pure acid rock. And after all, Jonny and the guys DID serve as Roky's backing band for the past year or so (including last Halloween in Hollywood). "One Longtime Feeling" opens with Jonny on acoustic guitar and nothing else, adds quiet drums, and then the pedal steel (and a subtle bass) -- this is the song with the best connection to Sparkle and Fade and the feel of the band's debut CD. You will have to buy the CD and read the liner notes (sorry, guys, downloading will just not do!) to get the band's own take on this song and its relationship to the saga of Ocotillo Sundown the Cajun revolutionary ... but all the clues are in the song itself and its impact on our souls.


The Flanfire Follies