Neutral Milk Hotel, M. Ward, Superchunk @ The Forum Theatre, Melbourne (15/11/2013)
The years have been kind to Neutral Milk Hotel.
Now considered to be one of the most influential underground bands to come out of the 90’s, in the 15 years since the release of their second LP In The Aeroplane Over The Sea, and their subsequent disbanding, the band grew to such a state of universal acclaim and affection within music communities that it could be said this is one of the important reunions of a band since the turn of the century.
To see, and know, that Jeff, Julian, Scott, and Jeremy were once again playing together for the first time in more than a decade is almost as surreal as the music they create. And to say that it was a perfect representation of everything NMH are as a band is an understatement.
Strangely enough though, NMH weren’t the only band well overdue for a visit to Melbourne, with supporting act Superchunk joining them in the city for the first time in 17 years. Mostly playing songs from their newly released 10th album I Hate Music, Superchunk delivered a roaring and unabashed set of punk rock, the 46 year old Mac MacCaughan proving to be more than capable of keeping things interesting.
Personally for me the consistent distortion and whiney, but not too whiney, vocals did end up somewhat blurring into one another by the end of the set and didn’t manage to keep me interested the whole way though, but I still commend Superchunk for doing a pretty good job as one part of the opening sets.
Alongside the Superchunk welcoming party was indie rock, folk, songwriter, americana ambassador M.Ward. Ward’s performance was humble and at times slow, but his voice cuts through music unmistakably, his stage is presence fantastic, and he proved an enjoyable counterweight to Superchunks irrepressible energy.
Eventually, the interval music once again dipped, frontman Jeff Mangum stepped out on stage, and from that point onward, the audience was transfixed. Jeff is understood to be a reluctantly famous songwriter, declining interviews, asking for the audience to refrain from taking photos, and for good reason; the extensive touring the band undertook in 1998 took its toll on him mentally. As a performer, he is more a vehicle through which the music flows rather than a personality which presents it to you.
After suitably beginning with a performance of ‘King of Carrot Flowers’ parts one, two, and three, Jeff was joined on stage by the rest of the band. The set was mostly dominated by In The Aeroplane songs, with ‘Ghost’ and the following ‘Untitled’ being standout tracks, wonderfully performed within an inch of the bands life, as they gave their all in order to give as much life to the experience as possible.
Scott Spillane’s fantastic horn sections and his obvious love for the music had him dancing and singing along with Jeff as though he were one of the audience. Julian Koster’s child-like whimsy, meandering about the stage either with bass guitar or accordion was only interrupted by his beautiful wailing singing-saw sections. It was truly impressive, and a showcase of how tight the band are even while working with such organic and loosely surreal music.
One would think that nothing much has happened in the NMH writers room since the group disbanded in 1999 but one of the main highlights of the night was a revised, full band version of a lesser known track 'Ferris Wheel On Fire’, a beautiful song describing the fiery demise of a pair of lovers on a collapsing carnival ride. While it doesn’t share thematic similarities with anything off In The Aeroplane, it was one of the most beautifully realised live performances of a acoustic song that I have ever seen performed, with an amazing organ lead courtesy of Julian.
Another maintained element of NMH’s original sound, however unintentional it is, was the laboured and trying vocals of Mangum. I myself had the privilege of watching the group perform two nights in a row, and the second night showed me the toll that these performances take on a voice like Jeff’s. Honestly though, this only served to make the performances more endearing due to his ability to push himself to reach some of the more trying notes throughout the groups songs, and for this, I commend him.
If I had the chance to watch this group perform again, I would take it. If I had the chance to watch them perform every night, I would take it. Because the most powerful element of their music, the emotion, the surrealist lovers storybook that is In The Aeroplane Over The Sea, and the obvious musical connection that NMH’s members share with one another is not dead. After all this time it is still strong and beating, like the heart of these songs that have touched so many over the years. I am so glad that cynicism and half-heartedness did not win out in these performances, because I haven’t seen a band so give a performance so heartfelt and powerful in years.
Nick Kennedy
Now considered to be one of the most influential underground bands to come out of the 90’s, in the 15 years since the release of their second LP In The Aeroplane Over The Sea, and their subsequent disbanding, the band grew to such a state of universal acclaim and affection within music communities that it could be said this is one of the important reunions of a band since the turn of the century.
To see, and know, that Jeff, Julian, Scott, and Jeremy were once again playing together for the first time in more than a decade is almost as surreal as the music they create. And to say that it was a perfect representation of everything NMH are as a band is an understatement.
Strangely enough though, NMH weren’t the only band well overdue for a visit to Melbourne, with supporting act Superchunk joining them in the city for the first time in 17 years. Mostly playing songs from their newly released 10th album I Hate Music, Superchunk delivered a roaring and unabashed set of punk rock, the 46 year old Mac MacCaughan proving to be more than capable of keeping things interesting.
Personally for me the consistent distortion and whiney, but not too whiney, vocals did end up somewhat blurring into one another by the end of the set and didn’t manage to keep me interested the whole way though, but I still commend Superchunk for doing a pretty good job as one part of the opening sets.
Alongside the Superchunk welcoming party was indie rock, folk, songwriter, americana ambassador M.Ward. Ward’s performance was humble and at times slow, but his voice cuts through music unmistakably, his stage is presence fantastic, and he proved an enjoyable counterweight to Superchunks irrepressible energy.
Eventually, the interval music once again dipped, frontman Jeff Mangum stepped out on stage, and from that point onward, the audience was transfixed. Jeff is understood to be a reluctantly famous songwriter, declining interviews, asking for the audience to refrain from taking photos, and for good reason; the extensive touring the band undertook in 1998 took its toll on him mentally. As a performer, he is more a vehicle through which the music flows rather than a personality which presents it to you.
After suitably beginning with a performance of ‘King of Carrot Flowers’ parts one, two, and three, Jeff was joined on stage by the rest of the band. The set was mostly dominated by In The Aeroplane songs, with ‘Ghost’ and the following ‘Untitled’ being standout tracks, wonderfully performed within an inch of the bands life, as they gave their all in order to give as much life to the experience as possible.
Scott Spillane’s fantastic horn sections and his obvious love for the music had him dancing and singing along with Jeff as though he were one of the audience. Julian Koster’s child-like whimsy, meandering about the stage either with bass guitar or accordion was only interrupted by his beautiful wailing singing-saw sections. It was truly impressive, and a showcase of how tight the band are even while working with such organic and loosely surreal music.
One would think that nothing much has happened in the NMH writers room since the group disbanded in 1999 but one of the main highlights of the night was a revised, full band version of a lesser known track 'Ferris Wheel On Fire’, a beautiful song describing the fiery demise of a pair of lovers on a collapsing carnival ride. While it doesn’t share thematic similarities with anything off In The Aeroplane, it was one of the most beautifully realised live performances of a acoustic song that I have ever seen performed, with an amazing organ lead courtesy of Julian.
Another maintained element of NMH’s original sound, however unintentional it is, was the laboured and trying vocals of Mangum. I myself had the privilege of watching the group perform two nights in a row, and the second night showed me the toll that these performances take on a voice like Jeff’s. Honestly though, this only served to make the performances more endearing due to his ability to push himself to reach some of the more trying notes throughout the groups songs, and for this, I commend him.
If I had the chance to watch this group perform again, I would take it. If I had the chance to watch them perform every night, I would take it. Because the most powerful element of their music, the emotion, the surrealist lovers storybook that is In The Aeroplane Over The Sea, and the obvious musical connection that NMH’s members share with one another is not dead. After all this time it is still strong and beating, like the heart of these songs that have touched so many over the years. I am so glad that cynicism and half-heartedness did not win out in these performances, because I haven’t seen a band so give a performance so heartfelt and powerful in years.
Nick Kennedy