Wax Ecstatic

I'm not sure if you've heard... vinyl is back.

CD shoved past vinyl in the late 80's, relegating the survival of the format to audiophiles and DJ's; now, in what might be a "Rocky"-type comeback, vinyl may now be spelling the end of CD's.

Yes, that's right. Those same large black coasters that have existed in your domicile primarily as nostalgic references to a time gone by... are now potentially pushing their commercial successors out of business. For the first time in the last 20 years, sales of vinyl are going up significantly.

How is this possible?

This is how we got here: in the past ten years, people who wanted the flexibility of music in an electronic format have turned to mp3's, which has (for quite some time) been driving CD sales downward. As the convenience that CD's has offered has been supplanted by mp3's, the audiophile vinyl-only purists (living amongst us like recessive genes) have kept the format on life support, evangelizing that a CD could never match the richer sound quality of an album.

So now we've come to the tipping point, where audio purists are becoming a larger segment of the record/CD-buying public. Don't believe me? The next time you go into Newbury Comics, look at the vinyl section. It's growing.

But the proof is in the pudding. Having owned it for six months, it seemed like the right time to finally open the wrapper on the LP version of Bob Mould's Body of Song. I was shocked at how much fuller the sound was than on CD (the song "Paralyzed" in particular). So, a few weekends back, Scott, Bubba, and I got together to take a larger listen for ourselves. Cranking the stereo (with Mrs. Snilch Report wisely taking cover at the Jersey shore), we ended up finding that the music did sound at least as good, and often better, on LP than on CD. A few notables:

• Hüsker Dü - Warehouse: Songs and Stories. (1987) I always wondered how this band went from a small label to a major, yet saw the quality of its mastering plummet. Well, here is the answer: the CD mixes were crap, the vinyl mixes were great. I've been listening to "Could You Be the One?" for 20 years now, and swear it never sounded as good as when I heard it on record. The drums sound much less tinny, the guitar much more rounded and full -- it's almost as if the album was originally "digitally sanitized" for CD. The other Hüsker albums we sampled (Metal Circus, New Day Rising) were also better than their CD counterparts, but not as strikingly better as Warehouse was.
• The Dandy Warhols - The Dandy Warhols Come Down.(1997) This was a complete shock. I've always preferred their self-titled 1995 debut as an album front-to-back, and (confession time) I even made this CD a Sell-back Pile 1 victim. On vinyl, I was finally hearing the album as it should have been presented. It has a much fuller sound and a much better bass response than its CD counterpart, which is key to the their sound. My impression now? It's a totally dynamic album, probably CD (LP?) Car Changer worthy. I'm still in shock. I'm glad Scott brought this along, as it may have been the highlight of the day for me.
• Sleater-Kinney - Dig Me Out. (1997) This is, IMHO, S-K's tour de force in a great catalog of albums, and yet I felt like I was listening to it again for the first time on vinyl. There was great sound separation and a clear bass sound (despite the fact that they don't use a bass, but a guitar with bass pickups). You could really hear the Rubber Soul guitar sound come through very clearly on "Turn It On." A very enjoyable listen.

And I could go on and on.... In the end, our small sample size revealed the ultimate advantages of vinyl to the ear: a richer, more rounded guitar sound; better bass separation and response; and a more "forgiving" and warmer overall sound. I think it's like watching film versus video: there is something inherent in the medium that adds to the viewing/listening experience and the overall enjoyment. I've always maintained that film "emotes" to some extent; I think vinyl does the same from a sound perspective.

So I'm sold. Dig out your turntable, hook it up to your stereo, and listen for yourself. Of course, there is one drawback: great turntables haven't been in production for a number of years... I actually only have mine as a result of Sean's leaving for Portland back in the day. And even that is having some issues; I am hoping it's simply a result of not properly grounding it and thus causing my left channel to freak out. (As opposed to being an issue with my receiver, but I'm not sure how to test that precisely.) But when I get that fixed -- it's back to the vinyl. Again.

- Snilch

Dirt Mall - Got the Goat by the Horns (2007)

This album is the first unsolicited request for review I've received from a band I don't know (total number: still standing at one); while I can't guarantee I'll give a favorable (or timely) review, I do promise to review any such albums I receive. So to those of you who've been considering sending me your latest offering (I'm looking squarely at you, Springsteen), feel free to ask.

Being from Waltham, of course, means that we do give Johnny Anguish and the rest of Dirt Mall a little extra grease for the review wheels. Fortunately, they really don't need it. I checked out other reviews on-line and they all name-checked the exact bands mentioned in Dirt Mall's own press release. Conclusion: these people are lazy. (Me? I'm cranking out these blogs every few months with blinding regularity.) But I still think that the best description of their sound is a cross between The Cult and Buckcherry, combining classic rock with garage rock and some Billy Duffy-ish guitar sound.

This is a very good album. I love the opening track, "Hello Los Angeles", as well as "Rows" and "I'm Not Saying What You Did Was Wrong But Your Timing Could Have Been Better" (also a classic title); in fact, seven of the eight tracks are good to great IMHO. If I was going to make a criticism (and apparently that's what I'm about to do), it's that I sense some restraint in the recording; I feel like when I see them live, there's going to be a lot more energy flowing from these songs. It just sounds a little too shaped, a little too formed; it should be a little looser and messier.

But in the end, this one is a keeper. I look forward to catching them live, as soon as a date at The Skellig is scheduled.

Merch Rating: I will definitely attend a show and would buy a t-shirt, especially one featuring a goat with crazy horns. I would buy the next album without listening to it. I would not buy the unreleased b-sides or singles just yet, unless they feature some cover like "The Brady Bunch" by Weird Al Yankovic. (I'm just saying.) I would buy a Johnny Anguish solo album, assuming it was titled as something like Alone with My Anguish, Solo Anguish, or Me and My Anguish: My Life After The Snilch Report.

CD Placement Rating: This goes into the CD Rack, only because I have played it about 100 times in the last two weeks (not even exaggerating). Not a great car album, surprisingly, but I am telling you -- you will enjoy this, people. Pick it up from CD Baby.

- Snilch

Compilation Roundup

I have been listening to a ton of music lately, but all towards the end of my newest editions of the $15 Song CD's, which I will explain further someday. If you weren't convinced of my total insanity before that... well, suffice it to say that this will be the tiebreaker.

Instead, today we'll discuss compilations. As mentioned here, I've come up with a rating system just for compilations/greatest hits fare, which I have intended as transparent and merciless. As a reminder, the idea is that you want to be high on the casual fan rating scale and low on the hardcore fan ripoff factor. In lazy, non-alphabetical order:

• Asia - The Very Best of Asia: Heat of the Moment (1982-1990) (2000 - 1 CD). Yes, this is how I've decided to start this mess. Asia sounds better in retrospective than it did back in the day, which will not save it from Sell-Back Pile 1. I am struck at how much Steve Howe's guitar sound from early Asia (1982) mimics the sound he was using for the Yes album Drama (1980), or how much their later songs tonally echo Trevor Rabin's sound (his replacement in Yes). Can't argue with "Heat of the Moment" or "The Heat Goes On"; the rest is best left to the radio.
  Verdict: Sell-back Pile 1.
  Compilation rating: Moderate. For the casual fan, this is great. For the hardcore fan, allmusic.com says "For diehards, it's essential for the three rare B-sides 'Daylight,' 'Lying to Yourself,' and 'Ride Easy' and the detailed liner notes," but that seems like a stretch. And those songs are not that good. I'd say this is a moderate ripoff for those fans.
  
  
• Superchunk - Tossing Seeds: Singles 1989-91 (1991 - 1 CD). This is absolutely great. For the casual fan or the hardcore collector, this collection is not only full of great material, but collects all of their early 7" singles into one package. If you're not into Superchunk (like I wasn't), this is the perfect place to start.
  Verdict: Portable CD Case.
  Compilation rating: Very high. High marks for the casual fan, low marks as a ripoff since it's a great album on its own. Everyone wins.
  
• Failure - Essentials (2006 - 2 CDs). This is great because you do get most of the highlights from Failure's brief but significant three album career; for the hardcore fan, you get a lot of unreleased demos and outtakes. This is not so great because they released a whole bunch of other demos and outtakes in 2004 in the DVD/CD compilation Golden. Methinks this is the end of the line for any material they have in the closet... or maybe we'll see yet another compilation in the next two years. Please stop now.
  Verdict: CD Rack.
  Compilation rating: Moderate to high. Great for the casual fan, and nice for the completist. But a lot to buy for the latter.
  
• Idlewild - Scottish Fiction: The Best of 1997-2007 (2007 - 1 CD). Oddity #1: They released an original album (which is still in Car CD Changer, Make Another World) as well as this compilation in 2007. Oddity #2: Some of the tracks on the compilation are from that album (which seems to be a bit recent to include, no?). Oddity #3: They are still together and touring. Oddity #4: They are currently working on a new album. I bought this so I could get familiar with their back catalog, but this really is a total ripoff for loyal fans. It's a decent album, but totally a cash cow at this point in their career.
  Verdict: Portable CD Case.
  Compilation rating: Low. Okay for casual fans but a definite gouge for hardcore fans.
  
• Young Marble Giants - Colossal Youth (2007 - 3 CDs). If you have never heard this album, you are not alone, but you are missing out on the finest piece of minimalist post-punk you will likely ever hear. Much like My Bloody Valentine's Loveless, this album is something you listen to and wonder how it ever came together -- and yes, I am comfortable in comparing this album to MBV's absolute classic, which says it all. This set is basically everything they ever recorded -- their 1979 album (Colossal Youth), their 1982 EP (Testcard), the entire demos album that was released a few years ago (Salad Days), and even their John Peel Session from 1980. Plus, the remastering for this album really brings out the full sound of the albums, which I find to be exception rather than the rule. Finally, the extensive liner notes tell the whole band story. I'd put this in the "must-have" category, and you might as well get this compilation and own it all. It is worth it and a real slice of history.
  Verdict: A Car Changer CD comp that goes into the Portable CD Case only because of its style.
  Compilation rating: It's got to be high; even if you own their other stuff (like I do), it's great to have it all in one place and remastered, and the casual fan gets everything they ever recorded. High casual fan rating, low hardcore fan ripoff factor.
  
• James - The Best of (1998 - 1 CD). Long considered a poor-man's version of The Smiths, James has some great songs and features the distinctive voice of Tim Booth. Known primarily for the songs "Sit Down" and "Born of Frustration," this compilation is exactly what I want out of this group -- all the hits and some quirky surprises. It's a nice summary and all I really need.Verdict: Portable CD Case.
  Compilation rating: Probably high.
  
• Even as We Speak - A Three Minute Song Is One Minute Too Long/The Singles 1986 to 1990 (2005 - 1 CD). Category: best compilation title. Winner: Even as We Speak. This obscure Australian pop band really reflects the 60's, and what I'd consider "Australian pop," even though I'm not quite sure what that is. (And that's not INXS, which is more British or American in its sensibilities.) But like pornography, I can't define it but I know it when I see (er, hear) it; now that I think about it, I've always associated the quaint sound of The Moles/Richard Davies as "Australian pop," and this is definitely in that vein. This is a nice piece of history that shouldn't just go away.Verdict: Portable CD Case.
  Compilation rating: High. This combines a bunch of long out-of print vinyl singles onto CD for the first time. As a first-time listener, this is a great summation of the band as well.
• Snuff - Six of One, Half a Dozen of the Other (2005 - 2 CD's). Thanks to the late, great, Lance Hahn, I checked these guys out. Much like the Failure compilation, it's got "greatest hits" on disc 1 and rarities, demos, etc., on disc 2. They've got a great sound from that grunge era and their original tunes are solid but not spectacular, but still definitely worth listening to. It's actually disc 2 that makes this so much fun -- I am a sucker for covers, and these guys have it in spades. "I Think We're Alone Now," "Don't Fear the Reaper," "I Can See Clearly Now," "I Will Survive," and "Hokey Cokey" (oh yes -- the Hokey Pokey meets punk!) highlight the surprisingly solid 2nd piece of the puzzle. A lot of fun, ala The Nomads.
  Verdict: Portable CD Case.
  Compilation rating: High. High on the casual fan index, low on the ripoff factor.
  
• Swervedriver - Juggernaut Rides '89-'98 (2005 - 2 CD's). This is one of those rare compilations where I really don't distinguish between the individual songs, but the blur is a really pleasant ride. The one song that really jumped out at me was "Planes Over the Skyline," which is a nice song. But when I mis-heard the lyrics as "Flames Over the Skyline" -- now that was epic. Too bad. "Never Lose That Feeling" and "Son of a Mustang Ford" highlight Disc One; Disc Two contains four unrerleased tracks, but there seems to be no rhyme or reason (and certainly no chronological order) to what went where. But someone had some sense of how to put this all together in a sensible musical order, because in the end it does work as a unified piece. Overall, I'm extremely happy with it, but would probably be pissed if I owned all of their albums and had to buy a two-disc set to get four songs. Think melodic grunge that's very cleanly produced. To be honest, I probably need more time with this one - my opinion nmght be different in two years, for better or worse. I'm guessing better.Verdict: Portable CD Case.
  Compilation rating: Low to moderate. For casual fans or the ultra-completist.

- Snilch

Twelve Albums, One 8-Year Old

So what do you do to entertain an 8-year old for two 8-10 hour car rides? Well, this seemed like the perfect opportunity to build up his music vocabulary with some classics and move him along the right musical path (read: no High School Musical). Learn 'em right.

Therefore, I went for what I considered to be essential, fun, and generally non-offensive material to warp his impressionable mind. Additional criteria: the albums had to be great, and work as driving CDs. Here's what I came up with (in order of how they were loaded into the CD Changer):

1. The Beatles - One. Not my first choice amongst Beatles' albums, but Revolver and Sgt. Pepper's were in Mrs. Snilch Report's car and I (through my wunderkind-like procrastination skills) ran out of time and had to settle for what I had in the house. Every kid should hear The Beatles. It's what I grew up on, and therefore (of course) so should he.

2. Various - Saturday Morning Cartoons' Greatest Hits. This is essential for long car rides, even if kids have no idea about old cartoons. Released in 1995, this comp features grunge/alternative artists covering their favorite cartoon theme songs (or making them up). How can you go wrong with a lineup that includes Liz Phair, Sponge, Helmet, The Ramones, The Reverend Horton Heat, The Violent Femmes, The Murmurs, and Sublime? Some absolutely classic songs here, and it's fun stuff. It certainly amused the adults in the car.

3. Seal - Seal. Stop scoffing. I listened to this album every day my senior year of college, and it's the best Seal album, IMHO. A good driving album and totally appropriate for an 8-year old. Also, a little bit of soul is never a bad thing.

4. Schoolhouse Rock - Grammar Rock. Oh yes. Featuring classics like "Conjunction Junction" and "Lolly, Lolly, Lolly, Get Your Adverbs Here," it's catchy-sounding education at its best. Another go-to disc for the pre-teens.

5. Yes - 90125. It took me until I was 14 to hear this album; I'm just giving my godson a head start. Classic front to back, not a bad song in the bunch. This should be a staple of every child's education. Don't make me call DSS on you, parents.

6. Blondie - Parallel Lines. I immediately conjure images of playing board games, Legos, or Dungeon and Dragons in my best friend Tom McBride's family room. Good times.

7. De La Soul - 3 Feet High and Rising. I'm all about expanding horizons here, and this is perfect for my nephew: clever, smart, and (mostly) inoffensive rap with a very kid-friendly sound. This may still be my brother's favorite album, and I can't argue.

8. Fleetwood Mac - Greatest Hits. 70's/80's pop at its best. Great compilation, except for the inexplicable decision to leave "The Chain" off of this compilation. Are you kidding me? Still a great variety of sounds and voices, which makes for a good car ride album.

9. The Flaming Lips - Yoshimi Battles the Pink Robots. This album has such a good sound and is so innocent in its musings, I had to put it into the mix. It's like sci-fi indie rock.

10. The Go! Team - Thunder, Lightning, Strike. This album is infectious, catchy, musically smart, and a lot of fun. Great for the kid in the back seat of your car or the kid inside of you. High school cheerleading meets uplifting indie pop rock in the best possible ways.

11. Bob Mould - Workbook. If you didn't foresee some form of Bob Mould coming down the pike on this one, you are not paying attention. This is generally a little low-key and not the best driving disc, but it seemed like the list needed at least one "let's take a timeout/nap" CD, and this fit the bill.

12. My Bloody Valentine - Loveless. I totally punted here. All the U2 albums were in Mrs. Snilch Report's car, but even still, I probably should have at least gone the Pylon route here. Despite that, this is such a great album that you really can't go wrong with it; a little more complex musically than I'd generally prefer to present to a young kid, but that's not the worst thing in the world.

I had a great mix, and was ready to go. The result? My nephew just played his Nintendo DS (and to be perfectly honest, mostly with me) and watched DVDs the entire trip, basically ignoring the music. Obviously, we'll have to ban those for the next trip, depriving him of what he actually enjoys in favor of what I think he should. It's that kind of wisdom that only comes with age.

- Snilch

Amanda Palmer and the Boston Pops, Sloan Live

A quick update: the last two nights I was out hearing some live music.

Last night, Scott, Jamie, and I attended Amanda Palmer playing with The Boston Pops at Symphony Hall. Wow. Unbelievably, jaw-droppingly good. A definite top-10 all-time and maybe top-5 live show of all time (and I do not say that lightly). What a spectacle!

Normally, I'd provide more details, but there are actually tickets available for tonight, so instead I want to encourage you to go and not spoil the surprise. Unless you are HIGH (and maybe especially if you are), you need to see this. I'm committed to going out with a former co-worker tonight or I'd be back myself. It is THAT GOOD.

Let's allay some fears and overcome some objections:

• "I've never heard of Amanda Palmer or The Dresden Dolls. I'm not sure I'd like it."
  Answer: Good news... it doesn't matter. You will still love it.
  
  
• "I've heard The Dresden Dolls. I don't like their albums."
  Answer: Good news... it doesn't matter. You will still love it.
  
  
• "I love The Dresden Dolls! They are my favorite band, and I actually dress up like Amanda/Brian in public. I own everything they've done -- even that album they released on their own! Go Dolls!"
  Answer: Bad news... you're an idiot. Why didn't you go in the first place? What kind of objection is that?

In all seriousness, if Amanda doesn't do this ever again, you are missing out on something that will be remembered in Boston Pops lore forever.

Once word of mouth gets around about this, it's going to be a must-see. You will not find a ticket a day after the box office opens if they do this next year or in the future.

So buy tickets here, or if that doesn't work, then here, and have a Friday night experience you will not soon forget. 8PM sharp at Symphony Hall.

And of course, my wonderfully talented friend Margo Saulnier helped pull it all together. You should really thank her for all of her hard work, even though you don't even know her.

On Wednesday night, Denis and I hit Sloan. Their previous album and show were both top shelf... and thus what occurred Wednesday at TT's was a real disappointment. It really comes down to two things: 1) they had a better setlist last year, and 2) the new songs from that tour's new album (Never Hear the End of It, reviewed here) played better live than this week's release of Parallel Play. It was not a performance issue; it might have been a venue issue; it definitely was a song-choice issue. Just too bad. I'll still go see them next time they are in town, but please, choose some better songs, and keep the drummer behind the kit for more of the show.

-Snilch

Yes - Union (1991), Talk (1994)

Yes, the horrible truth must be confirmed publicly: I am a Yes fan. Or at least I was. The first cassette I ever owned was 90125, which is still one of my all-time favorite albums. From about 1985-1992, my musical holy trinity was a simple list: 1) The Beatles; 2) Yes; 3) U2.

The cooler music kids told me I needed to go back and get their early stuff, which I did -- I still own everything they did from 1969-1987 on vinyl. And their box set (Yesyears), which came out in 1990, on CD.

Now here is the problem: after 1987's Big Generator and the box set, there was a period at the end of the sentence. Big Generator is an album I really enjoy, but I knew it was a step back from 90125. The box set meant I had every album I cared about from the group on vinyl and most of the songs I cared about on CD. So, even as an obsessive collector, I could be patient as the band was once again in turmoil.

The other big factor was that my friend Dan introduced me to Bob Mould in 1990. I realized this was closer to the music I was actually interested in, and I began a trajectory towards alternative/indie/ obscure but brilliant (IMHO, of course!) music, which I have remained on ever since.

The final capper: Anderson, Bruford, Wakeman, and Howe. I really, really, REALLY wanted to like that album. I so did. But here is the fundamental issue with Yes: when they successfully walk the tightrope between "artsy" and "pop," they make unbelievable music. Absolutely great stuff: Fragile, Close to the Edge, 90125. When they fall off, they inevitably fall off onto the "art" side, and into complete self-indulgence. For forever I heard about how Tales for Topographic Oceans (their four-song, two album "opus") was not just the greatest achievement in their career, but in all of progressive rock. I can't stand it. For everything that Close to the Edge is (a long-form pop masterpiece, 3 songs in 40 minutes), Tales (and to be completely honest, Relayer to some extent) is not: it is a meandering wobble of indulgent crap. I wasted so much time trying to get into that album... ugh. Now I know better.

But I digress. Back to 1991. I buy the debut from Anderson, Bruford, etc., and hate it. It's more Tales. This is the future of the band I loved? Forget it. I will wait until they come out with something that is universally regarded. They're bound to, right?

Fast forward to about 2004/5. Yes guitarist Trevor Rabin's album 90124 comes out... demos from 90125, before Yes vocalist Jon Anderson joined the project, and the band Cinema became Yes. (That is a whole other story for another time.) Rabin holds a special place in my heart -- he revitalized Yes in the early 80's, wrote some great songs that are still favorites of mine today, had a woefully underrated (albeit very poppy) solo album Can't Look Away in 1989, and in general is the yin to the over-indulgent arty yang of the rest of Yes.

I got into some of his back catalog, and read up on him -- he's now almost exclusively doing soundtracks... except he actually did songs for Yes on 1991's Union and 1994's Talk. It's significant in the retrospect of 14 years of producing and soundtrack composition, in the same way at the time in 1991-1994 (when I was all about the grunge, for sure), it was not.

So here I am in 2008... realizing that Union is, without a doubt, a very good album. I can't believe there was no buzz about this album at all. There are just great songs here. I am really astounded that they managed to make this album. It's got great guitar, harmonies, and is 99% indulgence free. Now the "band" for this album is wacky: 2 vocalists (Anderson and Rabin), 2 drummers (Bill Bruford and Alan White), 2 lead guitarists (Howe and Rabin), 2 keyboardists (Rick Wakeman and Tony Kaye), and 2 bass players (Chris Squire and Tony Levin).

What this means is that Union is a split-camp affair: highlights like "I Would Have Waited Forever" and "Without Hope You Cannot Start the Day" are... Anderson, Bruford, Wakeman, and Howe (with Levin on bass)! In fact, this lineup plays on *nine* songs on the album. Apparently this was supposed to be their 2nd album; they merged it into the Yes project. Meanwhile "Miracle of Life" and "The More We Live - Let Go" are two of the four songs done by Anderson, White, Kaye, Rabin, and Squire -- in other words, the 90125 and Big Generator lineup. So the album is more like Merging Projects Under the Cash Cow Brandname than an actual Union.

But you know what? It feels cohesive. And it works. Anderson doing vocals on Rabin and Squire's songs and Squire contributing background vocals on the ABWH tracks are huge in making this sound like it's from the same family, and Jonathan Elias's production has to get credit here too.

Talk, on the other hand, is exclusively the 90125 and Big Generator lineup, and produced by Rabin. The first thing that strikes me is that they released this on a label called "Victory," or, as I like to call it, "Defeat." Not a good start. This album sounds like a very, very tired band in need of a rest. Well, at least it's better than Anderson, Bruford, Wakeman. And how. (Get it? Yes, these are the jokes.)

CD Placement Rating: Neither of these get merch ratings -- I bought my t-shirt on the Big Generator tour and that's pretty much it for me. Union is a fine album, recommended for Yes fans. Portable CD Case. Talk is not good, but not bad either. It'll stay in the CD Rack until the next culling, when it will inevitably end up in Sell-back Pile 1.

-Snilch

Guest Blog: Scott Bishop on M83 (Live at The Middle East)

This is the first in a series of guest columns for The Snilch Report. Well, maybe not a "series," more like "something that seemed like a good idea after a few beers last night." Scott Bishop is a Cambridge-based musician I've mentioned a number of times in this blog, and I'd link to those posts if I weren't so incredibly lazy. Take it away Scott!

Let’s get a couple of things out of the way first:

I’m old. Walking into the Middle East downstairs, I immediately raised the average attendee age by five years.

And the Middle East, what a tough place to see a show—and I stress the seeing part, because a good portion of the allure of a live gig is that you can, you know, actually SEE the performers—and not just a bobbing head or an occasional peek at a guitar neck, but entire bodies, amplifiers, drum kits and the lot. If they posted a sign above the door that said, “Abandon all hope of getting a clear view of the band, ye who enter,” they would not be lying.

Don’t get me wrong—some of my favorite shows have been at the Middle East. Arthur Lee and Love, on his first tour in God-knows-how-long after spending years in prison. My first Sleater-Kinney show and a couple of great Crooked Fingers gigs, all with the Snilch. Rainer Maria in 2004. And of course The Dandy Warhols with Sean and the Snilch, where we actually stuck our heads into the speakers.

Still, if there’s one place in Boston where you absolutely have to get there early and claim a spot, the Middle East is it. And where was I when I could have been marking territory? Out in Waltham, at Bison County, watching game 5 of the Stanley Cup Finals with the Snilch.

Yes indeed, music fans—sports once again interfered with a music aficionado’s ability to hit the club and rock hard. Snilch had to give M83 a pass and cheer on his beloved Red Wings. In a cruel twist of fate, Detroit gave up the tying goal with about 30 seconds left in regulation, then prolonged the agony into a third overtime before succumbing. In case you hadn’t heard, kiddies, life ain’t fair.

I was committed to seeing M83, so Snilch and I parted ways after the second period, and the #70 zipped me from Waltham to Central Square just in time to grab an IPA before M83 started.

M83 were good—not quite the rocking set that Snilch, Paul and I caught during the Austin City Limits Music Festival in 2005, but some of that may have been the shock from that first time of seeing a synth-driven band really bring it. You’d figure with a lot programmed keyboard and sample elements that a band would be locked into a tempo, and some of the life would get sucked out of the performance, but that really wasn’t the case. M83’s set at ACL was tight, propulsive, and hard hitting.

They had a lot of those qualities last night, but with a longer set—their ACL gig was closer to 45 minutes—they took more time to stretch out, bringing in a lot of the ambient and repetitive elements their longer songs employ. That was an aspect I enjoyed, but it led to the usual Boston response to quiet passages—chit chat.

Many Boston club goers seem to pride themselves on their music knowledge and a certain indie hipness (and yes, I’m pretty sure I would have won Indie Bingo last night—the Chuck T’s and PBR cans were as pervasive as ever). But except when Jose Gonzalez played Paradise earlier this year, I can’t recall a show I’ve attended in the last few years where people failed to talk during quiet sections. And to add a long time beef of our dear friend Sean, these people couldn’t be buggered to shake their asses when things went up-tempo, either. As an acquaintance of mine might say—because I’m all about stealing other people’s ideas today—Boston is not a giving audience.

Which is a shame. For the 50 or so minutes that I watched, I found the byplay of low key, repetitive buildups and mid-to-up-tempo songs to be pretty entrancing. They touched on key songs from Before the Dawn Heals Us and the poppier tunes from the new Saturdays=Youth. Once the sound man got the guitars in the mix—just after the second, “Graveyard Girl”—everything was nicely balanced. But as I said before, downstairs at the Middle East is a bitch for viewing, and the audience response to M83’s mellower elements represented one of the few occasions I’d have preferred to see a group in a seated venue, because it might have encouraged people to listen when things got quiet.

I ended up bailing halfway through, after M83 played my favorite song—“Don’t Save Us from the Flames”—which rocked as righteously as it had in Austin nearly three years prior. Hey, I’m old, I was feeling curmudgeonly… why not leave on a high note?