It’s Cool If You Keep Quiet, But I Like Singing: A Tribute to Conor Oberst

Whether it be Bright Eyes, his solo stuff, Desaparecidos, or any of his other numerous musical ventures, everyone on this compilation has been impacted by the art that Conor Oberst has put out in the world. It was extremely fun to put this compilation together and have so many great musicians reach out wanting to participate. I was also pleasantly surprised by the balance between the hits and deeper cuts. I don’t think it would be right to do a Conor Oberst compilation without songs like “First Day of My Life,” “Lua,” or “Four Winds,” but adding lesser-known tracks (including the unreleased “LAX”) makes it feel representative of his decades-spanning discography. I have spent the last couple of years since Ruminations / Salutations in awe of Oberst’s ability to hold up that level of songwriting for so long, so I was also thrilled to have a couple of solo songs represented as well. 

Tracklist

1. “Empty Hotel by the Sea” by Ship & Sail (Ypsilanti, Michigan)

2. “The Big Picture” by Holy Profane (Detroit, MI)

3. “Common Knowledge” by Young Ritual (Flint, MI)

4. “First Day of My Life” by Kevin Rice (Kalamazoo, MI/Nashville, TN)

5. “False Advertising” by Burntroot (Ypsilanti, MI)

6. “It's Cool, We Can Still Be Friends” by Glasspiece (Detroit, MI)

7. “An Attempt to Tip the Scales” by Daddy and the Long Legs (Plymouth, MI)

8. “Lua” by Tired (Ypsilanti, MI)

9. “Four Winds” by In A Daydream (Ann Arbor, MI)

10. “LAX” by Young Adult Fiction (Ann Arbor, MI)

11. “If Winter Ends” by Serencia (Lancaster, PA)

12. “Mamah Borthwick” by Heather Cook (New York City, NY)

Artwork

I am honored to have been able to use my visual art skills to create my own homage, cover if you will, of a Bright Eyes album that most influenced me. It was the first Bright Eyes vinyl I bought, and one I know completely. I’ve seen Conor Oberst live 6 times, in nearly every project he’s been involved. His music carried me through many years. I am open to commissions and collaborations. You can find my artwork at www.nikitakuz.com & on Instagram: @_bbyvamp

Stream

Profile: Don Babylon

I found Virginia-to-Philly transplants Don Babylon when they opened for my partner’s band in New York last fall. I had just flown in from Seattle to visit and was still finding my footing, wandering in circles around the crowded warehouse. The multi-story venue was filled with hipper-than-thou East Coasters and independent radio dads, and I was jet-lagged and overwhelmed. In bad form, I hadn’t bothered to listen to the opener beforehand; I assumed they would be, in my own terrible words, “bad indie rock.” For that, I’m sorry. We love to gripe about opening bands as often as we remind our friends to give them a chance, and I’ve been guilty of the former on more than one occasion.

Not only was I being a dickhead, I was also wrong. Still avoiding the crowds, I watched from the safety of backstage and was pleasantly surprised. It was loud, a little abrasive; it wasn’t twee at all. It was the no-frills rock n’ roll that I’d been missing from DIY shows back home: not as assaulting as the hardcore gigs could be, yet more engaging than the bedroom pop that was so prevalent in my college town.

I didn’t revisit them again until months later; although new to me, their songs felt eerily familiar. I felt nostalgic- sad and comforted all at once, not unlike how I felt listening to I Brought You My Bullets… as a young teenager. While Don Babylon’s wistful, southern proto-punk was worlds away musically, the energy felt the same. The emotions were raw, they were as hopeful as they were self-deprecating. They had an affinity for graveyards.

Like the songs on Bullets, their music is earnest, unapologetic, and thoughtfully messy, chronicling experiences with addiction, grief, and anxiety with a sincerity and sense of humor that makes the process look easy. At their core they remain a rock band, but across their one EP and two studio albums, no two tracks are the same. Their heavier songs have a familiar, vintage twang of Danzig-era Misfits, while others veer into old rock, blues, and country territory. “Bedsheets” and “Mach III” are nearly pop, while “There Will Be Blood 2” is a fast, thrashing hardcore track; I can barely make out the words, and I don’t even mind. In “Roll Credits,” they throw shuffle riffs into a garage rock song about finding comfort in mediocrity, and somehow, they make it work.  

While musically diverse, each of their full-length albums are bookended with indie ballads. 2017’s Babe opens with an unrelenting ten minutes and four seconds of anger and hurt in the breakup song “Ow, My Tiny Heart,” the lines “It’s hot and I hate everything / I’m always hurt or in my head / the weather is not changing / and we, we are all dead” sounding like a high school notebook manifesto in the best possible way. 2018’s Foul ends with the five minute long “Started a Band,” a playful and honest ode to failure that leaves the listener more assured than lost.

Babe may be their first album, but it feels more like a mid-career success. At just under forty minutes with only one song free of vulgarities, it’s a ride to hell and back that begins with the faux-jaunty piano track “Happiest Man I Know” and ends with the two-part epic “People Having Fun” followed by “Jerk,” a quiet yet heartfelt love song that could have come out of your great-grandmother’s kitchen stereo. Foul isn’t as chaotic, but it’s just as impassioned. From the wit of “Really Fast Cars” to the panic and loneliness of “Hopeless Man” and “Rocky XXVII” to the short yet deafening “Mean Streets II,” it’s a cleaner continuation of the themes of the first album; they’re still broke and distraught, but they know how to write songs for the radio.

I recently joked to a friend that the last thing we need is more bands full of men who make dirty, unhinged rock music, but in the age of poptimism, Don Babylon’s authenticity is a welcome relief. Their songs are vulnerable without being needlessly whiny, both serious and sarcastic when the time is right. It might seem like their drunken angst is affected, as it often is for young artists, but their humorously bleak lyrics and reckless anthems suggest that, for better or worse, it’s real. The three of them know who they are, insistent on having the last laugh; they know their weaknesses so well that they’ve already written songs about them. Their ethos is genuine, and singer Aubrey Neeley’s lyrics are self-aware; he’s honest to the point of poking fun at himself, letting dry humor soothe heartbreak, and doing what any sane person would when everything has gone to shit: scream about it. 

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Robin has always wanted to write about music, and she’s finally giving it a go now that she’s too old for college radio. You can find her in Bellingham, Washington, microwaving 7-hour-old coffee and listening to Oingo Boingo. She tries too hard on Twitter at @robinelizabth, and is on Instagram at @antiquemallz.

Colin Haggerty On Abraham 1:1-4

Patience is hard for me. Songs come unexpectedly, and often in large numbers. Sometimes I find myself writing records-worth of songs in a few months. Clearly, those don’t all make it to light. Some make it into a solo set and die soon after, while others get put on the first draft of every record only to get pushed off as I write new things. 

Abraham is designed to be an avenue that is a little less serious, a lot less polished, and less thematic than Ship & Sail’s usual records. Abraham 1:1-4 was recorded on my phone, in my apartment, within 6 hours spread out over a handful of sittings. Most times, I did the next track on a song without listening to the last, and it is covered in improvisation and weird noises left behind by my coffee addiction or a cat looking for some pets.

A large part of the creative process of Abraham 1:1-4 was constantly listening to Dr. Dre and working with Tanner Ellis on his record and in my live band. The synth sounds and the surrounding production with minimal instrumentation from Dr. Dre was intriguing to me. I love the way the synth can simultaneously be the backbone and the forefront of a track he produces. Tanner has been able to show me how beautiful music can be made in endless different ways, and that I shouldn’t keep myself to one. 

On the Ship & Sail side of things, we have slowly but surely been recording LP2. I am so thrilled about these ten tunes. I am so excited about the growth I’ve felt with my lyrics and the overall message that this record brings. I am beyond excited to be able to have Mike Higgins, Tanner Ellis, and Anthony Zito working on it with me - as well as others - and having Sean Weyers produce it. In the meantime, I hope you enjoy Abraham.

Say Love,
Colin

Abraham 1:1-4 by Ship & Sail, released 19 October 2019 1. Ghost in the Machine 2. Philly Skyline 3. Mom's Garden 4. Service

The Menzingers – Hello Exile | Album Review

I’ve been in the punk and hardcore scene since I was a sophomore in high school. I sold merch for local bands, and all my friends were either in bands or involved in the scene. I’ve seen people come and go, and I’ve made some of my closest friends to date through punk and hardcore. Punk and all its subgenres have shaped my politics and my world view, growing up in a conservative middle-class family, punk saved me from growing up and becoming a Republican. There aren’t many punk bands I’ve been able to grow up with, but that’s the reason The Menzingers holds a special place in my music collection. I was a fan of The Menzingers when I first heard On The Impossible Past during my senior year of high school. They instantly became the soundtrack to that year, and again in 2014 with Rented World, but it wasn’t until 2017 when After The Party came out that I realized this band was making music specifically for people like me. I’m not exactly 30 yet, but I related to every word of that album. I was simultaneously coming to terms with having a new group of friends and being pummeled by a failed relationship. As you could expect, listening to After The Party and watching the music video for the title track felt like one of those moments where art eerily imitated life. Now three years later, The Menzingers are back reminiscing on bygone days and being nostalgic about the former self with their newest album Hello Exile.

Buy and large, Hello Exile continues the sound of After The Party but also offers a newly-adopted sound that blends old guy punk with a beach rock-type sound. When the first couple singles “Anna” and “America (You’re Freaking Me Out)” dropped there was some fan backlash and criticism regarding the vocal mix, but after listening to Hello Exile dozens of times since release, I don’t even notice the mixing anymore because it fits so well with the band’s new friendlier sound. While After the Party may have been a gut punch, Hello Exile offers a much more mellow and relaxed feeling, though it’s still not short of any nostalgia that the band has become celebrated for. The album starts with a big political statement, addressing first the state of America, and the monsters that our parents voted for before tackling the idea of Christianity and politics being one and the same, and the idea of not shipwrecking life after your 30s.

Some of that iconic Menzingers nostalgia is seen on “Anna,” which feels like a pre-breakup song set during that awkward phase of knowing the breakup is just around the corner, but when you’re still attempting to savor those memories of when things were easier. We get a glimpse of that with the first verse as Greg Barnett recalls drinking too much cheap red wine and laughing while dancing in the kitchen. Then we see memories of moving in together, and later it’s revealed Anna has been absent for so long that the city of Philadelphia has changed, and all their friends keep asking about her. That emotionalism isn’t just seen in Anna, but also “Strangers Forever,” which was inspired by Leo Tolstoy’s classic novel, Anna Karenina. It presents the idea of a relationship ending and having to see that person again at a show, coffee shop, or just in your peripheral vision and deciding it’s best not to make eye contact and to stay strangers forever. Barnett sings with a bleak emotional outlook “Maybe it's for the better we both stay strangers forever, maybe  it's for the best we pretend like we never met, forget everything that we've ever known,” so even in the post-breakup heartache The Menzingers manage to find a reassuring peace. That reassurance is continued in the album’s title track “Hello Exile,” in which we see a summer romance that lasts for just a season, but whose memory lasts for a thousand years. And how, even years later, the singer still thinks of that summer love and it brings a smile to their face.

The album ends in true Menzingers fashion with “Farewell Youth,” which is a little bit of a slow burn, and one of those reasons I love this band so much. I moved from Los Angeles to outside of Nashville, Tennessee, and in my high school, I was the only punk around until I converted some friends into punks and hardcore kids. This song is essentially about exactly that, being one of a few punks in a city and growing up and then growing apart from those friends. The chorus is a call back to former you, with “farewell youth, I’m afraid I hardly got to know you,” and the rest of the song looks at being a punk in a small town, getting high while listening to favorite albums and drinking the cheap stuff. The album ends with a love letter to the days of youth and adventure, days when you tried to fit in by hanging out with the older kids. Days of desperately attempting to escape your hometown, whether that was driving to god-knows-where or just killing empty days in the basement of a friend's house.

 Hello Exile is an album for any punk who has found themselves growing up in the scene and asking yourself what’s next now that you’re older. While After the Party was about failing a relationship in your 30's, Hello Exile examines the dissociative nostalgia that comes with your 30's. It's an album dedicated to looking back at the person you were through the years and the continued search for the person you are continually growing into. Anyone who is experiencing a shift in life can find this album as a soundtrack because it covers everything from the American political landscape to remembering those days of summer love, and even getting high while listening to your favorite albums with your high school friends. Hello Exile by The Menzingers will be your soundtrack down memory lane. 

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Just a 20-something former hardcore kid living in Nashville. Follow @EyeHateHockey (formerly EyeHateBaseball, but after the Dodgers elimination I’m done with baseball until April) on Twitter and Instagram for lukewarm music takes and bad sports opinions. 

A Guide to Concert Photography

Taking photos of live music is simultaneously one of the most exciting and challenging forms of professional photography. If you’ve ever tried to take a picture of a concert on your phone, then you know that the flashing lights, loud music, and enthusiastic crowds combine to produce an atmosphere that’s less-than-conductive to an even halfway-decent photo. 

Now imagine trying to do that professionally, with a time limit, and finite resources at your disposal. With so many restrictive and uncontrollable factors, it’s easy to see why many experienced photographers tend to stay away from concert photography entirely. That said, if you’re a photographer who likes challenging yourself, or you find yourself with the opportunity to shoot one of your favorite bands, then this guide will help you capture the performance confidently.

If you’re a beginner, these tips will help ensure you go into a concert with the right setup and will prepare you for some of the inevitable issues that come with shooting in such a specific environment. If you’re already a professional photographer, this guide will help you make the most of working under these intense, ever-changing conditions and come away from the concert with a group of photos that forever immortalize the energy poured out on stage.

Fast Lens

The first thing that you need when prepping to shoot a concert is a fast lens. As many of you know, fast lenses work better in low light situations as the larger maximum aperture allows for more light to go through it. These types of lenses typically run a bit on the expensive side, but are worth the upgrade in the long run, especially if you are considering doing more concert photography in the future.

If you’re on a tight budget, you can always opt for an inexpensive fixed 50mm lens with an aperture of f/1.8. This lens won’t have zooming capabilities like most others do, but the wide aperture makes up for this. If you are looking for more options, the LensesPro blog offers some useful information to help you choose the best lenses for your camera.

Aperture

Whenever possible, you should shoot photos with your lens wide open. Shooting with the lowest aperture allows your lens to let more light through which is always helpful when working in low-light conditions. There are some exceptions to this rule, but for the most part, shooting with the lowest aperture will always make your photos look better. This is one of the reasons to consider upgrading to a lower aperture. Lenses that have maximum width f/stop of 2.8 are usually good enough, but lower is even better.

Shutter Speed

When it comes to shutter speed, try to use a speed of 1/250 or faster. Otherwise, you risk capturing blurry images that most people won't appreciate. There are exceptions to this rule, such as when band members are standing still or not performing, but for the most part, you will want to go with a faster shutter speed as it allows for cleaner and better-looking images.

ISO

The general rule when it comes to ISO is to bump it up to at least 1600 as your camera will respond faster to the light. Concerts are usually performed in relative darkness, so you will need higher ISO settings to capture better photos. 

That said, bumping your ISO too much can result in producing images with more noise. Try to find the optimal ISO settings that will balance light and noise to let you capture optimal images.

You should also remember that having a little bit of noise on your photos is fine, especially in these conditions, so don't stress too much and just try to find the optimal ISO settings that work best for you.

Be Prepared

You should always scope out the working conditions before you go to a concert. Photographers who are prepared and know more about their workspace will perform better and with more confidence that the ones that don't. Get to know the venue, introduce yourself to the staff, and know the vibe of the artists before you get there. 

A good tip is to watch a band’s previous concerts on youtube to get a better idea of what their lighting situation will be. It is always better to come prepared as that will allow you more time to photograph, especially when you consider most shows have a "Three song rule."

Additional Tips

• Know the time limit. Unless you are lucky enough to get All-Access Pass, you will be restricted to photographing for the first three songs only. This will put more pressure on you, so be prepared to make the most of those first ten to fifteen minutes of the concert.

• Know the boundaries. Depending on the size of the concert, you may be forced to photograph from the "photo pit." This is a designated space right up at the front of the stage dedicated solely to security and photographers. At most concerts, you will not be allowed to shoot outside this area.

• Don’t use flash. Not only will the artists not appreciate this, but it will also mess up your photos and everyone else’s! Use the tips above to master shooting concert photos in low-light environments the way they were meant to be seen.

• Travel light. Since you will likely be restricted to the Photo Pit, try to carry only the camera equipment you need. Carrying bulky camera bags and cases become restricting once you find yourself sharing limited space with other photographers. Try to keep things as simple as you can.

• Don’t block the fans. Pay attention to the crowd behind you; after all, they are the ones who came to watch their favorite artists perform. Don't stand in their way and don't shoot over your head as that will obstruct their view.

• Thank security. Security guards are there to keep performers, fans, and you safe. If they warn you for any reason whatsoever, listen to them.

• Don’t be a jerk. Just because you have exclusive access over the general admission crowd, don’t abuse it. Don't sneak around where you’re not supposed to be and don't physically touch the performers. Nobody will appreciate this, and it could easily get you banned from the venue.

• Get to know the music. This is easy if you’re already a fan, but by studying up on the band’s songs and setlist, you’ll know when the big moments are coming and can shoot around them, capturing the most engaging moments in the process.

• Develop a style. This may not come right away, but developing your own unique style of photography (concert or otherwise) will help you stand out from the crowd. Try using Lightroom like Kaytlin Dargen or mirrors like Em Dubin.

• Tag bands. When posting your photos on your website or social media, make sure to tag the band, venue, and any other relevant parties. Musicians will appreciate the free publicity, and may even share your photos to their audience.

Conclusion

Being a concert photographer can be demanding, but it can also be rewarding and fun at the same time. You need to make sure you have the right camera equipment and knowledge to make the most out of the gig.

Just like anything else, being a concert photographer is a process, but if you follow these tips, keep attending concerts, and keep shooting bands, then you’ll soon be on your way to becoming a great concert photographer.

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John Bennet is a photographer and part-time author of Lensespro.org blog. He has been a professional photographer for six years now, fueled by knowledge and passion for camera lenses.