Recorded, Spectrals is Louis Jones, one-man band capable of perfectly blending beachy surf rock and upbeat barbershop doo wop. The music is an ideal companion to a fat joint, a cold beer and a few girls in bikinis. It’s the music you want to turn on when you want to turn off the hustle and bustle and just fucking relax. Unfortunately, live, Spectrals is relaxed to the point of apathy.
Jones, biologically incapable of playing every possible role, brought three of his best mates on tour with him to round out the band. That’s a good idea… in theory. In practice, he played Ron Weasley to the frenetic-yet-lumbering bass player’s Harry Potter throughout the show. Jones also exudes the type of downtrodden, introspective demeanor you would expect to find in the Potter character he closely resembles. Emotionally guarded, but willing to share, Jones breaks through the overpowering noise of the effects and accompaniment just long enough for you to remember what part of your favorite Spectrals song he happens to playing. He’s absolutely genuine in everything he does on stage, but you can only really feel it for brief instances and not the whole show.
The trip across the pond didn’t do anything to distort the sound of Spectrals. Jones is a down to Earth guy you could meet in any pub, anywhere. He’s the everyman with a cool accent and a knack for combining disparate elements into a perfectly mixed cocktail. Still, this performance was missing something. It lacked the joie de vivre you feel when listening to the recordings.
SHOW DATE: Friday, April 20, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
Reach back in your mind to the point that you first decided you wanted to be a rockstar. The first time you saw a dude in skin-tight leather pants and it could only mean one thing: he was getting all the chicks. You didn’t just want to listen to that guy’s music or get his autograph, you wanted to be that guy. You wanted to be a rock star. In the grand scheme of things it isn’t rocket science, but that’s not necessarily a bad thing when we still have plenty of live concert venues and no real space program to speak of. Each and every member of Electric Touch is a real life version of the guy you dreamed about becoming before you put down the guitar in favor of one of fifteen different careers behind a keyboard with letters on it.
Walking into the House of Blues that Saturday initially felt like escorting a younger sister to a Metro Station concert. Hundreds, if not thousands, of girls a fraction of my age all ready to rock out to the Disney-esque sounds of Action Item and Hot Chelle Rae. Don’t let the marque fool you though, Electric Touch is not a Disney band. They will inevitably reach the point of super stardom (when, not if) paved with romcom soundtracks and collectible action figures, but they’ll still feel genuine because they have just enough British tight pants sensibility. In other words, it’s not the type of band you have to worry about liking now and hating later when they sell out or become uber popular.
As the opener, they had the hard job of playing fluffer to a crowd that probably wasn’t there to see them. It’s a tough gig. Go in and impress a crowd of people that generally don’t care about openers, have no idea what your music sounds like and is easily impressionable. They were on their knees at the feet of the audience and they delivered a performance that left the crowd visibly excited and panting for more.
Start to finish, all the guys in Electric Touch work their asses off for every single die-hard fan they had by the end of the evening. Shane’s sultry, subtle British twang gets piled on top of killer licks from Christopher’s guitar and a never-ending, get your ass in gear drum beat from Louis’ kit–along with swoon worthy vocals and digital ivory duties from Isaac and a cementing bass line from Portland. Yes, everyone’s on a first name basis with the guys in Electric Touch. The start that I referenced earlier would be their performance and the finish would be the end of the Hot Chelle Rae performance. They manned their own merch booth after their set. They took pictures, signed autographs (and body parts) and had an impromptu meet-and-greet with fans at the base of the stairs after the show.
If there were still physical copies of the Encyclopedia Britannica, you would find a picture of Electric Touch next to arena rock in the 2012 edition. They manage to channel everything from The Clash and Aerosmith to The Kinks and INXS while still having their own identity and being approachable. Electric Touch is a rock and roll show for the entire family. If you have a little sister, take her with so you don’t feel so weird asking for an autograph. Then get rid of her and go drinking with the guys after the show.
DATE: Saturday, April 21, 2012
WORDS BY: Ben Dahl ( @thebendahl )
PHOTOS BY: Brendan Shanley ( @lostinprint )
I love Eve 6. My unhealthy proclivity for the repeat button during the albums Eve 6 and Horrorscope led to more than one destroyed copy of each of those CDs and could easily be described as bordering on obsessive. That’s an impressive feat in and of itself, but it’s not the point. I grew up in the western suburbs of Chicago. Kids from the suburbs love Eve 6. Most of those kids were at Cubby Bear for this show–they were just grown up and drunk. The point is, unless they killed a kitten on stage, I knew I was going to like this show before I ever set foot in the Cubby Bear. I’m obviously biased. Consider yourself warned.
The whole reason Eve 6 is on tour is to support their new album Speak In Code. It should come as no surprise that they were going to play a set filled with the “new hits” from that record, but they made their decade older fans happy by playing plenty of old gems like “Promise,” “Amphetamines,” “On the Roof Again,” “Open Road Song,” and that one song about the human blood pump in a kitchen gadget that everyone knows the words to. As a die-hard fan, the only song they didn’t play that I wanted to hear was “Rescue.” They managed to strike a balance between old and new that kept everyone happy, or only left them pissed off for a single beer. If only the engineering and the music itself was as balanced as the song selections.
Here’s the thing: Chicago was the first stop on their first tour in like a decade. Chicago is filled with giddy, schoolgirl Eve 6 fans (guilty as charged). Combine the two of those things and you get a musical slurry with recognizable guitar riffs and vocal hooks on top, but mostly you get lots of screaming people drowning out the audio unless you risk permanent deafness by standing in front of a speaker. In all honesty, I’m probably one of the assholes singing over Max’s voice in the YouTube videos. I’m sorry. That’s not ok. But this is one of those situations where I’m not going to feel even the slightest bit guilty because the entire room was filled with dudebros and whoo girls (that are both probably former high school classmates of mine) screaming much louder than I was.
That’s the thing about the music of Eve6. It’s not going to win a Grammy. It’s not going to be some seminal work in the annals of music history because alt rock isn’t even going to be a footnote in that comprehensive tome. It will end up in a movie about partying in high school starring a well endowed girl that you’ll instantly fall in love with (if you knew what love was). She’ll eventually have a TV show on Lifetime Network, and you’ll grow out of the phase where you think bands with numbers in the name are the greatest thing to happen to music since recreational drugs in pill form. It doesn’t sound the greatest coming out of the speaker stacks at Cubby Bear. It doesn’t sound quite as perfect as it did the first time you heard it or saw them live because either your tastes have evolved or, let’s be realistic here, you’re probably drunk. Knowing all of that doesn’t change the way you feel about them though.
At one point, they dedicated “Here’s to the Night” to nights “like this one.” I would agree with that if, by the end of the evening, I had any recollection of where I was or how I managed to get home. But I did feel alive. Alive like a container of 4am Mexican food left on the dining room table overnight following six or seven unnecessary shots of some rum that was probably actually lighter fluid. The thing about that entire quesadilla debacle is that it actually parallels the concert experience. It sounds like a fantastic idea when you place your order. For ten to thirty-five minutes after consumption you’re in heaven. Reality sets in the next morning when you wake up with no pants on, a dead phone and a sneaking suspicion that you did something incredibly stupid last night. The texts from last night let you piece together a basic timeline of what happened. Your minimal recollection of the evening is right; it was awesome. It wasn’t perfect, but it was awesome.
DATE: Friday, April 6, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
Yes, before you ask, The Ting Tings played “Shut Up and Let Me Go.” Before we shut up and let you go look at the pictures (sorry, too easy), we’re going to talk about their raucous performance.
There aren’t many musical duos talented enough to fill Metro (with bodies and sound); The Ting Tings are one of the duos dynamic enough to pull it off. Katie White and Jules de Martino are both completely capable of making every noise that bears the name The Ting Tings that you’ll hear come out of a speaker, and yet, somehow, neither one of them seems unnecessary. Behind the kit, with or without a guitar, de Martino is just as instrumental to the performance as White is when she’s looking all hot and bothered front and center. de Martino is a just-slightly-behind-the-scenes specter that plays a perfect yin to White’s anachronistic, Victoria’s Secret gym clothes with fitted cap yang. Maybe it’s the understanding of the individual parts that each of them play in the sound, but these two work together like Batman and, well, Batman. There’s no sidekick in the dance party alternate reality of The Ting Tings.
Live performances are supposed to be different from their recorded counterparts. Little mistakes here and there. A palpable live energy. It’s supposed to be a show that you’ll want to write home about. The Ting Tings are the textbook definition of this. You can throw on anything from Sounds from Nowheresville or We Started Nothing and start a party that will leave you, even if you’re solo, tapping your feet and singing along. Live, The Ting Tings are nothing short of a religious experience. You either dance by choice or you get elbowed and stepped on by the people surrounding you until you’re making the same gestures anyways. Why fight it? It’s much more fun to play along and just have a great time.
DATE: Tuesday, April 3, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
There are a lot of people that worship at the altar of Kevin Barnes. I am not one of those people. Of Montreal isn’t a life-changing, cult experience for me; it’s just another show. Having said that, you need to make it your mission to see of Montreal as soon as humanely possible.
Just to clarify my earlier statement, I actually like Of Montreal. Their music doesn’t get me all hot and bothered, but it’s good music to listen to when you want to just zone out and get some shit done. That, or, you’re really fucked up. I might not be an Of Montreal altar boy when it comes to the recorded music, but the live show is a whole different gospel.
There are a few things you need to know about an Of Montreal show. Barnes will probably be wearing some amount of woman’s clothing and fair bit of makeup. There will be plenty of balloons. Brian Poole will probably look like a comic book character. There will be at least eight people on stage. Voluminous guitar solos will blend as effortlessly with grandiose keys as the blues and reds of the stage lights dance into purples atop costumes and faces. On stage antics will be completely ridiculous and quite plentiful whether they’re playing a festival like North Coast or a more intimate, sold out show at Metro. You will, at some point in time, get lost in Barnes’ vocal stylings and lose all track of the song they’re currently playing. In their case, the whole is most definitely greater than the some of their outrageous parts.
You can call it beardstep, or new age Beach Boys or psych rock. You can categorize it as whatever you want actually because the moniker doesn’t matter with a live show like this. Of Montreal isn’t just a show, it’s a spectacle. When I think Of Montreal, I think of fun.
DATE: Wednesday, March 28, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
The music of Andrew W.K. is situational. You don’t listen to it when you want to go to sleep, or when you want to study for exams. You listen to Andrew W.K. when you want to fucking party.
I Get Wet, which he was performing in its entirety with an enormous cast of characters this fine Sunday evening, is an anthemic shout-out to a simpler time when the only thing you cared about was partying. Don’t concern yourself with the Cro-Magnon lyrics, or the fact that every song is built off the same formula. Disconnect your Pitchfork filter. Shut off the part of your brain that knows dancing around like you used to in high school (when the album was probably released) in your late twenties is juvenile. Tap in to your inner adolescent and buy another beer.
Seeing Andrew W.K. live is exactly what you would imagine it would be after listening to I Get Wet. It’s no holds-barred party anthems blaring into your eardrums at a decibel and a pace that your brain would have difficulty processing if you didn’t already know all the words. A collection of easily digestible poppy hooks layered over a backing track built up by seven other musicians which included five guitarists (twice as many rhythm guitars as the openers, Math the Band, had members), a triple bass equipped drummer and his delicious wife. There was synchronized headbanging with a fan (doing his best A.W.K. impression) on stage. There was stage diving and moshing and even motivational sound bites from the man himself. There was the signature pizza guitar and the standard rock and roll moves you would expect from Andrew W.K.
No performer has ever seemed as preoccupied with his fans happiness as Andrew W.K. did at The Riv, but that never prevented him from delivering. I Get Wet live is like driving an old Detroit muscle car down the highway at 80 miles an hour. Veering off course won’t end well. It’s fast as shit. The experience is a little rough around the edges, and you’re definitely going to wake up sore the next day. The experience also doesn’t change that much regardless of which muscle car you’re in. But even though each of the tracks is guilty of being formulaic, gritty and similar, it’s still a helluva’ lotta’ fun. Andrew W.K. is the poster child for music only requiring one thing–audience enjoyment. At the end of the day, that’s all that should really matter.
DATE: Sunday, March 26, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr ) and
Ben Dahl ( @CobaltInfinity )
Have you ever seen Yo Gabba Gabba!? We’re all Super Music Friends here, so just admit it. Math the Band (not to be confused with the other, less interesting Math) is an extended cut of Yo Gabba Gabba’s Super Music Friends Show–on meth. In theory, that sounds completely ridiculous. In practice, it’s even more ridiculous than it sounds. But it’s also one hell of a good time.
The duo performs with a reckless abandon that borders on self-destructive, which just makes it even more entertaining to watch. Their live show is a bottomless can of Atari-branded energy drink. Over the course of one song, they sweat three times as much as a five piece alternative band from the 90s with a number in their name sweat during an entire show. They’re pure energy. That chemical in Red Bull that’s going to give all of us Cancer one day? Their body chemistry was the blueprint. There’s screaming. There’s banging. There is a complete frenzy on stage that any doctor worth his salt would say borders on an epileptic seizure. There’s choreographed dancing, audience participation and witty one-liners. There were no ups and downs or highs and lows; there was only more. Louder. Crazier. More frantic. The amount of energy literally pouring off the stage defies all logic.
Discrete logarithms and calculus and trigonometric functions, Math in general, really, aren’t fun. Math the Band is fun. Math the Band is like getting sucked into a Nintendo video game soundtracked by Andrew W.K. and Matt & Kim while you mainline Red Bull. Make sure you bring your own sweatband, though, because you’re going to need it.
DATE: Sunday, March 26, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
In case you couldn’t tell by their music, Mindless Self Indulgence is not for the faint of heart. Calling MSI a cacophony wouldn’t be too far from the truth, but it doesn’t quite address the level to which they’ve perfected it. Outside of the appearance of Jimmy Urine’s dog Chauncey (which is apparently ending after this tour), everything outside of a quality set list is up for grabs. Will there be urination? How many people are going to get naked? Will clothes fly at the stage? Who has the most visible cutting scars on their body? No one is ever quite sure of just how ridiculous an MSI show is going to get, but you can be sure of one thing: it’s impossible to have a bad time.
“In the future there will be way less Nickelback but way more Milli Vanilli.”
Jimmy Urine appears on stage with a coat painted with the MSI lolcat mantra–MSI SEZ RLX–and immediately launches into “Shut Me Up.” The crowd goes berserk. The band goes berserk. Everyone’s berserk. MSI doesn’t need to wait for a fucking encore to launch into the hits that people really want to hear. Little Jimmy Urine doesn’t need to wait until the end of the show to throw himself into the crowd (Calling it a mosh pit would be the understatement of the year because the entire floor of the House of Blues was shaking at this point in time.), he’s going to go on the first song. It’s important to note that, at this point in time, it was like 7:35pm. On a school night. MSI doesn’t fuck around when it comes to making sure their fans are happy.
“Where the fuck is my Tardis you stupid motherfucker?”
Urine, the mohawked master of ceremonies, bolts from one side of the stage to the other with a passion and energy that borders on psychotic. He’s on the drums. He’s on the speakers. He’s in the crowd. Unless you follow his melodic, nails-on-a-chalkboard screech very carefully you probably won’t have any idea where he is at the moment. There’s a guy in a panda suit. Some asshole gets yelled at by Steve, Righ? for using a laser pointer. Chauncey, Jimmy Urine’s dog, has a last wish. He wants to wear people clothes one last time. Dresses, shirts, hats, pants and every other manner of clothing start flying over people’s heads on a trajectory to the stage. Most pieces make it, some end up hitting you in the face.
“We are Mindless Self Indulgence and we are here to cyber-bully you. We are also here to teach you how to Dougie. To teach you, to teach you how to Dougie.”
Mindless Self Indulgence isn’t just a name, it’s a mission statement. They might be on an elevated platform with instruments and taxidermy dogs doing 50-yard dashes and backbends, but they’re not the only ones having fun. Each and every person in the audience that contributes to Hot Topic staying in business was having just as much (if not more) fun. So what if it’s a school night and we all have shit to do tomorrow? Is that any reason not to party with a bunch of people just as fucked up as we are? I don’t think so.
DATE: Thursday, March 15, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
There are a lot of people that love everything about KoЯn. Jonathan Davis’ eerie ability to transform his voice from run of the mill into overt goth creepiness faster than Marilyn Manson transformed after The Wonder Years. The glow in the dark strings on Fieldy’s bass that always resonate in that stereotypical KoЯn style that’s so difficult for others to imitate. Luzier’s ability to do just about anything with a drum kit and make it sound awesome. The color black. Strobe lights. More TVs on the stage than that big box store you hate going to. Davis’ ridiculously awesome mic stand. No matter what part of the “KoЯn experience” you’re talking about, there are people that love it.
I’m more of an easy listener when it comes to KoЯn because there were only really five songs that I wanted to see live. When you’re in a crowd of complete families of KoЯn, you have to consider the fact that you might be the odd man out. This was, quite literally, a family outing for certain groups of people. It’s kind of interesting to see what happened to all the people you listened to Korn with when you were younger. Some grew up to be power brokers in suits who never let their skull tattoos see the light of day any more. Some wear lots of Ed Hardy and could be Hollywood stand-ins for a brick wall. Others are inked top to bottom in some of the most glorious skin decoration I’ve ever personally laid eyes on. At the end of the day, it’s exactly how I felt when I listened to Korn during my formative years. Each and every one of these disparate groups was united, for one night only, under the banner of KoЯn (seriously, there was a real flag). We were all part of one big, happy, dysfunctional KoЯn family.
One big dysfunctional family that includes an estranged cousin we affectionately refer to as dubstep. The connection between the too seems tenuous at first, but if you think about it it actually works. Jonathan Davis dresses like Skrillex, DJs as J-Devil to open his own shows and it’s quite possible that his growl could have actually given birth to the ear canal wrecking hellspawn noise (I mean that in the best way possible) that’s essentially the signature of dubstep. The two styles fit together like peanut butter and banana sandwiches. It’s not exactly what you would call homogeneous, but it works. Since this was the Path of Totality tour, they played a lot of songs off the new album and the audience never missed a beat, bass drop or chorus sing-a-long.
When the encore happens, everything quickly spirals out of control into a complete shitstorm (which seems to be a theme at the Congress). There’s a torrential downpour of beer from the balcony. The members of security are training for those weird European weight-lifting games by throwing dudes three times their size around like ragdolls. The entire floor is bouncing in unison with such reckless abandon that it could have registered on the Richter scale. The VIP section in the balcony is officially out of vodka, so guys with more muscles than a seafood restaurant are drinking Malibu rum straight. At one point in time, a pit erupted in the balcony.
Being at this show was like being at an underground rave, in a music video and at a riot simultaneously. I might have gone just to see them perform a handful of songs, but everyone around me knew every gurgle, verse and scream better than the Pledge of Allegiance they were forced to memorize decades ago. Dubstep or no dubstep, KoЯn still knows what it takes to put on a show that their legions of die-hard fans will enjoy. Even if you’re not one of those people, they’ll drag you along for the ride anyway.
DATE: Friday, February 24, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Brendan Shanley ( @lostinprint )
Looking at the members of The Darkness, there are a few things that will immediately hit you. There are members that could easily fill in for Svengoolie. Leopard print and leather are back in a big way. The length and unkemptness of your hair is directly tied to your ability to rock. But most importantly, this just fucking looks like rock n’ roll. And yeah, some people might be offended by the tight pants, or the popped collars, or the face sweaters, or all the tattoos, but you know what? Fuck em. The Darkness is back.
Costume changes. Substance abuse recovery. Guitar solos that “melt faces.” A falsetto that simultaneously wrecks eardrums and turns pants into an afterthought. Those are the things that used to define rock n’ roll. They’re the same things that define The Darkness in 2012. There’s no fucking around when you see The Darkness…except for all the fucking around. Wait. Let me clarify.
The Darkness are serious business when it comes to fucking around. The lyrics never really cross into the deep end, but they’re so emphatically delivered that you never really notice that Justin Hawkins is actually singing about knockers and not Shakespeare. “You’re beautiful and busty, but I’m a little rusty” might not have anything to do with iambic pentameter or be a soliloquy, but more people would know what those two things were if Hawkins had any say in the matter. There is such a level of conviction that, truth be told, it doesn’t really matter what he’s singing about because you’ll get so into it that you bust a vocal chord just trying to hit the same octave he does.
Most of the time, chanting “mother,” “fucker” is frowned upon. Not at a Darkness show. Having an giant, flying reptile fuck a spaceship isn’t normally kosher for network television. It’s totally normal in The Darkness music videos. Every member of The Darkness is so totally intent on making sure that you, one random person in the audience, have a good time that they make you feel like a superstar. A superstar that’s about to get fucked by a combination of Kenny Powers and Ron Jeremy dressed up in an Evil Knievel costume.
So yeah, they fuck around, but it’s in the most professional, delicate way possible. It was the type of performance that makes you remember why you started going to shows in the first place. The type of performance that, looking back, you wish you brought your parents to just to see the look on their faces. It’s now officially the bar that all other shows will be judged against. There are plenty of hilariously excellent things to say about The Darkness performance, but if you weren’t there to witness it firsthand the only thing worth saying is “I’m sorry” because you missed it.
DATE: Wednesday, January 25, 2012
WORDS BY: Ben Dahl ( @CobaltInfinity )
PHOTOS BY: Tracy Graham ( @tracygrahamcrkr )
The Kaweco Liliput Al Fountain Pen is built like a brick shit house–except you can use it to draw pretty pictures or write your magnum opus. Read my full review at The Pen Addict.
Price: $55
Buy: JetPens
Rating: Would buy again!
The Nixon 51-30 is a huge watch. Correction: The Nixon 51-30 is a fucking huge watch. With a 51.25mm diameter case (See what they did there? Nixon is so clever.), the watch monopolizes all of the wrist real estate of even the most big-boned individual. Weighing it at approximately one metric ton, it single-handedly has the power to make you walk lopsided. In short, this is not a watch for the faint of heart.
However, if you’re looking to make a “go big or go home” sort of statement (for one reason or another), this is the watch for you. It’s got a rotating bezel with countdown timer for long dives that you’ll never use. It’s got a screw down crown and tide control. The screw down crown has been relocated to the 9:00 position (along with the tide control) to prevent fucked up hands when spilling (it’s a skate/surf watch). Moving it is a great idea – in theory – but unless you’re built like The Rock the case is still going to dig into your wrist and the relocated crown is going to dig into your forearm. Still, it’s not a bad idea if you shred the powder/street/surf because sooner or later you’re going to eat it. When you do, you’ll be thankful you’re only left with a $300 watch bill instead of a thousand dollar insurance deductible. Which brings me to my next point – the price.
Currently available for $325+ at Back Country depending on trim (ceramic/wood/spinners), it’s not the cheapest watch on the market. You could pick up 30 Darch watches, 6 limited edition Timex pieces or even 2 Nixon Rubber Players for that amount of cash. We’ve established that it’s huge, mildly uncomfortable, pricey and totally capable of destroying your wrist in epic fashion. Why buy it? Because it’s huge, mildly uncomfortable, pricey and totally capable of serving as a bludgeon. All of the same reasons it’s a horrible idea – in theory – are what make it the best idea in watches. It makes a statement. It can’t be ignored. You would – quite literally – have to be blind not to be able to read this watch. For all its flaws, it still looks damn good. If I were buying it again (I would) I would opt for a bracelet instead of the weird “midnight” leather option, but those are the sacrifices you make for a $150 discount from Whiskey Militia.
Bankruptcy isn’t the only byproduct of an addiction to Gilt Man. It frequently results in casual neck noose acquisitions like the Ben Sherman dogtooth stripe plaid tie you see here. For all intents and purposes (i.e. according to Google) dogtooth stripe is something limited to Ben Sherman, so feel free to inform me otherwise if necessary. Even if the pattern was dreamed up by someone at Ben Sherman, it doesn’t change the fact that this tie just plain looks good. On to the fine print.
On the backend (we’re all enthralled with the little details), the tie is Made in China of 100% silk. The silk part is great, the China part – not so much. Whatever. I’m all for sustainability and everything, but cost and looks are the larger factors for me. [Ed's note - If you're looking for something on the more sustainable, socially responsible end of the spectrum, I highly recommend you check out Commerce With A Conscience because it's filled with stuff that you will end up buying.] If a tie ends up lasting long enough to become a “heritage” piece that’s great, but I’m not planning on it. Which isn’t to say that this tie is made poorly because it’s not. You can tell from the pictures below that the seams and stitching are still good quality.
It’s only been knotted up twice, but based on the comments at the company Christmas party this is going to be a big hit. You can’t really go wrong integrating a little color into your wardrobe, especially if you can rock a 2″ skinny tie. Unfortunately, if you’re interested in this particular number, you’re going to have to bide your time. At the time of writing, it isn’t available anywhere. I picked it up from Gilt for the bargain basement, final sale price of $24.
Update: It’s technically sold out right now, but you can get on the waitlist right now.
Hi, my name is Ben and I have a problem. That problem is Gilt Man. How am I supposed to pass up Ben Sherman, Steven Alan, and Gilded Age ties for $111? Technically, since I had an account credit, I only paid $5 for shipping. Seems like a small price to pay an order which includes a wool knit Steven Alan square bottom, Ben Sherman Dogtooth Stripe and a Gilded Age cotton plaid.
Here’s hoping this unhealthy addiction doesn’t end up with a purchase from Worst of Gilt. Until I get tiem to actually wear these – and do a full review – enjoy the pictures. As always, you can click to embiggen.
Last week I talked about how I was starting the In Search Of feature and the first thing in my seemingly endless quest would be the perfect notebook for notes, drawings, concert reviews, ish, etc. Fuck saving the best for last, we’re starting with the reigning champion – Field Notes.
Field Notes are diminutive in size (3.5″ x 5.5″), contain 48 pages (each side counts as one page) and are available in ruled, grid and blank. They also happen to be loaded with helpful applications, coordinate spaces and other Farmer’s Almanac type shit that I find intriguing – but have absolutely no use for. They’re bound together with three adequately placed staples. They hold them together pretty well and I can’t really think of any good way to romanticize staples. This is, first and foremost, a memo book, so don’t expect ridiculous fabric straps, unnecessary pockets and an unusable first page. You can literally graffiti every part of the little notebook that could.
In case you haven’t skipped ahead to the pictures yet, the blue memo book is beat to shit. For once, this torture testing wasn’t intentional. The blue Field Notes was subjected to approximately 12oz of Ketel Red Bull in the line of duty at The Metro. Yes, I just got it; no, it wasn’t my fault. The cover got scuffed and worn down in a few places. The ink appears to have bled, but not in the typical sense. The notes on the opposite side of the page are visible through the page, but the ink hasn’t bled through. It’s like holding a piece of paper up to a light except the lines are a slight haze of purple (probably the inks fault). If anything, the “patina” has improved with the addition of the original alcoholic energy drink (RIP 4 Loko).
What seemed like a ruinous tidal wave of deliciousness actually turned into a character creating moment for that particular Field Notes. The entire experience added some extra flavor to the notebook. Even though I won’t purposely waste more alcohol recreating the process, I quite like that it happened.
Unless your head has been up your ass for the better part of the calendar year, you are already in the know about the Timex Oversize Camper. It popped up on GQ, Por Homme, Hypebeast, Selectism, Sartorially Inclined and most of the other sites you read while pretending to work. All this coverage is great for Timex and their little-military-watch-that-could, but it made the Timex Oversize Camper jump the shark faster than Three’s Company. But that was April and this is now, so hopefully the hype has died down. Not to mention the fact that, even with all this coverage, no one had any real world shots or experiences with the watch itself. The Internet hype machine was just regurgitating the same olive drab marketing picture over and over and o…you get the idea. Regardless of all the reasons not to, I pulled the trigger.
I bet on black. It’s not that I’m not a fan of the olive drab, but the black got nowhere near as much coverage as it’s camo counterpart. I also wanted a simple, inexpensive, stereotypical black number to offset the growing number of rubber, silicone and/or ridiculously colored watches in the box. Or maybe this is all just me rationalizing because Nordstrom didn’t have the olive one in stock.
After dropping a little over $50 on it two weeks ago, I’m still on the fence. Is it oversized? Only in the same way you are after Thanksgiving. Compared to your former self, sure, you’re a little bigger. It will fade in a few days, and even then it’s only a difference of 2mm (watches are measured in mm; turkey guts in inches). Don’t forget the fact that most standard watch measurements factor in crown as well, so the whole 42mm the Oversize Camper is packing isn’t really anything to write home about. If you’ve ever worn something like a Nixon 51-30 – or you have big wrists – this watch will seem downright tiny.
The only real gripe I have with this watch is the ticking. It’s fucking loud. We’re talking loud to the point it will haunt you in your sleep Tell-Tale Heart level loud. You get over it after a while, but every once in a while it creeps up out of nowhere and forces you to reconsider your previously permanent attachment to your own wrist.
Was it too hyped to begin with? Probably. While I agree with Michael Williams and L.A.S. about most of their points, it’s still a better alternative to some of the other options (including other Timex offerings) in this price range. If you need a sleek watch that’s going to grab some attention, this is still one of your best bets.
$50 at Nordstorm: Black / Olive
In Search Of: is going to be an ongoing feature where I torture test products from different manufacturers designed to fill the same niche market. First on the chopping block is the pocket notebook.
Given the amount of writing that I do, a quality pocket notebook is essential. Right now, I’m running Field Notes, Moleskine, and Piccadilly notebooks through the gamut of live concerts, spilled beer and the County Comm Embassy Pen. There are some see-through pages, some frayed covers and some bleeding, but all of them are holding up admirably well. Next week I’ll do individual posts on each of the three and we’ll see where it goes from there.
If you have any suggestions for notebooks I should murder with words, leave a comment below.
Sometime last week (maybe the week before), Twitter was abuzz with crazy amounts of Lands End Canvas deals. Prior to this round of purchases (some shirts, these belts and the madras tie you saw last week), I was a total newbie to the brand. Now that I’ve learned the error of my ways, I’m seriously kicking myself for not picking up the Lands End Canvas Boots featured in Valet. Now I know better.
The Lands End D-ring Web Belt comes in four colors (khaki, olive, orange and blue) and checks in at a bank breaking $12. If you’re not beginning to sense a theme here, I will click buy for just about anything I’m interested in if it’s less than $50. Yes, I have a problem; no, I’m not going to do anything about it. Based on the size chart, I ordered the belts in Large. I have a 34 – 36″ waist, but I tend to take around 2″ onto belt measurements so that the overlap hits a belt loop. Based on the actual measurement of the belt (46″), Lands End Canvas factored in some overlap because it’s for a 36-38″ waist. Seeing as how it’s much better to have too much than not enough, I have no problem with this. Width wise, it clocks in at 1 3/8″ wide, so it will fit through damn near any loop openings.
The D-rings are supposedly a pewter finish over brass. Even after beating them up all weekend there hasn’t been any chipping so we’ll just have to take their word for it. The belt definitely has a bit of heft to it, which makes it work exceptionally well with the D-ring “mechanism.” Alternating between blue and orange for the past few days, there has been zero slippage – which I have found to be uncommon in D-ring belts. The leather is decent quality and adds a little flair to the ends of the belt. Muted pastel colors mean they’re definitely going to find a home on your chinos and shorts in the summer, but you can probably work them into the mix now if you’re willing to be a little adventurous.
Bottom Line: They hold it up. Pick one (or four) up before they sell out.
Available in khaki, olive, orange and blue for $12 each at Lands End Canvas.
With summer drawing to a close, it’s time to pack up all your madras (pretty cool Lands End article about the history of madras) and throw it in storage until the next time it’s about 70 degrees out. Nonsense. If anything, now is the perfect time to start scooping up all the leftover goodies that brands are clearing out – at bargain basement prices of course. Like this Lands End Canvas Cotton Madras Necktie. $16. Do you know how frequently you spend more than $16 on something you’re only ever going to use once – or is consumable? If you made a list I bet the frequency would surprise you, but that’s not the point. This tie is a steal at $16; it’s still a great deal at twice the price.
The Lands End Canvas description bills it as River Blue Plaid. As you can tell from the pictures, that’s a pretty apt description. 100% cotton madras is a good place to start, but simply saying it’s the fabric of our lives doesn’t really do it justice. This tie is ridiculously soft. Snuggle soft. (Conveniently enough, it would probably look good on the bear too.) On one hand, it makes wearing it a pleasure (super soft handcuffs), and it’s easy to get a good knot. On the other, it’s so soft that it occasionally bunches if you wear it under a sweater, and the knot can be difficult to get out if you pull too tight. The build quality is excellent (solid seams, minimal edge fray) and the badging is very, very tiny.
It’s safe to say that this is the best deal in men’s neckwear right now. Unfortunately, by the time I received my order Lands End Canvas had sold out of the tie. The item number is 38845-3XN7 if you want to do more hardcore digging on your own or wait for a restock.
When it’s not sold out, it’s $16 at Lands End Canvas.
Generic Surplus Wingtip Sneakers are the perfect combination of casual and dress, business and party, 9-5 and 5-9. They’re the footwear equivalent of the mullet - half business (muted colorway), half pleasure (they are sneakers after all), all awesome (wingtip accents, comfort, style, etc.). Unless you don’t like being comfortable, Generic Surplus Wingtip Sneakers are the best of both shoe worlds – without compromising in either.
The picture above displays the shoes in descending order of wear (Camel – two dozen times, Gray – dozen or so, Black – handful of times) so you can get a feel for what they’re going to look like when they start to break in. Keep in mind that they have never been cleaned (powdered/sprayed, but not cleaned), so you should factor in a generous amount of Chicago footwear beatdown because this city is brutal on shoes. In line with this, the camel and gray are primarily worn sockless which is why the liner tags are so beat up.
My shoe size is between 12-13, depending on manufacturer, style, lunar cycle, etc. These three pairs were all ordered in 12 (Gilt / Jack Threads steals are hard to pass up) and all of them fit fine. However, the black is just a smidge (this is a scientific measurement) tighter than the camel and gray pairs. This doesn’t bother me that much because even though I’m a huge fan of the non-color black, I like the camel and gray pairs exponentially more. Additionally, the white liner on the black shoe – combined with the gray sole – isn’t as striking a presentation as the combination (double white – so intense) on the other two pairs. I would definitely buy the black pair again, but only if I already had the camel and gray.
Depending on your occupation, you might even be able to get away with these at the day job. If it’s a sneaker environment, you classed it up a bit. If it’s not a sneaker environment, they’re kind of, almost, wingtips, so you probably won’t get fired. [I take no responsibility for your lack of continued employment if this situation unfolds differently for you.] They’re affordable; they look good; they’re fun. They come in a pretty sweet box too if that helps make the decision any easier for you.
$44 at Karma Loop. $36 on Jack Threads / GILT if you happen to be patient.
Yeah, not really, that’s just a much better use of the IKEA acronym than the name of the founder and his school. Anyway, who says you can’t paint IKEA furniture? The trick is to use materials equal to or lesser in quality. The latter being difficult, if not damn near impossible. The point is - $3 paint, $1 paint brushes, $1 rollers.
No, you can’t have the sweet Pollock tarp.
Then we hung some crazy bronzed, Greco Roman sun sculpture.
Dresser / TV stand complete. That may or may not be a Bible mouse pad.
Closet work in progress. Right now it’s just a room for shit that’s loosely clothing related.
Who drinks Tripel Karmeliet out the bottle? This guy.
Oooooohhhh, light switches and outlets.
Could I have taken pictures of the rooms in between finishing the painting and filling them with shit? Probably, but I didn’t. Hopefully you’re creative enough to paint those pictures in your head. In the meantime, here’s some decorative works in progress.
Hopefully there’s no porn in the background.
Eventually this will not be a shitty dimmer and it will be black - along with the rest of the trim and devices.
Random bakers rack to be replaced with proper server rack and closet doors probably getting axed.
She’s not fond of the television in the bedroom. Solution? Replace 32” with 42” IKEA dressers also need to be fixed, but that’s about as expected as me being within 3’ of a Red Bull at all times.
In today’s episode of Cribs: THIS IS WHERE THE MAGIC HAPPENS!!11!!!ONE11!!
That’s the door to the closet that’s probably bigger than your bedroom. Once I find $300 worth of quarters in the couch to buy furniture for it I’ll take pictures.
This picture shows the color of the walls? Honestly, I have no idea why this one is in here. Mind the gap between the sheets and the bedskirt.
While none of us is a fan of the plasticine bluish sky color, we decided to stick with individual rooms first and we’ll address the common areas later. The office is the first to get the Sherman Williams treatment (only the best - when you can write it off on the taxes).