String Theory Media

Catching Up, and Moving Out

I haven't posted news in ages but not because there's not news. We've been crazed actually. We're finishing edits on a new video bio piece about the precocious and super-talented Sierra Hull, a favorite of Alison Krauss and many other bluegrass stars who've noticed her talents on mandolin and on the microphone. Her debut album comes out on Rounder Records on May 10.

We've also been privileged to be in the studio for recent shoots of album tracking sessions by songwriter and Americana star Darrell Scott and mad fiddle scientist Casey Driessen. Scott's album, recorded in his home, leans heavily country with Hargus "Pig" Robbins on piano. We're figuring out what to do with remarkable footage of Darrell and his dad Wayne dueting on a song they wrote together years ago. Casey tracked his new album just off Music Row with bassist Viktor Krauss, drummer Matt Chamberlain and, coincidentally, Darrell Scott on all kinds of instruments. And then there was a trip to shoot the Infamous Stringdusters in Chicago. And the Waybacks at 3rd & Lindsley in Nashville. We're also finishing a promotional piece about Orchestra Nashville and prepping an amazing project about which more to come. On top of this on the home front we sold our house after much repair and painting and bought a new one. Which means String Theory Media will soon move into slick new space in a finished garage near the 12 South neighborhood. Stay tuned for more.

Sad But True

William Weir nails it in a Slate article about the absurd and unnecessary death of the instrumental pop hit. The amazing statistic:

From 1960 to 1974, 128 instrumentals reached the Top 20, while only 30 did from 1975 to 1990. And since? Five.

I've thought about this a lot because I'm an instrumental guy living in a song town. The only thing more amazing than the power music has over the heart and mind is the dwindling number of opportunities to hear instrumental music.

Wier writes:

I understand the appeal of the human voice, and I certainly can't begrudge anyone's joy at singing along in the car (unless I'm in it). But why such shabby treatment for the instrumental? Marketability.

Exactly. Because for twenty years the music business hasn't been selling music as much as it's been selling celebrity. When people don't hear instrumental music they forget how to listen to it, or they never learn.

Four Days of Infamy at the Nashville Film Fest!

Best news of the week: My documentary about the Infamous Stringdusters, "Four Days of Infamy" has been accepted for a showing at the Nashville Film Festival, which runs at the Regal Cinema Green Hills April 17 to 24. It follows one of the most exciting bands in America on a short tour through Colorado, where the boys contemplate the differences between Southeast and Colorado bluegrass and discover what kind of band they really are. We'll post screening time information as soon as we get it. Here's part one of the film as seen on YouTube, but we hope you'll join us to watch Four Days on the BIG SCREEN!

Critical Mass

Mark Edwards opines in the Sunday Times about the oft-noted gulf between what music critics regard good music and mass taste. His core argument:

"Music critics are assessing music using different criteria than the rest of the world. Or, perhaps more accurately, we’re using roughly the same criteria, but giving greater weight to some of them. Critics are particularly keen on authenticity, innovation, great lyrics and - most of all - a direct and identifiable connection between the emotions of the songwriter and the finished work. We’re looking for the musical equivalent of a Jackson Pollock - it doesn’t have to be pretty, but it must be genuine. If you take a look at the list of (the criteria used by regular music consumers), you’ll note the almost complete absence of these qualities, in favour of attributes that critics often downweight – melody, entertainment value, immediacy, escapism, image."

I gave up music criticism in favor of reportorial music writing and the other stuff I do in part because I always felt a bit phony setting myself up as more qualified to pass judgement on music than any other knowledgeable fan....

Birthday Wishes to Doc Watson

It just came to my attention that yesterday, March 3, was Doc Watson's 83 birthday. No musician in the world has had a greater impact on the way I hear music or play my instrument. He's the living embodiment of all that is true and worthy in roots music, an innovator and a traditionalist in equal measure. I raise my first cup of coffee of March 4 to my hero. May he pick for many more years to come. Merlefest is just 51 days away!

Punch Drunk

If you haven't heard about Chris Thile's new project called Punch Brothers, then let me make it easy for you. I've been following Chris's career for more than a decade now, and I couldn't name many more fascinating musicians working today. I long suspected that he'd move well beyond bluegrass and beyond the acoustic pop of Nickel Creek into some new American vernacular. The first work that fulfills that promise in a big way for me is called The Blind Leaving The Blind, just out on Nonesuch Records. On Friday I had a story run on NPR's All Things Considered about the album, the new band and Thile's ever-reaching musical nature. You can give it a listen HERE>>>

Props

Wow. We're floating on air over here following No Depression's brand new review of "Last Train Home Live At IOTA" DVD, our co-production with Red Beet Records. The amazoring Barry Mazor writes that the disc "captures, very well, a typically varied and smart performance...a sterling example of what indie bands and filmmakers can do together...The cameras, like the guitars, steel, horns and keyboards, are in the right place at the right time doing the right thing." Check out more about the DVD at Last Train Home's merch site. We appreciate the kind words more than you know.

Hot Doc Alert: Bela in Africa

Here's a teaser of a film I'm looking forward to, Throw Down Your Heart by Sascha Paladino. He does have an advantage in that he's Bela's brother, but he's a seriously good filmmaker too. If you've never seen his Bela/Edgar Meyer film Obstinato, do yourself a favor.

Air Castle makes the Scene

Thanks to the Nashville Scene for a nice review yesterday of Air Castle of the South. Great timing because coming up next week, on Feb. 27 at 7 p.m. I'll be reading and signing at Barnes & Noble Cool Springs in Brentwood. There will be discussion and Q&A, so please come on down.

Casualties

Word went out yesterday that No Depression magazine is going to cease publication after 13 years and more than seventy issues. This is dreadful news that brings home a new kind of specificity and tragedy to the ongoing immolation of the music business. No Depression is a spectacular magazine, graphically and editorially. It has been the singular news outlet about a vital vein of American music that is famously difficult to name but that is saturated with genuine artistry and that actually builds on and enriches our culture. I read No Depression, and I’m proud to say I wrote for it. Grant Alden and Peter Blackstock are some of the most talented and dedicated journalists I’ve ever seen work. The idea that they’re asking themselves ‘Gee, what now?’ at the stage they are in their distinguished careers is infuriating.