Word: barlowã
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Dates: during 2004-2004
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...Barlow??s musical span of attention has never been very long. That’s part of why he bounced around in so many bands in the 90s: Dinosaur Jr., Sebadoh, Sentridoh, the Folk Implosion, most recently, a solo record. The man has proved impossible to pin down for any extended period of time. But now he has reconvened with bassist and songwriter Jason Lowenstein to tour as Sebadoh, the masthead of his most prolific and beloved act. Lowenstein and Barlow were brought together for the 10th anniversary celebration of British label Domino Records, whose first release...
...feud between the two has been among the most historic in 90s indie rock, but reconciliation seems to be on the way: the two are sharing a stage at a Smith College benefit show in their mutual home of Northampton later this year. Fans witnessing Barlow??s reconvening with Lowenstein are forced to at least speculate whether one with Mascis could be equally possible...
...other side of the stool-perched boom-box, Jason Loewenstein leered over the audience, dwarfing his bass, clearly thrilled to be back in the city where Sebadoh was based. Unable to contain his glee, he teetered back and forth swigging from his Heineken and keeping time with Barlow??s lead guitar. When he did take lead vocals, perhaps most prominently on the heart-wrenching “Got It,” he showed himself every bit the effective songwriter as Barlow...
...interplay between the two songwriters has always been integral to Sebadoh. Their three great albums—III, Bakesale and Harmacy—have always featured an even distribution of songwriting credits between the two, and Lowenstein’s vitriol is constantly tempered by Barlow??s cool. The balance between the two, as physically manifested on-stage on corresponding sides of the boom-box drum machine, keeps their sound constantly engaging—there is a Sebadoh sound, but split between two ultimately different songwriters who share an aesthetic for murky, reflective, grunge-lite songwriting. Sebadoh?...
...perils of being close to home crept in on the band, as at one point an audience member familiar with subjects of a song yelled something alluding to a specific romance that caught Barlow??s ear. This came from the same part of the audience that had been yelling about Barlow and Loewenstein’s frequent breaks to retune—many of the songs were in alternate tunings—and their absent human drummer. Barlow, the king of cool, brushed off these comments (and those about Mascis made during and after...