We Wish You A Merry She & Him Christmas

Album cover of She & Him's new Christmas album.

Imagine a warm crackling fireplace, antique Christmas ornaments and a breathtaking view of the ocean during a California December. That is the essence of She & Him’s newest album: “A Very She & Him Christmas” (2011). Each song presents an easygoing, mellow and altogether enjoyable sound, perfect for a quiet evening at home or a relaxed get-together with friends.

Christmas covers have become quite the trend in the music industry this holiday season. Both pop sensation Justin Bieber and the equally popular crooner Michael Buble released highly anticipated albums featuring a mix of original songs and covers. She & Him, comprised of actress-turned-singer Zooey Deschanel and musician Matthew Ward, offers a more mellow option to throw into the mix.

Staying true to the indie rock genre, Deschanel and Ward transformed twelve Christmas favorites into raw stripped down simplicity. Deschanel’s lilting tones give songs like “Silver Bells” and “The Christmas Song” a new twist, lending hipster holiday magic to the season. The whole album is easily something you would hear in “avant-garde” stores like Urban Outfitters or the more refined Anthropologie, airy and carefree as every track is. Think Ingrid Michaelson meets Jack Johnson. If listeners hope to find anything different from previous albums, they will be disappointed. Deschanel’s voice rings pure and unique and Ward’s instrumental accompaniment leave no room for anything but pure She & Him.

Refreshing and original as the covers are, one can’t help comparing Deschanel’s lighter and undeniably weaker vocal qualities in “Have Yourself A Merry Little Christmas” to Judy Garland’s rich, resonant rendition, featured in the classic film “Meet Me In St. Louis.” The cover is not unpleasant, just a bit anticlimactic in comparison. After all, covering classics from greats like Celine Dion or Barbara Streisand is a risk too. Ward’s acoustic riffs are particularly relaxing and especially prominent in “I’ll Be Home For Christmas,” though his vocals are puzzlingly absent in every song. Past albums featured both artists’ vocal talents. No matter though as Deschanel’s unique voice more than makes up for the lack of male vocals.

Deschanel does a wonderful job of interspersing playful with sentimental, energetic with mellow. “A Very She & Him Christmas” makes for a nice complement to seasonal albums with the richer, traditional tones of Bing Crosby or Nat King Cole and creates variety from jazz holiday favorites like Vince Guaraldi’s “A Charlie Brown Christmas” soundtrack and Kenny G’s Christmas album, but whether it can stand by itself is questionable. Still, there is little doubt that future Christmas movies will hasten to add their songs to their soundtracks.

Photo from Stereogum.com

Thrice Brings Down The House (of Blues)

Thrice is greeted by an enthusiastic crowd. Taken by Heather Tanji

Days before Thrice announced an official hiatus (duration currently undetermined), fans flocked to the House of Blues in Anaheim to enjoy what could now be a final performance. Orange County locals lead singer Dustin Kensrue, guitarist Teppei Teranishi, bassist Eddie Breckenridge and drummer Riley Breckenridge brought talent, excitement and pure rock into the packed venue.

The best way to describe their performance is undiluted, constant energy. From the strums of the electric guitars to the rumbling bass solos, the clashing of cymbals and thunderous vocals, it never quit. They kicked off the show with “Yellow Belly,” a favorite from “Beggars” (2009), which calmed the audience for a few moments. Breckenridge’s talent on the bass was really showcased, right from the beginning of the song as heads bobbed and fists pumped the air.

The energy really revved up when they started playing “All The World Is Mad,” one of the first tracks from their newest album. Strobe lights flashed into the audience in sync with the rhythm of the song as they raised their voices in unison with Kensrue, screaming out lyrics as they heard the song live for the first time. It’s hard to say what was more infectious, the beat of the drums or the enthusiasm of the audience. Most of the crowd knew the words by heart, sending a fresh wave of chaotic frenzy with each new song.

The band got it's start in the Orange County venue, The Chain Reaction. Taken from ClulbZone.com

Thrice is known for the consistent development of their sound. Their newest album “Major/Minor” (2011) contrasts extremely from past albums such as “Vheissu” (2008) gradually transitioning from punk rock to hard metal to alternative and even acoustic sounds. The quality of each album is the same: excellent, but having such a variety of genres is difficult, given the wide fan base. However, the band didn’t forget their diehard fans—the ones who fell in love with their hard metal songs, the ones who have been with them since the beginning.

They ended with a satisfyingly deafening performance of “Anthology.” Each chord progression could be felt right down to the vibrations on the floor, the strobe lights blinding the audience as they sank into further euphoria, simply enjoying the precise riffs Teranishi brought and the endless roar of Kensrue’s vocals. During the encore they revved up an encore of “Phoenix Ignition” and “To Awake and Avenge the Dead.” Fans cheered frantically, immediately initiating a mosh pit, crowd surfing and a general rampage in appreciation of the throwback.

The House of Blues is an intimate venue, one that doesn’t have space for elaborate light shows or special effects. Thrice didn’t need the help as their talent and energy filled the space all by itself. Fans waited impatiently through the three opening acts (O Brother, Moving Mountains and La Dispute) half-heartedly applauding each band, making it clear that these folks were here to see one band, and one band alone.