Even a well informed modern music fan likely has no idea who Caithlin De Marrais is. Over the course of roughly 11 years and 5 albums, she was the singer and bass player for Rainer Maria. In the field of late 90s/early 2000s indie rock they were so potent and distinct that they tended to be ignored, with all the media attention going to lesser bands with similar stylistic surfaces. Instead, we got to see the remarkably mediocre likes of Rilo Kiley on late night TV and magazine covers.
This is not Rainer Maria’s story, however . No prior knowledge is required to appreciate Caithlin’s new songs. I was able to get in about 4-5 good listens to her debut album “My Magic City” before seeing her show, just enough time to start recognizing the album’s qualities. In short, it delivers the goods. The words and vocal melodies are sticking to my consciousness like glue, popping into my head as the soundtrack to walking down the street or standing at the counter at work. It’s too soon for a true appraisal and analytic breakdown, but so far it’s one of the most memorable album I’ve heard released in 2008.
This was the first show I’ve seen at The Middle East’s Upstairs room. I’d only been in the much more metal-appropriate Downstairs space, with it’s low ceiling, ample moshing space, and ear destroying sound system. The Upstairs has a much more delicate sound setup. Unless you stand in the horizontal center of the tiny square of floorspace, at least 50% distance away from the stage, you aren’t going to hear the music coherently. There are two small ceiling mounted PAs pointed at odd angles. If you aren’t in the center, one ear or the other will be overwhelmed. The volume was skimpy, as if the artists on the bill that night weren’t deserving of being heard because they make “quiet” music, but it was just enough to be effective.
Caithlin 4 days later at the Mercury Lounge. Photo by Bob Sanderson
I had misinterpreted one of Caithlin’s Myspace posts to mean that she was touring with a new baby. It turns out that she was touring “with child” in the Olde English meaning of the phrase, as in pregnant. Hopefully, she will soon join the tradition of ass kicking touring moms like Kristin Hersh, but that might be a selfish wish on my part.
Her facial expression as she took the stage looked somewhere between woozy and queasy from where I was standing. Whatever the state of her mindbody at the time, it didn’t detract at all from the experience. It may have actually shed a different light on the songs. Her determination and coiled intensity was even more apparent in this intimate musical style, as opposed to when she was the eye of Rainer Maria’s storm.
Her Charlie Brown-esque shuffle dance as she worked her way into the groove of “Serpentine” was utterly profound in it’s simple grace. I was riveted as one of my favorite artists discovered and created a new stage persona for herself in that moment. Seeing someone simply doing their thing with such bravery was inspiring, especially in front of this polite but indifferent audience made up primarily of Owen (the headlining act) fans.
Describing the sparse instrumental construction of the songs feels secondary next to the personal connection that was made, but the supporting players are very deserving of a mention. Guitarist Josh Kaufman made a comfortable, friendly bed for Caithlin to rest on. His variety of tones and styles evoked the album while tweaking it with different twists and flourishes. His soulful and skilled playing elevated the performance to another level, and was at times the only other element to accompany the voice. El May also joined on piano and backing vocals, on one song providing charmingly shy harmony through the center mic stand while Caithlin sat at the piano to the right.
Caithlin is one of the few singers I’ve seen live that makes me realize how limiting a recording is in terms of resonance and subtle frequencies. There is no comparison to having the real thing right in front of you, amplified with minimal change. The way she projects and enunciates seems to clarify her intent, bringing you even closer to understanding what she means. I use ‘understanding’ in the indescribable musical sense, not the literal sense.
The highlights of the set were “The Fire”, with it’s building vocal intensity, and “Voicemail”, with it’s irresistable piano hook, melody, and relatable sentiments. The 45 minute show as a whole was the highlight of my recent concert going history.
Give or take a song , the setlist was: The Cottage, Outer Space Is Still Sexy, The Fire, Voicemail, Serpentine (rockin’ electric guitar and foot stomp beat version), Sparrow, I’ll Make You Mine (a more low key version of the Rainer Maria song, with palm muted electric guitar).
Buy “My Magic City” for 10 bucks in 320kbps MP3 format (the only way to get the album) here:
http://endup.org/artists/caithlindemarrais/merch/
Listen to samples and find out more info here:
http://www.myspace.com/caithlindemarrais
