Sxip Shirey with Angélica Negrón: Ecstatic Music Festival, Day 2

Sxip Shirey and Angélica Negrón (photo by David Andrako)

In my head, Sxip Shirey‘s house looks like the secret lair of some crazed Orffian pedagogue, strewn about with glockenspiels and melodicas and countless bells and whistles (and I mean actual bells and whistles). And if the stage at Merkin Concert Hall for Tuesday night’s Ecstatic! Music Festival performance—what Sxip Shirey described as “Judd [Greenstein]‘s forced play-date—(featuring Sxip Shirey, Angélica Negrón, Todd Reynolds, Noveller, and Jonny Rodgers) was any indication, my mental image may not actually be that far from reality—the stage packed so tightly with all of the above in addition to various other toys, a music box, five Pyrex bowls, and a toy accordion that there was barely room enough for the performers to tiptoe precariously to their own place among the music-makers.

There were also tuned water glasses. (Did I mention the water glasses?) That’s where Jonny Rodgers (formerly of Shara Worden’s proto-My Brightest Diamond project, Awry) comes in. Benjamin Franklin believed the pure tone of a tuned water glass to be one of the most beautiful sounds imaginable, though I doubt that even Doctor Franklin, when he invented the armonica 250 years ago, could have foreseen its use in tandem with toy accordions, looped violins, and bicycle bells on a stick. But with the glass harp, an instrument Shirey described on the night as “long reverb trails that make intelligent harmonic decisions,” the possibilities are—apparently—endless.

Angélica Negrón and Jonny Rodgers (photo by David Andrako)

With the artists themselves appearing onstage in various collaborative permutations (e.g. Todd Reynolds appearing on Jonny Rodgers’ “Spero/Sparrow” and Face the Music, the Kaufman Center’s in-house youth orchestra on Angélica Negrón’s “El Gran Caleidoscopio”), Sxip Shirey defaulted to the role of de facto emcee. Shirey demonstrated his flair for stage banter and extended techniques early on with the introduction to his own solo number, “Trains”, a piece for prepared guitar (a guitar with a piezo pickup, strings prepared with paperclips and played with a harmonica and additional gated reverb) meant to mimic the sounds of trains in the mountains of Missoula, Montana. And, whether planned or not, his interjections proved a serendipitous stroke for a program that could just as easily have suffered as succeeded at the hands of its own playful eccentricity.

It’s almost unjust to try to single out highlights from an evening stacked end to end with new sounds and eye-catching performances. Sxip Shirey’s “I Live In New York City” (probably the most popular piece he’s written to date, here performed with violinist Todd Reynolds) and the aforementioned “Trains” are stellar numbers not to be missed.

Todd Reynolds and Sxip Shirey (photo by David Andrako)

But still, a handful of pieces, like “Asa Nisi Masa”, stand out for their exceptional beauty. A collaborative effort, written and performed by Angélica Negrón and Sxip Shirey, “Asa Nisi Masa” is an invocation featuring numerous bells and glockenspiels and a breathtaking stretch of several moments of false anticipation. And, while the slow, deliberate, swirling chord progressions of Noveller and Negrón on “At Dusk” sound almost like Vidulgi OoyoO doing Arvo Pärt, Jonny Rodgers’ “Spero/Sparrow”—taken from a phrase meaning “while I breathe, I hope”—and performed with the seemingly improvisatory but perfectly placed accents of violinist Todd Reynolds, makes for a stunning ode to a charity dealing with human trafficking.

For a program loaded with artists of such seemingly disparate compositional tracks and influences, day two of the Ecstatic Music Festival proved once again that even a forced play-date can prove a match made in Heaven.

To hear the archived broadcast of Sxip Shirey and Angélica Negrón from Ecstatic Music Festival, check out the Q2 Music website. The next Ecstatic performance—featuring Nick Zammuto and Jason Treuting with janus, Grey McMurray, and Daisy Press—takes place Thursday, February 23 at 7:30 PM, at Merkin Concert Hall.

Jherek Bischoff and Wordless Music: Ecstatic Music Festival, opening night

Jherek Bischoff with the Wordless Music Orchestra

It’s that time of year again, time for the second annual Ecstatic Music Festival at Merkin Concert Hall—a festival, curated by New Amsterdam’s Judd Greenstein, dedicated to genre-blending music and collaboration. And, as encouraging as it is to see festivals like this succeed with audiences, perhaps even more exciting are the often mind bending performances that result from it. And Saturday’s sold out opening night with Jherek Bischoff, Wordless Music Orchestra, and guests including David Byrne (yes, that David Byrne), Greg Saunier (Deerhoof), Zac Pennington (Parenthetical Girls), Mirah, Carla Bozulich (Geraldine Fibbers), Sam Mickens (Dead Science), and Charlie Looker is perfectly indicative of that fact.

With the all sweeping string gestures and post-Romantic grandeur of an early 60s film score but without the hedonistic self-indulgence of Rufus Wainwright, Bischoff’s music is immediately captivating. And, considering that the first guest vocalist to appear onstage was David Byrne crooning his way through “Eyes”, it’s no insignificant statement to say that the music holds it’s own (and, in fact, dominates) in what could have easily become a star-studded game of vocalist roulette.

Yeah, that David Byrne.

Charlie Looker’s smooth-as-silk vocals carry through the charming and subtly schizophrenic “The Secret of the Machines” (featuring Greg Saunier on drums) into Mirah’s rendition of “The Nest” evocatively laden with all the emotional intensity of a great torch song.

For “Blossom”, the composer himself took to the mic (one of the many musical hats he would don throughout the night) before Craig Wedren’s gorgeous and all-too-brief turn on “Your Ghost” and Carla Bozulich on Bob Lind’s “Counting”. And fans of Serge Gainsbourg will be happy to know that Zac Pennington took to the stage for his duet with Sam Mickens, “Young and Lovely”, with all the flair and dapper deportment of the best of the yé-yé scene—a perfect lead-in to the dizzyingly stirring closer, “Insomnia, Death and the Sea” (perhaps a holdover from the composer’s childhood on a sailboat).

A second half, described as “Songs by Jherek’s friends”, featured Bischoff’s arrangements of songs written by several of the guest vocalists performing on the first half of the show, including with the premiere of David Byrne’s “The Fat Man’s Comin’”. It was during this second set that the composer took the opportunity to address the audience, admitting that he chose the moments following Craig Wedren’s “Heaven Sent” because at any other point he would have been to overcome with emotion to be coherent. And it’s that picture of an artist (who assembled his album by biking around Seattle painstakingly recording and layering a single instrumental line at a time) choked up at seeing his full vision realized an array of innovative collaborators with talent to spare that so perfectly illustrates what makes events like the Ecstatic Music Festival so exciting.

Zac Pennington (center, mic) stealing hearts, Sam Mickens (far right); behind and between them is Jherek Bischoff.

The next Ecstatic Music Festival will take place at Merkin Concert Hall, February 8^th at 7:30 P.M and will feature Son Lux, Richard Reed Parry (Arcade Fire), and yMusic (and for those who missed it, here are my thoughts from the last time I heard yMusic play Richard Reed Parry’s music). To my knowledge, all of this year’s Ecstatic performances will also be streamed and archived on the Q2 Music website.

For a complete schedule of upcoming Ecstatic performances, check here.

Indiepop’d dance party

I’m out of town right now on a whirlwind trip to Chicago and don’t really have the time to write a real post. So here are some videos to keep you entertained until I can sit down and write some of those year-end listy things that people like because they’re so easy to argue with.

‘Chicas De Oro’ is a newer one (November) from Guatafán, taken from the eponymous limited edition 7″ (another contribution to Elefant’s fantastic New Adventures In Pop series, which you may remember from last week).

‘Chicas De Oro’ limited 7″ (white vinyl, 500 copies)
Tracklist:
1. Chicas De Oro
2. La Vida Me Sonríe
3. Examen Sopresa
4. Un Día De Verano

I think it’s fair to say that Vidulgi OoyoO are one of my favorite bands in the world right now (top 5, easy). They’re more of a rock band than most of the artists who usually end up in these Indiepop’d posts, but they still land firmly in that dizzying whirl of  shoegaze and dream pop, so they still qualify. According to this Chinese blog (which is quite good and [mostly] in English), they will often play full hour-long sets straight through without a single pause (though I cannot personally attest to this since a scheduling conflict prevented me from seeing them at Canadian Music Week). Until they come back to this continent, though, I guess I will have to remain content to lose myself in their many live performance videos on YouTube. Though, the more I listen, the more I think Vidulgi OoyoO may be enough of a reason for me to justify a trip to Korea.

And another Vidulgi OoyoO video, because I just can’t get enough.

This week, I was also introduced to the Girls In The Garage compilations. I don’t know why it has taken me this long to start exploring the long lost world of all-girl 60s garage bands, or even to realize that that sort of thing existed back then. But, if you’re like me, you know that it’s nice to be reminded that there are still all these amazing pockets of brilliant music you haven’t even explored yet. And to know that these girls could produce great songs without Phil Spector’s help is just an added bonus. So we’ll wrap things up with a couple of my favorite tracks from Girls In The Garage, vol. 1

The Chymes – ‘He’s Not There Anymore’

The Blue Orchids – ‘Oo Chang-A-Lang’

Indiepop’d: Los Bonsáis – Noise from Spain

It pays to check out your Twitter followers (and I don’t mean that in the police state paranoia way or creepy leering sense). But, really, it’s not a bad idea. Not only will it save you from a robot army wielding free iPads, but sometimes it puts you in the path of Spanish shoegazers brandishing guitars and powerful fuzzboxes.

Such is the case with Los Bonsáis. It only took about 30 seconds of “Es Mejor” for me to know that I had stumbled onto something I really loved. With their subtle, melodic vocals, it’s easy to place Spanish duo in the same camp as My Bloody Valentine and their variously fuzzy descendants, but the 60s surf inspired-inspired rhythms also owe a great deal to the noisier side of late 80s indiepop, like The Fizzbombs or Meat Whiplash/The Motorcycle Boy—or, in more directly relevant, contemporary terms: “like a Spanish Raveonettes” as a friend from another blog described it.

Head over to Bandcamp to check it out, I think you’ll see where we’re coming from on this. (You can also download the “Es Mejor” b/w “Un Instante” single for free there.) Of course, if you’re anything like me, you are probably thinking something along the lines of “I’ll bet they sign with Elefant soon”. I was when I listened Sunday night. I spent a good amount of time this week thinking of all the arguments I was going to make in this week’s Indiepop’d piece for why Los Bonsáis + Elefant Records is a match made in heaven only to plug this post from the band’s blog into Google Translate and find that my revelation had come to me a few hours late.

So the good news, for those of you digging the sweet noise of Los Bonsáis as much as I am, is that there will soon be a new 7” EP released as part of Elefant’s New Adventures in Pop series and one more disc to spin at your respective indiepop club nights. It would be redundant, at this point, to predict that “match made in heaven”. But it is never too late to celebrate a match well made.

Indiepop’d: Stop, Look, and Listen

It’s time I took a break from dancing with wild abandon to old Alphabeat videos (with moves I learned from 1980 Cyndi Lauper) to post the first dedicated installment in our new Indiepop’d Friday series. And with that, it’s only right that we return to the place that started it all. From the early days when the original C86 tape celebrated the eponymous scene that may or may not have even existed before it was named, Glasgow has been a sort of Fertile Crescent for all things indiepop. Even now, 25 years later, the Britain’s second city remains home to many of the premier indiepop bands, labels, and club nights. And out of that jangly come Strawberry Whiplash.

[DOWNLOAD: 'Stop, Look, and Listen' mp3]

Strawberry Whiplash have been featured here a couple of times in the past, so I won’t go into too many details, but for those who were not with us the last time Laz and Sandra made an appearance here (two years ago) here are the basics. Laz plays the instruments. Sandra sings. The rest you can probably guess from that introductory paragraph you read about 30 seconds ago. (Bonus fact: Laz also plays in Bubblegum Lemonade.) If you want to know more, you can go read those old posts or their page on the Matinée website.

And you’ll probably want to be heading over to the Matinée site anyway to pick up a copy of ‘Stop, Look, and Listen’, the band’s new 7” and their third release on Matinée (not including a few compilation contributions)*. While their last release, the Picture Perfect EP, incorporated trace elements of shoegaze alongside jangly 60s guitars, ‘Stop, Look, and Listen’ owes more to the likes of The Shop Assistants and Talulah Gosh than to My Bloody Valentine.

The powerful melodies and whimsically wispy female vocals are vintage C86, but at the same time, this isn’t exactly the amateurish shambling of your parents’ indiepop. This is melodic DIY at it’s best: upbeat, jangly, and unforgettably singable. And how nice it is that now, in the waning days of the year we put the nail in the coffin of indie rock, there’s still a haven for we, the Terminally Uncool, on the periphery of the crumbling Kingdom of Leon. It’s enough to make you want to pull out your best jumper and do that pseudo-running man indiekid dance in the most unironic way possible.

The ‘Stop, Look, and Listen’ 7” is limited to 500 hand-numbered copies on transparent red vinyl and is available from Matinée Recordings as well of several independent record shops around the world (and internet).

Tracklisting:

1. Stop, Look And Listen [download mp3]
2. In The Blink Of An Eye
3. Luck Is The Residue Of Design

*While you’re there, have a look at their immense year-end clearance sale. There are some fantastic deals to be had. I pretty much bought half the catalogue last week, so tweet me for recommendations.

Indiepop’d Fridays: a flag flying for losers

About two weeks ago, I heard for the first time the legendary NME C86 compilation. I know, I know. I’ve referenced it here several times in the past without having ever heard it for myself – it’s all a little Tom Townsend-ish, isn’t it? And the answer is, yes (though, in my defense, at least I’ve actually read Mansfield Park). But that’s not the point here. The important thing is what happened next.

I spent the rest of the rest of the week caught in an endless YouTube vortex of Talulah Gosh and Rosehips, relentless googling forgotten Peel Sessions, and scouring eBay trying to trick myself into believing I could afford that Shop Assistants 7-inch. Then I came across this old Guardian article by Manic Street Preacher Nicky Wire and it all sounded so familiar. Well, maybe not all of it. I was two years old in 1986. I wasn’t exactly wearing Pastels badges to McCarthy gigs and publicly denouncing Thatcherism, but the connection to the music thing, I get that. And that title – “The Birth of Uncool” – well….

Because, while I may have an immense fascination with garage punk and believe wholeheartedly in the indie-classical movement, at the end of the day, it’s still Belle & Sebastian lyrics I’m quoting. And if you were to go through my “I’ll get to it in a minute” pile, you’d realize that there is certainly no shortage of brilliant new indiepop out there (upcoming releases from Matinée, Soft Power Records, and WeePop! immediately spring to mind), not to mention all those lost classics from the original C86 era.

So I’ve made the executive decision to begin a weekly indiepop feature. Be it an interview, new single, or grainy distorted video clip from the 80s, get ready to start your weekend with Indiepop’d Fridays. From now until the talent pool dries up (or I get bored), Friday mornings will be dedicated to all things melodic: from twee and shoegaze to jangle pop and anything else that makes me want to dance around with flowers in my trousers.

So let’s start things off with a band from my formative years—the band that indiepopped my cherry, so to speak—back in the late 90s. All Star United produced two brilliant pop records at the end of the last century, including International Anthems for the Human Race, which I consider to be pretty close to perfect. Back in the days when I still fancied myself some kind of stylized post hardcore punk with a heart of gold (I knew all the lyrics to “Full Color” before most of you knew P.O.D. wasn’t pronounced “pod”), All Star United were one of the very few pure pop bands I was willing to listen to. But, unlike my late 90s rapcore collection, those first two ASU albums remain in heavy rotation even now, more than a decade later.

Fun fact: International Anthems also included synth programming contributions from Kip Kubin more recently of the absolutely brilliant Venus Hum. Funner fact: they say, though I can’t confirm it, that in college, Ian Eskelin, lead singer of All Star United, lived in the same dorm and on the same floor I lived on as a freshman. I want so badly for this to be true.

On Pins and Hot Sand

The last time I saw Fever Fever, it was 3AM, the waning hours of Canadian Music Week and the end of a long day including a wake for the White Stripes and more coffee than should ever be consumed by any reasonable human being. And though I’ve been pretty much useless since I left them in the narrow cramped corridor backstage at Toronto’s Rivoli nightclub, with major festival appearances on both sides of the Atlantic and a new album in the works, the band have been anything but. I said a while back that I was really excited about some stuff coming up on new Norwich label Gravy Records – well, this is what I was talking about.

‘Pins’ is the first proper single to be lifted from the Fever Fever’s upcoming album and, like the free single (‘Teeth’) released earlier in the summer, finds sees band in the studio with producer Rob Ellis (PJ Harvey; Anna Calvi). It’s a formula that seems to be working, because ‘Pins’ finds the Norwich trio in top form. It’s the sharpest thing we’ve heard since ‘Monster’ broke out and bashed our faces in 18 months ago. Have a listen and maybe you’ll begin to understand why I ran halfway across downtown Toronto at 2AM to hear them. Just be careful you don’t hurt yourself.

‘Pins’ is available as a digital download and a (very) limited screen printed CD single.

Speaking of big things from tiny labels, Hollows (from my old home, Chicago) have put out a couple of domestic releases – a 7-inch on Trouble In Mind and an LP on Addenda (good luck getting your hands on that one) – but now they’ve taken their organ-driven pseudo surf across the pond to Soft Power Records (indiepop offshoot of online record shop Soft Power UK). Now the kids at Soft Power have been making a valiant go at it since the label launched about a year ago, but imagine my surprise last week when I learned they had managed to release a single by one of my favourite bands from here in the good old Midwest without me noticing.

However it happened, I’m glad it did. They’re an ideal pairing (this from a guy who’s spent the last week caught in a C86 vortex). The recent disintegration of The Like has left a gaping hole in the 60s girl group sound. They’re some pretty big shoes to fill, but, for my money, Hollows are the band to do it. And with another dark December looming ahead of us, the summery sounds of Hollows are just what we all need to keep us warm through those grey Scotland days and frigid Chicago nights (not to mention, ‘Hot Sand’ is the perfect soundtrack for that ironic midwinter beach party I know you’re all planning).

The single, ‘Hot Sand’ b/w ‘Shapeshifter’ (limited to 300 copies) is available from a handful of retailers, including Soft Power UK (naturally).

Pick Yourself Up with Anita O’Day or: Look at this Cool Thing I Found!

And now for something completely different. Since this blog started (nearly three years ago now) we have, with very few exceptions, concentrated on artists, recordings, and similarly musicky things that were, at the very least, newish. But today, I’m changing gears, not just because I can, but for the sheer subjective awesomeness of the subject matter (which is just another way of saying “because I want to”).

Like any sane person, I’ve been reasonably obsessed with Anita O’Day from the moment I saw this video. She is, for my money, one of the most incredible artists who has ever taken the stage. I’d like to say that I would pursue her recordings to the ends of the Earth, but actually, I’ve never had to travel farther than Springfield, OH (about 45 minutes west of here). This one came from eBay.

I won’t bog you down with too many details. I’m wordy enough as it is, don’t ask me to provide even a brief history of her 70-year career. Anita’s autobiography High Times, Hard Times and the brilliant documentary Anita O’Day: Life of a Jazz Singer do her far more justice than I can in 500 words. But a few details about the record might help to explain why I’ve decided to give it a post of it’s own.

This is a test pressing of a 78 rpm single from the Verve Records 2000 series (specifically V-2000), not to be confused with the other Verve 2000 series also begun in 1956, which were 33 1/3 LPs. (There is some correlation, however. For instance, MGV-2000 is also an Anita O’Day record, This is Anita, though the tracks from the V-2000 release—“I’m With You” and “Rock and Roll Waltz— do not appear on it, or indeed any of Anita’s other early Verve LPs. In fact, these numbers don’t resurface until 1992, as bonus tracks with the CD reissue of Pick Yourself Up with Anita O’Day.)

I’m perfectly willing to admit that V-2000 is not Anita at her best. There’s nothing wrong with it. It’s fine, really. But it’s certainly more pop oriented than her trademark hard-swinging scat recordings from the Verve LPs. Still, it’s a special piece, both for its historical significance, and simply as a curiosity. Though I can’t be sure where exactly it falls in the Verve Records chronology—good, detailed historical information about the Verve catalogue (not to mention the label itself) is shamefully hard to come by—this is very early.

Furthermore, Verve founder Norman Granz was particularly partial to jam sessions and the energy of live performance and quickly came to eschew the severe time restrictions of the 78 in favor of the relative freedom of 33 1/3 rpm long-players. Still, the early Verve catalogue did feature some 78s (as best I can tell, the 1000 and 2000 series) including this one. And so, since I could find no videos on YouTube of either of these recordings, I meandered down to my favourite local record shop, Spoonful Records, and borrowed their 78 rpm turntable to make a couple of my own.

So, here we go, quite possibly the first time in 55 years, have a listen to the test pressing of Anita O’Day performing “I’m With You” and “Rock and Roll Waltz”, orchestra arranged and conducted by Buddy Bregman (V-2000).

(Incidentally, if you know of a good book about Verve Records, I’d love to read it. I know an extensive biography of Norman Granz came out earlier this year, but I can find nothing about the label itself.)

Introducing: The Happy Maladies

You know how it is. Sometimes, you hear a band and you just can’t bear to keep it a secret. (Yes, hipsters, I know this doesn’t exactly apply to you.) The Happy Maladies are one of those bands. I shot a couple videos of them at a house show last night and only managed to make it about 14 hours before posting them on YouTube (and it would have been closer to 12 hours had my piddly internet connection not choked on the Homeric scope of their closing number).

Sorry to say, I could have had a chance to bring you The Happy Maladies about two months ago (the last time they played here), but I was busy hosting this. And I realise that two months lag isn’t a huge deal in the grand scheme of things (and certainly not my worst by any stretch of the imagination) but the fact of the matter is that avant garde chamber folk waits for no man. And music like this deserves to be heard, so, here they are.

The Happy Maladies are, like so many bands I love, nearly impossible to categorise. I guess it would be easiest to just call them chamber pop, but there’s a whole lot more to it than that. The instrumentation would, I suppose, most closely resemble a bluegrass ensemble, but musically, it’s about as bluegrass as the Punch Brothers. In fact, Punch Brothers are probably a good launching point for any discussion of The Happy Maladies. Throughout their set last night, the same thought kept popping into my head: ‘Why hasn’t Chris Thile snapped these guys up and whisked them off on an extended world tour?’.

Listen, and I think you’ll see what I mean. The folk elements are there, certainly, but distilled through a aleatoric filter of free jazz, late 50s classical modernism. And, if you ask me, I’d say I can hear bits of Penderecki popping up here and there as well. This certainly isn’t music for passive listening. I’d say, the shortest song from last night’s show was something like seven minutes long with the three-part closing epic clocking in somewhat closer to a quarter of an hour. But if you can manage it (and you should manage it), the journey is supremely rewarding. And, whatever you do, be sure to see The Happy Maladies in person.

A Sinister take on Hardware

Another Halloween and my pitch-perfect J Alfred Prufrock costume still hangs in the closet gathering dust. One of these days, I swear, someone will finally invite me to that esoteric modernist literature-themed costume party that simply must exist somewhere in the folds of civilized society—but, as it stands, this year is looking like another night indiscriminately hurling candy at strange children and ensuring full holiday bookings for all local practitioners of dentistry.

But, to get things started, how about a little Halloween double-feature, beginning with the latest video from Birdeatsbaby. We brought you the first single from the new album back in August and now they’re back with the second (the title track) “Feast of Hammers”. Of course, if you’re already familiar with these Birdies, you know they’re music is always streaked with a dash of the macabre. But with the video for ‘Feast of Hammers’, they’ve really outdone themselves—so much so, in fact, that they’ve produced a censored version of the video. And, out of respect for those readers who may be somewhat prone to squeamishness, I’ll only include the PG-13 version in this post. You can watch the explicit version here. All I can say is, Lars Von Trier would be proud.

Then there’s our old friends from Chicago, The Cell Phones who’ve always had a flare for the darker side of life. They’ve got their own Occultish Halloween epic making the rounds. The only thing missing here is an altar of naked virgins. And, if that’s not enough, they’ve also done a 27-minute haunted house soundtrack (which you can find here) and a brand new EP (Hospital Spaceship) which includes the gruesome, Phil-Spector-does-in-the-Ronettes closer, ‘Husband’.

Still not enough for you? Well, out today, just in time for Halloween, is a free bit of dingy foreboding from Norwich breakcore artist Sukoshi. From exciting new Norwich label Gravy Records, ‘Claw Hammer’ is but a taster of things to come from Sukoshi’s imminent debut on the same label, due in February. In fact, there’s plenty of exciting stuff to look forward to from Gravy HQ, but that’s another story for another day. With his spoken-word samples and dark and dirty, sinister embellishments, it’s easy to imagine Sukoshi as the evil twin of Mr. PSB himself, J. Willgoose Esq. It’s no wonder, then, that Rob Da Bank is such a fan.