Album Review: David Byrne and Brian Eno - Everything That Happens Will Happen Today

The main flaw with Everything That Happens Will Happen Today, the first collaboration between Brian Eno and David Byrne in 27 years, is its lack of a strong, controlling aesthetic. Rewind the clock almost three decades, back when Byrne and Eno were working on My Life in the Bush of Ghosts in L.A., and you’ll find that the opposite is true: the pair began working on the project with the intention of creating something faux-cultural, music based on a time and place that was completely made up. They eventually scaled back the idea, settling on the marriage of African pop with found vocals (radio talk show hosts, Lebanese mountain singers, exorcists, et al) in what became a stunning and innovative pastiche of rhythm, electronics, and concept.

Everything That Happens Will Happen Today, by comparison, doesn’t have nearly the same coherence as its predecessor (albeit a distant one). According to Byrne, the album was supposed to be an “electronic gospel,” a label that faintly applies to the pseudo-religious lyrics (“Big Nurse”; “The Lighthouse”) but has no bearing stylistically. A more believable explanation comes from Eno, who wrote the majority of the music for the album. He approached Byrne a few years back, expressed dissatisfaction with a set of songs he had been working on for “up to 8 years,” and eventually asked Byrne to write lyrics and sing over the music. In other words, the collaborative starting point of Everything That Happens Will Happen Today is “salvage Eno’s botched tunes” -- a far cry from the ambitious raison d’etre of My Life in the Bush of Ghosts.

And the results are appropriately disappointing. Aside from a few up-tempo gems, a set of glossy, lackluster ballads dominate the album, evoking a mood that fluctuates between bland and tart. Case in point, “Home,” the first song on the album, features some excellent electronic atmospherics from Eno, but feels obtuse with the addition of an acoustic guitar and ultimately calls the Flaming Lips (circa Yoshimi) to mind. Other songs, like “Everything that Happens,” occasionally suffer by way of David Byrne’s vocal delivery, a somewhat ironic coincidence given how My Life in the Bush of Ghosts was pieced together. The only major exception to the rule is “Strange Overtones,” a mid-album dance number that features a killer Byrne melody and a bass riff that oozes in minimalist funk.

In short, Everything That Happens Will Happen Today is uninspired: the songs are disparate, the pace is slow, and Byrne voice sometimes sticks out like a sore thumb. If you haven’t heard it already, seek out My Life in the Bush of Ghosts instead and cross your fingers that the Byrne/Eno collaborations don’t stop here.

The Highest Natural Point in the District

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As the evening sun sweeps over Fort Reno State Park, a local band named Evolution quietly sets up atop a six-foot-high stage in the basin of the field. A group of spectators watch aimlessly from the surrounding grass, sprawled out on blankets or standing around idly; they eat, chat, and relax as if at a hearty picnic. Despite the concert setting, there are no box offices, corporate sponsors, or vendors in sight (minus a small ice-cream truck nearby) and the sole sign of authority is a pony-tailed soundman helping the band with setup and soundcheck.

Evolution’s three members – a guitarist, bassist, and drummer – have a median age of about 13. They all attend Alice Deal Junior High, which stands adjacent to park, and it’s their first time playing at the Fort Reno Summer Concert Series, a world-famous D.C. tradition. The free event takes place at the highest natural point in the District and features a panoply of local talent.

“This is a small opportunity for bands to get started,” says Amanda MacKaye, the main organizer of the summer-long series. “There is no longer a small venue in this city and there’s not a venue that’s not a bar anymore. [Traditional venues] want bands that can guarantee a draw of some sort and if you’ve never had a chance to play you can’t really do that.”

Unlike most blockbuster festivals this summer, the Fort Reno schedule features a laundry list of lesser-known acts. MacKaye crafted this year’s line-up with such upstarts in mind, aiming to showcase as many new bands as possible – or at least ones that hadn’t played Fort Reno before. That’s not to say the series doesn’t feature its fair share of talent: D.C. legends like Fugazi, the Dismemberment Plan, and Q and Not U have all played the event before. Still, MacKaye emphasizes Fort Reno as a local starting point rather than a victory lap.

Now in its 41^st summer, the series hasn’t always upheld such a defined agenda. MacKaye notes that the concerts emerged in the late ’60s as an effort to rebuild community in the wake of the volatile protests of the time. The neighborhood surrounding Fort Reno – an actual fort during the Civil War – offered to put on shows in the park with the aid of city funding and the neighborhood planning council. According to MacKaye, any band could be hired whether they were from the metropolitan area or not.

During the '90s, and under the auspices of Sharon Pratt Kelly, the concert series was nearly lost after the neighborhood planning council folded into larger advisory committees. However, thanks to the leadership of Father George Dennis, a local priest, the event forged on by way of the Northwest Youth Alliance, which Dennis created. Students at nearby schools became a stronger force in the concert planning process, eventually rendering Fort Reno a D.C.-only venue.

And the original intention – to foster community – has thrived .

“Anything that gives people a place to play and an audience, and it’s free – how could it be anything but good?” says Steve Feigenbaum, the 50-year-old owner of Maryland’s Cuneiform Records.

“Last year, when I came to the first Fort Reno, it was just like seeing everyone again that you don’t see for a while” adds Matt Sala, age 19. “And then we’d all go up to the top of the hill after and watch the sunset. It’s like the beginning of summer, the first one, and the last one you know it’s ending.”

The previous summer was, in fact, almost the end of Fort Reno for quite some time. The National Park Service closed the park indefinitely on May 14^th following the discovery of exceedingly high arsenic levels in a geological survey – levels that were nearly 25 times the EPA limit.

Two weeks later, however, the park re-opened. Officials noted that the original test turned out to be “a false positive” after the U.S. Geological Survey and the EPA retested the soil samples. MacKaye was relieved, and even grateful.

“In a funny twist, the arsenic scare of ’08 worked in our benefit because it coincided almost to the minute that our fundraising campaign was going to launch,” she says, noting that the series’ reliance on donations. Over the past few years the event has been kept running thanks to the charity of concertgoers and sizeable donations from acts like Ted Leo, the Dismemberment Plan, and Fugazi.

“All the bands pay for free,” she remarks. “The only person who makes any money is the soundman.”

Despite this fact (and the arsenic levels), there has been no shortage of interest in playing. MacKaye reports that she received over 130 entries this year during the booking process, a task that typically begins in February. Though this is MacKaye’s first year of planning the schedule alone (she worked alongside another colleague for the past few years), she already has a set of criteria that she follows to determine eligibility: Foremost, the band must live within the geographical barrier of the Capital Beltway. After that, MacKaye keeps her eye out for bands that have female members and/or any members under the age of 18 – like Evolution.

“I love the fact that at Fort Reno we have newborns to 80-year-olds coming to see music. So I want for the kids who are coming to see something that kind of looks like them. I would love for them to see kids up on stage because I hope that they’ll think that they can go start a band.”

Along with age and gender, creative submissions also catch MacKaye’s attention. For instance, this year’s most unique submission came from “The Creepy Magicians” whose demo arrived in a hand-made wooden coffin wrapped in “blood-red” twine. When MacKaye opened it, she found the interior was lined with red fabric and housed a calligraphy scroll.

“It’s not just about the music,” she maintains. “The music is obviously important, but I want to know who you are. The way the music world has been bastardized, in my opinion, it’s done everything to remove who you are from the music. And that’s what I don’t like about the radio; that’s what I don’t like about American Idol; that’s what I don’t like about all that stuff – ‘popular music.’”

Taste aside, MacKaye encourages everyone to come out to Fort Reno, if only to give each band a chance.

“I will challenge everyone who thinks these bands are not well known enough to come out and see them.”

Plus, it never hurts to throw the Frisbee around.

Come out to see the last Fort Reno show of the season this Thursday featuring The Jet Age, Yell County, and Title Tracks. Visit www.fortreno.com for more details.