Performer Magazine : The Musician's Resource

More records in the office today!

2010-02-23T16:49:00.001-05:00

Felix Obelix – The Tick of the Clock, the Beat in the Chest
Baby Baby – Long Live the Swagmonsta
The Dig – Electric Toys
Blasfemea – Galaxia Tropicalia
The Shondes – My Dear One
Equaleyes – While I’m Alive
Hear Kitty Kitty – Tails from the Alley
Eryn Shewell – 4th & Broadway
Stereo Transmitted Disease – Generation Nothing
Beware! The Other Head of Science – Big American Godzilla Party
Valerie Janlois – No Drop of Love (Is Ever Wasted)
A Faulty Chromosome – Craving To Be Coddled so We Feel Fake-safe
This Moment in Black History – Public Square
Mama Lion – Gamble, Gamble, Die
Walter Jr – Standing on the Word
Linfinity – Martian’s Bloom
The Idaho Falls – The Spark
One High Five – Here, Hear!
Ashley Joelle Jordan – Simple Love
Kal Marks – Recovering After The Storm
Dirt Mall – Pacifuego
Mars – Embracing Imperfection

Look at All the Records We Got in the Office Today!

2010-02-19T13:25:00.001-05:00

Big East: Condita

Tom Wise: In Love, At War

NeuHuman: NeHuman

Chris O’Brien: Little Red

Charlie Christos: Widow’s Gun

Ken Berman: Looking Forward

The Whole New Usuals: Every Whole New Usual Will Die

Nathan Leigh: Glitch EP

The Dirty Dishes: The Dirty Dishes

The Falcon Lords: Straight From the Center of their Volcano Air

Mattie McGrail: The Long Road of Doris Voxy

Quadron: Quadron

After Edmund: Spaceships and Submarines: The Lively Sessions

Jason and the Scorchers: Halcyon Times

Anomopoly: Anomopoly

Veil Veil Vanish: Change in the Neon Lights

Static People: Static People

Transient Songs: Cave Syndrome

Antioquia: My piano ate the front page of the San Francisco Chronicle

Hardly Art: Cracked Love & Other Drugs

Adrien and the Fine Print: Tennessee Swing

Thirty Second Pulse: Oil of the Whale

The One Smith: Just Because

Check out the stellar records we got in the office today!

2010-02-12T16:21:00.001-05:00

Dave Ellis: drama per orgasm

Cobblestone Jazz: The Modern Deep Left Quartet

Christian Prommer: Drumlesson Zwei

Jeremy Haladyna: Selections from the Mayan Cycle

Denman Maroney: Music for Words, Perhaps

Chris Marsol: Butterflies, Lipstick, and Hand Grenades

Reagan Browne: Daydreams in Stereo

Fight the Quiet: Let Me In

Jen Olive: Warm Robot

Baylock: One Good to Be Told

Full Body Anchor: Full Body Anchor

The One Smith: The One Smith

K’Lonisky: Controversy

Naked on Rollerskates: Sugar

Check out what records we got in the office today

2010-02-09T17:48:00.001-05:00

The Full-Time Dreamers – Too Loud at Any Volume

The Blessed Unrest – Ashes Time

The Ted Painter Band - Keepin’ It Real

Plants and Animals – La La Land

Monster Movie – Everyone is a Ghost

Marshan – The Jellyfish Will Succeed Where The Monkeys Have Failed

Modena – self-titled

Avi Buffalo – self-titled

April Smith and the Great Picture Show – Songs for a Sinking Ship

Jay Psaros – Tripping and Running

Animatronique – Stasis

Dosh – Tommy

Paul Dougherty – Grace Under Water

The Burning Hotels – Novels

Old Bricks – Farmers

Undo – self-titled

Andy Mason – Stories Told

Carrie Ferguson – Riding on the Back of the Wind

Die Among Heroes – self-titled

Confessions of a Corn Silo – Stretches of Concrete

MayFlys - A Life in a Day

Warning Light – Further On

Terminal Muse – Red

These New Puritans - Hidden

West Coast Shows

2010-02-03T16:10:00.008-05:00

hey, friend us at our facebook for more of the goings on

Two excellent Performer Presents shows coming up this month for you West Coast fans!

Los Angeles @ Echo on February 12

Fitz & the Tantrums w/ Love Grenades

San Francisco @ Kimo's Penthouse Lounge on February 13

Paranoids w/ Tokyo Raid and Siddhartha

Check out what records we got in the office today

2010-02-02T17:07:00.000-05:00

Sofia Rei Koutsovitis – Sube Azul
Dangermaker – self-titled
Stereo Freakout – If Wishes Were Fishes
Scraping for Change – Breaking the Silence EP
Mulatu Astatke – Mulatu Steps Ahead
Stygian – Fury Rising
Throwback Suburbia – self-titled
Michael Perry and the Long Beds – Tiny Pilot
Girlfriends – self-titled
Nite Nite – How To Touch the Moon
Ellis Paul – The Day After Everything Changed
Dana Wells – The Evergreen EP
Jay Matsueda – Eat Your Sad

February is Up

2010-02-02T14:08:00.006-05:00

February content is now available Online!

News: Act now to prevent smoking bans outside bars in San Francisco

2010-01-29T14:40:00.001-05:00

Like to light up at some of your favorite hot spots in San Francisco? Smokers should be aware of a non-smoking ordinance currently under review that will attempt to ban smoking on the patios of places such as the Hemlock Tavern, Bottom of the Hill, Thee Parkside, El Rio, Eagle SF, Lucky 13, Zeitgeist and many more.

Those interested voicing their opinion can speak out this Monday, Feb. 1, at city hall in room 263 at 2 p.m.

This movement of smoking bans is spreading across California, with Los Angeles smokers recently losing their ability to light up in outdoor cafes and food courts after a city council meeting on Jan. 20. Other locations that have already banned smoking in outdoor dining facilities include Burbank, Beverly Hills, Calabasas and Santa Monica.

The Hemlock Tavern is attempting to create a grandfather clause to exempt current smoking patios at bars. For more information on general smoking rights, visit www.smokinglobby.com.

Live Review: Love in Stockholm // The Phix // Re-Up // Joy Daniels

2010-01-29T14:17:00.007-05:00

The Middle East Downstairs // Cambridge, MA // Jan. 21, 2010

Love in Stockholm - Music Video Premiere at the Middle East from Love in Stockholm on Vimeo.

Jazz and soul was alive and well this past Saturday as several bands took the stage to celebrate the release of Boston's own Love in Stockholm's brand new video “Ordinary Man.” Close friends (and media alike) joined the band right before the scheduled concert to get a peek at the vid for their latest single, which was shot over only a couple days. The video, which features the band pouring their hearts out in a performance under a stream of Christmas lights, was followed by a live acoustic performance of the same song – which was one of the most intimate moments of the evening (if not the only one).

Love in Stockholm

Opening up was the powerful Joy Daniels. Equipped with tight instrumentation and a stage presence comparable to quite frankly nothing else, Joy shook the audience with songs that were not only upbeat and melodic, but packed with a powerful message as well. Songs like “Crazy” and “Do You Know What It's Like” packed an off-the-wall (and considerably brief) set right before Re-Up hit the stage. Combining soul with their own eclectic view of hip-hop, the audience was completely consumed with their relaxed-but-passionate demeanor as they crooned songs like the bittersweet love ballad “Still” and the ultra-slick “Bad Motherfucker.”

Following them were the Phix and the energy completely shifted from that of a laid-back concert-goer to a wild dance party. The Phix are masters of taking genres and flipping them on their heads. Fusing hip-hop together with pop, a little bit of rock and adding a dash of auto-tune sounds like too many ingredients in the pot to actually produce something you can successfully consume, but somehow they pull it off flawlessly. Cruising through tunes like “Boomerang” and “Fell in Love (In the Club)” with endless amounts of energy, they provided an interesting contrast to the final act of the night, Love In Stockholm.

The Phix

The last band of the evening was greeted to a packed room of true fans or intrigued listeners, and rose to the occasion practically without breaking a sweat. Fusing soul and beats that can't help but make you move, the boys put their acoustic side away and kept up the high-paced energy anointed to them previously by the Phix. Playing songs like “Don't Be Fooled” and “The Collector” from last year's Too Much Love EP, LIS gave it their all and the audience were quite appreciative. Trumpets mixed with harmonicas mixed with guitars and soulful vocals perfectly channeled their core sound of R&B/jazz. Overall, the boys put on a show they could be proud of.

-Review and photos by Candace McDuffie

New Records in the Office Today!

2010-01-28T15:12:00.000-05:00

Vaus – The Floating Celebration

Derek Frank- Let the Games Begin

Mass Solo Revolt- Bend in Time

The Besnard Lakes- Are the Roaring Night

jj- jj n° 3

The Hammond Group- Bailout!

Jennie Arnau- Chasing Giants

The Organ Beats – Sleep When We Are Dead

Faith and the Muse- :ankoku butoh:

Three Day Threshold- Straight out of the Barrel

Joey Stuckley- So Far

Tokyo Rosenthal- Ghosts

Cagle and Nash- Soul Complete

Libby Johnson- The Perfect View

Trades- The Short Version

La Chansons- The King and Queen of the Dance Floor

Aloha- Home Acres

Joy Kills Sorrow- Darkness Sure Becomes This City

Check out what records we got in the office today

2010-01-26T17:46:00.001-05:00

My Flea Circus – Flee Flaa Floo

DJ Rap – Synthesis

Rafter – Animal Feelings

Dave Daniels – Just Like Ghosts

Judgement Day – Peacocks/Pink Monsters

Okapi – Love Him

Chris Pureka – How I Learned To See In The Dark

Jennifer Leonhardt – Minstrel’s Daughter

Randal Bramblett – The Meantime

Çatarina dos Santos – No balanco do mar

The Villains – self-titled

Brendan Kelley – Music From the Motion Picture

7 Million Jigawatts – Taking Flight

The Strange Boys – Be Brave

Absinthe Rose – Diggin Ditches & Escaping Holes

Zamza – Manga Rock

Chris Laubis – Balance

Peggo – In Love

Melanie Mitrano – All Things Gold

Jes Perry – The Way That I Feel

Jamie McLean Band – Completely

Cinetrope – Once I Ruled The World

Jesse Liam – Father From A Man

Memphis 59 – Ragged But Right

Jonathan Badger – Unsung Stories From Lilly’s Days as a Solar Astronaut

Josiah Wolf – Jet Lag

The American Dollar – Atlas

Mr. Greg’s Musical Madness – Lots of Fun!

Blair – Die Young

Jimmy Landry – New Day

The Greening – (She’s So) Electric EP

Love In Stockholm Video Premiere

2010-01-20T16:33:00.004-05:00

Boston's very own Love in Stockholm will premier their brand new music video, 'Ordinary Man', at the Middle East Downstairs this Saturday. A special acoustic performance of will also take place during the night!

Show starts at 7pm

New records in the office today

2010-01-19T17:39:00.001-05:00

Birdsong at Morning – Vigil
Clogs – The Creatures in the Garden of Lady Walton
Slowearth – Vault
Umek – Responding to Dynamic
James Keyes – Ruminations
Jonka – Slow and Steady Wins the Race
Social Hero – The Famous
Thick Shakes – Ooh Mommy
Adrian and the Sickness – B.F.D.
Dum Dum Girls – I Will Be
The Ruby Suns – Fight Softly
Kathy Sanborn – Small Galaxy
Will Kimbrough – Wings
Pinsky – States/The Only Ones
Roy Davis – We Are a Lightning Bolt
Fleeting Trance – Self-titled
Shake It Like a Caveman – When You Smile I See Your Fangs
Trench Party – News
Trench Party – Untitled
Brother Joscephus and the Love Revival Revolution Orchestra – self-titled
Past Lives – Tapestry of Webs
AC Deathstrike – Last Picture Show
Madecipha – Word is Bond
Ben Thompson – Time Traveler
Glenton Davis – Are You Ready
The Mallard – The Quick, The Dirty
Tired Old Bones – Self-titled
The Scott Little Band – Barbed Wire and Engine Blocks
Ventid – Rain Dance For Your Wedding

Check out the records we got in the office today...

2010-01-14T18:26:00.001-05:00

Mindset X - Thread
Brenda Xu - A Little Illusion
Dillon $ Paten Locke - Studies in Hunger
Merry Ellen Kirk - Invisible Wars
Greg Lato - Monday Morning Breakdown
Ken Will Morton - True Grit
Eclectic Dance Orchestra - Instruments of Change
Seven Saturdays - self-titled
Robert Valente - Alive
iLa Mawana - self-titled
LOAM - Nervous Grooming Gestures
Rachel McCartney - New Days Nightly (EP)
Eddie Japan - four by six
Saints of Ruin - Nightmare
Ernest Gonzales - Been Meaning To Tell you
CUBIST - shapes and sounds of time
Double Nines - self-titled
Hearts and Minutes - self-titled
ITtheverb - Happy Mediums
Kid Tested - Pop Era Laundry
Doug Spears - Welcome Home
Gooding - The Return
Adam Green - Minor Love
Our Own Ghosts - The House That Silence Built
John Shipe - Yellow House
Happy Birthday - self-titled
Shredding the Envelope - The Call of The Flames
The Souljazz Orchestra - Rising Sun
Nightmare River Band - Call the Cops!!
Mark Growden - Saint Judas
Anais Mitchell - Hadestown
John Stein - Raising the Roof
Kasey Anderson - Nowhere Nights
All Time Low - MTV Unplugged
Sister Grizzly - All Of This Is True
Adam Ezra Group - View From The Root
Galactic - ya-ka-may

Contest to win a brand new tube amp

2010-01-11T14:44:00.005-05:00

Blackheart wants to hook up a guitarist with a new 100W tube amp. All you have to do to score this vintage-inspired head and cab is play some shows with it and write about it online. The more photos, videos and posts, the better.

Tell us why you should be the test driver for the BH100H head and BH412SL cab. Send your entry to info@performermag.com (subject: Blackheart).

This Saturday: PseudoDiscord at Eyedrum featuring Stokeswood

2010-01-07T15:10:00.002-05:00

-- A little bit about the bands at Eyedrum this Saturday --

Stokeswood is "An eclectic mix of percussion, strong vocals, story telling lyrics, powerful electric guitar and driving synths Stokeswood's sound is described as a "Cosmic Waltz."

Before The Solstice:"Melodic progressive rock with the ability to entrance, make you dance, or punch a hole in the wall! They call it Quantum Rock."

Damon Moon and The Whispering Drifters
"His simple acoustic guitar, with layered electrics, subtle keys of all kinds, dreamy bass lines, and drum sounds that roll in and out like the tide on the California coast, all perfectly set the stage for Damon's warm, gentle voice."

Naomi Lavender

News: Noise Pop now accepting applications from bands, badges on sale

2009-12-29T15:55:00.002-05:00

San Francisco’s Noise Pop Festival, Feb. 23 through March 1, 2010, is now accepting submissions from artists who want to play. You can apply through Sonicbids. At least one band will be selected and receive $500 for performing.

The mini-conference at the fest, Industry Noise, will return this year on Saturday, Feb. 27, at the Swedish American Hall. The event will discuss independent music, technology and the changing industry. Attendees can meet industry pros, listen to influential speakers, advance their artistic and business ventures and learn more about current possibilities and opportunities. In addition to panels and speakers, there are small discussion groups and individual mentoring. Industry Noise Badges are on sale now for $65 or $50 along with the purchase of a full festival badge.

Festival badges are now on sale for $150. A limited number of badges include access to the Magnetic Fields show at the Fox Theater on Saturday, Feb. 27, or the Herbst Theater on Monday, March 1. Individual shows are also on sale now. Venues include Bottom of the Hill, Bimbo's and the Great American Music Hall.

Feature: The Fresh & Onlys

2009-12-29T12:47:00.007-05:00

Side project enthusiasts are never at a loss for ideas

By Chelsea Werner-Jatzke; photos by Brian Pritchard

There’s something about red velvet curtains being pulled aside that lends an air of spectacle to anything behind them. While I’ve rarely seen a small venue lend that grandeur to the start of a band’s performance, it wasn’t the curtain opening at Portland’s Someday Lounge that made the Fresh & Onlys feel special. It was the way Shayde Sartin’s bass subtly led the songs along, the way Tim Cohen crooned over his keys, and the way he would nod at guitarist Wymond Miles to give him props for some spontaneous soloing.

At one point during their set a sweaty boy bumped into me and asked, “Do you like this?” I suppose he was wondering why I was standing up front, but not part of the undulating bop of bodies around me. I was too busy at the time, as I have been since then, trying to figure out just what it is that the Fresh & Onlys do that makes them stand out as a beacon of clever contemporary songwriting.

Upon a first listen to Grey-Eyed Girls, the Fresh & Onlys’ second full-length release of 2009, I immediately thought they were on K Records. They haven’t released anything on Calvin Johnson’s label, but the monotone vocal pacing and lyrical themes on a song like “What’s His Shadow Still Doing Here” reeks of Beat Happening’s “Cat Walk.” A closer listen conjures images of the Beach Boys contorted into a ‘50s Buddy Holly suit – if Buddy Holly had lived into the ‘60s and traded in his large spectacles for the metaphorical third eye of psychedelia.

After getting my hands on their first full-length album, I picked up on strains of the New York Dolls during a song like “Fog Machine.” No more than three tracks spanning disparate parts of the ‘70s later, “Peacock and Wing” bridges the album into the ‘80s. These guys are all over the decades, but what makes them identifiable is the way that no one song actually fits into the categories they are combining. When harmonica comes into the driving and prophetic “Nuclear Disaster,” or the drawn-out doom of clashing guitars ends the upbeat “The Delusion of Man,” the comparisons one would jump to make are no longer valid.

While interviewing Cohen and Miles about how they feel their band fits into the Bay Area scene they come from, they were reluctant to settle on a definition. This makes sense. Despite Cohen’s impressive beard and regardless of Wymond’s long hair, reminiscent of a brother Gibb, they are far from the “beard rock” of folky mountain bands or the disco-days of the Bee Gees. Their reticence towards labeling their sound in terms of their scene most probably derives from the fact that between each member’s side projects, they seem to have something to do with a lot of the great bands coming out of San Francisco.

Singer and songwriter Cohen is like the Magnetic Fields’ Stephin Merritt: popping out great side projects everywhere he goes. Starting under the moniker Feller Quentin, Cohen has been involved with bands of all genres, including not one, but two hip-hop groups. His last band, Black Fiction, was darker and experimental, showing more of Cohen’s vocal range. Overlapping band members and an unabated creative energy led to the Window Twins, a group that highlights a pared-down lo-fi sound, one of many dimensions the Fresh and Onlys are tapped into. Amocoma, Cohen’s black metal alias, isn’t a heavy influence on the warped-pop underbelly of the Fresh and Onlys, but his drumming for 3 Leafs, a band created by Damo Suzuki of CAN, definitely is. 3 Leafs also includes the talents of Fresh & Onlys bassist Shayde Sartin and backup vocalist Heidi Alexander.

Alexander and second backup vocalist Grace Cooper are also founding members of the Sandwitches, an achingly honest and haunting freak-folk group. And Sartin has played with San Francisco’s Papercuts and Sky Green Leopards. All these projects point the listener towards the influence of ‘60s flower rock in Fresh & Onlys tunes like “Summer of Love,” played live at the Scion Festival and slated for the next record.

This aspect of their sound could have something to do with the enigma/relic of ‘60s psychedelia, Rodriguez’s reason for having the band back him live on his recent tour dates. Despite all this activity, all members agree the Fresh & Onlys are their main concern. Even though Cohen recently released his first solo album under his own name, you can find the evidence of this commitment in the sheer volume of material the band has made available. In the year since forming out of some Tascam 388 eight-track recordings, they’ve released two albums, two EPs and two cassettes on their own No-Foot Boogie Tapes label. As Cohen puts it, the Fresh & Onlys’ recording process is to record everything – even if beer spills on the eight-track, making it a four-track. “It’s a quantity over quality philosophy that I’ve embraced,” he says. “Whenever you have an idea, just record it. We all espouse the philosophy that if you have an idea, just get it down. Don’t be too precious or delicate with it.”

Perhaps it’s this philosophy that keeps their releases, despite their closeness in time, from stagnation. With so many different musical leanings and outlets, a song that gets put into the Fresh & Onlys’ catalog is defined by its amalgamous sound. “It’s unusual to have so many ideas indulged,” is the way Miles sees it. “It’s not just that we record all the time. It’s that there’s this support system both creatively and in how we record things. It’s kind of rare.”

Never a dull moment, the Fresh & Onlys aren’t slowing down any time soon. If Miles was right when he said you don’t want to see Cohen when he’s not writing a song, we can be prepared for their third album to be even more comprehensive than the last two. Cohen feels their upcoming release for early 2010 on In The Red is the closest the band has come to having the idea of making an album in mind while recording. Freely citing Country Joe and the Fish, the 13th Floor Elevators and others as influences worn proudly, it seems safe to say this band will deliver another album that lets the mind roam through genres and surprising combinations.

The Fresh & Onlys are distinctly current in a music world so full of throwbacks to experimental rock bands. Combining such a myriad of musical inspirations and creating something upbeat and introspective – something that isn’t just a mashup of songs listened to on shag carpeting in a basement – is a feat. Whether it’s a dog’s bark, a layer of organ or some heavy distortion, the Fresh & Onlys sound is like the form a ghost takes to approach a human – seemingly familiar and yet unexpected.

www.myspace.com/thefreshonlys

Live Review: Lowell and Behold: Volume 2 Record Release Parties

2009-12-28T13:49:00.007-05:00

Gemstones & 119 Gallery // Lowell, MA // Dec. 11 & Dec. 12, 2009

Beneath the Sheets

The beginning of December always marks a special time for the city of Lowell. Residents, students and artists alike have reason to come together and bear the brunt of the gnarly winter winds in celebration of warmer sentiments – the hope that Lowell’s future will bring more music and more art into its communities.
Although it seems a cliché predilection, it may be that this year’s Lowell and Behold fundraiser has given the city yet another reason to expect their dreams will soon find themselves realized.

Three Dub Mice

For two years in a row, college students and local musicians Seth Bailin (Nice Bass Productions) and Nicholas Congelosi (Audio Park Productions) have successfully produced and promoted a fundraiser that provides a Lowell high school senior with the opportunity to pursue music education in college. Last year’s CD and two-night benefit release party raised and awarded $1,750 in the direction of this goal.

Sinbusters

This year, Bailin and Congelosi partnered up with the rest of Audio Park Productions to create a more established team with a scope that aspired to reach out to all corners of the city. Lowell and Behold: Volume 2 is a two-disc compilation, one electric and one acoustic, featuring 30 Lowell bands. The release parties shared the theme, plugging in on Friday night at the downtown club, Gemstones, and mellowing out on Saturday at Lowell’s 119 Gallery. Both releases were a huge success and the atmosphere was thick with spirit, a tangible community mentality of young and old Lowellites all out for the same cause – more music and more opportunities for the kids.

Joshua Beetler

The first night was an eclectic clash of spacey electro-jazz, punk infused alt-rock outfits, progressive power metal and classical guitar-led thrashcore. Bands like Manifest, Hetfield & Hetfield, Three Dub Mice, and Sinbusters provided the audience with a powerful array of Lowell’s musical offerings.

The second night was no different in terms of variety. An interesting hodgepodge of singer-songwriters and their respective bands showcased a multifarious release of talent. Guitarist Joshua Beetler erupted in a land of his own with the cranky, diabolical soloing of a virtuoso. He led us through the walls of his mind with soft, sweet, weird and angry inflections from fingerpicking to pedal play.
Other musicians Brandon Downs, Clara Berry and Arielle Natale surprised audiences with their talent and growth as artists. They played their sets backed by abstract art, with kids and adults lining the walls cross-legged and contemplative.

This year, Lowell and Behold has already covered their expenses and raised over $900 for the second-annual scholarship fund.

-Amanda Macchia; photos by Ali Lipman

News: Tree Sound Studios hosts Georgia’s largest green music event

2009-12-23T12:01:00.003-05:00

Paul and Sunshine Diaz, owners of Tree Sound Studios in front of the artists' ensemble.

On Nov. 21, the legendary Tree Sound Studios hosted more than 300 guests and musicians as various artists recorded a “Mother Earth” anthem as the theme for the 2010 Pack the Park movement. The goal of Pack the Park is to provide, refurbish or build green-wise parks in various communities.

A proclamation was read from Gov. Sunny Perdue to kickoff the festivities to officially mark the event as a historic and authentic moment in GA music history. The Pack the Park organization gathered the who’s who of the GA music industry for the event. Members and representatives of the Grammys, Art Institute of Atlanta, Georgia Sports Hall of Fame and Georgia Music Hall of Fame all attended this momentous event.

Award winning musicians, producers and composers including Chuck Leavell from the Rolling Stones and the Allman Brothers, Ed Roland of Collective Soul, Drivin N Cryin, Caroline Aiken, Tina and Toya from BBT and Lil Mama all participated in some facet of the experience.

Additionally, the extravaganza was catered by more than 20 local and regionally based organic farms, and the song and studio was powered for the night by solar, wind and biodiesel-based energy systems.
“We are thrilled to be a part of this historic moment,” said Paul Diaz, owner of Tree Sound Studios, “I have been dedicated to bringing the message of unity and preservation to the world, through music, for over 20 years. It’s an amazing thing to see it all come together here at Tree Sound.”

Tree Sound Studios already has a reputation of being the country’s largest green recording and production facility. Policies include rainwater systems, organic gardens, onsite waste composting and recycling, solar hot water, solar power, carbon offsets and biodiesel. In conjunction with Pack the Park, the event didn’t even leave a carbon footprint.

-Albert Opraseuth; photo by Nick Leng

Live Review: Stokeswood // Jungol

2009-12-23T11:52:00.006-05:00

Christmas Extravaganza at the Drunken Unicorn // Atlanta, GA // Dec. 19, 2009

You would’ve had a hard time on this night, if being stuffed into a room like a sardine in a can disturbs you. But, such is the atmosphere when Stokeswood and Jungol co-headline a stage in Atlanta.

Christmas-themed décor abound, both bands electrified the night through sight and sound, illuminated by a well-orchestrated light show. The bands each bestowed their holiday gift to the massive crowd in the form of several new songs along with familiar favorites.

Stokeswood started off with a maddening, magical array of voices speaking upon voices, almost like a subliminal rush of frenzied thoughts that found their way through the speakers. The introduction was menacing and suspenseful, a gorgeous build up into their first song, “The Extraordinary Mrs. Crickett,” with its soulful melody that gives way to carnival-type sounds, only to accentuate the chorus as it returns.

Stokeswood is a marvel to watch, as they switch between instruments, giving up their spot on keys, synths and guitar like a game of musical chairs, all the while keeping up an irresistible, danceable backbone to the imaginative melodies and powerhouse, gut-wrenching vocals of Adam Patterson. The band undeniably owns the room with their unique unpredictable sound, expressive beats and high-energy presence. The new songs were infused with confidence in a sound that can only really be called Stokeswood’s, with subtle influences of MGMT, observed during the band’s cover of “Kids.”

The musicality of Jungol is hyper-impressive, as the band turns out rhythms that are sustained beyond imagination. Songs like “The Hound” are delivered with explosions of tense, complicated rhythms intermingled with soaring, melodic harmonies alongside an ambient-infused soundscape. The three-piece create enormous sound and intensity, driven by killer drumbeats and flawless interchange of engaging highs and entrancing lows, reminiscent of early Radiohead or even Bjork. A highlight of the set occurred when the band invited hip-hop crew, Paperwork, on stage, and they transformed seamlessly before our eyes for this awesome genre-bending moment lead by funky rhymes and beats to make you shake what your mama gave you. This excitement was wisely followed by one of Jungol’s most seductive and alluring tracks, “Places.”

-Nadia Lelutia; photos by Natalie Ray

New records in the office today

2009-12-21T17:21:00.001-05:00

Seth Gallant- Nothing, This Makes Sense
Pawz: The Verbal Virus Mixtape Volume One (Compilation)
Hanoman- Hanoman
Michael Sechrist- Still I Believe
K. C. Clifford- Orchid
Characteristic Pitches ft. Robin Eubanks- Multitude
Fear Report- Theory of Threes
Next Stop Soweto: Township Sounds from the Golden Age of Mbaqangwa (Compilation)
Fisheye- A Totally Different Disaster
Yakuza Heart Attack- Yakuza Heart Attack II
Madeline Puckette- Tsar Bomba
Thousands- The Sound of Everything
Chantilly- Caught Light
Bigbang- Edendale
The Packway Handle Band- What Are We Gonna Do Now?

Live Review: So Many Wizards

2009-12-17T13:56:00.001-05:00

The Prospector // Long Beach, CA // Dec. 12, 2009

So Many Wizards, the melodic indie rock band from Long Beach, took the stage at the Prospector, a local restaurant, bar and nightclub in Long Beach, to promote their upcoming EP. The band, almost two years old (in February), has clearly made a name for themselves in the Long Beach community. As people start filling up the small club section of the bar, Nima, singer and songwriter for So Many Wizards, proudly promotes the band’s upcoming residency at Silverlake Lounge in Los Angeles, as well as their new Tree EP, which is “hand-crafted, 100 percent one of a kind and made with love” by the band themselves.

With a rocky start and a few re-tries, the band easily slips into their music, an enjoyable blend of guitar-driven melodies and strong vocals. Their live performance is interesting to watch, because the three men completely feed off of the audience’s energy throughout the show. If the crowd is smaller, like it was at the Prospector, then they play a more personal set, which even relies on audience participation during some choruses. Perhaps the most intriguing part of their live show is their long instrumental breaks during songs, which is nonexistent on the EP or on their Myspace. During one of their new songs, “Yellow Hands,” the band started to experiment with the verse after the second chorus. It seemed already written and no one makes a mistake or overplays. It's amazing to watch their songwriting process on stage and at the end of the song, the men look as if they are coming out of a trance as they face the ecstatic audience during the applause.

After the show, the band greeted members of the audience while packing up, and although the turnout was small, they were satisfied with the performance and their new material.

-Sasha Patpatia

Live Review: Almost Kings

2009-12-17T13:51:00.004-05:00

New Earth Music Hall // Athens, GA // Dec. 11, 2009

The Almost Kings Dec. 11 show at the New Earth Music Hall almost literally brought down the house. Their rap/metal fusion was something to behold, live. Although their style could be classified as some quality headbanging music, their authentic hooks and experience ensure that they have more than just that to offer. These musical veterans are on the road touring for nine months out of the year, which has clearly paid off because these they certainly know how to work a stage. Their energy is explosive: singer Boze, bassist/guitarist Danny Helms and guitarist/vocalist Ryan Yunker commanded the crowd‘s undivided attention.

Shirts off to drummer Kevin Compton, as he never seemed to be still for the entirety of the set. That guy can melt your face with the contagious beats he was cranking out, well, shirtless. Boze, typically standing atop some piece of equipment on the stage, can rap with impressive precision for a live show. Especially with songs like "On Like That," the empowering and infectious hooks characteristic of many of their songs can be chanted along by listeners. If Boze was not the most entertaining member of this four-man group, Ryan Yunker on guitar would have to be Almost Kings’ secret weapon. Yunker tore it up with some guitar solos that would make your grandmother blush.

Almost Kings is a perfect show for one who is looking to let some of that pent-up aggression and inner-anguished teen out.

-Amy Ishii

Live Review: Inn Cinema // VulGarrity // Arma // Riot Inside

2009-12-17T13:45:00.002-05:00

Subterranean // Chicago, IL // Nov. 19, 2009

Inn Cinema kicked off the head-poundingly loud evening of rock at Subterranean with a strong nostalgic streak. Vocalist Rasheed Thomas carved out well-rounded melodies over distorted power chords in a manner that could have fit perfectly between the acts of the late '90s post-grunge rock scene. The band evoked the feel of Collective Soul, but with intermittent metal breakdowns churned out between the two guitars and five-stringed bass.

Despite their edge, the foursome reverted to some of the sunny truisms of the '90s in songs such as the lyrically optimistic "Live Your Life." With a good few feet of hair between the four of them, the band maintained a solid stage presence, closing their act with a number of perfectly synchronized jumps into the air.

Multitaskers VulGarrity followed by proving just what sort of layering is possible with a well-used loop pedal or two. Multi-instrumentalist Shawn Garrity would play a solid lick on his guitar, loop it, then put down the instrument to play drums for the remainder of the song. Tracy Garrity for the most part stuck to her bass, but took her turns on the drumset as well while Shawn played guitar. Both Garrities layered vocals atop the fast-paced, melodically complex rock they created through several pedals at once. Shawn's riffs were unwaveringly catchy and intricate throughout as he jammed against himself. The duo climaxed with an epic instrumental track that layered guitar upon bass upon guitar, all over drums played so hard that Shawn had to stand up to get gravity on his side when he slammed his sticks against cymbals.

Arma followed with a turn towards the prog side of things. Reminiscent of the Mars Volta at their most compact and least pretentious, Arma retained an incredible stamina, never wavering in their energy. Lead singer Taylor Brennan's vocal endurance was perhaps most impressive; he belted at full volume the whole way through the set, never once growing hoarse. Guitarist Alejandro Guzman played atop an army of pedals, feeding increasingly complex riffs through a variety of effects. Brennan danced across the whole expanse of the stage without any hint of pretense, just caught up in the energy of the song. The band dedicated their final track to "those that rock" and then proceeded to perform a no-holds-barred cover of Led Zeppelin's "Immigrant Song" at full blast.

Riot Inside kicked up the volume and the performative force as they entered to flashing red backlights. "Welcome to the Riot!" announced lead vocalist Gary John, and the frontlights came up to reveal the band dressed up for the occasion. John, like a sexier Hunter S. Thompson, performed in fedora, aviators, red shirt, white tie and vest. He had unbeatable stage presence as he strutted around the stage, mic in hand. He adopted the mic stand as a makeshift cane to complete the ensemble, swinging it around over his shoulder as he leaned in over the edge of the stage. His rough-edged, full-blooded voice perfectly complemented the bad-boy swagger.

Riot as a whole did not hold back on charisma or sex appeal; their aesthetic commanded as much force as their music as they rocked out bare-armed in suspenders and sunglasses. Lew Jones on a Les Paul cranked out stunning lead guitar atop rhythm
guitarist Stefan's Morello-esque riffs. The music as a whole was reminiscent of a vocally melodic Rage Against the Machine, though amidst all the testosterone-charged rock they did have a few more subtle Floydian moments. But the fivesome made it
quite clear that they were there for nothing besides filling the venue with as much balls-out rock as possible. "Now, I know this is Wicker Park," John said between songs, "but we're a rock band. Now, what I want you to do is make so much noise that the nearest guy on a double-decker bike falls on his ass." The mesmerized crowd acquiesced.

-Sasha Geffen

Check out the CDs we got in the office today...

2009-12-16T13:30:00.000-05:00

Basement 247 - A Basement 247 Christmas Complication
Red Jacket Mine - Lovers Lookout
Wooster - The Heights of Things
Gills and Wings - Gills and Wings EP
Yellow Fever - Yellow Fever
Beautiful Supermachines - Shut Up
Seasick Steve - Man From Another Time
Quimera Music - Love Madness
Sachem's Head - Sachem's Head
Francesca Lee - The Pieces Left
Frigid Touch - Hello World
The Floating Men - The Sighing Hours Act II: Swimming with Gods
Coolzey - The Honey

New records in the office today

2009-12-14T17:45:00.001-05:00

Lindstrom & Christabelle- Real Life is No Cool
Bob Blank- The Blank Generation, Blank Tapes NYC 1975-1985
Re-surch- Alcholic College Kidz
The Bay State- Haunted
Over Mountain Men- Glorious Day
Josh Canova- Adios
Dana Edelman- Blue Roses
Joy Kills Sorrow- Darkness Sure Becomes This City
Bomb the Bass- Back to Light
Rick DiDia & Aireene Espiritu- The Ten Ton Feather
Magic Heart Genies- Cardiac Arrest
Poanna- 10:10
State Champion- State Champion
Yours Til Death- Delivered
A Weather- Everyday Balloons
The Willows- Roots Run Deep
Graph- Graph
Honest Engines- Captain’s Log
AM- Future Sons & Daughters
Tindersticks- Falling Down a Mountain
The Seven Fields of Aphelion- Periphery
Agency- Revolutions
End Roulette- A Rival Sad
Ellsworth- Bright Red Road
Please Do Not Fight- Move
Another Perfect Crime- Get Out!
Vary Lumar- Plasticolor Coma
Before Lazers- Supreme Breakfast
Dublin- Ease the Pain
Tokyo Tramps- With These Hands
Brian Dolzani- Brian Dolzani
The Fancy Dan Band- Born Fancy
Fourth Ward Afro-Klezmer Orchestra- East Atlanta Passover Stomp
Jared Burton- Amerikana

Live Review: Drew O’Doherty // The Painted Lights // Elliott Brood

2009-12-07T15:42:00.006-05:00

Drew O'Doherty

T.T. the Bear’s // Cambridge, MA // Nov. 18, 2009

A last minute addition to the night’s lineup, Cambridge singer-songwriter Drew O’Doherty warmed up the evening with a solo acoustic set. Somewhere between that of James Taylor and Justin Vernon of Bon Iver, his voice lends an honest and sincere quality to his music. It felt more appropriate for a coffee shop environment than a rock set at T.T.’s (he was even sipping tea between songs), but it was enjoyable. I would love the chance to see him with a backing band.

The Painted Lights

Watching Boston locals the Painted Lights, I couldn’t help but feel that I caught them on a bad night. The set felt unbalanced in energy and delivery. Lead singer and guitarist Brendan Little sings with great emotion and, when he allowed himself to belt it out, the music was really compelling. Ross Lohr’s powerful drumming too, brings a lot to the Painted Lights sound. In slower songs, or when Little was drowned out, the music felt flat. The lack of passion displayed by the bassist and second guitarist was distracting as well. I’d like to see all four band members adjust their passion and energy to meet Little on his level. That would bring out the best of his singing and give the band more solid stage presence.

The Painted Lights

The Canadian headliners, Elliott Brood, were as charming as they were talented, buttering up the crowd with talk about their Boston adventures and handing out plates and wooden spoons to allow for audience participation on the percussion parts. With fast guitar, banjo, harmonica and rough, loud vocals, their music might be a good soundtrack to an adventure film about train hopping. They also get style points for dressing up in black suits and framing the drummer in a DIY light show made of Christmas-tree lights and red-tinted clamp lamps.

-Noelle Janka; photos by Wyatt Posig

News: Blackheart's giving away a tube amp to contest winner

2009-12-03T16:37:00.004-05:00

News: Shure offers rebate for replacing soon-to-be obsolete wireless mics and monitors

2009-12-03T16:04:00.003-05:00

Until Dec. 31, 2009, Shure will offer a rebates to anyone trading in a 700 MHz wireless system for one of their replacement products – even if the old system is from another manufacturer.

A recent FCC mandate bars mics from the 700 MHz band to make room for cell phones. Once cellular companies start using the frequencies, wireless mics and personal monitors will experience interference.

You can get your rebate with the purchase of the following Shure wireless products: UHF-R, ULX, MX690/SLX4L, PSM700 (H3, L2 bands) and PGX.

Visit www.shure.com/rebate for more information and to obtain a rebate form.

Live Review: The Books

2009-12-03T12:04:00.002-05:00

The Masonic Lodge // Hollywood, CA // Nov. 23rd

The Masonic Lodge of the Hollywood Forever Cemetery almost seemed to breathe with the weight of its crowd. Scarlet wallpaper, muted lighting and aged mahogany walls that crept to the heavens provided an intimate atmosphere, incomparable to anywhere else.

Anticipation held heavy in the air as everyone anxiously awaited the Books, an experimental duo that orchestrate their own music and visuals. Although there are only two members – Nick Zammuto and Paul de Jong – they produce a robust, instrumental sound with sampling and track overlays. Zammuto, on guitar, and de Jong, on electric cello, play along to pre-recorded tracks while clips from various old films are set as their backdrop. The Books bring a new dimension to their songs with the myriad of images they arbitrarily assimilate together, ultimately creating a unified meaning or undertone. “Smells Like Content” was played in conjunction with sad, pre-1930 images; the ethos evoked by the films and the perceptive lyrics silently spoken over the rhythm generated a solemn demeanor like that of a death march.

The Books demonstrate variety in their composition with songs that are solely instrumental such as “That Right Ain’t Shit,” while others such as “Cello Song” feature harmonious vocals that meld into the synthy pops. Showing off their humorous side, one song composed various anagrams from the word “Meditation,” such as the quaint phrase “I Am Ned Tito.” It's hard to portray the scope of this band concisely, the ingenuity of their sight and sound are remarkable and are truly an experience to see live.

-Becky Moine

Live Review: The K-Macks // Before The Solstice // Gift Horse

2009-12-03T11:54:00.005-05:00

The K-Macks

The Drunken Unicorn // Atlanta, GA // Nov. 27, 2009

An anomaly presented itself at this show, where the first band was good, the second band peaked, and the last band disappointed. The K-Macks were first to play. Each song had its own cleverly engineered, unpredictable feel. I heard reggae, folk, country, blues, rock and some Motown influences. Though they were difficult to pigeonhole, the trio exhibited an impressively constructed and tightly knit compilation of songs. Kevin dominated with the bass and led the vocals, while Max’s distorted guitar riffs and background vocals created a harmonious cluster of dance-worthy music. If you enjoy anything that resembles country-fried punk rock, then you’ll enjoy songs like “Sin Boldly” and “The Cock Song.” The band even impressed with their rendition of two classic songs, “Billy Jean” and “Stand By Me.”

Before the Solstice

The evening’s highlight was Before the Solstice. Clint, singer/guitarist, painted the club with vocals synonymous to a ghost weeping from a haunted mansion. He seemed to be weeping for other lost souls and although he may be a self-proclaimed atheist, I heard sympathy for religion resound in songs such as “No One Escapes the Sun” and “Let it Die.” Every song was tight-fit into a worn and torn shroud of emotion. Upon trying to decipher their influences, the band broke into none other than “Sober” by Tool. This is not an easy song to play, but these guys pulled it off gloriously. If I closed my eyes while listening, I would’ve mistaken them for the real thing.

Gift Horse

The final band, Gift Horse, came equipped with two organs, guitar, bass, drums and vocals that could not be understood, while he slobbered over the microphone. I tried keeping an open mind throughout the band’s set, but it was difficult to distinguish between what could’ve been some decent melodies and the barrage of static that came out of Gift Horse‘s amps. Hell, maybe we could blame the sound guy?

-Judas Moon

Live Review: Treedom

2009-12-03T11:47:00.004-05:00

Tasty World // Athens, GA // Nov. 18, 2009

Unlike most genre names, the moniker of “jam band” says nothing about a band’s actual music or what style it truly is. As a result, it serves as an easy way for detractors of jam-oriented music to dismiss groups’ artistic credibility in one fell swoop. Yeah, some jam bands meander pointlessly, but in reality, many of them have plenty of musical depth and diversity to offer.

Take Treedom, for instance. Yes, they “jam,” and their songs are mostly devoid of vocals, but the style that runs through their music is heavily influenced by psychedelic and progressive rock, utilizing unusual chord structures and timbres and delivered with a distinct streak of drama and tension. Elements of funk popped up from now and then, but put simply, Treedom is one of the darker jam bands I’ve heard.

Singer and lead guitarist Brent Ducote was the uncontested engine of the band, capable of fluid, multi-modal shredding in the vein of Trey Anastasio. However, he also tempered his proficiency with a taste for melodic structure that drew from David Gilmour. Most of Treedom’s ambitious, mind-twisting passages sprung from Ducote’s lead work. Rhythm guitarist Taylor Lorio mostly stayed out of the spotlight but provided a lithe, textural counterpoint (a la Bob Weir) to Ducote’s melodies.

Bassist Travis Dorsey provided most of the band’s funk influence on the low end – alternating between manic slap riffs and bright, busily picked basslines – and drummer Chad Danklef provided an explosive, ever-changing anchor to the sound, his subtle rhythmic variations often affecting the entire mood of the jam.

The set was mostly experimental; over half of the material Treedom played was brand new and had never been played live before. Though the songs were still in their infancy, they translated well to the audience. For the most part, nothing came across as undercooked or half-formed.

Treedom certainly has a firm grasp on what it takes to build and maintain momentum across ambitious, winding song structures, and it will be interesting to see what new musical heights the quartet will reach in the future.

-John Barrett

Live Review: Body or Brain

2009-12-02T12:20:00.002-05:00

Bottom of the Hill // San Francisco, CA // Nov. 17, 2009

The stage exploded with vibrant color as California locals, Body or Brain, took the stage, sporting trendy and exclamatory clothing and rocking out on neon-colored instruments. But the overall look of the band was only an indication of the enthralling intensity of their music. The band’s performance was vivacious and bursting with energy, maintaining an upbeat, fun atmosphere throughout the entire set.

Lead singer Jakey Lee’s voice was infectious and his attitude was brimming with enthusiasm and charming energy that riled the audience and inspired movement. Their songs were youthful and spirited, with intense drumming and captivating guitar riffs. The music was fast-paced and playful, creating the perfect environment for toe-tapping and jumping along to the beat. Although they were the second band to perform that night, Body or Brain definitely conquered the stage, captivating fans and putting on a high-energy show. The band stood apart from the norm of pop-punk musicians, creating an image that matches the intensity and vivacity of their sound. Each song was as thrilling as the next, keeping spirits high and constantly surpassing the level of excitement and entertainment one would normally be used to.

Overall, the show was thoroughly enjoyable and the musicians definitely maintained a sense of showmanship and theatrics. Body or Brain is a band that excels at creating a fun and playful atmosphere, and their music goes straight to the bones, riling you to move and dance to their bright, colorful sound.

-Stephanie Dotto

Live Review: Synecdoche // Lost Time Accident // Dagnese // Christian Wilson // James Boyd Band

2009-12-02T12:08:00.005-05:00

Christian Wilson

Tanqueray’s // Orlando, FL // Nov. 11, 2009

Day one of the fifth-annual Anti Pop Festival brought a stellar lineup of Orlando bands to Tanqueray’s in downtown.

The folk-flavored experimental electronica of the duo Synecdoche started the night off. Singer/songwriter Sven Arvid Tadhg used a violin bow to coax an ethereal wail from his Gibson, while on other songs he played a limited-edition Ovation 2078T to get just the right sound.

Next up was Lost Time Accident. The full-throttle, modern rock sounds of the four-piece band vibrated throughout the small room, adding another dimension to their music. Guitarist Eric Bass seemed a bit bottled up in his small space as the band blasted through a mix of songs from their EP, The Pseudo-town Square, as well as some new ones.

Dagnese

Dagnese followed. The confines of an acoustic set hardly hampered them as the three-piece band played a high-energy set of pop/rock crowd favorites. Lead vocalist Chris D’Agnese was very animated between songs telling the stories behind them, about their search for a drummer, and talking about the upcoming premier of the video for “Come Over After.”

Next up was an acoustic set by Christian Wilson accompanied by Michael Rollo on the djembe. The singer-songwriter has a long history here in Orlando, so aside from playing his solo songs, he also performed some from the various bands he’s been in. “This is a song from another band I was in forever,” he said, talking about Still Naïve. “We did really good for about a minute.”

James Boyd Band

James Boyd and Eric Fay closed out the evening with a duo acoustic set. Since most of the crowd was familiar with their music, they chose to play some newer as-yet-unrecorded songs as well as some more obscure songs from their back catalogue – most of which included some rocking jams. They were joined by Sam Stone (Exit The Ride) for “Something To Live For” from their self-titled CD.

-Kat Coffin

Live Review: Pretty Lights

2009-12-02T12:03:00.002-05:00

La Zona Rosa // Austin, TX // Nov. 11, 2009

Pretty Lights is the moniker of electro music pioneer and producer Derek Vincent Smith of Denver. In live shows Smith pairs up with drummer Cory Eberhard, manifesting Smith’s innovation and Eberhard’s beats into the most infectious downtempo grooves on any given dance floor.

Pretty Lights has been selling out shows left and right since they hit the road in August playing to late night party people from coast to coast – most recently selling out a New Year’s party set to take Chicago into 2010. While La Zona Rosa wasn’t sold out, the crowd’s enthusiasm for the downtempo duo from Denver filled the place to the rafters.

Pretty Lights has one of the most dexterous sets on the electro music scene following their successful record, Filling Up The City Skies. Smith laced in new mixes at La Zona Rosa from the album Passing Behind Your Eyes – released in early October. “Fly Away Another Day” loops haunting piano over funky echoing effects that compliment Eberhard’s carefully placed dicey beats accentuated with plenty of resonant cymbals. “World of Illusion” is driven by Eberhard’s drums, then gives way to haunting falsetto vocal loops over a mix of synthed-out violin. It is an orchestral odyssey of incessantly danceable tracks that translates into a hell of a party live.

To compare this duo to an average DJ would be a misrepresentation – they don’t just spin, but create beats live and manipulate original sound loops via MLR. They have an innovative style that is emotive, inventive, stirring and can “Keep Em Bouncin” to all hours of the night – not to mention the lights they travel with are in fact pretty.

In addition to initiating a sound that keeps dance floors bumping without conforming to mainstream electronic style, Smith is also a pioneer in self-released music distribution. You can download any Pretty Lights album for free at www.prettylightsmusic.com.

-Tara Lacey

Check out what records we got in the office today

2009-11-30T17:18:00.001-05:00

Heather Maloney- Cozy Razor’s Edge
Golden Triangle- Double Jointer
Sarah Elizabeth Foster- Gardening From the Ground Up Part One
Linda Good- Love is a Curious Thing
Ben Wilson- Strange Dogs
Jessie Kilguss- Nocturnal Drifter
The Press- INTEOTWIJTEOAE
Keira is You- Nothing Else Will Happen
The Mary Dream- This Kind of Life
Shurman- Still Waiting for the Sunset
The Villains- The Villains
Chris Kasper- Chasing Another Sundown

Live Review: Soapbar // The Entrance Band // Jacob’s Ladder

2009-11-30T16:11:00.004-05:00

Tasty World // Athens, GA // Nov. 9, 2009

Soapbar’s show at Tasty World proved to be an intimate gathering where fans could go and soak up some high-quality, low-key entertainment. The three-person band delivered a performance perfect for spicing up a pleasant night downtown. After warming up to the stage after their first few songs, the band seemed to spring to life with “Speech, Speech,” which showcased the members’ versatile playing style. Heather Daniel on drums was high energy and stole the stage a few times during the set. All members had their chance to shine; Soapbox’s setlist created a dynamic that allowed each the chance to step up and show the crowd what they can do. Bassist Adam Mizell had a few complex bass lines that melded nicely with the band’s rock-out, but sing calmly style.

Soapbar are a well-practiced group, with chemistry that was evident in their good-natured banter between songs and entertaining on-stage cut-ups with each other. Even though the charming Athens band was grateful for their audience, they would have played to an empty venue if they had to – Soapbox came to play their hearts out.

-Amy Ishii

Festival Review: Fun Fun Fun Festival

2009-11-30T15:43:00.006-05:00

Minor Mishap Marching Band
Photo by Tara Lacey

Waterloo Park // Austin, TX // Nov. 7-8, 2009

My Fun Fun Fun festivities may have been cut short due to a bout with streptococcus, but the fine folks over at The Austinist had plenty of pre-festival events to compensate. Friday night pre-parties dotted downtown Austin, many of them free to the public and VIP to festival attendees. Most notably was the official kickoff held in neighboring venues Mohawk and Club DeVille, called Local Music is Sexy 8. Together, the venues offered up a solid set of talent. How could a music weekend be marred by illness when it is gets started with the boisterous sounds of a bumble bee clad Minor Mishap Marching Band or chills to the tune of Austin’s own Black Before Red?

Photo by Heather Appleman

Nevermind the fact that Mika Miko and the Fuck Buttons played some of their final appearances together before hitting the road to hiatusville – the folks at Transmission Entertainment presented a solid lineup of newbies and indie heavy hitters to ease the pain of fans through music discovery. Discovery is the theme uniting festival patronage at Fun Fun Fun. This festival is all about underground acts and is thus an overtly hipster festival with few children to be found. One young man even took it on himself to capitalize on the gathering by “vending hipster” as he carried around a tray of wayfarer shades, fedora hats and other miscellaneous hipster wares for sale.

Les Savy Fav
Photo by Tevin Hudgins

As far as bands that stood out, I can only attest to Saturday’s talent (per the mentioned bout with strep throat), but let’s just say that Transmission Entertainment knows what they’re doing and once again Cherrypeel stepped up to the plate to offer festival-goers a blend of some of the most palatable indie acts. Festival heavy hitters Yeasayer rocked into the darkness with their psychedelic, synthy pop sounds, leading the way into a crazy night. Following Yeasayer’s happy art-pop, Les Savy Fav took the orange stage for a different turn with their face melting rock and over-the-top stage antics. Frontman Tim Harrington mounted a ladder and surfed it across the crowd perpendicular to the ground, then parallel, then with an unwelcome spectator aboard – all the while growling out lyrics to “The Sweat Descends” as he fought said spectator for his microphone and the spotlight.

Ratatat
Photo by Heather Appleman

Performer Magazine cover vets Ratatat pleased the crowd with their art riffs and heavy electro synth, but only after some serious technical difficulties from Saturday’s patchy rain. Ratatat’s tech issues left me curious as to what I was hearing from the blue stage and I headed over there to hear California alt-hop group the Pharcyde heating things up and their crowd was pumping. There were booties shaking and bodies grinding as they spit rhymes into the humid Austin night. Ratatat worked out the sound issues in time to close out Saturday strong, leaving festival-goers and strepto-infecto me ready for more.

-Tara Lacey

Check out the records we got in the office today

2009-11-23T17:40:00.001-05:00

Krista Ravengael- Thanks, but No
In the Christmas Groove compilation
Sententia- The Center in the Sand
Pale White Moon- Call of the Wolf Peach
Allison Weiss- Allison Weiss Was Right All Along
Lakehurst is Burning- Lakehurst is Burning
Bill Bachmann- Big World Out There
Destry- It Goes On
Michael Tinholme- Brother, Can You Spare a Dime
Michael Tinholme- The Party’s Over
Michael Tinholme- When Winter Falls on New York
Michael Tinholme- Happy Christmas (War is Over)
Lima Charlie- Easy Kill
Estrella Cristina- This is Life
Brad Heller and the Fustics- Beyond this Life
Hot Day at the Zoo- Zoograss
Distant Lights- Simulacrum
Angelo Spencer- Angelo Spencer et Les Hauts Sommets
Letters- If It Ain’t Breakfast Don’t Fix It
Dave Perkins- Pistol City Holiness
Lemon Sun- Run With the Faithless
Stu, Mac and Clive- Dirty World Supreme
Brett Gleason- The Dissonance
Bray- @mphibian
Richie Lawrence- Melancholy Waltz
Virgin Islands- The Age of Anxiety
Neil Sedaka- The Music of My Life
Tab the Band- Zoo Noises

Live Review: Picture Atlantic // Bottom of the Hill // San Francisco, CA // Nov. 6, 2009

2009-11-23T12:20:00.004-05:00

The Bottom of the Hill pulsed with a vibrant energy as Picture Atlantic took the stage, enveloping the crowd in an aura of fantastic merriment. Frontman Nikolaus Bartunek (vocals/keys/guitar) radiated a sort of vivacious attitude with his spastically entertaining dance moves and his contagious smile (not to mention, he had a hell-of-a-voice). All the members in the band were lively and energetic, having as much fun playing their music as the audience had listening to it. Their stage presence was electrifying and spirited, adding to the overall aesthetic of the performance.

The band produced catchy, danceable tunes that drove the crowd wild and clung to your memory. Their slower, more intimate songs drove straight to the heart, pulling you into a state of emotional bliss and putting your mind at ease. Although the band may appear to be producing traditional alternative rock, that is not the case. Their pop-ish, upbeat songs are reminiscent of a British pop-rock sound, but the they manage to take that style and make it completely their own. The set consisted of an even balance of jaunty and contemplative songs, quickening your heartbeat and then soothing you with a soft, delicate ballad.

The crowd continued to respond positively to the band’s zealous performance, feeding into the energy emitted by the musicians and creating an atmosphere of overall delight. Although they were the opening act at a CD release party, Picture Atlantic owned the stage while they were on it, putting on a memorable show and raising the spirits of all who were in attendance. It’s perfect lazy day beach music for anyone who loves a captivating sound and that good lasting feeling you get when you know you’ve just experience something that truly made you smile.

-Stephanie Dotto

Record Review: As Tall As Lions - You Can't Take It With You

2009-11-23T12:10:00.003-05:00

Press play. Hear the music swell forward, anxious and wanting, elevating your heartbeat with every stomp and clap. Finger-picked acoustic guitar smoothes the edges of the music as it crests into a wave that thrusts your ears into the many, many thick, calm and serene rewards of You Can’t Take It With You. An album overflowing with moments that feel so very lush, with moments that are here and now and nowhere else.

This is As Tall As Lions.

This latest album from the Long Island quartet, nearly two years in the making, achieves sonic landscapes as arid as desert and dripping wet as jungle – all encompassed within a flow that feels as natural and evolving as the passing sun. There is a sensibility in the writing and production that evokes images of closed eyes and shared smiles in the engineering booth. They worked hard, that much is clear. Did they get what the worked for? Well, it’s difficult to throw full support behind something, but it must be said: yes. You Can’t Take It With You by As Tall As Lions is a positively stellar work of music.

The opener, “Circles” is an immediate departure from the wintered cityscape texture of their previous, self-titled album. The song is kinetic and it is a statement piece. It immediately comes alive with a pulse that feels like a more organic nod to Radiohead’s “15 Step.” The coarse rhythm of the stomps and claps flower into a satisfyingly thick harmony-laden chorus. Pulsating harmonies and a guitar solo that absolutely screams mounts the energy higher and higher, culminating in an abrupt ending. It leaves the ears suspended mid-air to be utterly smacked by the entrance of the next track, “Sixes & Sevens.” This is Rock Music, ladies and gentlemen.

The title track, “You Can’t Take It With You,” with its glistening textures and opening Spanish Phrygian melody, is a desert mirage in the heat of this album’s mid-day sun. The heavy verse precedes a lush chorus drenched in the sweat of an acid trip. By the end, a dramatic color change triggered by the line “give me your consciousness” may very well dilate your pupils. “Duermete” is where the labor becomes that of love. The song is warm and damp, a deeply personal celebration of introspection. It’s a love song for the present, no matter how difficult it may be. Its delicate, piano-driven hits bounce into the thick of four-part harmony to close out the first half of the album.

The split in You Can’t Take It With You is quite apparent from the four-minute ambient interlude that follows “Duermete.” From here on out, it feels like the B-side with its enjoyable, but alas, significantly less memorable tracks (excluding “The Narrows”). While this album was perhaps abrasive on the first listen, it was compelling and on fire from minute one. Since that first listen, it has aged well as its distinctly foreign flavors soon became familiar and ultimately soothing. The music stays warm until the nightfall of the B-side, and even then, remains endearing. As they are not profoundly technical musicians, As Tall As Lions rely on their natural gift to turn what in lesser hands may just be sounds into pure music. In their lyrics, they are hopeful where others are lonesome – even in their darkest of subjects such as existential crisis:

“What a life, what a lie
We’re living here on borrowed time
And life’s what happens in between the planet and the…
You either live it up
Or don’t live it down
So don’t be giving up
Or let it bring you down”

It’s hard to say how far-reaching this album will be. It’s melodically driven pop-rock, but with a very distinct flavor. One can only hope this album spreads to as many heads as possible, since those are sure to become home to expanded minds.

-Will Cady

Check out the records we got in the office today…

2009-11-17T18:59:00.001-05:00

The Great Affairs – self-titled
Anna Madorsky – Incantation
Diego’s Umbrella – Double Panther
Patrick Kavaney and the Last Drags - Darning Socks for the Apocalypse
Camp Out – Closer
Bryan Minus – Forage
Faello Nor – Solus Affairs
Tomeka Williams - The Black Hood
Thomas’ Apartment – Tuesday Night Lights
The Alpha Centauri – Lavarocks
Lovewhip – Love Electric
Doug & Telisha Williams – Ghost of the Knoxville Girl
Hey Mama – self-titled
Julianna Barwick – Florine
JahQues – self-titled
Toro y Moi – Causers of This
Field Music - self-titled
Bums Life – Stumblin’ & Mumblin’
Annie Crane – Through the Farmland & the Cities
Jacob Jones – Bound For Glory
Derek Hoke – Goodbye Rock N Roll
Ben Sollee and Daniel Martin Moore – Dear Companion
The Album Leaf – A Chorus of Storytellers
Brown Bird – The Devil Dancing
South China – Washingtons
Honey Clouds – Fall on the Honey Clouds

News: Kill Hannah's van stolen

2009-11-16T14:42:00.001-05:00

Emo-goth band Kill Hannah recently had their van and trailer with all of their equipment (totaling $120,000), merch and personal belongings stolen in Philadelphia. Their van was parked at the Holiday Inn, 900 Packer Ave., when the robbery happened.

The band had to cancel the rest of their tour dates. Police recovered the van with an empty trailer a day later. Tragically, the band's equipment was destroyed in a bus fire in Europe last year.

This happened only a week after another band, Mae, had their van stolen from the same location. Sean Agnew of R5 Productions says that at least 10 bands have had their equipment stolen from this location.

Keep your eye out for some of the stolen gear:

Epiphone Elitist Riviera Custom Shop SN#T301722
1992 Ernie Ball Music Man Stingray Bass
Pair of matching vintage 1968 Fender Bassman Heads Custom Shop
Gibson ES-135 White
2003 Gibson Firebird
Marshall Triple Lead Stack

Fans have already starting helping the band out by setting up a donation website: www.killhannah.net/donate.

If you have any information about the missing equipment, e-mail bethany@davisartistmanagement.com.

News: NY Songwriter's Circle announces songwriting contest finalists

2009-11-16T10:54:00.002-05:00

The New York Songwriters Circle recently announced 12 finalists for its fourth annual songwriting contest and three finalists for its Young Songwriters Award.

The finalists for the songwriting contest are Barnaby Bright, Kate Branagh, Caleb Hawley, Clara Oman, Janet Onyenucheya, Adrien Reju, Martin Rivas, Bobby Smith, Chloe Temtchine, Justin Tracy, the Sweet Remains and Reed Waddle.

The Young Songwriter Award finalists were chosen by a poll on the social networking and gaming website Fashion Fantasy Game. They are 15-year-old Ali Brustofski of New York, 17-year-old Aubrey Caswell of Thousand Oaks, Calif., and 17-year-old Maddie Georgi from Pittsburgh.

Past winners of NYSC’s contest include Grammy-wining songwriter Gordon Chambers (who wrote “I Apologize” for Anita Vaker) and Siedah Garret (who co-wrote “Man in the Mirror” for Michael Jackson).

The winners will be determined by a panel of judges at live performances on Nov. 18 and 19 at Bitter End in Greenwich Village.

The winner will receive over $25,000 in cash and prizes as well as a performance spot with John Oates, a Gibson acoustic guitar, an opportunity to record with producer Glenn Barrett and a guest spot on Jonathan Clarke’s Q104.3 radio show.

Live Review: Hawks and Predator

2009-11-16T10:48:00.002-05:00

Hawks

The 529 // Atlanta, GA // Oct. 26, 2009

Once again, the 529 Bar in the East Atlanta Village hosted a magnificent Monday night concert that showcased some of the city’s finest local talent. The small club has quickly gained a paramount reputation for cheap drinks, great bands and one of the best sound systems in the entire city. Usually Monday night shows are free, but a touring band from the U.K. called Future of the Left caused the door price to rise to $7. Still, by the time Predator took to the stage at a little after 10 p.m., the venue was at capacity.

In the vein of classic punk rock bands from a time forgotten, Predator is easily one of the city’s most entertaining punk acts. The three-piece blistered through their borderline early '80s hardcore songs that also entwine bits and pieces of more modern elements. The guitars were raunchy and distorted, the drums were fast and often in double-time, and the when the vocals synced up it was damn near perfect. Their vintage-punk sound is slightly nostalgic, but also at the same time incredibly progressive. Tearing through some of their songs like “Creep” and “You,” it was plain to see that these men are students of their genre and are well on their way to becoming masters.

Hawks

For anyone in Atlanta that hasn’t seen the spectacle that’s a Hawks show, my god was this a great night to start. Hawks is the sort of band that will unapologetically scare the shit out of your parents, grandparents and other assorted family members. Their songs are noisy, dissonant, aggressive and sexually charged. Their set opened up with their traditional mix of samples and crowd banter, but quickly exploded into their noise-core set. Andrew Wiggins’ guitar riffs scream and yell with the utmost ferocity and gruff. The rhythm pockets created by the drummer and bass player drive the songs while chaos is created around their anchor.

When singer/screamer/yeller Mike Keenan starts doing his thing, well…that’s when the real show begins. One of the best front-men in the city, Keenan charges the crowd, grabs random bystanders and screams into the microphone and their ears, climbs structures and lets girls stick their fingers down his throat. Needless to say, if you have any qualms about being in a situation that could potentially erupt into an awkward situation, or if you can’t hold your own in the pit, then stand back. Otherwise, the show culminates in Keenan stripping down to a banana hammock while the rest of the band builds to a dissonant and dischorded crescendo. Hawks is always an awesome experience and on this night they were in rare form.

-Albert Opraseuth

Live Review: Reptar

2009-11-12T10:58:00.004-05:00

The Secret Squirrel // Athens, GA // Sept. 29, 2009

The Secret Squirrel, an Athens resident’s home-turned-concert-venue, sprung to life Sept. 29 as Reptar was about to hit the stage. Staying true to their faithful followers' expectations, the band once again delivered a top-notch performance. Reptar cranked out their captivating electronic-pop, with lively synth lines and contagious beats that kept the crowd dancing the entire set.

Members Graham Ulicny (guitar, vocals), William Kennedy (keyboards), Ryan Engelberger (bass) and Andrew McFarland (drums) thought the crowd was so wonderfully raucous they decided to hold a dance competition, to which the winner received a golden spatula. The ease with which Reptar was able to form a formidable connection with their crowd only added to the enthusiasm of the already electrical ambiance, as if those in attendance needed anything other than singer Graham Ulicny’s talents for entertainment.

A fairly accurate description of the Secret Squirrel venue would be "garage-sized." Yet, this contributed nicely to the feel that everyone knew everyone else, and Reptar were just coming around to see their old, close friends, to hang out, and rock out. The environment was laid back – no bouncers, no one to take tickets or monitor who came and went – not to mention the stage was barely raised, further solidifying the fact that Reptar were just one with the crowd. Even if you were to step outside for a quick breather, you’d still be able to get a clear glimpse of the band through the doors. If the goal for concert attendees was to come out on a school night, hear some Reptar at their best, meet some new folks, and dance like mad for the golden spatula, then anyone who was there would rave that the night was a wild success.

-Review by Amy Ishii; photos by Parker Feirbach

News: Folk Music History Month in Harvard Square

2009-11-12T10:49:00.002-05:00

A collaborative of members from the New England Folk Music Archives and the Harvard Square Business Association, called Forever Young, have launched a Folk Music History Month in Harvard Square for November.

The celebration includes a series of multimedia events involving Harvard Square storefronts and restaurants. The “Community Gallery Window Project,” displayed inside stores, features vintage photos, folk art, and folk music history ephemera from private collections and artists who spent time in the area. Some of the musicians captured in the photos include Janis Joplin, Arlo Guthrie, Pete Seeger, Bob Dylan, Tom Rush and Taj Mahal.

There's also a variety of shows throughout the month, including “Brunch with the Folks” on Nov. 15, where a number of bands will be featured from brunch to dinnertime at a number of different venues. Other events include “Irish Music in Boston,” a discussion and performance at Tommy Doyle’s on Nov. 19; a screening of the film “Festival!” at the Brattle Theater on Nov. 22; and folk music every night through the end of November at Club Passim on Palmer Street.

News: Another SXSW deadline approaches

2009-11-12T10:46:00.001-05:00

Deadline for discount registration to attend South by Southwest 2010 is this Friday, Nov. 13. Register now and save up to 25 percent off the walk up rate.

Also, those looking to market their business at SXSW can save 10 percent on marketing assets by registering by this Friday!

SXSW takes place in downtown Austin this year March 17-21.

Live Review: Serena Ryder

2009-11-11T10:27:00.001-05:00

Chop Suey // Seattle, WA // Oct. 24, 2009

I am in shock. I never thought I’d say this, but I just might end up enjoying alt-country. Serena Ryder, though probably on the poppier end of the folksy singer-songwriter genre, could be my personal gateway drug into a world of acoustic guitar and lyric driven rock.

Her set started off with simply her and the mic on stage. Unaccompanied, she let her soulful voice do all the introductions, captivating the crowd with her shockingly powerful, gravelly wail. Vocally, Ryder proves herself a talented and versatile singer: never too loud, never too soft, demonstrating control over every resonating note and guiding you along a musical journey with ease.

As she straps her guitar on, she transforms into a fiery entity with melodies flowing from her fingertips and a staggering amount of performance energy, bouncing up and down with every strum. Lyrically, it’s no surprise her fanbase is predominantly female. They say that “hell hath no fury as a woman’s scorn” and many of her songs drip with that scorn and frustration over the opposite sex, but don’t be expecting any feminist angrygrrls to show up anytime soon. It’s more like 20- to 30-somethings that feel the way she’s feeling and Serena simply puts their feelings into song. My highlight for the night was a song called “Stumbling Over You,” but the singles “Little Bit of Red” and “All for Love” proved strong performances as well. Honorable mention goes to “Brand New Love” for being the song that captured my attention early in the set.

-Review and photo by Rosalie Anne Cabison

Live Review: Eyehategod // Goatwhore

2009-11-11T10:20:00.002-05:00

Goatwhore

The Middle East Downstairs // Cambridge, MA // Oct. 25, 2009

Heads were banged, beer cans thrown, and bodies thrashed in a maelstrom of metal. When Goatwhore and Eyehategod came to the Middle East Downstairs, shit got rocked.

Goatwhore came to the stage as conquering warlords in search of Satan with their own special brand of punk-influenced black metal. The energy in the room peaked as lead singer Ben Falgoust battled and screamed his way to the edge of the stage where many a pumping fist and devil horns awaited. Throughout the chaotic set, Falgoust seemed to be rallying the crowd to him with a joyous anger, high-fiving anyone in the crowd who threw up a hand and throwing his long hair out in maximum head-banging capacity. Bassist James Harvey and drummer Zack Simmons stayed tight and controlled through fast and complex changes that Sammy Duet could choose to accent or shred over.

Lit cigarettes dangling from their lips, Eyehategod let feedback take over the room for a few minutes before bringing down the hammer with the brutal “Take as Needed for Pain.” Slower and heavier than the opening acts, the music became a death swagger that pulled you in and held you under until you found yourself fighting for air in an ocean of distortion and anger. Every punctuated bass note became the swing of an opponents fist, the vibrations of sound became the quiver of anger boiling up inside, begging for a release. Pushed to its limits, the crowd exploded into pits whenever the band deemed it fit to open up into faster (but no less heavy) riffs. Lead singer Mike IX Williams spoke aggressively between songs, never letting the feeling of doom lessen until after the set when he thanked everyone for coming. As the band lit up fresh cigarettes and left the stage to get a brief rest before an encore, one drunk fan shouted an appropriate summation of the night: "Fucking Metal!"

-By Garrett Frierson; photo by Max Braverman

New records in the office today

2009-11-09T17:32:00.002-05:00

The Silent League- But You’ve Always Been the Caretaker
Real Estate- Real Estate
Jen Ghetto- Sadstyle (reissue)
La Palabra- Musicholic
Surfer Blood- Astro Coast
The Sea Navy- Memory Matches
Austin Crane- Place at the Table
The Yule Logs- The Yule Logs
Bone Cave Ballet- The Echo of Entropy
Brian Larsen- Breaking
Lunar Sway- Where the Birds Don’t Fly
Justin Levinson- Predetermined Fate
Bacchus King- Bacchus King
Shawn Harris- Echoes of Autumn
Retribution Gospel Choir- 2
AFCGT- AFCGT
Unsparing Sea- In the Diamond Caverns
Morwenna Lasko & Jay Pun- Chioggia Beat
Jerry Velona- Random Emotion
Paul Masson- Paul Masson
Wave Array- Cheapjack Moon
Timi Conley- Nerd Sexy
Shovelman- The Dirty West
Black Taxi- Things of that Nature
Tiny Fires- Tiny Fires
Winterbloom- Traditions Rearranged
Beach House- Teen Dream
Joey Barnes- Always
Patrick Rock- When All Else Fails…
Cadillac Jones- Rhythm Method
Carnivores- All Night Dead USA
Scott Krokoff- A Better Life
Amy Speace- The Killer in Me
Kirsten DeHaan- Thorns on a Crown
Kobo Town- Independence
Useless Beauty- Sugar Crush
The Mercury Program- Chez Viking
Gold Standard- Gold Standard
The Plague Years- We Are at the End of All That Is
Mascara- Fountain of Tears
Johnny Stranger- Galacticus 9
Fredrik- Trilogi
Soulsavers- Broken
Farm- The Cave
The Gilded Palace of Sin- You Break Our Hearts, We’ll Tear Yours Out
Merrick Section- Merrick Section
Hurricane Bells- Tonight is the Ghost
The Novels- Paper Cliché
Lightning Bolt- Earthly Delights
Capibara- Wildcat
PPR- Breakfast
PPR- Crab
Finfangfoom- Monomyth
High Priestess- Faerie Archives Volume 1

Live Review: Manque // Sweet Talk // Please and Thank Yous // Slingshot Dakota // Cloud Mouth

2009-11-09T11:30:00.004-05:00

The Please and Thank Yous

Summer Camp // Chicago, IL // Tuesday, Oct. 13

Summer Camp probably hosts the largest volume to venue size ratio in the history of venues. Save the opener, everyone who played this show played mind-blowingly loudly in the most intimate space I've ever been in. The stage was on the same level as the audience space and bands were free to set up their equipment and interact with the crowd however they liked. It was like I was incubating in the opposite of a sensory deprivation chamber. A recommended experience for sure.

Manqué opened the set intimately by drawing the crowd around her and embarking on a string of simple and intensely personal songs. Sounding a bit like Hannah Jones of the Ghost Mice doing '90s slowcore, Manqué played completely without amplification or pretense with the attitude of someone sharing songs for a group of close friends. Her lyrical melancholia ranged from the sweet-and-silly, i.e. "I think your heart's in the wrong place / maybe somewhere between your spleen and kidneys," to the straight-up heartbreaking: "Please don't break our suicide pact, because if I have to do it alone, I'm not going to be happy." The sincerity was at once disarming and endearing.

Sweet Talk

Next to take the stage was Sweet Talk, a two-piece who delivered a driving performance. The amplification absolutely overpowered the small space in which they played. The heavily fuzzed guitar vibrated at such a frequency as to make it feel
like there were little worms made of steel wool copulating in my eardrum. It was loud as loud gets and ear-bleedingly good. The band's singer-guitarist slung himself over the mic screaming, while the drummer played fast and shoeless behind.

The Please and Thank Yous infused their set with hints of old-school punk. Without letting up on the loud, they had a more nonchalant vibe in contrast to Sweet Talk's utmost urgency. Their song structure owed a good deal to '70s punk roots, which their singer/guitarist silently acknowledged by wearing a Ramones shirt.

Slingshot Dakota

Setting up the room so that they were centered and the audience had to cluster around them in a circle, Slingshot Dakota gave a full-length foreword to their performance,
fraternizing with the crowd by discussing their evening at the Chicago Diner, their awesome waiter Don and the giant peanut butter shakes. With just a drumkit and a heavily distorted keyboard (never has that much fuzz been laid over a synth), they went on to deliver some of the most awesome electropunk I've ever had the luck of hearing. Carly Comando sang over her keyboard while Tom Patterson pounded out pantsless beats (he had on bike shorts) and sang backup across from her. The two (who are also a couple – hooray rock love!) tended to look right at each other while performing song after electrifying song. The music just kept exploding out from these guys – you'd be hard-pressed to find a two-piece deliver a more energetic set.

Reverting to the stage, Cloud Mouth rounded out the night with a solid set. Their sound bordered on the art-punk and avant-garde as they navigated some unusual song structures, but they never veered into the pretentious. The distinct and varied guitar riffs and basslines, as well as the proximity of their guitarist to their bassist, made it feel almost like there was a duel going on, but I couldn't tell you who won. It was a pretty close match. I felt like I was in the presence of a sound too big for the venue, a sound meant to echo in long halls, but at the same time, Summer Camp's tightness provides an intimacy that you don't get anywhere else. There's something about watching bands play a few feet away, especially when those bands are filling the space with sound that makes just about everybody's head explode from awesomeness overload.

-Sasha Geffen

Live Review: The Lifeline

2009-11-06T15:27:00.003-05:00

The 44th Ward // Chicago, IL // Oct. 9, 2009

The Lifeline

It's a damn shame that naked emotion in rock has been given such a bad rap. After all the corporate misery of the early 2000s, it's pretty hard to be sad about anything in a way that's not cliché. Sure, under certain circumstances you can get away with it – like if you're from Canada or if you only record albums in log cabins on scratchy eight-tracks – but for the most part songwriters treat their discontent at a distance.

Not so for The Lifeline. Their very existence is a big fuck you to the manufacturing of bands like My Chemical Romance. This self-made, unsigned fivesome adopts the semi-goth aesthetic, but packs it with real talent and real affect. Their unplugged gig at the 44th Ward demonstrated a spectacular craftsmanship and attention to detail that would blow all sorts of "emo" out of the water.

The atmosphere of the 44th Ward's back room accompanied the set appropriately. The band was barely lit by anything other than red candlelight, and the drum platform was framed with black stage curtains. It was like a séance, only no one asked me if I knew a dead person with a "J" name. Luckily, the band members themselves had no presumptions of morbidity. After all, who says dedicated musicians can't wear all black and tune their guitars by candlelight every now and again?

"It's kind of funny to play these songs like this," Ryan Hope, guitarist and lead vocalist, said of the mostly acoustic setup (the bass was the only electric instrument). "We're usually a balls-out rock band. But I always say if your songs don't translate to this, you've got to go back to the drawing board." While "unplugged set" may evoke the image of a relaxed, slow performance, the Lifeline delivered no such thing. The clean sound never dampened the band's energy, instead allowing Hope's powerful voice and conservatory-trained Rebecca Faber's violin to become the primary forces propelling each song forward. Hope soared along at the top of his range, never breaking or wavering out of key. Most notably on "Romeo and Juliet," Faber's violin flickered commandingly over the other instrumentation. Each song retained a meticulous urgency as the band demonstrated nakedly their prowess for rawness and drama – both good things for once.

-Review and photo by Sasha Geffen

Live Review: Pine and Battery, Oona, The Hi Nobles

2009-11-06T15:15:00.003-05:00

Bottom of the Hill // San Francisco, CA // Oct. 30, 2009

Pine and Battery released their newest CD with some Halloween spirit on Oct. 30. Due to the Bay Bridge sucking, it was shut down for the weekend, I was skeptical about the night’s turnout. I arrived at Bottom of the Hill where a full crowd was gathered, dressed in full Halloween costumes, and ready to party. The Hi Nobles warmed up the crowd with their garage soul, classic punk rock. It’s been a while since I’ve seen REAL punk being laid down, without emo or screamo BS. I worked Warped Tour for five years and the Hi Nobles were definitely raw refreshment punching you in the eye.

Pine and Battery

Next up was the sultry Oona. It nice to see a beautiful woman on stage that has a voice that sounds just as sweet. Oona is a musical elixir with belting vocals somewhere between Tori Amos and Janis Joplin, with abstract sparky dance moves like Mars Volta and a pinch of emcee. I can’t tell you what genre I place her music in, and I like that.

Oona

Fans waiting for Pine and Battery’s CD release set got a treat. In costume as Skid Row, Jeff Campbell – lead vocals and guitar – hammered out tunes in a strong voice, and just as quickly, smoothly turned it down to serenade the fans. The musicianship on stage was masterful and fun to watch. Andy Weller rocked classic guitar riffs and shredded solos. Rick Munoz, drums, was very entertaining. I rarely boast about a drummer, but Rick is a damn sharp hitter. No fucking metronome click needed here. AJ Leighton’s bass lines were the thick glue that held it all together. Everyone on stage had great skill, it wasn’t one or two carrying the slackers, it was all-four-as-one creating a cohesive solid sound.

New Montgomery

New Montgomery closed the night down tighter than the Bay Bridge, which forced me to leave early to make it back home in the East Bay! I got the first few songs, but wanted more. New Montgomery has an interesting sound that lingers with you for the rest of the night. Sorry to leave, New Montgomery, I heard you only got better.

-Review and photos by Rosalyn Lee

News: SXSW showcase deadline is tomorrow (11/6), discount registration ends Nov. 13

2009-11-05T16:47:00.002-05:00

As Smokey Robinson prepares his keynote address for South by Southwest Week 2010, musicians should be aware that the deadline to apply for a showcase at the annual conference and festival is Friday, Nov. 6th! Apply through Sonicbids, the official online music submission partner for SXSW 2010.

Robinson will address the festival on Thursday, March 18. The music festival is set to run from Wednesday, March 17, to Saturday, March 20, in Austin.

The discount registration deadline for anyone else ends Nov. 13.

Check out the CDs we got in the office today

2009-11-05T13:33:00.000-05:00

Natural Breakdown - All the Paths
Cole Mitchell - Primordial Reckoning
Simple - WKNC Sessions Live: April 5, 2009
Amanda White - Toyshop
Shh... This is a Library - Dream Big
Wake Up Lucid - Look Alive People
Brendan Hogan - Long Night Coming
Two Virgins - Two Virgins
Eyal Maoz's Edom - Hope and Destruction
Julie Kinscheck - Grace with Jazz on Top

Live Review: Mayday Parade

2009-11-05T11:38:00.003-05:00

Derek Sanders commands the crowd to throw their hands up.

El Corazon // Seattle, WA // Oct. 8, 2009

I entered El Corazon welcomed by a sea of sweaty, middle-to-high school kids electric with anticipation for the pop-punk five-piece, Mayday Parade. The set started like any run-of-the-mill teeny show: bouncy beats, lovesick lyrics and hormonal teenagers releasing shrieks of delight, until somewhere along the third song (“The Silence”), guitar-driven melodies arched themselves into a song I caught myself enjoying.

Guitarist Alex Garcia proved himself talented and creative for a genre that’s been confined to the same three-chord style songwriting. Later on, front man Derek Sanders proved that he’s more than just a pretty face by bringing out a keyboard during a mid-set slowdown (“Miserable at Best”) that effectively climaxed to the whole lineup joining in for the last chorus of the song. All throughout the set, drummer Jake Bundrick blasted beats unfamiliar to traditional pop-punk sounds.

Alex Garcia's delightfully uncharacteristic lead lines set Mayday Parade apart.

As performers, the band’s overall energy is a perfect storm. Individually, each member commands his own 3'x3' section of the stage in a way that no matter where you look, there is something to watch. It sounds overwhelming, but in reality it’s purely entertaining. On occasion, the five shows will coordinate and explode into a spectacle of showmanship. By the set’s closing number (“Jersey”), the entire crowd was spellbound by the mixture of high energy music and performance that it forced you to have fun just in case you weren’t already.

Good pop-punk should get more credit. There's endless criticism on stress of image in the scene, and music fans often never allow themselves to get past the angled haircuts and tight jeans to give the music a fighting chance. Mayday Parade is hope that pop-punk can produce quality music despite the focus on packaging and selling bands as a product.

Setlist:

Jaime All Over
Three Cheers
The Silence
Kids in Love
Miserable at Best
Anywhere But Here
When I Get Home
Black Pussy
Jersey

-By Rosalie Anne Cabison; photos by Maddison Treadwell

Live Review: Art Brut

2009-11-05T11:29:00.005-05:00

The Mohawk // Austin, TX // Oct. 25, 2009

A bevy of alcoholic beverages can take a mediocre show from ho hum to hell of a time. Art Brut took that adage to the max at the Mohawk on Sunday, Oct. 25. Frontman Eddie Argos took the stage with a slight slur of the tongue and a sauced swagger indicative of the show he was about to give along side his Art Brut bandmates. In zero to sixty, the booze and electric guitars had fueled a fire under Argos and band – who were on the 10 day of touring for their new album, Art Brut vs. Satan. Incidentally, it was Argos’ birthday.

Argos made no secret of his condition upon finishing his opening tune as he piped in with a musical explanation, “Alcoholics Unanimous.” It’s a fast and loose tune with simple bass lines and high energy guitar combined with Argos’ vocals: it comes off characteristic of classic Iggy Pop. Art Brut went back to blaming it on the alcohol in the humorous and perhaps oddly relatable “Mysterious Brusies.” The lyrics are tongue-in-cheek – but then who hasn’t “fought the floor and the floor won” – and the guitars are easily worthy of a head bob or hip sway.

Argos managed to find his way into the audience, slipping into droll, drunken chronicles of his life experiences – real or fabricated. They were perhaps embellished per the imbibed, but were effectively woven into songs like “DC Comics and Chocolate Milkshake.” The songs off Art Brut vs. Satan make it easy for Argos to maintain his confessional lyricism and never-to-grow-up side, while guitarists Ian Catskilkin and Jeff Future get to toy with art riffs to and fro. The band rounded out the show with fan pleasers like “Emily Kane” for good measure. Just as the new album is surprisingly comforting in its eccentricity and punky nostalgia, Art Brut's show strongly followed suit – cheers to that.

-Tara Lacey

Live Review: The Idyllists

2009-11-04T11:40:00.002-05:00

Hotel Cafe // Hollywood, CA // Oct. 2, 2009

Hollywood was filled to the brim with concert attendees and bar-hoppers on the night of Oct. 2. Everyone seemed fueled by the love of music, vodka tonics and often times, both. Hotel Café, a small venue surrounded by chic taverns and record stores, was occupied by a fun-loving crowd, all grasping their drinks and waiting for that night’s act to fulfill their musical cravings.

The Idyllists, a band consisting of four musicians from Los Angeles, enthusiastically performed their set with sheer ardor and California love; their ticket sales going directly to the L.A. County Firefighter Memorial Fund. Wearing skinny black suits and '50s spectacles, the Idyllists opened up with “Honey Please,” a song more delectable than any drink offered at Hotel Café. The crowd, steadily growing as the night went on, sang along with the crowd-hitters, “Sweet Loretta,” an Irish-inspired lament, and “You’re Gonna Break My Heart Someday,” a sweet and short ballad that focused on the jarred equilibrium relationships seem to bring; the crowd sang along to the bittersweet lyrics and danced to the toe-tapping tunes.

Dancing with fellow crowdmates, I felt as though I was transported back to a time where all anyone focused on was the jubilation that pop music brings. The Idyllists performed in a manner that was derived much from the Beatles and Buddy Holly but within their own innovative millennium sound, a sound so addicting and optimistic, that no one could dare to sit down.

-Gina Vaynshteyn

Live Review: The Yearbooks, Bengal Lancer, Netherfriends

2009-11-04T10:32:00.004-05:00

Yearbooks

Schuba's Tavern // Chicago, IL // Sept. 30, 2009

Let it be said that the back room of Schuba's Tavern in Belmont sports lovely interior décor behind the excellent bands it houses. Everything is wood-trimmed, the walls are nice autumn colors – the whole space glows a little bit. The warm, jangly licks of the Yearbooks' guitars only added to the sensation. The Chicago fivesome seemed to echo poppy post-punk acts like the Strokes, but with a fair degree of nostalgia for the decades preceding the genre. The set included a direct tribute to one of the band's influences in the form of a cover of the eternally catchy “Love My Way” by the Psychedelic Furs. The band carried themselves in boyishly charming fashion throughout, flirting with the audience, bopping around to their own sunny riffs – positively adorable. I'd like a copy in my living room please.

Bengal Lancer

Bengal Lancer amped up the volume with their solid guitar rock with an ear for harmony. Vocalist Robin oscillated several times between her guitar and keyboard. Some of the set's best moments came when she was seated at the latter; the band's flair for the dramatic took flight as they constructed intense melodic dynamics. The band apparently only played in half its true form; musician friends were filling in for both rhythm guitar and drums. The sound did not suffer whatsoever, though their stand-in guitarist seemed a little crowd-shy compared to Robin and bassist and vocalist Ryan. Despite their theatrical sound, Bengal Lancer were not pretentious in the slightest. More often than not, everyone on stage would smile through the songs.

Netherfriends

Netherfriends brought the folktronica, armed with guitars, samplers and pedals. Lead vocalist and creative engine Shawn Rosenblatt was possessed of a manic energy as he commanded a good fraction of the onstage equipment. Harmonizing with himself via sampler, he built undeniably catchy hooks out of the undeniably strange. Clicks and beeps and madness all filled the stage atop a solid backbone of pop-rock. Rosenblatt would occasionally thwack an odd apparatus that he claimed he built as a replacement for a broken snare. Whether true accident or gimmick, it was a pleasure to watch. Netherfriends rounded off the psychedelic set with orchestral swoons replete with trumpet loops and other such flourishes. A less silly Animal Collective, they certainly captivated.

-Sasha Geffen

News: Nashville songwriters host Nov. 13 Boston workshop

2009-11-04T10:22:00.001-05:00

Hey songwriters, two of Nashville's top songwriters are hosting a workshop at Berklee's Cafe 939 in Boston on Nov. 13 from noon to 3 p.m. Tim Johnson and Jim McCormick have written songs for Kenny Chesney, Reba McEntire, Tim McGraw, Alan Jackson and many other country greats. The free workshop will feature discussion on the art of lyric and melody, insider information on the state of the industry and song critiques. To participate in the song critique portion of the workshop, bring a recording of yours along with 10 copies of the lyrics.

To RSVP, contact Chip Rives at crives@trpmarketing.com.

News: Sony accepting demos in Athens, GA at Nov. 19 expo

2009-11-04T10:13:00.001-05:00

SonyMusic Nashville’s A&R Department will accept demos at the Southern Talent Expo on Nov. 19 from 5 to 7 p.m. Bring your music to the UGA Music Business Program’s office in Room 202 in Caldwell Hall. Representatives will listen to each and every recording and select the top 5-10 acts to showcase. The winner of the showcase will have the opportunity to play for top executives at SonyMusic.

Live Review: Daptone Records Super Soul Revue (nearly) at CMJ

2009-11-02T12:47:00.005-05:00

Lee Fields

The Budos Band // The Menahan Street Band featuring Charles Bradley and Lee Fields // Naomi Shelton and the Gospel Queens // Sharon Jones and the Dap-Kings //

The Knitting Factory // Brooklyn, NY // Oct. 23, 2009

Not quite CMJ, Friday night's Daptone Records Super Soul Revue left a lot of badge holders disappointed. The private showcase at Brooklyn's Knitting Factory turned away crowds of the city's marathonites who thought the CMJ listing that read "Limited Badges Available" just meant that you needed to get there early.

I was almost one of them, arriving nearly an hour early to the show just to be told the party was a private one and badges were not being accepted. With a little bit of schmoozing and waiting around, I talked the promoter into giving me a stamp. Believe me, it was well worth the wait.

Daptone Records is known around the city for its soulful, been-around-the-block singers and well-oriented, hard and heavy funk bands. Friday's revue had all of the major players hitting it big – from the unstoppably funkin' force of the Budos Band, the Motown-inspired young-and-old, black-and-white Menahan Street Band featuring Charles Bradley and Lee Fields, the soul-swinging endlessly classy Naomi Shelton & the Gospel Queens, right down to the invincible Sharon Jones with Binky Griptite and the Dap-Kings.

As soon as the Budos Band turned up their sound, the venue was packed. The Knitting Factory's space is large and low-lit and the stage is about four feet off of the ground. Perfect for bright lights and lots of dancing. It isn't heavily decorated either; there is absolutely nothing to distract your eyes on their way to the stage.

The Budos Band

The Budos Band's set was disappointingly short, lasting less than an hour. Dressed in black and adorned in sinister Halloween masks, the green lights that blasted through them the entire time they played made their act seem intentionally surreal. There is no denying that this band takes the cake for Daptone Records as one of their best instrumental lineups. Their is something severe about their funk, darkly heavy and densely percussive.

The Menahan Street Band

After the Budos Band, the Menahan Street Band performed. Their style is significantly lighter than the Budos Band, with an old-school soul flair evident in the music behind the Temptations and Marvin Gaye. During their set they had two men come on stage for a few songs. First was Charles Bradley, an obvious James Brown man with wild, processed hair, tight pants and all the rest. He screamed feverishly and danced like he couldn't possibly be twice the age of his backing band. His resonance was one of soulful pain and unintentional heartache, while the second singer Lee Fields' moans were love, love, love and above all a rejoice of everything woman.

Next, Naomi Shelton and her Gospel Queens took the stage. This multi-racial, all-ages surrender-to-soul was fronted by a woman in her seventies with nothing to lose but her gold sequin hat and the black fur lining her violet jacket. This trip back to the days of Soul Train was a classic one, and while Naomi Shelton could shudder out her gospel-inspired vocals, she could also scream with the grit and sweat of everything that was funky about the '60s.

The headliner, Sharon Jones and the Dap-Kings along with guitarist Binky Griptite, was truly the anticipation of the night. This frantically dancing and singing queen wasn't afraid to bring the audience on stage or get down and dirty with her sassy self. Bereft of the glitz and glamor of the previous act, Jones was perfectly quaint in her dark jean jacket and slacks. Her voice had more power than anyone that night, and it's no surprise that she is Daptone Records' star. Outrageously genius, Jones and Griptite ripped the stage apart and threw it at the audience with a grin. Good thing this was the kind of audience who knew how to throw it right back.

-Review and photos by Amanda Macchia

News: Google launches new music service

2009-10-29T15:06:00.002-04:00

Do you frantically type "google.com" when you need to find something online? Just when you thought the search engine couldn't make your life any easier, it did. Since "lyrics" and "music" are some of the top 10 most searched terms, it would only seem logical for Google to eventually one-up the competition and provide it's own music service.

Google is teaming up with music sites Lala and iLike, which is owned by MySpace, to create OneBox, a music search feature that will stream and sell songs. Don't fear if you don't know the exact song title, because you can also search by lyrics.

OneBox will also have links to Pandora, imeem and Rhapsody, so you can discover more music similar to what you are looking for. Basically, not only can you find what you want, but you can find some new bands to love.

The site will be slowly introducing these new features over the next few days, but if you want to check it out now, go to www.google.com/landing/music. The site has a video showing exactly what the new feature can do.

Record Review: Trevor Hall // Trevor Hall

2009-10-29T11:15:00.002-04:00

Laguna Beach, CA
Produced and arranged by Marshall Altman // Mixed by Eric Robinson // Recorded at the Galt Line in Hollywood

Newcomer Trevor Hall has burst into the music scene with his self-titled album, mixing the right amounts of reggae, folk, pop-rock and soul, creating a one-of-a-kind sound and intriguing listeners of any genre. The 22-year-old South Carolina native now resides in a Hindu retreat in Laguna Beach, an obvious influence for his music.

On tracks such as “Unity” and “The Lime Tree,” Hall sings about love and community; about forgetting the band and embracing one another. At times, though, it seems as if Hall stretches his message over all 13 tracks and the music starts to sound similar.

Hall’s husky voice is truly important to his songs. He’s channeling his inner Bob Marley and mixing that with his inner Caleb Followill (Kings of Leon). He also collaborates with many artists on this album, including Colbie Caillat and Matishyahu. His music leans heavily on pop and this album shows plenty of passion. (Vanguard Records)

Sasha Patpatia

Record Review: Derek Stroker // Rise and Shine

2009-10-29T11:09:00.003-04:00

Nashville, TN
Produced, engineered, edited, and mixed by Stephen Gause Invertigo Productions // Additional engineering by Ben Phillips // Recorded at Invertigo Productions in Nashville // Mastered by John Mayfield

This latest release by Nashville’s Derek Stroker is a terrific example of how he has grown as an artist with complex song arrangements, skilled musicianship and heartfelt lyrics enriched by stronger, smoother vocals.

The music on Rise and Shine is diverse and captivating – owing to Stroker’s influences from blues, jazz, soul and rock – and are masterfully interwoven throughout each song. The opening track, “Rescue,” features varied tempos that eventually merge, swirling together in a rhythmic dance. “Move Your Feet” is an up-tempo jam song that encourages the listener to feel the music. The soft, easy flow of “Sweet Dreams” is enhanced by the gentle wail of the cello throughout. The call and response between the guitar and organ on “Believe” makes it a standout track.

As with his earlier release, Take A Picture, Make A Promise, Stroker mines his innermost thoughts and feelings for his lyrics, taking the listener along on an introspective journey of life, love and loss. In “Rescue,” Stroker contemplates life’s mysteries: “I've been meaning to sort things out / my mind is in the clouds / why is everything so complicated?” The simple, but very important message in “We’re All In This Together” is love, a major theme in his lyrics. The EP closes with “Be Strong,” a slow, tender song of loss: “No one lives forever / they will live on / with the words of this song.”

Stroker crafts timeless music and it only takes one listen to become hooked. (self-released)

Kat Coffin

Live Review: Larry Keel & Natural Bridge

2009-10-27T17:40:00.003-04:00

New Earth Music Hall // Athens, GA // Oct. 9, 2009

Bluegrass has never been my favorite style of music. Although I understand the down-home vibe it channels, it’s always seemed to me a restrictive genre, and most of the bands I’ve heard blend together indistinctively. So when I ventured out to a bluegrass show at New Earth, I wasn’t exactly holding my breath.

Fortunately, the Virginia-based progressive bluegrass band Larry Keel & Natural Bridge completely surpassed my expectations. Whereas I expected a concert filled with predictable, countrified chord progressions and an emphasis on overly cheery vocals, these guys turned the usual conventions of the genre on its head.

Larry Keel & Natural Bridge

Comprising Larry Keel (acoustic guitar/vocals), Jenny Keel (upright bass), Mark Schimick (mandolin/vocals) and Jason Flournoy (banjo), the instrumental setup was very much akin to a traditional bluegrass band — making the musical contrast all the more unexpected. Of course the foursome incorporated some of the sunny, homespun vocal harmonies that define the bluegrass genre, but they were sparsely utilized. Refreshingly, they focused on intense instrumental jams, during which they tossed solo passages back and forth at dizzying speeds.

Larry Keel & Natural Bridge

Larry Keel, Schimick and Flournoy all displayed stunning virtuosity on their respective instruments. Keel, replete with a beard that could house a bird’s nest, was the clear leader of the group, driving each jam with rapid-fire melodic lines and arpeggios that would be challenging to replicate even on an electric guitar. Schimick and Flournoy pulled their weight as well, rising up to match Keel’s insane speeds. This three-pronged attack created a flurry of motion in the group’s sound comparable to flamenco music. Jenny Keel’s pulsating bass lines provided a firm anchor to the whirlwind, and she also served as the group’s mouthpiece onstage.

Larry Keel & Natural Bridge

To everyone in the audience’s surprise, Larry Keel & Natural Bridge even got heavy, with a sudden surge of distorted guitars and vigorous, off-kilter riffage that recalled progressive rock.

And in the vein of the freewheeling, all-embracing nature of bluegrass, the band invited no less than 10 musicians onto the stage for the explosive encore, who wielded instruments ranging from tenor saxophone to melodica.

-Review and photos by John Barrett

CMJ Report: Beats and Rhymes panel // Global Hip-Hop Thrown-Down

2009-10-27T17:19:00.003-04:00

NYU's Kimmel Center and 92 Y Tribeca // Manhattan, NY // Oct. 22, 2009

Behind big, cocoa brown eyes and the uniformly sized, tightly rooted dreadlocks of my smiling elevator companion, was the moderator of my first CMJ panel. I noticed him before, in his austere light brown blazer. We registered side-by-side and he seemed quietly content, yet unabashedly intrigued by his surroundings. He's the kind of man who presses impatiently on the "close door" button in the elevator, but upon selling you a copy of his book he'll humbly encourage you to contact him if you didn't enjoy the read (and not in that pretentious way, but quite sincerely).

Blitz the Ambassador

When I walked into the panel entitled "Across Cultures: Beats and Rhymes Worldwide" I was overcome by a sense of comprehension and satisfaction when I saw my stair-defying friend sitting in the front of the room behind a name card that read "Dalton Higgins." Author of the newly released book Hip Hop World, Higgins is also a broadcaster an international music booker. The panel that he was guiding today was an exploration of international hip-hop and an analysis of its place and abilities within the U.S. market. More importantly, the panel discussed how U.S. hip-hop is heard globally and how our artists – hip-hop or not – can (and should) begin to be a part of that globalization process.

At Versaris

The remaining panel members consisted of a diverse and accomplished group of industry professionals including publicist and promoter (and global marketing guru) Fiona Bloom of The Bloom Effect, filmmaker Magee McIlvaine of the international, fair trade record company Nomadic Wax, lyricist and radio show host MC Melodee of Amsterdam's hip-hop group La Melodia, and music writer/blogger and photographer Matt Sonzala.

The discussion was poignantly focused, beginning with different ways to break out of your hood while emphasizing the undeniable necessity of networking. One thing that all five panelist agreed on wholeheartedly is how generating revenue should take a back seat to investing in the experience of brand-building and traveling to make connections. They encouraged their audience to spend their time and money going to specific places and pounding the pavement – whether in international cities or known music meccas in the States.

MC Melodee of La Melodia

"So many people think that the world is inaccessible, and it's not," said Bloom. In a day where CD sales are plummeting and technology is shifting the trends and realities of all industries, she's right on. The ability to reach out globally by the strength of your connections and the universality of your art is, indeed, quite the staying power.

The panel also discussed how sometimes creating an educational or creative package to go along with your show will give you an interesting edge. Have many artists thought about workshopping before or after a set (or creating a show where this is comfortable and comprehensive)? Whether it is an educational element or not, the panelists encouraged artists to specifically package themselves and their live performances to fit their brand, their audience and the quickly changing market.

Coolooloosh

After all, isn't every musician selling their personality just as much as their music? Creative merchandising and packaging is key to getting people interested for more than just a few minutes, especially if your target is (and very well should be) global.

Panelists Bloom and McIlvaine also produced and promoted a showcase that was happening later that night. It was CMJ's only international hip-hop night, located at Manhattan's 92 Y Tribeca. Hosted by Blitz the Ambassador, the global throw-down featured the warm, fierce MC Melodee and her group La Melodia; expressive, high-energy rap duo from Barcelona, At Versaris; Israel's Coolooloosh, a band with soul, flowing rhymes and just a little bit of Klezmer; Moroccan afrobeat and modern rap group Alfaress; and the rough, multi-lingual rhymes and complexly oriented, organic beats of supergroup Nomadic Massive.

Anybody who attended the show was surely converted. All you have to do is expose yourself to world music to realize the language barrier that seemingly restricts us from getting close is really just a fence we can choose to open or close.

-Words and photos by Amanda Macchia

New CDs in the office today...

2009-10-27T17:05:00.001-04:00

Modern Skirts – all of us in our night
Nanyana Summer – My Rock Your World
John and Rachel Nicholas – Here You Are
Talk Modern – People Noises
The New Collisions – Invisible Embrace
Lowell & Behold – Volume 2
Robbie Rivera – Closer to the Sun
Yeh Dede – Freedom
Baliset – A Time For Rust
Ana Egge – Road to My Love
Pants Yell! – Received Pronunciation
Animal Collective – Campfire Songs
Rotten Belly Blues – Self-titled
Tom McBride & the Whig Part – Like a Lion
Exsanguinette - …And the Creek Don’t Rise
Josh Grider – Sweet Road to Ride
The Beets - Spit in the Face of People Who Don’t Want to be Cool
The Oh Sees – Dog Poison
The Seedy Seeds – Count the Days
Bel Air – Pole to Pole

New Records in the Office Today

2009-10-26T17:49:00.002-04:00

Trent Dabbs- Your Side Now
Jon Shain- Times Right Now
Underworld vs. The Misterons- Athens
Ashley Beedle & Darren Morris- Mavis
Disastroid- Life or Death
Hail the Size- I Can’t Die in L.A.
Kingnaldo- Organic Antidote
The Only Michael James- The Fraud
Roz Raskin and the Rice Cakes- The Friend Ship
Reverse- Monkey Mind…
Paul Edelman- Shed
Festizio- Festizio
Wrinkle Neck Mules- Let the Lead Fly
Arms and Sleepers- Matador
Jen Murdza- Good Little Worker Bees
Holy Boys Danger Club- Lessons for Liars
Matthew Ryan- Dear Lover
Nine:Fifteen- Electric Blanket
Afromotive- Simbo
Appletown Gun Shop- Ghosts of Green
Quoting Napoleon- Absence
Paper Scissors- Present and Contingent
Susan Torrey- Moody Bridge Road
Carcrashlander- Where to Swim
Cast of Thousands- Applied Mythology
J.D. Souther- If the World Was You
Zac Mac Band- …Don’t Look Down
Careless Hearts- Joselina
Fishhawk- Bells Underwater
AEONs- AEONs
Kinjac- Seven Addenda EP
Carla Ulbrich- Live From Outer Space
Forgetful Jones- Sub-Atomic Philharmonic
Six Ft Sissy- The State of New York
Hey Young Believer- Invisible By Day
Gemini Cricket- Gemini Cricket
Spidermeow-Spidermeow

Live Review: Owen at CMJ

2009-10-26T13:23:00.001-04:00

The Bell House // Brooklyn, NY // Oct. 23, 2009

The second Mike Kinsella – tour-de-force of solo project Owen – so much as hinted he was getting ready to go on, the crowd in the Bell House swarmed towards the stage. By the time he had played his last chord, those remaining – many fewer than had gathered forty minutes earlier – were left scratching their heads.

Owen’s CMJ appearance had been hyped through his MySpace as “playing with a full band,” which, for the usually-acoustic performer, was an enticing announcement for fans. Playing electric, with a guitarist, bassist and drummer, Kinsella ripped into the set’s first song. But the track, while familiar to some, wasn’t what most had been expecting: “Hello” by Oasis (yes, that Oasis). Kinsella and band spent the entire set playing Oasis’ What’s the Story, Morning Glory in sequence. Not an Owen chord was so much as hinted at.

Of course, the lack of Owen songs – Kinsella’s stripped-down, signature croon over thoughtful composition – was at the crux of the disappointment (and for some who had traveled to the out-of-the-way Brooklyn venue at Second Avenue and 7th Street, disappointment turned to infuriation). What’s perhaps more irksome, though, was how Kinsella seemed to disregard the fact that the crowd was gathered to see him, absorb his music, and be touched by the opportunity to see Owen songs live – something not often an option. A cry of, “Play some Owen songs, please!” was answered with a sneer while Kinsella looked down at his guitar and tuned up. Even the set that he was playing could have been simply good live music, but throughout the night, Kinsella often turned his back on the crowd, laughing with the other band members, and fumbled lyrics out of carelessness. Watching his raw smiles as Owen is a moving thing; his connection to the music and natural stage presence is what’s made him the stuff of idol for many. But during the cover set, Kinsella’s grins merely said, “The joke’s on you.”

With most subway service in Park Slope suspended after 11:30 p.m. on Friday for track repairs, the saving grace of Owen’s set was that it ended early enough to hop over to the Fourth Avenue-9th Street station before the trains stopped running.

-Review and photo by Meredith Turits

www.myspace.com/mybandowen

Live Review: Motel Motel at CMJ

2009-10-26T13:18:00.004-04:00

The Bell House // Brooklyn, NY // Oct. 23, 2009

It was a short hop to the Bell House in the Gowanus section of Brooklyn for hometown five-piece Motel Motel, who are currently enjoying a stint near the top of New York’s new music radar. Branded by shimmering notes and meticulous vocal harmonies over an eclectic, Americana-esque backdrop, Motel Motel’s set for CMJ’s Polyvinyl Records showcase provided a nice overview of the band during their expansive six-song set.

While Motel Motel’s opener started quietly, their set kicked quickly into gear. As the song progressed and the audience crept closer in towards the stage, lead singer Eric Engel harnessed the room’s energy, fusing it into his vocal lines and movements on stage. The placid atmosphere of the venue was broken once Engel took charge, viewers captivated by the vocalist on his tip-toes, his neck seeming to Gumby-twist around the microphone as he sang. Guitarist/bassist Timo Sullivan nurtured the on-stage chemistry with a delightful back-and-forth between he and Engel over the guitar twinkle and pedal steel pushing the song forward.

Despite encountering a few technical issues, and performing on a stage that in a few instances seemed hard for the band to fill with their lo-fi, indie groove, Motel Motel’s playful, well-constructed compositions showed strength. The minimalism of the songs pushed through without seeming sparse and shining, plucked notes and subdued drums provided a frame for viewing the contrast between Engel’s curious, sometimes slurred vocals and the meticulous harmonies members Erik Gundel and Mickey Theis added. The band’s fifth song showcased the three-part vocals best and proved to be the most memorable moment of the night.

Motel Motel closed with not only a strong track, but with all the energy they’d been thriving on all night. Drummer Jeremy Duvall lifted himself out of the background, rhythms romancing with the melodies from Gundel’s keyboard – everything coming together. The entire set demonstrated range, while still feeling cohesive through the overarching palette and rhythms. It was a decidedly solid showing from Motel Motel, who even while displaying immense maturity, still allowed hints of youthful, Brooklyn energy to kick through. They’ve created a niche that’s markedly theirs.

-Review and photos by Meredith Turits

www.myspace.com/motelmotel

Live Review: David Bazan

2009-10-26T12:54:00.005-04:00

The Drunken Unicorn // Atlanta, GA // Oct. 14, 2009

By now, the post-Napster musings of arts critics and quantitative studies of academics have well-documented the consequences of digitizing art and entertainment, giving music writers a fresh premise to initiate any new conversation about the sound world around them. One of the greatest tragedies of this bittersweet state of affairs is the loss of fidelity between deserving artists and their fans, whose rampant musical ADD is ironically encouraged by the very same bloggers and P2P gurus who purport to devote themselves to the best of the music makers. As a consumer and writer, I'm guilty of both counts, which perhaps indicates the bewitching nature of the beast.

In spite of the digital milieu, David Bazan, whose new record Curse Your Branches (Barsuk) continues a 12-year-old conversation with God that started with Pedro the Lion's Whole EP (Tooth & Nail), has maintained a devout following in and out of religious circles. Sure, he's lost fans over the years, but this is largely for an opposite, deeper reason – Bazan's loss of faith in the evangelical narrative of the Lord.

For every departed fan that had heard enough tales of sexual deviance and drunken restlessness, however, Bazan has enamored scores of new listeners who are attracted to the same honesty and holy inquisition that's kept his earliest believers hanging on. Heavy-handed lyrical disputes aside, Bazan is equally revered for his compositional and harmonic sensibilities; throughout his songwriting career, whether by synthesizer or acoustic guitar, he's honed a sound that is unmistakably his own. It's unfortunate that Bazan's iconoclasm often disguises the simple fact that the man could make "Casper the Friendly Ghost" sound reverential.

Having seen Bazan perform in various iterations six other times that I remember, walking into the Drunken Unicorn prepared to "review" the show was somewhat akin to Buzz Aldrin handing me the keys to a spaceship and wondering if I'd be happy about it. For me, whether it's Radiohead, Bazan or more recently Deerhunter, the question wasn't so much "if" he would be good live, but "how" would he execute that goodness throughout Curse Your Branches' new Americana-tinged territory. Backed by Seattle stalwarts Blake Wescott (guitar, backup vocals), Casey Foubert (drums), Eric Elbogen (guitar, backup vocals) and Andy Fitts (guitar, keys and backup vocals), Bazan played a tight, harmony-drenched set that was, at times, the heaviest I've ever heard his deep catalog performed. Perhaps since this tour is the first Bazan's played with a band in over four years, there's an itch for rhythm and texture that's been absent from his equally moving acoustic house show tours.

Relaxed, confident and at times playful, Bazan and his band gracefully stomped through material from every release since Pedro the Lion's Control album, each song garnering the sort of wheels-off-the-tracks rock charisma that I almost forgot Bazan was capable of embracing. In now-expected Bazan style, he also intermittently took time for questions and answers, though these brief moments spurred no surprises. After the very educational Curse Your Branches press onslaught, asking Bazan if he still believes in God is at best irresponsible; Bazan answered the question, "not in the way you mean," in the most rote manner I've ever seen him speak. Ironic for a set that was otherwise more raucous and joyful than I've ever seen him play.

-Review by Ryan Burleson; photos by Richard Solomon

www.myspace.com/davidbazan

News: Lowell & Behold to release new album/host benefit shows to support scholarships

2009-10-16T18:07:00.003-04:00

Lowell & Behold, a music-driven community service project, is preparing to release its second volume.

Last year, Seth Bailin of Nice Bass Productions got together with friends Nick Congelosi, Brett Fermeglia and Jason Gibbs (Audio Park Productions) in the hopes of creating a successful fundraising initiative that would promote Lowell musicians and aspiring students of music.

Seth Bailin of Nice Bass Productions and Lowell & Behold

Their efforts certainly came to fruition, as sales of the one-disc compilation Lowell & Behold: Volume 1 in conjunction with their two-night CD release party raised $2,000 dollars.

Each year, proceeds from the CD and the release parties are given to a local high school student who has demonstrated an outstanding passion for music and a need for financial assistance in order to continue to study music in college.

Last year’s event sold a multitude of CD’s and packed a local downtown museum two nights in a row.

Due to the overwhelming support and generosity from fans and musicians, Lowell & Behold: Volume 2 has expanded into a two-disc compilation (one acoustic and one electric) that includes select songs from 28 Lowell musicians and bands. There will be another two-night release party, this time in three locations instead of one.

Lowell & Behold: Volume 2

The first of the CD release parties is on Friday, Dec. 11, at 7 p.m., and will showcase artists featured on the electric disc (Beneath the Sheets, Onslo, Manifest, etc.) at Lowell’s Gemstones club. On Saturday, Dec. 12, from noon to 2 p.m., there will be special acoustic performances (Brandon Downs, That Really Awesome Guy With A Guitar, etc.) at Brew’d Awakening Coffee Haus. Then at 7 p.m., the 119 Gallery will be hosting a final bash with more artists from the acoustic disc like Joshua Beetler, and the Bella Birds.

Other bands on the compilations include Hot Day at the Zoo, Goosepimp Orchestra, Ladderlegs, John Kearney & the Lost Onion, and Ralph Eats Dynamite.

The application process for this year’s Lowell & Behold Scholarship will begin after the release party in late winter and a student will be chosen by the spring of 2010.

-Words by Amanda Macchia

Live Review: Fool's Gold

2009-10-16T16:51:00.003-04:00

The Roxy Theater // Los Angeles, CA // Oct. 9, 2009

Fool's Gold

When considering the standard structure of a band, it typically evokes the mental image of four people, each solely responsible for a customary instrument of choice. However, the scene presented before my eyes at the renown Roxy Theater in West Hollywood was anything but ordinary: 10 eclectic musicians descended from various musical backgrounds, joining together to produce an incredibly full, worldly sound.

Fool's Gold

Lead singer Luke Top possessed an entrancingly melodic voice that smoothly transitioned between English and Hebrew throughout the course of Fool’s Gold’s set; yet, he did so with such relative ease that you found yourself becoming lost in the music, unable to distinguish one harmonious language from the next. This duality provided a compelling cohesiveness to Fool’s Gold’s afrobeat sound. The song “Nadine” stuck out particularly to me because of its beautiful arrangement: the bass and various percussion instruments provided a strong foundation, while the robust saxophone elicited Top’s effortlessly nimble vocals.

Fool's Gold

Another highlight of the night was their single “Surprise Hotel,” which commenced with an overwhelmingly catchy guitar riff followed by lyrics sung entirely in Hebrew that resonated off the walls of the Roxy, generating a satiated, hearty sound. I found myself in complete awe of the refreshing ingenuity of the band that stood before me and they possessed a sound that was hard to bracket into a specific genre. There were elements of African tribal music, along with rock and pop roots that resulted in something simply their own. Fool’s Gold provided an intimate, distinctive experience that should be witnessed in person to truly grasp the richness and fullness of their rhythmic beat.

-Review and photos by Becky Moine

Check out the CDs we got in the office today

2009-10-15T13:34:00.002-04:00

The Light Rays - The Light Rays
Esthema - The Hereness and Nowness of Things
The Art of Attraction - A Gentleman's Agreement

Live Review: The Realistic Orchestra

2009-10-15T12:42:00.004-04:00

Yoshi's
San Francisco, CA // Oct. 7, 2009

Joe Bagale’s brow was dripping with sweat as he rubbed his hands together, rocking side to side like a priest performing an exorcism, fully capable of destroying evil. His enthusiasm for the music reverberating in the room created an atmosphere alive with electricity and his voice reigned in this energy, projecting it out even more powerfully. Currently nominated for an SF Weekly music award, Bagale fronts the Realistic Orchestra.

The Realistic Orchestra is part of the extensive family referred to as the Jazz Mafia, the brainchild of Adam Theis. Their big band style and monstrous horn section blew the crowd away. Playing all new arrangements, which included elements of hip-hop and R&B, they wowed the crowd so much that most sat still, yet wide-eyed and open. Laughter, bordering on gasps of astonishment, could be heard throughout the room after every solo and throughout most of the set. Bagale introduced sax player Kasey Knudsen as his “favorite saxophonist in the area.” Her solo was bad, as in it was really really good, at least according to the audience, who gave her one of the biggest applauses of the evening. Vocalist Karen Paige rocked the charisma and besides her beautiful voice, captivated people with her free flowing vibe and clean style.

The Jazz Mafia’s Realistic Orchestra shows that different genres of music can work in partnership to create an auditory experience that’s as pleasing as it is exciting. Openness and rejection of labels is the lifeblood of their eclectic collaboration and it could be the answer for those seeking to push the limits of their own musical exploration.

Review by Rose Fellom; photos by Rosalyn Lee

www.myspace.com/realisticorchestra

Live Review: Big 10-4, The James Boyd Band, Christian Wilson

2009-10-15T12:29:00.004-04:00

The James Boyd Band

BackBooth
Orlando, FL // Oct. 3, 2009

Christian Wilson started off the evening with a solo acoustic set, which began the massive audience singalong that would continue through the night. His set included “Paper Planes,” “Hello My Friend” and “Stuck In My Head.” He closed his set with a
new song, “Lover,” which he said was written for his soon-to-arrive twins about things he wants them to know.

Next up was the James Boyd Band, playing an acoustic set with James Boyd on vocals, Billy Jones on a cajone and Eric Fay and Ben O’Rear on acoustic guitars. Boyd’s powerful vocals shine in any setting and this night was no exception. Most of the songs
from their set came from their newly released self-titled CD, including “I Think About You,” “Endless Light” and “Something To Live For.” Dan Verduin (Big 10-4) joined them onstage for their last two songs, “The Best I Ever Had” and “You’re My Everything.”

Before Big 10-4 took the stage, Christian Wilson and James Boyd joined Dan Verduin onstage to sing “Hanging Around,” in a terrific example of how the Orlando music community bands together in support of each other.

Big 10-4

The crowd roared as Big 10-4 took the stage and started right in on “Irony Is Thick.” The band, Dan Verduin (vocals, guitar, piano), Matt Verduin (guitar), Matthew Reed (guitar), Jacob Morton (bass), and Rob Columbus (drums) included many songs from an earlier record, Testing The Atmosphere, as well as several songs from their most recent release, Magazines & Movie Screens, including “Let Me Know,” “Flipside” and “Good Girl.” For the last song of the regular set they were joined onstage by Christian Wilson, James Boyd, Eric Fay and a few others on “We’ve Been Here.”

Review and photos by Kat Coffin

www.myspace.com/christianwilsonmusic
www.myspace.com/jamesboydband
www.myspace.com/BigTenFour

News: Boston jazz week starts Oct. 18

2009-10-15T11:58:00.002-04:00

Wayne Shorter

Boston's Mayor Thomas Menino has named Oct. 18-24 as "Hot and Cool: 40 Years of Jazz at NEC Week" in Boston. The New England Conservatory will celebrate by hosting ticketed and free concerts in the city, which will feature many alumni, faculty and students. Clinics and community events will also be held. All proceeds will support jazz scholarships at the NEC.

The Wayne Shorter Quartet will perform with NEC's Philharmonia on Oct. 24 in Jordan Hall. He will play his first set and then the NEC's Philharmonia and director Hugh Wolff will accompany him. Shorter is writing music specifically for this event.

Another highlight is the NEC Jazz 40th Summit, which features Gunther Schuller, Bob Brookmeyer, Ran Blake, Carl Atkins, Don Byron, Rachael Price, Billy Hart, the NEC Jazz Orchestra and many more. A Generations of Jazz series will feature faculty and alumni of the NEC, including Hankus Netsky, the Dominique Eade Trio, the Michael Winograd Trio, Rachael Price with Lake Street Dive, Jerry Bergonzi and Noah Preminger.

NEC's Jazz Week will also have workshops, master classes, concerts and clinics. For more information, visit necmusic.edu/jazz40.

News: Bill boosting small radio stations makes moves

2009-10-14T13:34:00.001-04:00

Mike Doyle and Lee Terry

The House Subcommittee on Communications, Technology and the Internet voted 15-1 to pass the Local Community Radio Act on Oct. 8. This act would allow hundreds of new Low Power FM (LPFM) stations to form. LPFMs are non-commercial, 100-watt radio stations with a radius of a few miles.

Groups interested in LPFMs were denied licenses in 2000 after Congress ordered the FCC to end distribution after large radio stations complained crowded media markets would affect their business.

The bill will now move forward in the legislative process.

Live Review: Damon & Naomi

2009-10-13T18:13:00.002-04:00

Amoeba Records // San Francisco, CA // Oct. 9, 2009

There was a diverse range of young and old cozying up between the rows of used CDs and records as Damon & Naomi took the stage at Amoeba Records, all eager to hear the soft and alluring melodies of a seasoned pair of performers. The band was there promoting their new release, The Sub Pop Years, a collection of some of the most popular tracks off their last four albums released on the label, and even found it slightly humorous that the stage was set alongside the “oldies” section of the music store.

Damon & Naomi

Their set consisted of a few of their older hits as well as a handful of covers, ranging from Tim Buckley to Barbra Streisand. Although the cover songs were thoroughly entertaining, they held no weight in comparison to the original pieces performed by the two musicians. Naomi’s voice was captivatingly haunting, maintaining a sense of radiance through its unsteady, yet bewitching sound. Her style of singing was similar to that of Dolores O'Riordan of the Cranberries in that it was elegant, yet powerful. Damon’s guitar playing commanded the room, alternating between a sweet, almost lullaby-like sound, to upbeat rhythms that lifted spirits and ensured a positive atmosphere all listeners. The keys had a breezy, slightly hollow sound that helped tie together the overall tranquil experience.

The performance illustrated why Damon & Naomi have been around and thriving for so many years. Their mature, yet captivating style is appealing to both their older fans and younger generations who appreciate the raw beauty that music can convey.

-Review and photo by Stephanie Dotto

Live Review: People Under the Stairs

2009-10-13T18:07:00.002-04:00

529 // Atlanta, GA // Oct. 3, 2009

I admit that it wasn’t until this year that I familiarized myself with the underground hip-hop duo People Under the Stairs. I first discovered them when they appeared in an early slot on the Bonnaroo 2009 bill. Although I missed that show, I later got my hands on some of their albums from the turn of the millennium, like The Next Step and O.S.T., whose humorous yet socially conscious attitude brought to mind hip-hop’s golden age — specifically my personal favorite group, A Tribe Called Quest.

Fortunately, the A3C Hip-Hop Festival in East Atlanta last weekend provided me with a second chance to catch PUTS in action. Even though they were billed for a 12 p.m. Saturday night slot opposite legendary rapper Rakim, the line was already overflowing out the door when I arrived at 529 an hour and a half early.

Part of this was the size of the venue (really fucking small), but the bigger part probably had to do with opening act Clan Destined, who displayed intellectual, biting raps filled with wordplay and whose smooth, R&B-spiked production was a fitting prelude to PUTS’ own funky, jazzy beats.

People Under the Stairs

People Under the Stairs, comprising emcees/DJs Thes One and Double K, respectively of Hispanic and African American descent, were a nonstop whirwind of energy from the moment they took the stage. Both were literally inches from the front row of people and handled all of the beat making without any extra hands.

Both rappers generated plenty of witty rhymes and adept wordplay, swinging between gritty, streetwise raps and biting intellectualism, but Thes One’s agile, rapid-fire delivery ultimately made him shine just a little brighter.

Thanks to the wall-to-wall crowd that filled the room to maximum capacity, the experience quickly became intimate — but that’s not to say it got quiet and cozy. Thes One and Double K didn’t rest for a second, aggressively interacting with the crowd until every single person, all the way back to the fire exit, was jumping like all hell to the beat. Coupling their intricate lyrics with pummeling, in-your-face rhythms and velvety deep-funk textures, PUTS delivered a ferocious performance and stirred even the wallflowers out of complacency.

People Under the Stairs played several new cuts from their forthcoming seventh album Carried Away along with a potent dose of fan classics. Regardless, every song was met with open arms.

-Review and photo by John Barrett

Live Review: Jason Walls, The Delayed Green, The Escape Pod

2009-10-13T17:59:00.004-04:00

Central Station Rock Bar // Orlando, FL // Oct. 2, 2009

Central Station Rock Bar is a small place, with a little stage tucked into a back corner. This show had a capacity crowd spilling out onto the front sidewalk where luckily everyone could still hear the music.

The Escape Pod

Jason Walls started the evening off with a solo acoustic set. The Orlando-based singer/songwriter doesn’t play very many shows so it was a treat for his fans to see him performing live. The former front man for Fifth Year Crush played several songs from the band’s record, Wearing This Life, including “Swallowing Stones” and “Blinded,” as well as some unrecorded material and a Switchfoot song, “24.”

The Delayed Green

The Orlando band The Delayed Green was up next, or rather half of them, with Stephy B on keyboard and Jae Ralph on vocals and acoustic guitar. The keyboards add a nice, ethereal vibe to their rock music. Their energetic set included “I’m Alive,” “Space Between You” and “Saturation.” They also played the band’s single, “Lead You Home,” and passed out free copies of it on CD for the audience. The closed their set with a cover of the Barenaked Ladies song, “Brian Wilson.”

Jason Walls

The last band of the evening, The Escape Pod, played a high energy set of modern prog rock with a funky vibe, including their song “Fire Away.” The small stage could barely contain the Orlando-based four-piece band during their big, funky jams – even vocalist Josh would hop off the stage and leave them to it.

-Review and photos by Kat Coffin

New records in the office today!

2009-10-13T17:49:00.001-04:00

Rita J – Artist Workshop
The Black 100s – Out With the Stars
Sam Shrieve – Bittersweet Lullabies
Andrea Capozzoli – So Real
Katie Pearlman – We Make This
Zweng – Silent Scream of Gulls
Benjamin Burgess – Skeleton Forms
Badapple – We’re All Right Here
Jeremy James – Such Noble Men
Cemetery Superfly – Ghost in the Radio
O’Brother – The Death of Day
Duet for Theremin and Lap Steel - Live
Three At Last – Self-Titled
Eula – Language of Threat
Ginger Ibex - Firefly
No Friends – Self-Titled
CRGruve – Naughty and Nice
Gunslingers Anonymous – The Karma
Mudcat – Freedom Creek

Check out the CDs we got in the mail today

2009-10-12T15:58:00.000-04:00

Emerald Rose - That Night in the Garden
The Very Foundation - This Restless Enterprise
Santa's Misfits - Christmas Frendzy
The States - We Are the Erasers
Comanchero - Americana Nueva
I'm Chinese - Already Free
Casket Architects - Future Wounds
The Galen Kipar Project - October Snow
Brilliant Colors - Introducing
Holopaw - Oh, Glory. Oh, Wilderness.
Gunslinger - Fresh Water

Portland Music Foundations holds annual kick-off event

2009-10-12T15:16:00.003-04:00

On Oct. 22, the Portland Music Foundation will have its third-annual kick-off event and open house at One City Center. The event allows musicians and people interested in Portland, Maine's music community to network and sign up for membership with the PMF. Local bands and PMF members will be performing and businesses will be available to discuss their contributions to the local music community. Some of the bands featured are Loki, Roy Davis and Brzowski.

Portland music veterans created this foundation in June 2007. It currently has 300 members working together to help local musicians. Since it started, they have received a grant from the Maine Arts Commission, had a series of educational forums, created benefits such as discounts for members and even worked to teach members about a new beneficial tax law.

Singer-songwriter Audrey Ryan promotes new record, documentary with DIY flair

2009-10-12T14:51:00.002-04:00

Audrey Ryan, an experimental indie folk singer-songwriter in the Boston scene, has quite a bit on her plate after a relaxing summer in the Acadia region of Maine. "I needed to recharge my batteries by taking a break from city life and constantly touring and gigging all over the place," she says. Not only did she take in Maine's beauty while rehabbing an old cabin, she also worked on some new material.

Since returning to the Bean after Labor Day, Ryan has had four CD release shows for her new album, I Know, I Know. At these shows, she has been using her one-man-band setup. "They always seem to appreciate it since there is so much going on at the same time," she says.

I Know, I Know was recorded over the past year in Maine and in her loft. For the record, she played her music one-man-band style, with Stephen Brodsky of the Boston band, Cave In, engineering it on a 4-track. Nick Zampiello at New Alliance mixed and mastered the record. "It remains pretty lo-fi and live-sounding, which is what I wanted because it sounds pretty much the same at a live show,” Ryan says.

Her last and homecoming CD release show will be on Oct. 17 in the Sanctuary at the Clarendon Hill Presbyterial Church in Somerville.

At the show, she will also be screening a documentary called Loft Show Upstairs. Mike Boudo, producer for Channel 7 News and an avid music lover, taped some shows Ryan held in her loft during the winter and spring. The story focuses on her DIY space and philosphy.

After her final release show, Ryan will be touring Europe for a few weeks. She's going to Ireland and the U.K. since her U.K. label, Folkwit Records, is best positioned there. "I'm pretty bummed I'm not going to Paris this year, but I also hate traveling too much when I'm in Europe, as in flying every couple days," Ryan says. "It just wears me out, so I'm glad that this tour is kind of concentrated on those two markets that are very easy to get around.”

This girl is full of plans. After Europe, she will be touring the U.S. with Richard Julian, a singer-songwriter in a band with Norah Jones called The Little WIllies. She plans to go back to SXSW next year, play a lot of shows, and work on her next record. She's also thinking about having more loft shows in the winter.

Ryan says she can make an impact through her loft shows. "From my perspective, all I can do is just create a scene among the artists I know and like, which at this point spreads way beyond New England," she said. "My loft really helps me do that and I just hope that I can continue to host shows and have events there."

Though ideal, the space is not without troubles. She recently went through a change in ownership and foreclosure problems. "I truly believe a city can actually be judged by its art, so if this city gets too expensive and turns all its artists on the street like what happens in San Francisco where the artists actually protested in the streets for affordable spaces, it will be a sad day," she says. "But for now, I'm just going to keep doing my DIY shows and being a DIY artist the best I can considering the general saturation of the market at well as the economic challenges."

Darlene Dobkowski

www.myspace.com/audreyryan

Live Review: REVERB Festival

2009-10-08T10:20:00.006-04:00

Unnatural Helpers

Seattle, WA // Oct. 3, 2009

On the first cold Saturday of fall in Seattle, the only thing denser than the wind was the air of excitement for REVERB. Droves of concertgoers filled 10 Seattle venues that spread out performances spanning punk to country to jazz. Venues were also versatile, many holding shows throughout the day and catering to all ages audiences. No one was to take a back seat this night.

Murmurs could be heard that this is the best Seattle concert festival all year. It’s easy to see why. Between the admission cost ($8), number of bands (60+) and the venues seemingly perfectly spread out in location and evenly split between dive bars and rec halls, it’s the best kept secret in the Seattle concert season. The streets became crowded at night with seasoned folkies, hipsters and fans in their twilight years sipping wine and nodding to the noodling throughout the venues.

Kaylee Cole

Spokane native Kaylee Cole debuted her new band (who covered Beirut and featured new songs from her album due early next year) that featured cello and acoustic guitar to accompany her piano. She performed new songs for the first time to an audience that included her parents.

The line at the Tractor Tavern for The Maldives was so long it stretched to the next venue, Hatties Hat, where Grand Hallway's Shenandoah Davis played a solo set inside. Meanwhile. buskers, troubadours and hot dog vendors entertained crowds outside.

Coconut Coolouts

The strongest performances were scattered throughout the venues, but afterhours the Sunset Tavern was the place to be, featuring a 1-2-3 punch of crowd-pleasing performances. First up was an intoxicated Unnatural Helpers and their form of ultra loud head-bobbing punk. Next, the Coconut Coolouts husband and wife combo jammed on keyboards, drums and bass with their guitar and multi-instrumentalist bandmates. Members of the day’s other bands could be seen dancing and singing in the audience.

Kay Kay and His Weathered Underground

The evenings final performance came from seven-piece Kay Kay and His Weathered Underground, who were forced to shed two band members at home to fit on the tiny Sunset stage that is about as large an apartment living room. The experimental rock troupe was stunned at the amount of people still around for their 12:35 a.m. set, after a day of singing, partying and listening.

Review and photos by Clint Goulden

Live Review: Ghost and the City

2009-10-08T10:16:00.001-04:00

Rickshaw Stop // San Francisco, CA // Oct. 1, 2009

Deep, haunting vocals and a dark cabaret set the stage at the Rickshaw Stop, taking an unusual step out of the norm and into a Kafkaesque reality where one's mind exists in the beautiful nightmare known as Ghost and the City. The band – consisting of 10 members on keys, drums, violin, cello, bass, trombone, sax and trumpet – took the stage all dressed in black with white armbands, pulling the audience out of the trendy setting and into a distant, classical era.

The band begins to play and their sound stands apart from what is normally heard in the world of modern music, reminiscent of the intensity found in classic blues. The music created by Ghost and the City is dark and dramatic while maintaining a sense of beauty. The lead singer's vocals are raspy and serrated, reminiscent of Jim Morrison’s unsteady yet captivating style. Aiding the male singer is a female backup vocalist, chiming in every so often with an alluring jazzy and vintage-styled harmony that juxtaposes the rough and calloused style of her male counterpart.

Although the music is dark and daunting at points, the band provides the audience with breaks in the intensity by intertwining delicate string pieces with the poundings of the keys. The style of piano played on the stage reflects that of dramatic performers such as Amanda Palmer of The Dresden Dolls, in the sense that the keys are a prop for the performer as well as a musical device. Throughout the show, the music provides a complex intensity, pulling the audience into the singer’s emotions and somber memories. All in all, Ghost in the City is a band that provides more than a show, but rather a musical experience, delighting the eyes and ears with a sense of theatrical showmanship.

Review and photos by Stephanie Dotto

www.myspace.com/ghostandthecity

Audio Engineering Society Brings College Audio Students Together in Boston

2009-10-07T10:16:00.002-04:00

Performer's Garrett Frierson chats with contest entrants in an Audio-Technica ATH-M50 headphones giveaway.

The 2009 Boston Area Definitive Audio Student Summit // New England Institute of Art // Sept. 26, 2009

For the third year in a row, hundreds of college audio students, faculty, administrators and members of the local audio community gathered for the Boston Area Definitive Audio Student Summit. This full day of workshops, tutorials, studio and software demos, panel discussions and presentations was held on the campus of the New England Institute of Art.

Presenters included Radiohead producer Sean Slade and engineer Matthew Ellard on getting great guitar sounds; Audio guru Dave Moulton on the importance of critical listening levels; Multi-Grammy winner and AES President Jim Anderson on the art of jazz and acoustic recording; FBI Special Technical Agent Chip McGinn on audio surveillance, forensics and how an audio student might get a job with the FBI.

Multi-Grammy winner and AES President Jim Anderson, Radiohead producer Sean Slade and AES Education Committee Vice Chair John Krivit

According to the event’s founder, AES Education Committee Vice Chairman John Krivit, “It’s always a lot of work to make this event happen but there is so much value in bringing all of the local audio students together from all of the programs throughout the Northeast. The students and faculty from all of these local colleges get to know each other and make really strong connections. The industry professionals who participate are happy to be able to reach the students in one big event and I think that they’re beginning to realize that the schools are still a very vibrant market. We’re still building studios and buying gear so they’re very happy to come and spend a Saturday talking to students.”

Studio builder David Malekpour let students take a peek at some of the world class rooms that he has built for Bruce Springsteen, Alicia Keyes, Timbaland and Jay Z. Boston Music Awards Nominee Nelly Pro Tools gave a workshop on hip hop production in the studio. Sennheiser’s David Missall gave a workshop on wireless microphones and educator Barry Marshall gave a lecture on the legacy of Les Paul.

www.heyaudiostudent.com

Live Review: We Barbarians

2009-10-07T10:06:00.003-04:00

Chapman University // Orange County, CA // Sept. 29, 2009

It’s not just another typical Tuesday night at Chapman University. Right in front of the campus radio station, in the basement of the most central dorm building, the Long Beach band We Barbarians are preparing to play an hour-long set in lieu of the usual Tuesday night open mic. As students wander in, the trio starts off their set with a mellow, keyboard-strong track, “White,” revealing hints of The Verve and Radiohead as influences.

The crowd slowly grows and the music swells accordingly. Live, We Barbarians present an entrancing and heavy sound, which bleeds each song into the next. The men are shy and hardly face the audience as they each have a habit of closing their eyes and melting into their instrument. From here, it's hard to tell which song is which. Even with the research I did on their MySpace, their music sounds different live. It is a more natural and organic sound that the band produces and I speculate that they add new elements in the show; whatever happens right at that moment. It is very calming show and well-performed. It's good to play college shows because the biggest benefit is gathering new fans. Students who don’t even know that there is a show going on become supporters of the band, due to a good experience and enticing music. We Barbarians know this fact, and easily capitalize on their wealth of interested students and intimate audience.

-Review and photos by Sasha Patpatia

www.myspace.com/webarbarians

Live Review: The N.E.C., Living Rooms and Roman Photos

2009-10-07T10:02:00.002-04:00

529 // East Atlanta, GA // Sept. 21, 2009

A legendary rainstorm battered Atlanta on the night of the show. It was catastrophic, inasmuch as the city’s recent severe drought officially ended in a flash flood. Despite the torrential downpour throughout the day, the thunder and lighting subsided just long enough for Double Phantom Records’ three bands being showcased to draw a crowd and dominate their ears. Packed into the venue and nowhere else to go, the crowd looked to Roman Photos first to alleviate the stir-crazy vibe permeating throughout the club.

Roman Photo’s unique brand of post-punk and electronica set an early funky tone. The heavy bass lines and layered synths created an ambient, yet oddly melodic backdrop to the sparse, shouting and somewhat preachy vocals. The bass player’s sporadic yelps into the microphone at times contributed to the art façade the band oozed on stage. At one point during their set the band even distributed various percussion instruments to the crowd – who at that point were more than happy to oblige them with their participation. Upon the completion of their set I couldn’t help but wonder how the band would sound if given time to mature. Their sound was definitely innovative and truly undefined, thus making me anxious to see what these gentlemen might come up with the next time I hear them. And there most definitely will be a next time.

Living Rooms continued the trend of the night as a band comprised mostly of members playing synthesizers or electric gadgets. Nonetheless, I found myself taken back and the music critic in me knocked down a peg or two. When the three gentlemen started to play it was slow, ambient and didn’t exactly spark my attention. I started to walk away and ignore it – shamefully searching for a spare cigarette to bum from a friend. Then as I was walking to the front door the drum machine and guitar player kicked in. I was shocked. The payoff, climax or peak – whatever you want to call it – Living Rooms created was staggering. The post-rock crescendo the band builds are masterfully executed, and I found myself putting the cigarette behind my ear and anxiously listening to the rest of their set. I judged them before they even finished a song, and now I’m ashamed because of it. Living Room was fresh, artistic and dramatic, but most of all the sort of serendipity that makes good shows great.

After the “art kids” finished their respective sets, rock 'n' roll came down just like the monsoon outside when The N.E.C. took the stage. The traditional form of a drummer, two guitarists and a bass player returned to the 529, but it played a set that was just as experimental and unique as the bands that preceded them. The loud tremolo-picking guitars created a wall of sound that was only accentuated by the hard and jarring rhythm section. The psychedelic vocals gave way to the more shoegaze-like atmospheric tones the instruments created, albeit in a manner similar to putting your head against a speaker on full volume while in the midst of a euphoric acid trip. The simple roots of their songs come out of the amps as chaotic, primal and blood-thirsty rites of passage and if you survived them, they welcomed you into the tribe with the still-dripping flesh of your enemies. The N.E.C’s songs were brutal, yet somehow still gave you the impression like they were leading you somewhere and trying to give you direction – who the fuck knows where – but all I could imagine was listening to a warlord lead his troops into battle. The set ended with a cacophony of noise and dramatic guitar detuning. It was almost as if the militaristic rape of your ears was actually the systematic destruction and rehabilitation of your medulla oblongata. I left feeling as if I’d been reprogrammed to pray, obey and of course kill. It was simply awesome. This band has quickly earned a reputation as one of the best bands in the city, and after tonight it's been totally legitimized in my mind.
For more information, visit.

-Review and video by Albert Opraseuth

www.doublephantom.com
www.myspace.com/romanphotos
www.myspace.com/livingroomsband
www.myspace.com/thenec

Live Review: Mark Sandman Memorial Concert

2009-10-06T16:56:00.003-04:00

The Middle East Downstairs // Cambridge, MA // Sept. 27, 2009

Elastic Waste Band

Not even Mother Nature could put a damper on the festivities that were the Mark Sandman Memorial Concert. Moved to The Middle East Downstairs due to the rain, the concert, which consisted of performances by legendary Boston music heavy-hitters, was everything but ordinary. The mood was quite celebratory, as onlookers (some with their children on their shoulders) danced and sung along as they paid tribute to the late Mark Sandman.

Elastic Waste Band

Sandman, a Boston native and creative genius whose band Morphine took Massachusetts, and later the country, by storm, frequented the Middle East as a performer – so it seemed only fitting that the show take place there. Artists like The Elastic Waste Band and Orchestra Morphine paid great homage to Sandman, but Treat Her Right – Sandman's pre-Morphine project – overwhelmed the crowd with their energy, fast paced rhythms and overall feel good vibe. The highlight of their set had to be “I Think She Likes Me,” a classic soulful tune that just jumped to life onstage.

Treat Her Right

Throughout the sets, musicians reminded the crowd of the reason why they were there – to recognize and pay respect to the man who paved the way for so many wonderful and talented artists right here in Boston. Not only was he a musician, he was a writer, a promoter and a pillar in the Boston music scene. And at the memorial concert, one thing was made beautifully clear: that his work and spirit still lives on in not only former friends and bandmates, but in the community he inspired as well.

-Words and photos by Candace McDuffie

Live Review: Heart Shaped Hate // Lord of the Yum Yum // Aleks and the Drummer // Brilliant Pebbles

2009-10-06T16:42:00.004-04:00

Subterranean // Chicago, IL // Sept. 26, 2009

Avant-garde lineups have a tendency to plummet so far into the depths of the absurd that they lose any sort of affect and blunder off into irrelevance. Thankfully, this show ventured into the avant-garde realm and came out the other side with a wide range of resonance, entertainment and overall awesomeness. It's not easy to round up four different acts that bend genre in such distinct manners for one evening. Mad props, booking department.

Heart Shaped Hate held nothing back, blasting off the night with a hard and fast electropunk. It is possible that no two women have made more noise – in a Hannah Montana minidress, main vocalist Natali pounded away on synth while yelping and growling with impressive range. Drummer Jenna managed to spit out vocals as well, while jackhammering at the kit.

Descending from the stage's spiral staircase in disguise, the Lord of the Yum Yum introduced himself as his own roadie, played a song on a cardboard "guitar," and then hid beneath a red curtain only to reemerge as "himself." I had seen the good Lord perform at a silent film showing at the University of Chicago, but here he allowed himself to expand his act, which straddles the line between music and performance art. Aided only by a sampler (foot-operated) and a few microphones, Yum Yum built layer upon layer of sound in bizarre and hilarious compositions, all the while jittering around the stage and the audience. He finished with an impressively complex rendition of "Habanera" from Bizet's Carmen, interspersed with a reenactment of a childhood field trip to the aquarium, in which an encounter with the shark-feeding diver turned quickly macabre.

Aleks and the Drummer

Aleks and the Drummer – comprising, quite literally, only Aleks Andra Tomaszewska on keyboards and vocals and Deric Criss on drums – drew the evening deeply into the ethereal. Tomaszewska demonstrated some of the most adept vocalization I've ever witnessed on the scene. Her classically styled alto arced over fast beats and synth that approached the resonance of a cathedral organ. If heaven had dance clubs, these two would headline. You'd be hard-pressed to find an act more haunting, bizarre and startlingly gorgeous all at once.

Brilliant Pebbles

Armed with similarly Polish frontwoman Monika Bukowska – cousin to Tomaszewska, in fact – Brilliant Pebbles exploded onstage in an onslaught of glitter, sequins and absurdity. Bukowska sadly lost her strobe light ring in the midst of dancing about the stage, but the band never lost momentum. With glam-rock performance sensibilities, they performed genre-queer tracks off their just-released first record. In celebration of the release, they gifted their audience with Beanie Babies and ball-pit balls, tossed into the air like confetti. It seems in many ways Brilliant Pebbles has perfected absurdity. Not the alienating kind, but rather a colorful, danceable, euphoric absurdity – absurdity with blue eyeliner and mouse ears.

-Review and photos by Sasha Geffen

New records in the office today

2009-10-05T17:17:00.001-04:00

Terminal Lovers- As Eyes Burn Clean
Dead Cats Dead Rats- Riff
CF Donohoe- Still Space for Ghosts
Mason Daring- Mason Daring
The Vacant Lots- According to the Gospel
The Sun Lee Sunbeam- Beneath the Burning Sky
The Prime Ministers- Compromiser
Knife- The Decade of Decadence
Knife- 2000 Yard Stare
The Lights Out- Color Machine
I Was Totally Destroying It- Horror Vacui
Automatic Moonlight- Scared to Death of Dying
Harken the Hands Askew- Thou
Kicksville- The Singles Season 2
Larry Grimes- Concrete Statue
Audrey Malone and Michael Evans- A Holiday to Remember
WAZ- These Bright Lights
Miss Tess- Darling, Oh Darling
The Bynars- Party All Nite

Live Review: Go, Julia Klee, Elsinore, Rego

2009-10-05T12:49:00.003-04:00

Rego

Beat Kitchen // Chicago, IL // Sept. 11, 2009

Self-amused and endearingly awkward, Go opened the evening at Belmont's murkily lit Beat Kitchen. "We're a concept band without a concept," they quipped. "If you have any ideas, let us know." They kicked off the performance with a hypnotic instrumental opus, layering chords and distortion over simple drum beats. Swapping instruments entirely for each song, Go rounded out their set with fairly standard low-fi fare. One song was purportedly written just before showtime. They finished off the set by covering Neutral Milk Hotel, thankfully avoiding the over-covered “Aeroplane” and playing “Where You're Find Me Now,” off of the under-appreciated On Avery Island.

Songwriter Julia Klee followed with a slow vocal and keyboard intro before being joined by her five-piece outfit, filling out the stage to near maximum capacity. Though the only piano at her disposal was a Yamaha synth, Klee and her bandmates achieved a lovely organic sound, largely thanks to the upright bass played with a near-sexual enthusiasm. I have never seen anyone enjoy an upright bass the way Klee's bassist does – it was perhaps the highlight of their performance. The outfit lingered somewhere between alt-country and folk rock, ranging in mood from melancholia to charming, jambly fun worthy of larger dance halls.

The night's aesthetic turned slightly to the bizarre with Elsinore. Lead singer and guitarist Ryan Groff could be mistaken for an indie rock Weird Al Yankovic. Despite hailing from Champaign, Ill., Groff mysteriously sang with an English, or at least mid-Atlantic accent while the band pounded out tunes reminiscent of early Blur. Midwestern Brit-rock? Sure, why not. The band had the magnificent stage presence to pull it off. Groff displayed perhaps the most impressive set of expressions I have ever seen on a singer – his face performed elastic feats previously unknown to humankind. His mouth might actually be capable of stretching wider than his skull. It was like watching an extremely talented claymation artist animate a human in real life. It was hypnotic. I couldn't look away. Groff's vocal range was nearly as impressive as his emotive range – he swerved in and out of falsetto impeccably, sounding like a happier Matt Bellamy of Muse.

Lastly, a redressed Go (ha! half of REGO! I get it!) reappeared onstage along with Rebecca Rego and the rest of the band, all in black tie. Multi-instrumentalist Mike P. played the role of emcee and introduced everybody, then proceeded to bounce around the stage playing anything that wasn't already being played. Rego's country/folk rock compositions took a harder edge when expanded to the stage. She revealed a vocal range that included rough shouts as well as the capable crooning that appears on the studio album, From the Royal Arcade. In addition to the tracks off the record, REGO debuted several songs too new to have been recorded. They played a prolonged yet thoroughly energetic set, complete with a whistle-off between Mikey B. and Mike P. (capable whistlers both). With her producer and several friends from in and out of town joining her onstage, Rego finished the evening poignantly with abundant thank-yous to her personal and professional support.

-Review and photos by Sasha Geffen

www.myspace.com/kleemusic
www.myspace.com/elsinoremusic
www.myspace.com/regorego

Live Review: Ra Ra Riot

2009-10-05T12:44:00.003-04:00

Emo’s // Austin, TX // Sept. 24, 2009

A riot recently ensued in downtown Austin, but not one of catastrophic proportions – not even close. Rather, it was a riot of mellifluous strings keys and vocals. The pop symphony that Ra Ra Riot brings to their live audiences is rivaled by none; they deliver sound qualities that have yet to even meet imitation. The quintet operates smoothly in mutually artful musicianship as they transition from song to song with the same fierce vigor infused into each tune on the setlist.

Ra Ra Riot has found critical acclaim since the release of their freshman album, The Rhumb Line, that dropped just a little over a year ago. After seeing them live it is evident why their particular brand of baroque pop has gained momentum. A resonant rendition of “Suspended in Gaffa” was the first song to really speak to me with Mathieu Santos’ prominent bass line powering forward over Rebecca Zeller’s delicate violin. “Suspended in Gaffa” is a mellow tune, but Ra Ra Riot effortlessly morphed to upbeat pop with the much more guitar-centric “Each Year.” Zeller and Alexandra Lawn’s strings could have afforded a bit more sound on this tune, but overall it was performed poetically as each member continued to share the stage in a symbiotic ballet of sound.

Ra Ra Riot has been dubbed “intense” by more than one media outlet and after seeing them live I’d have to whole heartedly concur with that appraisal. Intense could apply not only to the instrumentation itself but also the stage presence of the band as a whole. They pour themselves into the music, as they seem to shut out everything but the emotive pop that they are making together – like a melodic sonnet to one another. Alexandra Lawn is especially passionate as she literally throws herself into her cello, with hair sweeping through the air from both her head and her bow, one with her instrument, her band, and her music – it’s simply stunning.

Ra Ra Riot surprised me by throwing the popular “Can You Tell” in to the dead middle of their set list. They continued to pull new tricks from their sleeves and deviated from their characteristic intensity for a bit – to show they don’t take themselves too seriously – with the synthed-out throwback to '80s electronica. “Too Too Too Fast.” Ra Ra Riot saved hits like “Ghost Under Rocks” until near the end of their set and even stuck around for an encore after the crowd began to thin, playing to the end with no less enthusiasm for their music than in any of the songs before. In a word: breathtaking.

-By Tara Lacey; photos by Michelle Waggoner
www.myspace.com/rarariot

Live Review: Goosepimp Orchestra, Danny Bedrosian & Secret Army

2009-10-05T12:35:00.005-04:00

Goosepimp Orchestra

The Brewery // Lowell, MA // Sept. 9, 2009

It’s a warm Thursday night in Lowell, Mass. A bar close to the UMASS campus called The Brewery lights up the street faintly and people dot the sidewalk with their cigarettes. Tonight, Boston’s Goosepimp Orchestra is opening up for Danny Bedrosian & Secret Army, a band of George Clinton misfits led by P-Funk keyboardist Danny Bedrosian.

The stage is open and low to the ground, an inviting nod toward the expansive dance floor and seating area that extends into the back of the bar.

Goosepimp had just started their set as I walked in, and a heavy layer of funk had already descended upon the audience. Maybe it was their appearance – from tagged up jumpsuits, to skunk hats, to neon skirts, tie-dye and pajama pants – GPO was in rare form as they drowned the audience in rainbow lights and chaotically designed funk-downs.

Goosepimp Orchestra

Goosepimp’s full lineup included Dave Pelletier on bass, Adam Pelletier on guitar, Bob Greel on percussion, Phil Reese on keys, Joe Calabrese on drums, Jon Albertelly on trumpet, Josh Filgate on trombone, Seth Bailin on saxophone and Mike Cantor leading the gang on guitar.

Everyone was full of energy tonight, and Goosepimp utilized every ounce of it. In sweat-drenched unison they were forthright with their solos, and remained tight and loud throughout their set. In a smashup of garb and styles, GPO combined psychedelic guitar riffs with a synthetic funk that seems to get better every time I see them play. In so many words, this band has unbeatable confidence in their stage presence and a unique “get up and freak out” style that promotes one hell of a good time.

Danny Bedrosian & Secret Army

When Danny Bedrosian & Secret Army went on, I realized that tonight’s theme had to be a certain psycha-funk virtuosity. There was something so incredibly sexy about the reserve in bass player Lige Curry, the gyrations of Danny Bedrosian, and the popping knees and bopping bums of backup vocalists Teresa Jimenez and Kendra Foster.

They had the heavy and tight demeanor evident in most funk or rock music, but successfully combined elements of jazz-fusion, hip-hop and soul with surprising eloquence. From drawn out harmonic vocals, to the electric excursions of guitarist Marc Munoz (during which he split open his finger on stage and continued to play with unrelenting force), there was an unquestionable amount of energy. At times I found it hard to breath without wailing, which goes to show that the driving force behind this band’s groove is the power and precision that they bring to the stage. They translate passion beautifully.

It’s always special, albeit cliché, when you feel as if you’re having a religious experience during a live set and you haven’t taken any drugs. As they played – all closed eyes, open mouthed and tiptoed slithering and grooving – I thought the band would cause the entire bar to lift up and out of Lowell, just to plop down in George Clinton’s backyard (whatever that might look like!). Each member seems like a methodological extension of the music, bound together hot and heavy in a sensual land of soul and funk.

Both Goosepimp Orchestra and Danny Bedrosian & Secret Army have new CD’s out. I urge you to take a listen or catch a local show. You won’t regret it.

-Words by Amanda Macchia; photos by Lisa Gagne

www.myspace.com/goosepimp
www.myspace.com/somnfierce

Festival Review: Wormtown Music Festival

2009-10-02T11:28:00.001-04:00

Camp KeeWanee // Greenfield, MA // Sept. 18-20, 2009

Wormtown Trading Company has grown tremendously over the past 13 years, and as a result their festivals have become a reunion of sorts that have expanded to accommodate thousands upon thousands of families, friends and musicians.

Each year the music gets better, the guests grow in numbers, and the efforts of Wormtown founders begin to pay off. Based in Worcester, Mass., Wormtown Trading Co. can be found across the United States. Whether it’s a booth at your local college campus or a stage at Bonaroo, Wormtown is there.

They have managed to make local, small festivals the highlight of the summer. After attending one of their annual events, I can guarantee you won’t see the festival circuit in the same light. There is something very homey and special about a Wormtown festival.

This year’s Wormtown Music Fest offered a lot, from staging amazing acts like Ryan Montbleau, Zach Deputy The Alchemystics, Rubblebucket Orchestra and The Roots of Creation, to encouraging community activism by holding a canned food drive with the organization Strangers Helping Strangers. They have a kid’s cabin and other fun activities that openly welcome families with children.

Their camping area is set back in the shade of the woods and through the trails you can find a huge bonfire, multiple cabins that play live music until the sun rises, and a pleasant, rocky creek. This festival is perhaps the most inviting and loving you could attend. It is a fantastic way to end the summer and a great chance to support a scene intrinsically grass roots and locally grown.

-Words by Amanda Macchia; video by Amanda Macchia and Seth Bailin; editing by Seth Bailing (Nice Bass Productions); music by APel – “Life Force”