Jenny Hval - Kirin J. Callinan -- DC9 - Nov 5

Kirin J. Callinan - I try to do as little research as possible about the support bands I see, and unless I have multiple choices of shows (like tonight), I won't listen to or read about the headliner either. If I read other reviews, they may mention band comparisons that will cause me to debate including them or trying exclude them, even though they make sense. I do read artist websites and Facebook pages right as I start to write, which causes some of my notes to come into a sharp focus. Such as with Kirin J. Callinan, who I had thought was from the UK. My notes are full of how much he reminds me of Nick Cave and now I see he is from Australia. So that makes perfect sense and it says a lot about the music we got tonight. I also saw some hard-edged Bowie here, as Callinan has a heavy dramatic style with a big voice. He has an intense guitar style and is backed with a drummer and bass player who also adds plenty of electronics into this thick modern sound. There is also a goth Munly Munly style and look going on here. Callinan walks a tight rope between accessible songs and challenging bravado and manages the trip with fully composed balance. He's not working with a net, though, as there is and edgy vibe throughout his 46 minute set, no less so than when he engages in strange whispering stage patter. This is strong material and quite exciting to hear live. I am not sure what the small crowd thought of it, but I bet they have a strong opinion.

Jenny Hval - Also with a brief residence in Australia, Norwegian Jenny Hval leads an eclectic trio in some of the more fascinating music you will find on tour. Hval has a voice that can handle any straight up rock or pop song, but she also has the ability and creativity to twist it into unexpected turns--jazz like, but not jazz. Her voice is half ethereal, half grounded. Kate Bush comes to mind, as she often will any time you see something highly creative in a pop rock context. I am also reminded of the sadly missed Sian Alice Group, as this band works similar terrain with a mixture of sparse and full arrangements that are highly mysterious and utterly absorbing. After a few challenging quiet songs, the trio kicks into a grooving rocker that reminds me of a smoother Wooden Shjips, which is quite a jolt. After that her guitarist does some great Andy Gill (Gof4) riffs to some of her Bush-like vocals, as they twist their set into even more remarkable directions. This was a very cool set and I am glad I chose this show of the choices I had tonight. The others were probably good, well attended, but I bet were a lot safer. These two artists and their bands remind you of the unexplored corners of music that open up new parts of your mind, yet are fully accessible for those up to even the most minor of challenges. Bravo.

Plug of the Night: Folkworld Issue 52 is out now and is filled with the usually great coverage of the extended folk scene on this planet. There are bucketfuls of album reviews that you won't see here, plus some reprints of some of my live folk and folk-esque show reviews. Check it out.

The Irrepressibles -- Atlas Performing Arts Center - Nov 3 2013

The Irrepressibles - The Atlas Performing Arts Center has a great calendar filled with a lot of interesting music, both in Jazz and World-rock and folk styles. In from the UK tonight, are a intriguing pop-rock collective led by songwriter and voice, Jamie McDermott. There are multitude of members, but tonight he is joined by a cellist and violinist. He switches between piano and acoustic guitar and delivers his fascinating and soaring vocals. The beginning songs are quite experimental consisting of minimalism as well as strings layering. When his voice kicks in, I am immediately transported to the land between Tim Buckley and Scott Walker. Things grow a bit more toward traditional song patterns and ultimately this style fits comfortably next to Antony and the Johnsons. He also discusses a cover song by a female artist that is a major influence. Even with that partial introduction I was quite sure he was going to say Kate Bush and he did. This hour plus set flew by, occupying a sonic space that few are able to work in. And even with all the creative moves, like a Kate Bush, this trio managed to pull the crowd in with music that you can connect to with mind and body. The last cut was an older one that some in the crowd were familiar with and it had a great prog rock structure to it. This was a pleasure tonight and I am going to keep this venue on my radar as a great way to get something alternative to the usual rock and folk clubs.

Quote of the Night: the unmistakable whole note 'twang' during a tuning... "It's in dropped D"

Nik Turner's Hawkwind - Hedersleben - St. James & the Apostles -- PhilaMOCA - Nov 2 2013

St. James & the Apostles - Road trip (or rather Amtrak trip) to Philadelphia tonight for some space journeying. But we begin with local roots as a rather intriguing trio begins the evening. These guys are cousins with music that does more than hint at inbred southern craziness. It is blues most kozmik, loose, heavy, with a grunge component. It is guitar, drums, and keyboards, so at times it feels like Leslie West jamming with Rod Argent (with West on vocals) and there are times when I am reminded of Reverend Horton Heat. Very cool set, even with sounds you think you know, these guys have a way to twist and power them to new places.

Hedersleben - Up next are the touring partners for Nik Turner as this is a four-piece with guitar, bass, drums, and keyboards. All of them sing and there is some nice electric and acoustic mixes on guitar with some good stinging steel string acoustic early on. The music goes from Popol Vuh to Guru Guru and it is no surprise to see their Facebook page simply mention 'krautrock' in the about section. They move the atmosphere around from moody to rocking and are a perfect warm-up for Nik Turner's Hawkwind. But as I see a few minutes later, they were merely getting warmed up themselves, for they are Nik Turner's Hawkwind.

Nik Turner's Hawkwind - 73-year old Nik Turner joins this fine band he has assembled including Nicky Garrett, known for his longtime service in the UK Subs (and confirming the proto-punk Hawkwind style and influence). This is an art space and is small but quite crowded with a lot of older fans who have wanted to see Hawkwind hit the US for a long time. We were to see two Hawkwinds touring this year, but Dave Brock's more continuous band had to take a break for illness (due to this copyright fight is what was stated). Nik Turner addressed this and said they are too old to fight and did not want to mess anything up but keep a part of the name and band he helped found, if not even play together again. These are complex issues that most fans should not be taking sides on and I could write a lot more, but look elsewhere for that or just let them figure it out. Any fan in this room knows how to discern which band is which, no matter what they are called, so whether this is Nik Turner's Space Ritual, Hawklords, or anything else, it was certainly going to be a fun filled no-controversy night.

Now, the music. The band blasted away at most of Space Ritual all through the night, even the Robert Calvert narrations. There was a big wall behind them for projections, but aside from a drum riser, the band was floor level. They continued to rip out the tunes with more feral intensity than touch, which was more in tune with the live 'Space Ritual' sound as opposed to the studio albums. The keyboard/synth player was even doing her version of Stacia complete with a little less make-up and a lot more clothes. She did the synth parts well, so was important to the music in addition to the dance moves she employed at times. Turner's vocals were very thin, which was as much due to the PA than his age, although on "Children of the Sun" it may have been better if the PA was even lower (to be fair, I don't think he could hear himself much of the night). There were feedback problems as this small PA was not up to a band of this caliber. But there was enough volume to give the crowd a serious Hawkwind fix tonight, as the 90+ minute set that included only a bit of his fine recent solo album featuring much of this band. The drums were great, Garret added fury and style and Turner's sax and flute playing is still excellent. This was a fun night where the PA was the only letdown, keeping this from being fully transcendent.

Dave Brock's Hawkwind, or perhaps just 'Hawkwind' depending on the continent or legal ruling will be in DC at the Rock'n'Roll Hotel on March 15th and will likely be doing all the other postponed dates of their extensive tour.

Lemmy's Hawkwind aka Motorhead also had to delay a 2013 tour of Europe until February 2014 for health reasons. Hopefully America will follow.

See 'em all. It's all good.

Quote of the Night: From somebody in a car in front of the club talking/yelling at a guy he knew waiting to get it in... "I've been driving in circles for 15 minutes trying to find this dump!" (the only sign being the carving... 'Finney & Sons est. 1850... Monuments')

Sallie Ford & the Sound Outside - Mount Moriah -- Rock'n'Roll Hotel - Nov 1 2013

Mount Moriah - There is a big crowd on hand tonight and clearly there are fans of both bands on hand to make for a festive evening. And it did not take much effort or copious amounts of alcohol to get excited about the great sounds of Mount Moriah. It was not so much that there was anything unique or overwhelming, but it was a band that just oozed personality. Certainly, Heather McIntyre's vocals and rhythm guitar is the place to start with her waif-like looks that belie her vocal power and control. The lead guitar work is very smart and alternates between working around the vocal lines and propelling things forward. The rhythm section keeps it all together and they end up reminding me quite a bit of the Walkabouts, maybe a tad less Americana, although the Walkabouts transcend that genre as well. It is all a little urban, a little rural, and they can really rock and jam out when they want to go beyond their fine songs. There is a lot to like here and the DC crowd did.

Sallie Ford & the Sound Outside - This quirky Portland quartet makes a quick return to DC to engage us all with their signature sound combination. They start off with an instrumental that places them squarely in the garage with that heavy reverbed Duane Eddy/Dick Dale guitar enveloping the sound. They move into their more indie rock material that ebbs and flows into blues, garage rock, and other song oriented forms with ease and style. There is even a Loretta Lynn cover, "Fist City", which was a request. They are a playful band, but not loose, more flexible with the subtle shifts in style, volume, and pace. Their songs stand out from the crowd and stay with you well after the evening's close. The crowd was sizable and as into the music as many that I've seen, especially for younger indie bands.

Quote of the Night: From Heather M. .. "Can I get more light? I want a spotlight. I'm kidding"
"She's not."
"I AM kidding!"

RECORD REVIEWS - OCT 2013

If I forgot your record, please remind me. I have a system--everybody has a system. Systems break down. I also review albums for Folkworld and even buy albums for my own consumption, old school as that is. So anyway, stay in touch as there is a lot going on in my head at any given time. That said, I think most of the submissions are covered here and there are some gems and lots of interesting records this month, so peruse, please...

30,000 MONKIES "SOMEWHERE OVER THE PAINBOW"

After wincing at the painful pun in the title, I settle in to listen to this four-song EP from Belgium. Although many easy listening types would be wincing at this heavy post metal dirge, I find it welcome to my ears. The band has a melodic structure through much of it that matches Birthday Party sharpness to Melvinsesque forms. There is a looser, more raw and fuzzy tone to this music, as opposed to those bands. They are able to compose a complete song and execute it under three minutes, or take it to long droning lengths. That is the kind of variety I like in breaking this up for longer and repeated listenings. There is a lot going on in Belgium that is worth a listen and if you like droning alt metal, I would recommend driving this one around the block.. or rather letting it drive you.

AUSTRALIA "ROBOT"

Punk rock from Italy in 2013? Why not, as Raw Power was one of the better hardcore punk bands back in the late 1980s. This EP goes a little further back and forward as the grinding chords and twisted vocals remind me more Swell Maps meets the Weirdos. AustraliA uses throbbing piano as the core rhythm in "I Can't Go On" with murky guitar chords as the jarring element. The twisted vocals are surprisingly melodic and this song is quite catchy in an odd pop punk style. I appreciate their eclectic style, which is nearly essential for anyone wanting to establish a presence in the broader punk rock world of the 21st Century. Yet, "Xyz" has a wonderful head bobbing sharp pop-punk melody pushing the Buzzcocks through a Butthole Surfers blender.
BOARDWALK "BOARDWALK"

Boardwalk has a great take on old pop music. While they clearly bring back fond memories of the Lee Hazelwood style, they incorporate lush shoe gaze sounds with electronic jabs of modernity. The old and new marry well in these songs with tricky little guitar lines and chords dancing around while the vocals float along. Variety while often important is not a criterion I can apply to this album, although the band does a good job of differentiating between the songs with subtle arrangements shifts and melodic differences that ensure you don't feel like you are listening to one album of ambiance. These are nice songs with a lot to focus on. If you are not a fan of the style, you probably won't be converted, but if you enjoy anything like this, I believe Boardwalk may become one of your favorites.
Songs to try out first:

I'm Not Myself - There is a playfulness in this lush pop opener that also goes a bit Lynchian (David, not Jane).

Crying - The opening guitar lines had me expecting Nancy Sinatra or Lesley Gore to walk in the room.

High Water - This cut has some well written passages that subtly work a lot into the mix.

BRADDOCK STATION GARRISON "HIGH WATER"

I have seen two good shows by this interesting twin guitar Virgina based quartet. Often when I enjoy a rocking performance by a singer-songwriter, indie rock styled band, I am disappointed by their recordings as it ends up softer and more middle of the road. Thankfully, this is not the case on this six-song EP. "Into Your Arms" opens up with heavy riffing guitars that combine with the rhythm section to take the Bo Diddley style into a more modern treatment. They move into more classic and indie rock territory with jangly rhythm guitars, crisp leads and nimble bass atop the drums. The vocals are smooth and welcoming. That this sounds good is no surprise as it is a Don Zientara production from Inner Ear Studio. These guys offer some personality within comfortable rock forms and should be investigated by local rock fans.
DEVILS WALK AS SAINTS "THIS CITY WILL BURN"

This is good, strong indie rock offered up by this local trio. It is not precious indie rock, but full throated rock music that spans a couple generations. This is another fine recording from the Inner Ear Studios, which may have something to do with it sounding like late eighties hardcore properly advanced into the 21st century. There is that shared sense of emotion in the vocal work, but it is not overdone like happens too often. The guitars are not afraid to push forward hard and loud, while the rhythm section is interesting with solid drum work and a few prominent bass lines. There is nothing terribly original here (as is the case in most releases), but there is simply high quality rock music that works its way into your system with ease, style, and just the right amount of force. It is worth a listen and then several relistens.

Songs to try out first:

This City Will Burn - The title cut establishes the sound and hooks you in early.

Keys - Old style big rock sound with a charming indie style.

Us Against - Another song that could be from many eras, just a pleasure to listen to.

DISCO MACHINE GUN "UNDERBELLY"

Normally I do not review singles, but when you issue one that is 9 1/2 minutes long, that's an EP for me, so it is worth the time. And I don't say no to Philadelphia's Disco Machine Gun, who have far too long been flying under the radar as one of the most creative and entertaining alt metal acts. They make music for progressive fans who just cannot seem to find anyone heavy enough that understands creative music and thoughtful arrangements. Listen to the violins trade off with the guitar solos here, this is just not a sound that I can compare to too many bands. Yet the overall effect should have Opeth and Kylesa fans drooling all over this. Come on metal fans that want more, I know you are out there. Get aboard here, before it is too late. And even if it is, there is a profoundly good quality of work these guys are leaving to us.
THE FEATHER "INVISIBLE"

Thomas Medard of the Belgian band Dan San has released this intriguing solo record under his chosen name of 'the Feather'. He chose the name well for this music is like a feather floating in the proverbial gentle breeze. This is flowing rock music with a pastoral folk feeling and even some electronics merged in organically. The music varies a bit, but it works a terrain in between baroque pop and the prog-psyche-folk of Fit & Limo. The vocals are lovely and even have that far away enchantment of COB at times. Think Brian Wilson and George Martin style complexity when the words 'pop music' are used for music such as this. The production is not quite that complex, but it is more than what you usually hear these days. It is even more amazing when Medard plays everything on this record. This is in the same area as Jacco Gardner and even Syd Barrett at times, although not as whimsical as either of those. Along with the Jacco Gardner album, this is one of the best of the year.
Songs to try out first:

The Songs we Sing at Sunset - Hopefully the opener will set the mood for the album. This succeeds.

What If - Here's the COB harmonies merged into a song that would be a psyche folk classic, were it only psyche-folk in style. As it is, it's a classic song.

Around - At nearly six minutes, it is still not long enough. It creates a world I want to live in for a long time.

JENNY HVAL "INNOCENCE IS KINKY"

Imagine Kate Bush making a record with arrangements from early Nico, yet with modern electronics. That hardly describes this creative outing, but it puts you in the right direction, a direction few of us travel too often. This is bold and striking music, but comes forward with intimacy and controlled dynamic shifts. When you can bring real warmth to experimental music and keep in a context that a simple pop music fan can pick up on, then you are doing something very right. There is a a whole lot of warmth underneath this Nordic cool that this Oslo born singer works into her songs. They tell me that her live shows are compelling and with music this imaginative, it is hard to know how it will change for the better or even to stay at this level. But I aim to find out when she comes to town.

And she does that this Tuesday, Nov 5th at the DC9. See you there.

Songs to try out first:

Innocence is Kinky - It's also a bit spooky, the way Jenny Hval sings it with a throbbing beat, various drones, and jarring guitar among a lot of open space for these intriguing vocals.

Renee Falconetti in Orleans - I simply love the title… google it, if you don't get it.

Amphibious Androgynous - This has epic qualities with ringing acoustic guitars, dreamy drones, and wailing backing vocals behind her strong lead work.

KING KHAN & THE SHRINES "IDLE NO MORE"

It is hard to be extremely original within a rock music setting any more, but there are still plenty of ways to combine forms and styles in interesting ways. King Khan has done that here with his take on garage rock by using unique arrangements and subtle cultural melting pots of sound. He is from Montreal, although he spent much of his youth on a Mohawk reservation. I am not sure what music motivated him early on, but eventually he found a way to assemble a great band and come up with exciting arrangements for his uptempo pop-rock songs. There is a lot more than rock going on here to, as lounge music, purer pop, funk, and other worldly moves pop up from song to song. This has the spirit of Fitz and the Tantrums, but is more unpredictable. And more often than not, the unpredictable nature of his musical choice is a successful path. Jaded music lovers who tire at quantity of even good bands stacking up on their listening pile, should make some room for King Khan & the Shrines.

They play tonight, Nov 1st, at the Black Cat.

Songs to try out first:

Born to Die - Right away, you know you are in for something special with Eastern modal patterns and brass integrated into a catchy garage rocker.

Thorn in Her Pride - More great brass and fine vocal work.

Darkness - A vocal that is eerily similar to that of Aphrodite's Child, which is hard to do. Nice style shift.

ODESZA "MY FRIENDS NEVER DIE"

When punk rock broke, there was a flurry of seven inch singles, seven inch eps at 33 1/3, 12" singles at 45rpm, as well as conventional long players. What this meant, was you would often play records at the wrong speed. Once in a while they sounded kind of cool, but most of the time, you would have this reflex action of looking down toward your turntable speed switch. I had that when this EP started even though I was listening to an MP3 and my turntable had been switched off for months. So this is my long way of saying that these Chipmunks styled vocals are quite intentional. They vary them a bit, but a couple songs are downright distracting due to this. The music is full-on electronica and dance oriented, although not at an overly throbbing pace. The songs have abrupt endings and frankly this does not sound very good at all to me. Even though this is not my area, I am not sure this record represents Odesza terribly well.
PIANO CLUB "COLORE"

Snappy synth pop works for me when the hooks are strong and the vocals are good. Piano Club pretty much covers these key points. Even better, they vary the songs so you get places where they push the envelope with a little more noise and other times they emit pristine electronic pop music. I would recommend seeing them live at a club near you, but you will have to one of my Belgian readers to take that advice.

Songs to try out first:

Me and Myself - Snappy pop tune that takes me back to the 80s with a more modern electronic production working.

On the Wagon - This one is particularly bouncy with nice counterpoint guitars and keyboards.

A Long Time Ago - This has a more industrial pop style with almost a dub sound at times. Interesting deep vocals, too.

RCRDS "SUMMER ACHES"

This local band takes a shoe gaze approach to electronic music and has created five songs heavy on atmosphere, that lean a little dark and contemplative. "Bummer Shakes" really works well in a Banshees meets Cocteau Twins cocktail that has me refraining from, typing so I can take it all in. "Goldleaf" was also lovely, although the rest have abruptness issues or are nice backing sort of sounds. Still, there are some fine things working here, so it would be a pleasure to take in a full set in a club or to listen further for follow-up.
SORE EROS+KURT VILE "JAMAICA PLAIN"

Kurt Vile joins former bandmate Robert Robinson for this three-song ep which is lovely psychedelic-folk stroll through the woods. At least it starts out that way, but by the end of the third cut, these two have dug deeper into the inner space of the mind or the outer space of the solar system. You decide. Either way, this is a fine example of why it is always worth spending time on Kurt Vile projects. I am also going to keep Sore Eros in my listening sphere as well.
SUPERVOID "FILAMENTS"

Thick and creative metal fans, step this way. Supervoid has the riffs and power to fill that deep craving that never is quite fully filled, despite the many quality bands in this field. The music is solid, but what is often either a fail or a cliche are the vocals for upcoming sludge/death metal bands. Thankfully this band rises well above that as these quality vocals vary from tough death metal style to something that seems a cross between Kyuss and Pearl Jam. So not quite as extreme as Opeth, but it does have that welcome contrast. There is plenty of thought in the arrangements and the album has smooth and smart transitions. The songs are tuneful and memorable. This is a fine achievement and a band that should develop a strong fan base if they can hook up on enough quality metal billings.
Songs to try out first:

Coat of Luminous - Lots of genre shifts within two minutes and the transitions are smooth and powerful.

Wake of the Smoke Jumper - Good hard sound to spooky psyche sound shifts always work with me, at least when done this well.

The Bear - At just under 8 1/2 minutes, the closer covers quite a range of styles, yet flows majestically.

TEEN MOM "GILLY"

Long one of my favorite DC area live acts, this is the first Teen Mom record I have listened to. It is only a four song ep, but clocks in just under 20 minutes, so it is a good way to explore their sound. The first cut establishes a dreamy psychedelic pop vibe with some sharp guitar chords and some lightly funky bass moves toward the end. The next three songs follow with a similar popsike vibe. They are smoothly flowing tunes with gentle pop hooks that maintain the atmosphere while evoking motion. By the time of the chunky, fuzzy guitar chords to ride out on, you can try to pull yourself out of that relaxed position in your mind or lounge chair. Give this EP a taste test and be are to catch Teen Mom live. They put on a great set and are usually part of a good bill.
THE THIEFS "IT'S NOT YOU, IT'S US"

Listening to five ripping barroom rockers with a good vocal touch is a fine way to spend 20 minutes. This local trio grinds out the goods and breathes enough life into the hard rock genre, to warrant a listen. They may lapse into Black Oak Arkansas land musically, which is not a bad thing, but thankfully elevate matters with more stylish and less domineering vocals. This EP is an appetizer for the main course, which is the live on stage show for music such as this. And after seeing the set recently, it is one to check out some time soon.

VAADAT CHARIGIM "THE WORLD IS WELL LOST"

This shoe gaze pop is served dry as the desert, which makes sense as they are from Tel Aviv, Israel. Shoe gaze is not really fair to the subtlety of their sound and the fine songs they write. It wavers between dreamy and drone and the guitar magic almost sounds like Wire more than that of Jesus and Marychain. They sound a bit like Sonic Youth at their subtle best with vocals closer to some lost British post punk dream pop rocker. The songs vary in that some grab me and stay all over me with every note, while others are merely nice moody pieces suitable for the background of other tasks. So at their worst, Vaadat Carigim is a pleasant band that is listenable, while at their best, they have great songs with a lovely sound.
Songs to try out first:

Odisea - The contrast between the tasty crunch of the electric guitars and the clear tones of the acoustic guitars work some magic.

Kezef Al Hamayim - What a pop hook here, sounds so familiar, yet very personal and unique.

Ein Nehama Ladoachim - A good example of how to make a classic rock melody sound modern and interesting.

VEGAS WITH RANDOLPH "RINGS AROUND THE SUN"

This active local band is back with their third LP and the power pop is popping once again. This is hefty, hard rocking power pop with fully propulsive instrumentation. The pop is located mostly in the vocals as these guys still remind me a lot of the Undertones with their infectious hooks (and strong guitars). At times, it may get a bit overwhelming if you are not a fan of this style, but they do it so well, that the best songs translate well with rock music fans of different genres. This is a fine band that is worth going out of your way for.

And you can do just that at their ALBUM RELEASE SHOW at Jammin Java, Monday-Dec 2nd.

Songs to try out first:

You Set the World on Fire - A powerful song with a powerful hook will jump out and grab you right out of the box.

Nikki's Plan - The vocals are very Feargal Sharkey-like as this shows off their personality as well as any song does.

Rings Around the Sun - Not so much power pop, as grandiose pop, big in sound, big in spirit.

WOLVERTON "HORSE HEAD DAWN" EP

This is folk music that has that psychedelic sensibility not with flailing sitars or reverb, but more of a sense of space in the vocals and the staggered timing in the guitar notes. There is some distant violin and piano punctuation that creates intriguing atmospheres and tensions, but the lead male vocals and female harmonies lead the way in these six songs. They remind me a bit of the Mills/Raven albums, but this foursome has their own sound takes its cue from classic English, European and American folk from the late sixties to late seventies. There may be some traces of Hunter Muskett and Mac Murrough in here, too, although this is more American than that (although I don't hear a lot of San Antonio, Texas here). The band members all have some unique skills of timing and emotional resonance they bring to the arrangements, which set them apart from simpler players. This is memorable music and far better than for a lot of what has passed as nufolk or wyrdfolk in recent years. They can be the third band in to my dream billing of Espers and Faun Fables.

The Dickies - Dot Dash -- Black Cat - Oct 30 2013

Dot Dash - Rather than discuss the high qualities of this band, since I have done it many times before (Such as this review from last month), let us just say that the sound quality was quite good aside from the usual buzz that permanently resides on the big stage at the Black Cat (yet gets lost once the guitars start blasting away). Their songs were sharp and unfortunately the crowd was slow to arrive tonight with only a couple dozen there at the beginning, up to 50-60 by the time their set ended. Do come early anytime this band is on the bill and that advice goes for many of the fine bands around town. But rather than talk more about, I'll just post their latest video...

A Light in The Distance from Dot Dash on Vimeo.

The Dickies - Better 35 years late than never, as I finally catch the live act of this essential punk band. Formed in LA, the Dickies took the fun parts of the Ramones music and sped it up, amped up and applied it to fun pop originals and interesting cover songs. Stan Lee is still blazing away on guitar and the band has all their tricks with them such as gorilla masks, inflatable dolls and puppets. I start to feel silly when I realize I am watching a hand puppet mouth the words when the singer is right behind him singing into the mic. But if I was not willing to join in the silliness, I should not have come. The crowd finally built to something resembling respectable, although this band deserves far more than this, as it appears less of the younger crowd has picked up on this band's importance and brilliance. The band rattled off the songs fast and furious, with only occasional pauses for some humorous banter, with tongues practically protruding out of their cheeks. The classic covers were there from "Nights in White Satin", "Banana Splits theme", "Gigantor", a surprising Tommy medley, and much more. Catching up with both the Rezillos and the Dickies in the past year has really restored my faith in the power-pop/punk hybrid sound that was so important in the late 1970s. I love my Joy Division, and as we have all read to death, Lou Reed certainly has his place in music history. But it is also important to cut loose, let your hair down and explore the child side now and then. The Dickies give you all that and more.

Quote of the Night: From the Dickies singer... "So, Dave Grohl owns this place?... But how can he afford it?"

Preview of Upcoming Attractions - Early NOV 2013

The prototype of all indie rock (?) Sebadoh comes our way to the Black Cat on Sunday, November 3rd and they have new music, too! 
Jenny Hval is a fascinating musician that is well worth planning your evening around. She comes to the DC9 on Tuesday, Nov 5th 

Jenny Hval "Innocence Is Kinky" (official video) from Jenny Hval on Vimeo.

The Turnpike Troubadours will crank thinks up a notch at the Birchmere on Wednesday, Nov 6th. 
Young Galaxy hits the Black Cat on Thursday, Nov 7th. 
Join me a the Black Cat on Friday, Nov 8th for a fine couple of bands on the big stage: The Blow and Love Inks. 
And pencil in Friday November 15th for the Devil Makes Three at the 9:30 Club. It is an EARLY show, so get your weekend started off with great music, and you can still catch some more music at another club later on. 

Ben Rector - Tyrone Wells -- Fillmore - Oct 26 2013

Tyrone Wells - Tyrone Wells is a successful singer songwriter on the rise. And in this era, instead of looking at chart positions, you can also judge success based on song placement in television and motion pictures. Wells has had a lot of this, so there is a good chance you have heard is music whether you know the name or not. And many have as he has plenty of fans in attendance who thoroughly enjoy his 43 minute set. He handled lead vocals, guitar, and a bit of piano and had a drummer and bass player who added fine backing vocals and a few other instrumental touches. The rhythm section really helped create some breadth for the music with some worldlier beats than what you would normally expect from this comforting folk-pop material. Wells seems like a sincere and likable fellow who has penned some fine songs and thankfully has assembled an excellent backing band. That combination made for a solid set that would hold its own headlining a smaller venue.

Ben Rector - Although pop-rock music is something I like, I do not often try to keep up with younger performers in this field. Ben Rector offered a reminder of the folly of this attitude. Five albums into his career has firmly placed him among some of the best of this field, at least based on what I saw tonight. Of course he has a great voice, reminding me of Josh Ritter and many more in this area. He rocks harder than what I have seen of Ritter and also reminds me of Amos Lee. But he pulls it back and offers a thoughtful contrast of songs: heavy/light, contemplative/fun, etc. He had four slick band members moving around on a variety of guitars, keys, and mandolins with a flowing rhythm section keeping things moving. The lighting was interesting with a lot of low level back lighting and it had an interesting effect of bringing the audience closer to Rector. He asked a few times to light up the audience so he could see and talk to them specifically noting some people. His personality and stage patter is fabulous and a real selling point in seeing him live. I liked his stories like his song about his whiffleball games with a lawn chair strike zone (just like I used to do) and he easily had the crowd feeling at home with him. He was hilarious in explaining the last song announcement reactions and predictable encore procedure to 'anyone who was new to concerts' and had the crowd gladly joining in with him whenever he desired. It all felt natural and enhanced his already excellent music. Ben Rector looks like he will be around a long time.

Quote of the Night: from Tyrone Wells... "Hello Baltimore and surrounding area... Silver Spring that is, not Silver Springs--they told me the plural would not go over."

And after that "My bass player is getting on me for saying Baltimore--Silver Spring!"

The Thiefs - Classified Frequency -- Jammin Java - Oct 26 2013

Classified Frequency - After some time off, I get back into the swing of live music with two Saturday shows--first up, a matinee at Jammin Java who also had a morning event for kids and will have an evening show as well. But here, it is a couple of hard rocking local trios. This Maryland based band kicks things off with volume and skill. For me, it was a case of two discussion points. The instrumental breaks, solos and overall cohesiveness was good, but the songs did not quite connect with me and reminded me of early 1970s material that I could never fully get into. They have a couple that worked well and the more energized moments seemed the best. But most disturbing was that the bass player had a voice that was very close to Harry Shearer, nothing he can help and maybe that can be used to their advantage. But they did a decent enough job and could develop into a decent outfit in time.

The Thiefs - Another local trio hits the stage with a very similar old school hard rock sound. This set works a lot more for me as the songs are more direct, straight forward blasts of fun. They are a cruder version of Dust or Andromeda with good pace and power to make it all work. A lot of throwback rock bands have added punk rock pace and energy into the mix and the Thiefs display a lot of that in many of these songs. There is a polite crowd here and it is hard to fully judge bands in daylight hours, despite the club's thick curtains, but the band went over well enough. They do need to work on their stage patter a bit, but they were having fun and translated that well enough out to the crowd. They can hold their own on a good old school rock bill in this region's clubs. They rock, and that is good enough for me.

The Dismemberment Plan - Deleted Scenes -- 9:30 Club - Oct 19 2013

Deleted Scenes - It is great seeing long-time DC favorites on the big stage at the 9:30 Club with a sold-out crowd that arrived on time to catch the action. And in usual fashion, the band starts out with tricky hard to define music that is so immediate, you really don't care to spend the time to figure it out. There are guitars cooking atop the rhythm section along with some strong electronic components working through one of the guitars.  The band shifts around some with one or two guitars, keyboards at times, and the lead vocalist puts down his guitar to play some sort of effects box, and quite well I might add. If you like Animal Collective and that sort of sound, you would do well to dig into Deleted Scenes, if you haven't already. They have a lot of that sort of creativity and take it in their own direction, which to me is more of a brighter path. There were moments in the set where I thought the keyboards were a bit too dominant, but they soon righted that with a blazing guitars song. They packed their 38-minute set with lots of variety that all added up to still one of the finer bands in the city that is certainly able to take it up to the next level, like say perhaps...

The Dismemberment Plan - The reunion continues as this successful band is still tearing it up for the first of two nights in town before taking on an intense little tour focusing on east coast, the UK, and the west coast. If Deleted Scenes mix it up, then the Dismemberment Plan completely throws out the rule book, while still creating highly accessible music. The first song reminds me of bland 1970s and 1980s intellectual pop music made brighter (and better) with a more modern electronic sound. Thankfully they did not stop there as the second cut went hardcore electronic dance style, but with a more refined song oriented approach. Basically, things continued like this throughout the set with lots of throbbing electronics powerfully enhancing these crafty pop songs. The vocals are clear and strong throughout and keep the hooks digging in. I think most of the crowd is like me in appreciation of the heavy sounds the band is able to employ that other pop-rock outfits may struggle with. This band has nailed a pretty interesting sound and continues to display it well.

Photo repost of the Night:

Braddock Station Garrison -- Tree House Lounge - Oct 18 2013

Braddock Station Garrison - This is my second time seeing this fine Virginia quartet, and on a new stage for me. This band features all the basics of good power pop/indie rock with two guitars working rhythms and leads atop a nimble rhythm section. The vocals are good and the songs have that fine balance where they move and shift in different sub-styles, while never sounding like they are coming from a different band. They probably hit power-pop grooves most frequently, but can push the rock moves pretty heavy when willing. I particularly liked their cut "Any Day, Any Way" if I have that title correct. The bass line was similar to a great Mikey Offender (RIP) run in "Lost Causes" but I have no doubt no one in this band has even heard that song. The songs have quality and the guys can play. Hopefully they will continue to get the gigs all around town, as they would enhance a lot of bills. They have a new EP which I will be reviewing at month's end.

A quick note on the Tree House Lounge. If anyone remembers the old Red & the Black, it is about that size with a similar PA. There is a small stage and seating with a big bar as well. The sound is better than the Pinch and not up to the Velvet Lounge (there is a board, but settings are premixed--they were spot on tonight). It is a comfortable place that is doing a lot of booking, but is not big enough to draw top bands (although Wooden Shjips played the Red & the Black). I would recommend people keep this on the calendar as it is easy to get to in the NE--I even park in the same place I do for the Rock'n'Roll Hotel. There were other bands tonight, but it was a bit too eclectic booking for me and I needed an early night home.

Quote of the Night: From the singer to the rest of the band reflecting a classic refrain... "Play like it's Madison Square Garden."

Noah and the Whale - Dawn Landes -- 9:30 Club - Oct 16 2013

Dawn Landes - It was a tough start tonight as the doors did not open until 8:30 pm and this set started at 8:45. There was a long line as it was nearly a sell-out, so there was no way to get in on time for me. Still, the club did well getting people through quickly and I only missed 5-6 minutes with 80% or more of the crowd already in place. And it was a challenge for Dawn Landes as she has a light country folk pop sound with just acoustic guitar, bass, drums. She has a backing vocalist, not that she needed it much, as she carried her tunes with strength and conviction and still kept it warm and not too overpowering. With the crowd still abuzz, the solo acoustic song headed too close to 'acoustic death in clubland', but most of this set worked well and was warmly received by the younger and friendly crowd. So everyone may have been rushed at the beginning, but by the end of the set was sufficiently warmed up and satisfied.

Noah and the Whale - Touring their fine "Heart of Nowhere" album, Noah and the Whale come across the Atlantic to lay out their clean and focused pop rock sound to a well established fan base. They have earned the crowds over the years, by writing very catchy music that balances several styles allowing them to pull fans from many varied styles of rock or pop music. This music could easily get lost in the middle of the road mainstream, but for the quality of the songs and the strength of their conviction in the delivery. The vocal work is strong and the band mixes up instrument combinations of electric and acoustic guitars, keyboards, and violins all atop the rhythm section. The violin (and vocal qualities) really reminds one of the National, although this music is a bit brighter. It is almost a bit too steady for me at times, but it is hard to find any fault in their delivery. The songs are really good and if you deliver them well as they did tonight, then this is a great band for this young crowd (and plenty of us old timers as well) to dig into to. The band seemed sincerely nice and apologized for the tight start as it was on them, as they had to get a replacement driver from Atlanta and rolled into town a little too late. One or two good songs, let alone a whole set's worth, and all was forgiven.

Quotes of the Night: Noah and the Whale did seem like really nice guys as they were chatting about hoping to be the talisman to get the government reopened tonight (and they were). They asked the question "So we only have tonight in DC, what should we see?" and waited for answers which they listened to and commented on. This reminded me how stage patter can vary between Q+A rapport that is direct with at least some meaning and those questions that are merely rhetorical. For instance take these from the opening band...


"This is a love song, are you ready for that?"
"Does anyone like Bruce Springsteen?"
 and the ubiquitous (and of course, both bands did it tonight) "So, how is everybody doing?"

Jacco Gardner - The Beginner's Mynd -- Black Cat - Oct 15 2013

The Beginner's Mynd - A good crowd is on hand backstage at the Black Cat ready to get this night started. A local pop-rock psychedelic act is up first and is expertly paired with tonight's headliner. This quartet has the same instrumentation as the headliner and works the same terrain. This band has a way to go to get the full ripened fruits of their labors, but they are off to a good start. They have a nice understanding and control of psychedelic pop and rock sound with screaming organ, jangly guitar, and a steady rhythm section. The vocals were not as confident and strong as needed to stay with this music. This could work, but with material not quite this bold and rocking. There were a few songs that sounded particularly good, so they clearly know how to pen a tune that will stick in the memory. I hope they continue to grow and work themselves into a strong presence on the scene.

Jacco Gardner - From the Netherlands, returning to the USA, comes one of the finest artists out there, particularly for those who enjoy psychedelic music. Gardner can play about anything, but sticks to keyboards and lead vocals, bringing along three guys on bass, drums, and acoustic guitar. Although to say he sticks to keyboards is like saying Jimmy Page sticks to guitar, as Gardner coaxes organ, synth, harpsichord, and even mellotron sounds out of them. The music is pop oriented, but heavily psychedelic making it hard to imagine you have not been transported back to 1967. I am not sure too many bands have vocals as exquisite as this. Gardner has a warm voice that caresses you into his world of gorgeous pop hooks. The harmonies are otherworldly and elevate this seemingly simple music to heights not obtained by all but the finest bands. This is sensual music that reminds me of Aigues Vives, Ferdinando-Howell (Ithaca, etc.), and the psychedelic songs of the Zombies. But pick your favorite baroque-pop, psychedelic pop group from the 60s, and jump onto the music of Jacco Gardner, a pure and natural extension. When you are this good, it does not matter what year you are in, you just absorb these brilliant little songs and dig the vibe. There were people in the crowd who looked like they were having an out of body experience, while most everyone else was digging this in a more relaxed manner. I did note a handful of other musicians who I rarely see if they are not on the bill, which is yet one more clue of how Jacco Gardner is making a big name for himself with those who really live music. Enjoy the small stage shows now, there is little chance he will not be moving up to bigger audiences once people start listening.

Quote of the Night - Nothing profound, just something to set the mood from JG... "This song is about summertime. Did you enjoy the summer this year? I did, too."

Preview of Upcoming Attractions: Late October, 2013

There are a host of fine shows coming up taking you into Halloween, even if you don't fly to London to see Roy Harper. Here are some recent video and audio highlights from bands who I plan to see or would if I could.

The Dismemberment Plan. Yes they have allowed their fans to see them over two nights at the 9:30 Club (Oct 19+20), but these should both be packed. I want to go on Saturday the 19th to catch one of DC's finest, Deleted Scenes...



Three brothers called Cardinal Sons are headed up from one of my favorite cities, New Orleans (well via Jackson, MS), to play the Treehouse Lounge on Tuesday, October 22nd (only Roy Harper would get me to miss this, well ok maybe a Wipers reunion) And they go to great pains to remind people, they are not Hanson...


Someone Still Loves You, Boris Yeltsin makes a quick return to our city at the DC9 on October 23rd


Blind Boys of Alabama have a pretty high reputation to live up to and very few people have ever left a show of theirs thinking they failed. See for yourself at the Hamilton on Thursday, October 24th.


The Thiefs have an EP release party on a sunny Saturday afternoon  (Oct 26) at Jammin Java. Trust me, it will be a dark club atmosphere inside as you here the latest songs from this local band. Doors at 1pm.


And after a matinee show, you can head over to the Fillmore and catch Ben Rector on Saturday, October 26th.


Sir Sly hits the friendly environs of the Rock'n'Roll Hotel for a Monday night show on October 28th.

Deap Vally - Justin Trawick Band -- Living Social - Oct 10 2013

Justin Trawick Band - I have seen Justin Trawick as part of his 'the 9 Songwriter series' which features rotating nine singer songwriter combinations in one fast paced entertaining evening booked at several different area venues. While I do recommend those, I am interested in seeing his fine songs in a full band setting tonight. In addition to his acoustic guitar, he has got a stand-up bass, violin, and mandolin with some backing vocal assistance from those guys as well. It is an excellent band as everybody is a top-notch player who work well together. The songs are good with playful meters and thoughtful lyrics. They range from steady Americana based folk to 'fast bluegrass'. I keep writing 'good stuff' in my notes and the word quality seems to fit with songs and players. they also keep it relaxed and fun with solos called out jazz style on some of the stretched out pieces. Justin Trawick solo is certainly good enough to go out of your way for, but do try to catch the full band some time.

Deap Vally - This LA duo has had a rather hot start to their career with shows and festivals all over the globe in the two years they have been around. And all of that, from a chance meeting in crocheting class? Weaving, sewing, music... it all goes together and these two women have a great personal take on a guitar and drums formula that can too often be tiresome. Yes, this is this is the loud grungy blues rock that you might expect when you see a drum kit and and electric guitar set up to play through two amps. They keep it more feral than flashy and bring in some of the passion of Gun Club and Mudhoney, although they don't hit the musical heights of those bands. There were a couple times I could have used one extra slide guitar, but Jeffry Lee Pierce is no longer with us and Mark Arm is busy. Most of the time, this music is just fine as is with surprisingly good drum work. I can not quite put my finger on why it is so good, other than Julie Edwards' excellent choices for arranging beats that work around Lindsey Troy's guitar. The beat is there, but it does seem like another lead instrument. Troy's lead vocals are excellent and Edwards has a good harmony voice that adds smooth dimensions to the fierce growling lead voice. They are not the best in this field (see Graveyard), but they have a lot to offer and their hour long set tonight was a lot of fun.

Quote of the Night: from DV... "This is the part where I jump in the crowd and crowd surf and I am tempted to jump down there."  This is in reference to the odd, but cozy space that is Living Social at 918 F Street NW. They have an upstairs floor space for bands with a small bar and standing and seating room that you could get a Velvet Lounge crowd into... barely. What is odd is the huge open space in front of the band looking down on a downstairs bar with people that can look up at the show. It's the first real 'pit' in front of a stage I have seen. It is odd, but they are booking some interesting music here, so I would keep them on your calendar.

Chad Valley - Brett -- DC9 - Oct 9 2013

Brett - Thankfully a little more time has elapsed since I saw this area quartet twice in ten days some months ago. Seeing a band too often does not give them a chance to grow a little, write a few more songs, as well as give the listener more time to listen to many things in between. But it is good to see them again as they have a strong take on pop music. It is thick and loud, but more in the romance camp than in power pop. The guitarist also plays keyboards and works a lot of electronica into the songs, while the rhythm section lays it down with a firm and steady clarity. The lead vocalist has some nice power in his pipes to lead the way and bring emotion into their songs. The better songs work well for me and those are the ones that have just that extra bit of energy within or employ sharp hooks to keep me in the groove. Even if I don't want to see them every ten days, I am glad they are gigging frequently and they are a welcome addition to many a bill.

Chad Valley - This is Oxford's Hugo Manuel on vocals and with a table of electronics. He is aided by a female vocalist who adds some flourish to his pretty much straight up pop tunes. It is obviously modern, missing guitar, bass, and drums and his backing does not try to compensate for that, instead going toward the lush electronica sound. Personally, I like a full band for this music to really dig into me deeply. But there is high quality vocal work and the pop music does connect as it should. They do this music proudly and they pulled in a pretty good Wednesday night crowd, which was great considering that the original headliner Keep Shelly in Athens, was indeed kept in Greece with Visa problems. That topic stirs bad memories on an otherwise enjoyable evening.

Quote of the Night: From H.Manuel... "This is the first night of the tour, so you are privileged. We are fresh... and not sick of each other..."

The Naked and the Famous - The Colourist -- 9:30 Club - Oct 7 2013

The Colourist - Pop music really pops at the 9:30 Club when a band is assertive enough. The Colourist is all of that as they have plenty of muscle behind their sweet but fulfilling music. They use a simple line-up of either two guitars, guitar and keyboards along with the rhythm section to get this done. The interesting contrasts are in the vocals. When the guitarist sings, he has a bit more of an Indie Rock and even California-Americana style. But when the drummer takes the lead, she has a strong power pop style that is so addictive when it works this well. I am reminded of Sloan and several other bands that can manage this style so well. The Colourist effectively creates a broad appeal garnering mainstream music fans along with people that have heard it all, but still appreciate good songs in classic styles. They only have an EP out so far, but with this kind of start, it won't be long before they will be back as headliners.

The Naked and the Famous - This was the second sold-out show here, a fact I had to remember when I was marveling at how excellent the sound was tonight from the first note to the last. Well duh--they had a full night to tweak the knobs and fiddle with the levels. But it sure helped bring this New Zealand band's slick urban pop sound forward. The keyboards and bass were throbbing with steady machine-like precision from their live drummer. All of this paved the way for cutting guitars and powerful vocals, mostly from Alisa Xayalith. I was reminded of a somewhat lighter Joy Formidable along with a nod back to power keyboard pop days of old. This was still a strong sound and they had a nice variety of songs where they would pull back before pushing things forward again. And I still enjoy a good light show which they had with their multiple arched rig surrounding the stage. This night was a good reminder for me, that even when I enjoy seeking out the smaller shows and dipping into the underground, a mainstream show with bands that write great songs and have a great command of their sound can make for a great evening out. It is always a good idea to challenge the borders of your listening experience... and that goes in all dimensional direction.

Quote of the Night: From the Headliners introducing a song that was featured on television.. "Do any of you guys watch TV? We are going to play a song that was on the TV."

Now, I found it funny to hear someone under the age of 60 use the term 'the TV', but I had a feeling I heard this wrong. They have a song on "The Vampire Diaries" so were they saying 'the VD'? I have neither the acute hearing or the degree of hipness in pop culture to know for sure, but mishearing things like lyrics is more fun than the real thing much of the time.

The Growlers - Cosmonauts - Gap Dream - together PANGEA - Habibi - The Tough Shits -- Black Cat - Oct 6 2013

The Tough Shits - Missed them as this started and finished before 8pm. They were just here opening for Redd Kross and here is what I thought then for what it is worth.

Habibi - I really need to relearn how to print so I can read my notes. I am looking at my notes and they start with what looks like "99% nice Satan-esque vocals". That is better than anything I actually wrote, but alas, it does not describe these four (and sometimes five) women. They play a brand of noisy pop that is quite dark, but very comforting. Oh, and I figured out that 'nice Satan' translates to Nancy Sinatra, whose deep straightforward delivery is similar to the style here. There is no slick Lee Hazelwood production here, it is raw garage sound that is just north of the Shaggs (who I have on my mind as I just read that one of the Shaggs is recording a solo album!!). At times, it sounds like Marissa Nadler is singing in front of a teenage Joy Division tribute band, which was as good it sounds.

together PANGEA - From LA comes this strong quartet that takes the garage pop from earlier and punks it up some. They cover everything from the sixties and seventies and beyond in their sound and keep it all fresh and in your face. They have just enough snottiness in the vocals to keep it punk, while the guitars add enough edginess and obtuse moves to the powerful rhythm section. Franky, you can play this music competently and win me over so long as you are having fun with it. But fortunately this band has the talent to push it a little further and make themselves into something I would want to go back and see again. Hopefully this Burgerama tour, will convince many more to follow this interesting band.

Gap Dream - Also from California, comes this trio on guitar, bass, and keyboards/electonics/vocals. They keep it in the garage psychedelic world, but go into a more electronic direction. I was skeptical, as I  was thinking this was merely taking me back to the old days of the Flying Lizards or other interesting new wave bands. But it did not take long where the bass player hooked me into his groove. The guitarist was also locked in jabbing away with various noisy thrusts. They gave plenty of room for their third member to play with his sounds and beats and handle the vocals. Ultimately, this reminded me more of a less extreme Wooden Shjips and was quite impressive.

Cosmonauts - This twin guitar quartet has a 12-string mixed in with a six, which creates that classic ringing sound. But they don't exactly sound like their fellow Californians, the Byrds, but employ a more British sound circa Echo & the Bunnymen era. They have that same Bunnymen psychedelic rock approach that is easy to slide into and enjoy. They had it going to near hypnosis levels, and although these 20-minute sets were generally a little shorter than I wanted for so many good bands, it actually served the Cosmonauts well. In future, I would like to see a touch more variance in their songs, as I believe they have the skill and players to create some more challenging music. Maybe it is there already, as you can only do so much in 20 minutes.

The Growlers - Last up comes the first band that seems completely misnamed. I hear nary a growl all set, but instead way too much reverb. They employ a full time vocalist who sounds like he can sing, but the reverbed voice is lost in the two guitars. This was a serious sonic whiff here tonight, which was too bad as they have an appealing low-key take on psychedelia. Maybe it is even too low key, as I feel I am seeing Jimmy Buffet's stoner kids in a band. This is probably a good band, but I just could not get past their sonic choices tonight.

Quote of the Night: Last thing I heard from gabby people I walked away from so I could focus on the music... "Like, he's from Texas, so he doesn't understand sarcasm".

Richard Pinhas - Semisolid - hBar - Ghosts of the Holy Ghost Spermic Brotherhood - Fast Forty -- Atlas Performing Arts Center - Oct 3 2013

Fast Forty - My annual trek (all of 2 1/2 miles) to the Sonic Circuits Festival has a busy line-up tonight. First off is a one-man band of electronics and percussion with some vocals. The first cut creates a decent atmosphere with electronics and samples, while the second one goes a bit industrial. It's all fair enough, although there is not much visually to cue in on. The third cut adds even more bold variety as it is a protest song complete with lyrics and percussion on a cymbal and hi-hat. Not a bad little opener.

Ghosts of the Holy Ghost Spermic Brotherhood - This trio features two percussionists and one guy on odd horns that feature a sax and a horn similar in sound to what you would hear on 'Brian Jones presents Pipes of Pan at Jajouka'. The percussion is far too much rubbing on the skins creating that annoying noise of rubbing on a balloon. Sure enough, after I make that note, they actually pull out a balloon and make noise with it. I like the horns as they manage to create a mystical bed that is comfortable enough, were the percussion more interesting.

hBar - One guy on flute and one guy on computers slowly build up into some intriguing music while videos show off even slower builds of colors into forms. They played for 33 minutes straight and it never got dull as they managed the pace extremely well and had interesting sonic components that kept me involved.

Semisolid - Ah yes, this is Chester Hawkins, who used to work under the name Blue Sausage Infant, but now that he is all grown up, he is semisolid. Thankfully, nothing else has changed much, as he always managed to pull me in to his fine music in the many times I have seen him here or at the Velvet Lounge. He has visuals, the seizure inducing kind he says, so at times I do close my eyes and drift off with the music. Drifting off is easy to do as he has some nice melodies worked into drones and trippy spacey sounds. Everything flows and is easy to grab on to for the novice experimental music listener or the veteran. His thirty-minute set was a pleasure the entire time and I would highly recommend seeing him some time, when he plays around the DC area. And he did not even need the bonus points I would give him for the Motorhead t-shirt.

Richard Pinhas - I enjoyed his recent album on Cuneiform (reviewed here), so I was looking forward to the guitar stylings he would give to us tonight. I was not disappointed as he quickly laid down several loops of varying tones, while nimbly moving about the frets in clever ways. It was more about the sonic structure than any fiery fingerwork, however. Everything was smooth, but firm with a lot of structure to grab on to. While I was glad the set did not head off into ridiculous watch glancing lengths, this set felt a bit short at 23 minutes. His playing and layering techniques were of the quality, that he could have kept this fresh for much longer. He is well worth a listen to guitar fans who want to explore well beyond the basic sounds.

Quote of the Night: overheard conversation from someone interrupting a long conversation...
"How do you guys know each other?"
"Actually, we don't."

Upcoming Highlights for early October

Burgerama's Cavalacade of Stars comes to town this Sunday, October 6th at the Black Cat... and with six bands, surely there are a fair amount of stars there for your hard earned cover fee. The Growlers headline, but check this out from together PANGEA


Odesza plays the U Street Music Hall this Tuesday, October 8th.


Chad Valley is from the real Oxford (England, not Ohio or Mississippi) and comes all the way to the DC9 on the 9th of October.


Join me at the Living Social venue to see Deep Vally on Thursday, October 10th. Based on this video, I'm hooked!


Menomena is opening for Portland's Helio Sequence on the big stage of the Black Cat, Sunday, October 13th


Jacco Gardner is one of the best things out of the Netherlands since Group 1850. He has won over a lot of people in DC at a previous show. Catch him before he and his band get way to big for the DC9. The show is Tuesday, October 15th.


Noah and the Whale will no doubt be an excellent show at the 9:30 Club on October 16th, but judge for yourself from this video released earlier this year...