Sleigh Bells - Miya Folick -- U Street Music Hall - Sep 7 2016

Miya Folick - This is her first time in DC, well second as she remembered rushing through an airport here when she was 13. It should not be her last based on the fine performance here. She has a powerful vocal style that works in the slower more psychedelic songs as well as the raging rockers that the band coughs up. She has a rhythm section and a guitarist and she adds second guitar much of the time. The sound is intriguing as it has a spaciness, but is not extremely psychedelic, but on the lighter side. But there is nothing light when they kick it into overdrive and sound more like a merging of Penetration and the Reillos, with a punk hard rock amalgamation. Strong soaring vocals stay atop anything this band can conjure up. Songs are good and the crowd takes to them I think. I know I did.

Sleigh Bells - This band seemed to be the rage a few years back. I have not heard as much about them recently, but then again what I hear and what I don't is not at all reflective of what is going on in the scene. They easily sold out this club as I believe they headlined, if not sold out, the 9:30 Club last time around. Tonight, they hit the ground running with intense music and a light show to match. There are pulsating, pounding electronic beats in the mix with guitarist Derek Edward Miller and one touring axeman adding rugged, jagged, attacking runs. Alexis Krauss is third singer named Krauss I've heard and she goes off 180 degrees from Sharron and Allison. She has intense stage presence and can handle the power and pace of the music with crisp delivery bordering rap, but still singing hard and true. I can't get Queens of the Stone Age out of my head, although this may be closer to Nine Inch Nails in spirit and sonics with a touch of pop and hip hop tossed in. It is intense, musical, and a lot of fun live for the sold out crowd. I enjoyed it a bit more from the side of the stage and not receiving the full blast of the too often unrelenting strobes. But if I were younger...

Facebook Grab of the Night:

Porches - Japanese Breakfast - Rivergazer -- Rock'n'Roll Hotel - Sep 4 2016

Rivergazer - Two guys assume the stage, one on bass with backing vocals and the other on electronics, keyboards and lead vocals. Although this immediately reminds me of my distaste for drum machines, it is good to seem them adding their own playing to the beats and backing tracks they employ. Still it seems a bit too artificial at first, although the lush pop elements come through. Thankfully, they do have a few decent songs that make there way in and the vocals are well handled throughout. Not my cup of tea, but where the depth and emotion come through enough, they had something to offer me. The crowd has taken to their sound relatively well, too.

Japanese Breakfast - Michelle Zauner brings along a fine band with her tonight with plenty of guitar, bass, drums, and a wee bit of keyboards helping her bring her brand of pop rock to fruition. After a really long set up where they showed they some how didn't get in for a sound check earlier, they started things off. By the second song I forgot about the delay and was happy to see the band humming along with a tougher style than I expected. Yeah, the pop is there, but it is almost more indie rock or power pop depending on the focus of the song. They are building this set nicely with some really exciting material unfolding. There is almost a cool drone to the songs, but the warmth is there in voice and in the hook. Very engaging set, full of style and substance and the nearly full club was quite into this all.

Alas, I did not have time to see Porches, although I had wanted to see if they were better live than I thought on album. But based on the size of the crowd, I would guess everything worked out well for all.

Devils Walk as Saints - Famous for a Century -- DC9 - Sep 1 2016

by John Miller

Famous for a Century - I thought it might be slow, I mean the Boss is playing at Nationals Park. I count 13 people here at DC9. It is the unofficial end of summer and I guess everyone isn't quite ready to admit it. That's okay, I for one, am ready for it to be over. Just two bands this evening, both local; Famous For A Century and Devils Walk As Saints. The former is up first, a three piece that plays much louder than their parts. I was only able to catch a portion of the first guitar solo but what I heard was good. It is decidedly geared more towards pop friendly rock but the tone and composition are exceptional. Mostly power chords, though occasionally he adds flourishes by way of sweep picking. And as I mentioned earlier, this is definitely radio friendly, however the songs are composed in such a way that each member is allowed to showcase their individual talents in a way that isn't so vanilla. For instance, while most of the pieces are simple time in regard to time signatures, Dave is able to come up with some pretty nifty beats. Vocally, the range is expansive and though it took some time for him to warm up by the end of set Aly was certainly soaring. 

Devils Walk as Saints - Devils Walk as Saints soon follow; closing out the summer. If interested, they are working on some new stuff which, I have been told, can be found at their SoundCloud page. The three piece begin quietly, fuzz envelops the room before a drum fill signifies the real start of the set. After a quick adjustment to their levels, they begin to play some of their newer pieces. Though still radio friendly, they lean less on the pop elements Famous For A Century did earlier tonight. The drums and more specifically, the fills remind me of early Taylor Hawkins. I'm not sure that you can really go wrong with fills. On more than one occasion, their pieces abruptly stop, two of the members giving way to one to play alone. I wouldn't call it a solo more like a bridge but not in traditional sense. As always, everything sounds excellent tonight at DC9 but there is something missing from the set. The vocals are a little flat and there is almost no banter. In this almost empty room, the lack of energy adds this element of tension. I will say that the tone of both the guitar and bass are on point. Both sound excellent. Devils Walk As Saints make a mention of Failure and for a second I thought a cover may soon follow. Alas that was not the case. Though they did the work for me, and perhaps this is biased (it is) I do hear elements of Failure within their compositions; an alternative sound but an attention to detail that was usually lost in distortion of the mid 90s. Though it was quiet tonight, the two sets were a fun way to mark the end of the season.

RECORD REVIEWS - August 2016

BAND APARTE “MEMORY ON TRIAL”

From an opening ditty that sounds like ‘Space Oddity’ to a second cut that sounds like a chillwave band covering the Cramps at Cramps tempo, this LP is full of surprises. The band has chilly synth sounds, but in other spots is quite rocking. They remind me more of early Ultravox, Psychedelic Furs, and other British new wave bands that had enough guts for the punk rockers to get into them as well. The urgency in the vocals is key, yet there is manner in the voice with a fine sense of drama.

Songs to start with:

Creatures of Culture - With Lux Interior style vocals, this is an intriguing pop rocker.

Into the Window - Mysterious swirl of keyboards, wild bass and guitar lines and those lightly intense vocals—magic.

Plastic Face - This one rocks more like the Cramps or the Cravats.

ROBBIE BASHO “LIVE at NETWORK COFFEEHOUSE - 1979”

It is not often I get to write about my favorites from long ago, but thankfully there is a renaissance of sorts for Robbie Basho these days with an overdue reissuing campaign for his formal releases along with a host of attic discoveries and live performances. Not bad for someone who died over 30 years ago and probably sold less records than the Velvet Underground. The recording here is raw and simple but succeeds in showcasubg the guitar sound and the finesse of Basho’s playing, much better than I was expecting. At first, there were several instrumentals, which although nice, it was even nicer to eventually hear some cuts with his distinctive vocal work. Also, the instrumental work was quite varied with classical takes from Germany and Vaughn Williams, along with his western Americana songs, and even some of his Indian interpretations. It is classic Basho and another fine release for the fans, both old and new. But for us old timers, this features the only live versions of ‘Blue Crystal Fire’ and ‘El Cid’ known to exist, which is reason enough to buy it. But I have one more reason… this has the only recording of ‘Girl from Marizod’, which is one of the more enchanting songs in his entire repertoire.

PAUL BERGMANN “STARS AND STREAMS”

Leonard Cohen comes screaming out of the speakers when this album begins. Of course that is metaphorically speaking, as the scream of Leonard Cohen is akin to the screams of butterflies, but the point is that Bergmann’s voice and acoustic guitar folk songs have all the elements of classic Cohen. Everything is really low-key with a slow and dramatic pace that is quietly mesmerizing if you let yourself get lost in the music. There is a touch of harmonium it sounds like, which gives off that eerie vibe that happened in Nico recordings produced by John Cale. It may be a bit too deep and steady to some, but in the right mood music like this is special.

Songs to start with:

No One Tells Ya - The opener grabs you early and I love the fall off the cliff ending.

Stars and Streams - The John Cale like feeling is here and the song is nice.

Always Forever - The vocals push just a bit more here, giving a slightly different feeling.

BLONDE REDHEAD “MASCULIN FÉMININE”

This muscular four record set includes all the classic recordings from this cult NYC band. Since they were from the mid nineties, at a time I spent exploring the sixties and seventies, I missed them. But they were on Steve Shelley’s Smells Like record label and developed quite the following. It is easy to see why with the unique sonic attack they have crafted. It  branches out from the heart of New York’s No Wave scene that also led to Sonic Youth and many more. There is a breezy progressive style with extremely noisy rock moments waiting to burst out. They do all of that eventually and often. The bass is meaty and the vocals dark and deep in a very post punk style. There are enough excellent songs to offset the less essential instrumental ditties. The only real problem I have is that this is a lot to digest in one listening session and gets a bit too dark and pervasive over sustained time. But this is a collection and does not have to be binge listened.

And the really cool thing is that they are performing live at the lovely Howard Theatre on October 13th. Just a three city tour, so this is a rare chance to see something unique and really, really good.

ALEX CAMERON “JUMPING THE SHARK”

This is a mixed bag, although it is very consistent and just may grow on you as it did me. Australian Alex Cameron has programmed music with vocals. I like the songs and his singing is stylish and on point. I just wish the music did not sound like it was recorded in his bedroom. But he is not hiding from that and embracing it AND there are plenty of people who enjoy this. And there were times where there was a strong bit of programming that filled out the songs nicely, so this just may bring in some of the curmudgeons like me. The guitar in the very Tuxedomoon sounding ‘Mongrel’ was something I would have liked more of. These songs are quite attractive and I would love to see him live, although I would wish to know if he had a band or a computer with him on the tour.

And I can find out when he opens for Angel Olsen at the 9:30 Club on Thursday, September 15th.

Songs to start with:

Going South - The cool baritone really brings this one home.

The Comeback - I like the brisk active nature of the vocal line, which stands out nicely in a world with too many slackers.

She’s Mine - The bouncy electronica is actually a highlight here as there is a lot going on.

COOL GHOULS “ANIMAL RACES”

The Cool Ghoul was a horror movie host for WXIX TV in Cincinnati when I grew up in the time where most major markets had TV movie hosts and one specializing in horror films. The concept is as quaint as some of the movies, but holds a very fond place in our hearts for all of us that grew up with this. The Cool Ghouls are not terribly horrific here, but certainly capture the psychedelic music of the times. What is especially nice is the subtle varieties of intensity in the songs. The key first of all is that they have good songs to work with. They can keep it popsike or make it heavier or more jam oriented and there is always the kernel of an excellent song and personality. This record will be easy to listen to for long into a future when Cool Ghouls and other horror movie hosts are museum pieces.

Songs to start with:

Animal Races - The opener gives you a fairly easy going jammer, but with a sharp little song at the core.

Time Capsule - This jangly rock has much more urgency than you might first think—a fine balance of psychedelic drift and intensity all in one.

Just Like Me - Almost a psyche folk style, but it rocks a bit with a powerful popsike hook.

COSMONAUTS “AOK”

I thought I was going to have a strong indie rocker here with the opening cut, but the hint of psychedelia had these cosmonauts ready for blast off by the second cut. There is a fine mix of easy going jamming among slightly heavier moments. The songs have character with some going for interesting hooks, while others just grab a groove and run with it. The sound is good, playing solid, and there is enough to chew on here even for veteran space explorers.

Songs to start with:

A-OK! - There is a thickness in the production with an embracing bass sound that lifts this indie rocker into something bigger.

Doom Generation - Good psyche vibe here, something in the vicinity of the Black Angels, but even more variance in the sonics.

Heavenspeak - This has a sense of mystery in the music as much as the vocals, which is intriguing.

DINOSAUR JR. “GIVE A GLIMPSE OF WHAT YER NOT”

Truth be told, I was not as ferociously in to this band back in the early days anywhere near as much as I was into Hüsker Dü or Mission of Burma and others. But they grew on me enough, so I was very excited about their rebirth (now eleven years long!). And the great thing about this second run is that they still have the creativity to make exciting new music like that evident on this new album. There is nothing new to the formula, just the lightning guitar runs of J. Mascis, the meaty melodic bass of Lou Barlow, and Murf’s strong drumming anchoring it all. The two axemen both add vocals, which have steadily improved over the years and offer many touching moments here. Oh, and do I detect a synthesizer or keyboard or heavily treated guitar? That offers a subtle surprise. But that is a red herring amidst this classic sound, which everyone ought to be familiar with by now. Just suffice it to say that these guys still sound fresh and exciting.

Songs to start with:

Goin Down - The opener sounds like a Hüsker Dü song, or perhaps more accurately, a classic Dinosaur Jr. song.

Good to Know - Liquid guitar melody with lively rhythm section and an easy but firm vocal combine for this snaky song.

I Walk for Miles - I will gladly walk for miles with this 5 1/2 minute cool jammer on repeat. It just goes and goes.

LA FEMME “MYSTÈRE”

I enjoyed this French electronic pop band a few years ago when I saw them in the clubs, but this is the first I have heard from them since then. There are roughly two camps these songs fall into… quality electro pop and widely cast psychedelic folk rock styled as Tropicalia, but fully French in feel. The latter music is stunning, but the former is not dismissible as there are guitars working well in addition to synths and the band’s overall approach keeps these two different styles interchanging a bit (hardly a surprise there). But just when you start working out the patterns, they treat you to an 18 minute closing track that is ambient, dreamy with spacey guitar, and unlike anything before (well it sounds like there is a more La Femme like song spliced in at the end). Yet this just adds that much more mystery to this LP, which is quite satisfying as you float amongst that which puzzles and that which comes clear. Lovely imagery a-work here.

Songs to start with:

Le Vide est ton Nouveau pr nom - This transcends a lush sixties style Euro pop with a mysterious breezy psyche element. Unique and wonderful.

O va le Monde - Another dreamy excursion into exotic locales.

Exorciseur - Catchy song, very modern, but rife with nods to cool songs of many a decade past.

ALDOUS HARDING “ALDOUS HARDING”

This is what I wait for every time I open a batch of compact discs to review for Folkworld: a record that takes me back to the great folk revival period in the sixties and seventies, yet sounds fresh and fully alive today. Aldous Harding has a lovely voice taking off from the likes of classic British voices Mandy Morton and Anne Briggs. Yet, there are Americana touches present in some of the songs although it has a delicacy that maintains the ethereal nature present in the music from the isles. The acoustic guitar is delicate with lovely finger plucked melodies, while there are just enough other instrumental choices to keep you on your toes. A theremin? Why not, especially since the overall chilling depths of classic folk music is present throughout. This is one beautiful record.

Songs to start with:

Stop Your Tears - The opening is jarring in its simple intense vocal approach, classic but with full intent.

Hunter - With a more Americana approach and a nice hook here, this cut could soar out to the masses.

Titus Groan - Just another lovely song with delicate vocals, a sharp arrangement, all named after the strange Mervyn Peake novel.

HOLON “THE TIME IS ALWAYS NOW”

This is a brand of progressive psychedelic rock music that I can simply describe as lovely. This reminds me most of recent work by Kattatonia, not terribly surprising as the man behind this project is Norwegian Ronny Pederson. His assembled cast pulled together as Holon have crafted a fine album that is mellow in overall approach, but with dexterous musical muscle underneath. There has been a fine history of progressive music out of Scandanavia and this draws from that, but takes a contemporary song oriented approach as well. Perhaps it leans more timeless than contemporary, but it manages to sound fresh. It may not quite be daring enough in overall tone for some, but patient listeners will be rewarded with fine musicianship and some long mannered carefully constructed songs. This record will last me many years I think.

Songs to start with:

The Golden Lion - A popsike feel with some bold breaks.

The Times They are a-Taming - A smooth cut with fiery musical moments that shows the taming, but with a wild beast underneath it all.

The Time is Always Now - Fantastic slow building drama to a vibrant, quietly exciting conclusion.

JEFF THE BROTHERHOOD “ZONE”

There is still plenty of room for indie rock, particularly if the flair and guts are there. Jeff the Brotherhood seems to have plenty of both as these crunchy guitars offset the irony and sneer of the vocals. I hear some old Ramones styled melodies in here, but it is filtered through all the tricks that the Pixies and Weezer came up with. The better songs are quite good with but a few sliding into that danger zone of being overly slacker oriented. The ferociously gnarly guitar sound does a good job of keeping this from happening. It is a good sound and it ought to be a kick to see live and on stage. But even if you don’t get a chance, there is some intriguing rock music right here.

And we are fortunate to see this band at the Black Cat, on Monday, September 26th. I’ll be reminding you.

Songs to start with:

Energy - If you are going to name a song ‘Energy’, you better bring it. They do, albeit with Pixies like dynamics.

Toasted - And served with a side of metal.

You - Wow, a heavy droner. I did not expect this.

L.A. SALAMI “DANCING WITH BAD GRAMMAR”

I am getting a lot of interesting folk based albums lately with this just coming in late this month. This work is not from some kooky Los Angeles psyche-folk slacker band, but actually the work of UK based Lookman Adekunle Salami. He has a strong vocal presence that catches you as he pulls a bit back from the accompanying sounds and then cuts into the heart with strong phrasing and focused tone. His flexibility is present, but is surprisingly razor sharp and downright chilling at times. And the music is vibrant and exciting throughout, with a wide variety of arrangements, acoustic and electric, and full of fine little instrumental asides that help color the proceedings, without dominating. If anything, more diversity could be employed as it get fairly straight folk toward the end. Otherwise, this does not fit comfortably into any category as there are rap and Americana moves that make occasional appearances among this diverse potpourri. I generally like the more stark folk songs with acoustic guitar and voice, but a few shock elements added in were quite welcome. L.A. Salami is an artist for those who seek out the smarter music in life. But even if you turn your brain off, there is plenty of ear catching melodies to flow into your body.

Songs to start with:

Gong Mad as the Street Bins - A quirky folk song with loud noisy electric guitar blasts—hits my sweet spot.

No Hallelujahs - This is a masterclass on how to take vocals up a couple of notches from the pack.

I Wear This Because Life is War - From that mythical western land that David Lynch filmed.

SOPHE LUX & THE MYSTIC

Sophie Lux achieves a sophisticated lush sound in the way she constructs this inventive brand of pop music. It is not quite Kate Bush, but it has a nod in that direction. The vocals are a bit more straight forward, attractive but penetrating. The music is big and only bold at times, opting for a beautiful yet intense atmosphere. This is not for that simple night of rock’n’roll, but when you want a challenge, that still retains warmth and charm, this album just may do the trick.

Songs to start with:

Arise & Awake - Gutsy to open with your longest song, but this six minute cut keeps the drama strong throughout.

Love is Waiting - A surprising bluesy vocal approach on top of a bouncy pop song somehow congeals into a vibrant taste.

We are One - Reminds me of the grandiose LP by JD Blackfoot, ‘The Ultimate Prophecy’.

M SOUL “THIS TIME THE GIRL’S IN TROUBLE”

This is not exactly country music, but it is a brand of Americana folk rock that is somehow too country for me. I think that is due to the songwriting style, which has a bit of sing song embellishment melodic style that reminds me of country music. There are pop elements here that remind me of a lot of 1970s and 80s acts I don’t dwell on much anymore (Eddie Money, Joe Walsh solo LPs). None of them bad, just a bit overdone in the song patterns that continue to swirl around decade after decade. I am not a fan of some of the phrasing although the hooks here can certainly find an audience, just not this audience of one.

Songs to start with:

This Time the Girl’s in Trouble - This has that mid seventies Dylan rock style to it.

Loving Debt - Brisk musical backing is nice, although the vocals are an acquired taste or not.

Fat Bob Blues - A decent bluesy rocker.

MYRKUR “MAUSOLEM”

I felt with the very name Myrkur, that this would be one band I would enjoy. This is actually a one-woman band featuring Danish chanteuse Amalie Bruun. They say to file this under black metal, even though it is exclusively vocal arrangements and piano with an increasingly present acoustic guitar. But in the same way that the 90% acoustic Comus has legions of death metal fans, Myrkur will certainly appeal to the hard sounding folk who like chilling gothic arrangements, even if Myrkur are not as heavy as Bathory or Emperor. The vocals are lovely and composed throughout with songs that will linger for some time. They call this an EP, but there are nine find songs here in all and nine that I will be playing for those special deep introspective times.

THE PARROTS “LOS NIÑOS SIN MIEDO”

There are lots of garages being built these days, particularly around the sound of rock bands. The Parrots take on this is to keep it short and loose, a bit like a more retro Guided by Voices. When I think of the music from Spain, I don’t think of great garage rock or psychedelia, but this is one of those unique times that something interesting has come from that part of the world in this genre. It starts a bit slowly, but the band identity of this trio begins to form just before half way in. I think there may be a bit too much reverb, which is often used to mask deficiencies in song or voice. It’s  not overly bad here, but it would nice to see a bit more sonic variety in the songs, reverb wise. Still, this one is a lot of fun for grungy psyche fans.

Songs to start with:

A Thousand Ways - A bit slower with a good groove establishe.

Jame Gumb - The fictional serial killer from ‘Silence of the Lambs’ gets a song worthy of the spooky scenes from the movie.

Windows - A good grinding psyche rocker here, thick sludgy goodness.

PORCHES “POOL”

Smooth as Bogie in a bar, comes this latest take on electropop. Alas, I have had my fill of this scene long ago and am not best suited to discuss whatever merits are inherent here. What it lacks, is guitar, violin, cello, or some sort of instrument to cut into the electronics and make it more palatable for me. The drumbeats are clean, electronic and sanitary, and of course that means something negative in my book. The vocals sometimes can transcend this all, but here are done well, but are too fitting with the safe musical approach. After it was all over, I checked out a good review of this. It said he pulled away from rock and murky folk with this electronic pop record, recorded in his apartment. He can call me when he wants to pull back.

PTARMIGAN “PTARMIGAN”

I was disappointed that this was not the rousing comeback album of a great progressive folk band from the 1970s, but was not disappointed that some of those same quality elements are present here. Actually they remind me more of the Decemberists, although that band also hearkened back to the earlier days of folk-rock. This will not work for strong roots music fans as there is there is a gloss and shimmer to the arrangements so I believe fans of slick high powered pop rock will enjoy this more. I found it an interesting hybrid that was well worth exploring at least once.

Songs to start with:

Magician of Sorts - It takes a magician of sorts to pull off a fine folky rocker with a crazed solo at the end—a real rabbit out of the hat.

Peaks - Starts strong, goes quiet, builds back up, yes fine dynamics at work.

O Zephyr - A bit more acoustic, but plenty of big moments come into the arrangement.

SLOW DOWN MOLASSES “100% SUNSHINE”

With the album opening with ‘Faeries on High’ and closing with ‘You Made Me a Ghost’, my interest was piqued. And the nine songs in between offered a fascinating sound with the combination of that driving British sound that Ride helped innovate along with a more dreamy pop style. The vocals are subtly attractive with a good range beyond the one dimensional style that you may expect with music in this neighborhood. The musicians cook up some interesting patterns that are not anywhere near as slow as molasses, but with plenty of room for drama. And for as serious as the music is, it is great that they conjure up a title for an instrumental dittie like ‘Terminator III vs Amon Duul II’. Brilliant.

Songs to start with:

New Release - A great driving rhythm section and shimmering, but tough guitars allows room for intriguing vocal flourish.

Moon Queen - Catchy song, but thick with interesting musical churning underneath.

Levitation Sickness - Dreamy yet crisp popsike song.

TEDDY BEARS “ROCK ON”

There is a lot of energy going on here, but plenty of thought and variety of sound, too. The vocals are a wide mix or world, rap, R&B, while the music is about as varied. Dissecting it is not as terribly important as I would rather just enjoy the surprises around every verse and if I were a few decades younger, I would happier still paying less attention to writing about it and instead just hitting the dance floor. But you can think and ponder on this music as there is much creativity here. Nicely done.

Songs to start with:

Rock On - Not the David Essex song, but an interesting light rocker with soft vocal harmonies and a deep hip voice underneath.

Broken Heart Beat - Lots of vocal contrasts weaving around the electronica and guitars.

Sunshine - A sort of twisted electronica rock’n’roll song with world rap moves. And there is much more as they manage this fine kitchen sink of a song.

THOMAS WADE “BLUE COUNTRY SOUL”

The incredible lounge sound throughout much of this had me really wondering about the album title. But their are some Americana tinged songs that are still more blue eyed soul, than country soul. There are some country moments and even steel guitar, but it is slick and even a bit too ethereal. If anything, there is more early 1960s rock’n’roll, which has a countrified base. I am surprised how interesting this is for me and if I can enjoy this, I am guessing many more will really love it.

Songs to start with:

Funny What Makes You Cry - I hear a bit of lounge sound now and then, but this is the real deal.

Am I that Easy to Forget - Still lounge, but a good rock guitar solo and doo wop backing vocals.

We’ve Got a Lot to Unlearn - Fortunately Wade has not unlearned classic rock songwriting and arranging skills.

WHITNEY “LIGHT UPON THE LAKE”

Slick pop is something I could not stand as a young adult, but it has its place more for me these days. Whitney is worth a listen to see if they fill that occasional need for something clean sounding with hooks that dig deep within the skin. Some of the time they hit all the right buttons thanks to some sharp and clever guitar runs. The vocals are a little one dimensional and treacly for me and I would like more variety there. But the songs are nice and some are catchy, so pop fans should want to have a crack at this. There likely will be something to like and real pop fans may dig into every bit of this.

Songs to start with:

No Woman - The opener almost turned me off, but with great lead guitar and some big brass bursts late on, it ends up a creative keeper.

Dave’s Song - More intricate guitar with a nice rhythm to the vocal lines as well.

Red Moon - Snappy instrumental bit with nice burst of horns of plenty.

JAH WOBBLE ”EVERYTHING IS NO THING”

It is great to see founding bassist of Public Image Ltd. Jah Wobble still active. Not only was he a founding member, he brought a booming bass sound to the front of a band’s sound like none before and few after. It is as much do to that upfront presence as to the quality of the playing that makes Jah Wobble always worth listening to. Jazz is the starting point on this record, but this band’s feet are firmly off the ground and soaring off into other progressive realms with funky songs and post rock territories explored vigorously. Everything is no one thing here, as the songs have many focal points from bass to drums to trumpet to synthesizer to piano to… etc. It is a busy record, but not confusing. It is far more active than relaxed, yet the smooth assertiveness has a certain calmness to it that pulls you in without overwhelming.

And you get the first chance in a long while to see him live when he comes to the Rock’n’Roll Hotel on Friday, September 23rd.

Songs to start with:

Cosmic Blueprint - The opener welcomes us with that big bass sound before going off on a modern funk exploration.

Cosmic Love - The female vocals are strong and take things to a lounge jazz spot, only this lounge is hopping.

We-Me - Gutsy, jazzy instrumental with wailing trumpet runs and that signature bass.

PREVIEWS of COMING ATTRACTIONS - Early September 2016

This is the final month of me previewing and covering shows. What will this month provide?

Humming House makes plenty of houses hum but Friday the 2nd finds them in the Jammin Java house. Join them.


Have some Japaneses Breakfast on Porches or see both bands at the Rock'n'Roll Hotel, Sunday, September 4th.



Richard Bona comes to the Howard Theatre on Tuesday, September 6th.


A couple of hot bands from not so long ago are here to compete for your attention on Wednesday the 7th. You can hear Sleigh Bells at the U Street Music Hall or Of Montreal and Ruby the RabbitFoot at the 9:30 Club.




Valley Queen comes up to meet her loyal subjects at Gypsy Sally's on Thursday, September 8th.


LVL UP heads one level up on stage at the DC9 on Sunday, September 11th.


Blood Orange turns the Lincoln Theatre ruby red when they squeeze into town on Tuesday, September 13th.


Haley Bonar with excellent locals Luray make music at the Black Cat on Wednesday the 14th.


Angel Olsen descends from the heavens to play her music along with Alex Cameron at the 9:30 Club on Thursday, September 14th.

Pigpen Theatre Company - Morningsiders -- Jammin Java - Aug 30 2016

by John Miller

Morningsiders - Sounds great tonight, drums especially. They are loud, vibrant, and sharp. For a band that has a fiddle, the drums are quite present. Normally, this genre tends to have softer, subdued percussion. There is a sense of something improvisational as Morningsiders’ set doesn't appear concrete. Worried their audience isn't inebriated enough to truly enjoy the faster bits, they ask for suggestions. However, without much response they insist on something slower and do a cover of one of Stevie Nicks' softer songs. The pieces feel more approachable and for that matter, appropriate for the venue. I can't imagine many folks come out to Jammin’ Java to really jam. Crowd participation can be difficult, so I don't understand why lead singer Magnus continues to ask for the crowd to clap along. I can't imagine it's any easier to play with a room full of people that can't seem to find the beat. The drummer is even trying to cue us but after a moment of failure it appears we have all had enough. Though what really sticks out is the brevity of their compositions. These post-Americana bands tend to be somewhat long in the tooth but everything is quite tight tonight. I'm not sure a song has gone over four minutes. This is refreshing. In addition to the spectacular drums, far to the right of the stage there is a trumpet and occasional keys. It's not often that I hear trumpets with this genre and it is a welcome edition. I'm surprised that more bands of this ilk don't incorporate more brass as it seems to be a natural fit. In no way is it overpowering but punctuates the pieces, adding occasional soft rock flair. Lastly I would be remiss not to mention the crowd work. It was exceptional, brief and funny. For what it’s worth bands booked at Jammin’ Java are generally very good at this.

Pigpen Theatre Company - Like Morningsiders before them, these players are from New York City. Playing together for almost a decade now they have received some serious praise not only for their music but also their plays. That's right, they moonlight as playwrights. Just thought that was beyond interesting. They begin with a longer composition, punctuated by a seven man harmony. What they lack in fiddle, they more than make up for it with a banjo. Though I imagine that with the amount of people on stage it won't be long before one makes an appearance. It's difficult to keep track of all the instruments; well it's not that difficult, but in my defense there is just an abundance of stuff. A cover of Signed Sealed Delivered follows soon after the instrumental acrobatics, complete with dueling guitar and keyboard solos. The lead guitar sounds phenomenal. In fact everything sounds really good tonight. Considering the amount of musicians and variety of instruments, the sound guy did an amazing job. And keeping with their theatrical leanings, Pigpen Theatre Company breaks the forth wall so to speak. Slowly making their way off the stage they set up near the bar for a few songs. For the most part we just sat and watched but the unpredictability of such a performance is the most exciting part. It's clear that Pigpen Theatre Company are more confident but that can be said of the people that surround them. During a quick break two men ran past to use the restroom. The first two songs on the floor were accented by an accordion adding a certain melancholy to the quiet. Not to knock Morningsiders, but this is the type of audience participation that works; though I can't really fault them for our lack of rhythm. Returning to the stage, they finally give us a taste of the music they are composing for one if their plays. There is a clear difference in style. It's so much more about evoking a feeling rather than the traditional. It almost sounds if they are running through a medley; sadness, dread, nostalgia. I always second guess coming to Jammin’ Java and I am more often than not pleasantly surprised with interesting and varied performances; tonight was no exception.

Hockey Dad - Muuy Biien -- DC9 - Aug 30 2016

Muuy Biien - I am immediately struck at how the first song's bass line is that of the Stooges '1969', which was easy to catch as that song was played about four songs before this Athens Georgia quintet hit the stage. The vocalist also sounded like he owed a debt to Iggy Pop, although doesn't everybody? But the twin guitars were doing much crazier things morphing these songs into some really intense art punk. I heard elements of MX-80 Sound and the Cravats and others I dare not say as this band was heavier than most of the artier bands of the past. Perhaps more post first wave bands like Savage Republic and Drive Like Jehu are better comparisons.  The rhythm section was ferocious as the guitarists either matched the pace or snaked around it with inventive runs. The singer was up to the challenge of keeping pace and these songs were ultimately quite fresh and alive. The breaks were minimal as the music just kept coming, but never quite from the same angle. Unique, really fun, and a receptive dance floor made this opening band's set a real treat.5

Hockey Dad - From the land of Aus, comes yet another guitar-drums duo. I nearly always find this a case of needing one more cook in the kitchen and tonight is no exception. The music is simple and quite effective with powerful guitar riffs taking on pop punk melodies and a drummer that bangs away like he knows there is not a bass player of keyboard. So they do their best to fill the void with loud busy playing. And the songs are good with the guitarist handling all of the vocals. They pull it back just a bit from time to time, but the intensity and sense of fun is there throughout. The crowd is still moving and having a good time, so they clearly know how to push the envelope to create a dynamic live experience. Yet the sound was little harsh, which may be due to the lack of a bass player holding it down. But if you like this minimalist approach, these guys are the real deal.

Facebook photo grab of the Night... or watch out for those commas.

Prinze George - Higher Education -- Rock'n'Roll Hotel - Aug 20 2016

Higher Education - There is some irony in the band name, but I am not really in the mood to find it. These three guys are from College Park, MD and I am seeing them for the first time. They start off with the usual skapunk sound with far more ska than punk. After a few songs they switch off between bass and guitar and things liven up considerably. There is more heft and creativity in the guitar and more dynamics in the song. I would advise them to keep the 21st century hippie on bass, where he is quite good and his brother on guitar, who has a lot more to offer in fleshing out a song. Good warm up set to a very large and very young crowd.

Prinze George - From Brooklyn, but with a couple of local born and breds, comes another trio that is far from power and instead offers intelligent pop music. There are vocals, drums, and one guy to handle various keyboards and guitars as needed. I was expecting a bouncy Saturday night pop rock fest, but instead got more subtle shadings of electropop. Even the vocals showed a delicacy that commanded more attention than someone just belting out lines to dance to. The crowd was quite happy with this sound and many were fans already. But tonight, Prinze George probably converted a few more and left me more impressed than not.

Photo Grab of the Night: Just a little billboard foreshadowing where I hope to be this Thursday.

AJ Smith - Bailen - Grace Fuisz -- Jammin Java - Aug 18 2016

Grace Fuisz - This evening's entertainment starts out with the basic solo singer songwriter on vocals and guitar. It is electric, however, so that is a slight twist and the added oomph in the sound is helpful as the playing is pretty much worked around basic chords, delivered quickly. Her voice is more the star with a decent range and tone. The songs are good and a couple stand out from the pack, so all in all, it is a pretty respectable set and a good way to start off the show.

Bailen - And now the full band portion of the evening begins with a family band from New York. We have a rhythm section manned by twins with their sister on acoustic guitar and vocals. They also add harmony and occasional lead vocals, which are quite amazing. Sure the family connection may help with years of experience, but they are quite a force when together. Somehow their parents let them down in sibling quantity, so they had to recruit an unrelated keyboardist who adds some subtlety to their music. And their music is not as quiet as I first thought it may be as they take their pop forms with a touch of Americana and really push it forward into a strong folk rock sound. This musical thrust pushes the vocals even higher and they prove they are up to the task as they really cut loose. But pull back they do, especially on a solo bass song and vocals (well they lied, there is a bit of harmonica, too). The crowd really got into the set more and more as it unfolded and I can see this band doing quite well with a wide variety of supporting artists. And with good stage patter, personality, and humor, they should continue to win a lot of support along the way.

AJ Smith - Also from New York comes singer songwriter AJ Smith with a band that has the same approach as the last band instrumentally with three voices, although the harmonies are more subtle here. Not a bad thing as Smith has a set of pipes that will rattle the framework. He also has a nice fingerstyle at work on his guitar, which he showed off solo for the first half of his opening cut before the band sped on to build the sound. The songs are attractive with a strong accessibility but enough to chew on if you want to delve into them. The crowd trends young and is quite appreciative and enthusiastic and I see nothing to fault there. Again with a positive personality, good songs, exceptional skills, this is the formula for a fine night out in the clubs.

Facebook Grab of the night: Richard Thompson posted this of his good pal, Pentangle's Danny Thompson getting an honorary doctorate from the University of the West of England. Danny's comment... 'well it took me 60 years but I saved thirty thousand tuition.'

PREVIEWS of COMING ATTRACTIONS - Late August 2016

OK, I admit it. This heat has got me down and hiding out at home more than I would like. Hopefully I can venture out more in the next couple of weeks. Here are some possible destinations.

No Small Children are at the Bossa this Wednesday, the 17th. So who is? Check out the video and see.


Sneaks come to the Black Cat, quietly through the backdoor (well they all do) this Friday, August 19th. But you can try out Big Sam's Funky Nation at the Hamilton that same night. Hopefully he doesn't bring his entire funky nation.



Prinze George awaits a royal reception at the Rock'n'Roll Hotel this Saturday. OK minions, be there. Anti-monarchists are welcome to take in Vanessa Silberman that same night.



Seal soulfully takes stage at the Warner Theatre on Wednesday the 24th.


Jared & the Mill hit the Jammin Java On Sunday, August 28th. Hopefully he won't bring the whole... yeah, yeah.


Hockey Dad will not take a Bent Knee for anyone. See the former at the DC9 and the latter at the Black Cat. Both shows happen on Monday, August 29th.



Finally Pigpen Theatre will bring sty to you at the Jammin Java on Tuesday August 30th.

X -- State Theatre - Aug 12 2016

by John Miller

X - Under the Big Black Sun was my partner; it was appreciated. Driving cross country on an ill advised trip, this along with a 80's pop compilation (purchased somewhere in Arizona) kept me distracted. On regular rotation until stolen, it was then purchased again, stolen again, and purchased once more last year, though I did so digitally. The spaces, the pauses, and writing; with each loop, something new revealed itself. Throughout the evening X would do much the same; Exene let us know early on that they would be adding a fifth member so they could try something different. Bonebrake hopped between both the drums and xylophone. It never felt like a necessity but with each trip, a compliment. Zoom, much to the delight of the very large crowd, brought out his saxophone on a few occasions. I was surprised with the response the instrument received, never figured the aging audience would be so excited for a woodwind. Though the loudest response came from Los Angeles; the call and response was the loudest I have heard sense I began writing here. And though John and Exene seemed to be less experimental; both sounded excellent. Perhaps the most intriguing part of the evening was the ease with which both Bonbrake and Zoom played. Zoom especially. Often I would find him staring out into the crowd, occasionally peaking down between significant changes as his hand would run the neck of the guitar. It was all so easy. Bonbrake on the other hand was relentless during The Hungry Wolf; everyone stepped aside as he pounded the toms.

 

Much to my delight, X actually ran through much of Under the Big Black Sun. I would be remiss to say that I was hoping/praying X would play Come Back to Me. The song, one of my favorites, is an amazing piece of writing, especially the third verse. “Florida souvenirs” and “the space in your steps” are these super specific details that Exene recalls of her late sister, yet are, in their own way, relatable despite their inherent specificity. About half way through, X played it. They added a fifth member and Bonebrake relinquished control of the drums to play the xylophone. An inspired choice as the instrument added to the dream-like quality of the song. Exene could have sung about the way her sister sounded as she walked across their house, but it was the literal spaces that she knew so well, the absence of sound, the nothingness. And that emptiness gets me every time. It reminds me of the way my father's shoes sounded against the wooden floors or the way he would pick up his keys and twirl them into his hand. Small, auditory, details, like fingerprints. Amazing. My only complaints from tonight are the unrelenting heat of The State Theatre and their continual feedback issues, which seem to be an issue with each show I see here.

The Go Go's - Best Coast - Kaya Stewart -- Warner Theatre - Aug 5 2016

Kaya Stewart - Hmmm... blonde pigtails, skimpy outfit, energetic moves, an appropriate look for someone whose latest single is 'Sleepover'... I seem to recall that these are the types of acts that I have been managing to avoid all my life. Ergo, comparisons are invalid. But I think you get the picture. Drums, bass and backing vocals, guitar, and plenty of lush backing tracks, especially on the more ballad like numbers. It is fine for what it is. The crowd is getting warmed up.

Best Coast - This is the first time I am seeing this talented duo, augmented by three additional musicians. Clearly the best coast is the west coast as they exude well crafted California pop music, yet with a lot of energy and even some droning rock moments. Singer/Guitarist Bethany Cosantino has also worked on some fascinating musical projects on this coast, so there is plenty of skill and thought underneath this extremely catchy music. There are clearly many Best Coast fans here with the audience excitedly reacting to various songs. Although this is made for a moderate sized club, they have 2-3 guitars going at all times and the intimacy is able to reach into the balcony or the back rows of the floor. Strong set with nothing out of place, aside from the drummer's towel, and I would be happy to see Best Coast again any time.

The Go Go's - While my brother is in punk heaven, otherwise known as the Rebellion Festival in Blackpool, England with seven classic LA punk bands to choose from, among just about every working UK punk band; I get to see the original drummer for the Germs. But of course Belinda Carlisle went on along with her mates to form one of the more important bands in rock history. I have to credit the Go Go's success for allowing me in my writing to not even bother with needing to mention that 'this band has a female drummer' or 'two women of the four members', for now the success of the Go Go's as an all female band is fully entrenched into rock history and the present environment. Along with their predecessors such as Fanny and Girlschool, and the Runaways to their peers: the Raincoats, Slits, and Ama-Dots, they have established grrrrl power forever. So it is nice to see a fitting well organized farewell tour.

Tonight it is the four members we all know, lacking only their bassist who was engaging in recent legal battles now settled. They are in good spirits, look good, sound great, and take over the large stage, even if they have teeny amps that could fit in a station wagon (well aside from the standard Ampeg bass amp). The vocals are still so powerful and unique with Carlisle's strong tones taking the lead and 2-3 voices behind her offering up that signature Go-Go's harmony. Gina Schock, of course, has the beat and they bang out their many recognizable songs. They slow it down for a couple, but also liven it up by going back to their punk days from 1978-80 with a couple of cuts that feature just a bit more guitar energy and gutsy lyrics... 'before producers got a hold of them' quips Gina. If you are like me and have somehow missed them over the past 38 years, you have a few more weeks and the good news is that they can still deliver the goods.

Quote of the Night: My brother is in Blackpool as I mentioned and as he was trying to hold position up front for the UK Subs set, a pushy spiky haired punkette repleat with studded leather gear including studded gloves, elbowed her way in asking him... "do you want a face full of spikes?" An appropriate retreat means he lives for two more days of great music. He is having a great time. Here are a couple of photos of the Descendants and Discharge.

White Lung - Greys -- Rock'n'Roll Hotel - Aug 2 2016

Greys - A Toronto band starts off this east/west Canadian showcase and there is a big crowd awaiting. They were so polite as the band commented, even as the band cranked out some intense 80s styled hardcore that was modified into something a bit noisier with some room to breath. That ability made this more interesting than it might have been. Equipment struggles slowed a bit of the momentum, but there were some nice highlights when the guitarists worked out some unique noisy passages that were both intense and uniquely quirky without being overly arty. Effective and interesting.

White Lung - This is my first take on this popular Vancouver quartet. I have heard comparisons to Priests, which is certainly in the ballpark here. White Lung has a unique take on hardcore punk with the standard line-up of vocals, guitar, bass, and drums. What is fascinating is how the instruments operate such a separate sonic space, yet cohere so well. The bass line is a low rumble that starts at your feet and causes full body vibration. The drums are used to deliver fast body blows non-stop and rapid pace. The guitar has that compressed higher end fuzzy sound floating around your head as it churns out riffs and lines that propel the melody, again at pace with the right balance of flair and energy. And that leaves plenty of room for Mish Way to bore into our heads with her stirring vocal style. It is a bit like Pauline Murray of Penetration with a band that somehow has a sped up post-early Banshees sound. It is fast, only moderately furious, but intense and focused. White Lung is a reminder to the old and new and anyone in between whoever liked punk rock, that there is plenty of fresh ways to bring it.

Photo Grab of the Night: Speaking of old punk rock... Linda Ramone had a tribute event for her late husband Johnny and his band the Ramones on July 24th. They were able to get most of the cast of "Rock'n'Roll High School" there for their first ever reunion! I still remember the Dayton debut at a drive-in theater--great movie. Pictured is P.J. Soles, Dey Young, (Director) Allan Arkush, (Producer) Roger Corman (he is 90 years old!), Linda Ramone, and Clint Howard. Vincent Van Patten and Mary Woronov were also there. They all looked ready to pogo.

The Kickback - Cold Fronts -- DC9 - Aug 1 2016

Cold Fronts - I am getting old as I forgot I had a show scheduled tonight until after 9:30, so apologies to Skyline Hotel for missing their set--they were covered by John Miller for this site in January.  And speaking of recent coverage, I caught this Philadelphia band only last March. I was not sure I recognized them and one of the reasons was that they were down to a more respectable two guitar count in front of their rhythm section for this show. And the lead singer even sheds his guitar once so he can sing among the crowd including a brief sit at my booth. They are rocking well again tonight and I detect that same in between rock style that is just a bit too tough for power pop and a bit too refined for garage rock. So this music is thoroughly modern rock with nods to all the great offshoot genres from the past. Songs are decent and a couple really snapped me to attention. The crowd dug them and they were having fun, so it all worked out quite well tonight.

The Kickback - I am happy to finally catch this Chicago quartet who said they have played DC about four times this past year. With a local soundman originally from Chicago and even myself living there a year, it is time for some serious midwest rock. They take the rocking start to this evening and ramp it up even further with some really ferocious moves. Yet, they pull back frequently to reveal some clever songcraft as well. Of course, when they announced that the second song was going to be about overuse of steroids in Professional Wrestling, I knew I was hooked (even though it sounded like it had nothing to do with that whatsoever). The stage patter was well above average as they showed a quirky sense of humor that even at its oddest, worked very well to keep you on edge to some of their more jagged moments in their songs. It all came together smartly and powerfully and the crowd was clearly in to it on this steamy Monday evening. If you can imagine a more refined Guided by Voices, I think you can conceive of what the Kickback come up with. But try them out yourself the next time they come to town. It may not be long.

Quote of the Night: From the Kickback's lead vocalist... "This song is about my parents getting divorced. It's also our most upbeat number, so if you dance to it, it's funny for everybody."

RECORD REVIEWS - JULY 2016

THE BESNARD LAKES “A COLISEUM”

When I reviewed this band’s previous record, I liked their cottony sound but found their overall approach rather slippery. There are certainly similar elements of this in the opening cut as the voices drift off into the ether, yet there is a profound musical thrust underneath. They play with the popsike form stretching it out, pulling it back, reexamining the purpose of a song and come up with some interesting shimmering nuggets here. There are degrees of intensity where the vocals stay clean and focused while the music twists around, grabbing on and shaking out the song. It is a unique sound and one that has some immediacy, but with room to grow while fully appreciating what is going on here.

Songs to start with:

The Golden Lion - A popsike feel with some bold breaks.

Towers Sent Her to Sheets of Sound - Sheets of tricky psychedelic music.

Tungsten 4 the Refugee - A rocking cut to close out this interesting LP

BIBLE PILOT “GET HUMAN”

From Phil-A-Dell-Fi-Aye, comes this six song EP. It has been a while since I heard these guys and still have not caught a show, but they play the kind of electronic music that I want to hear. Long time readers know how rare that sounds coming from me, but basically they have big bold melodic thrust a bit like Goblin. They cite Gary Numan and Jane’s Addiction as influences, which are accurate enough to give you an idea of where they are headed. The vocals have a good post punk intensity to them and go off in search of space as well. Thoughtful, energetic, and well put together. This was mixed by famed producer Scott Colburn. I may be the only music writer who actually saw Colburn’s early band ‘Killing Children’, twice even.

WYATT BLAIR “POINT OF NO RETURN”

You should be careful with album titles, at least for old timers like me who are constantly trying to get Kansas’ song ’Point of No Return’ out of my head. I am not happy it is back. Fortunately, these songs are snappier power pop numbers, so Kansas is pushed to the back of the memory… for now. When Wyatt Blair’s songs work best, he has crunchy pop moves like 999, when not it is a bit more like Loverboy. Although there are fans in both camps, I prefer the edgier pop cuts that don’t quite hit the mainstream. This does not quite work on the whole for me, but it has ambition and its own unique voice.

Songs to start with:

Trouble - Ah, a shoegaze sort of epic that reminds me of Mono—the band, not the disease.

Cruel World - Kind of like you are having a reggae dream in this one.

No Surrender - This has that British ambulance sound in the guitar. I rather like that.

COTTON MATHER “DEATH OF THE COOL”

This veteran Austin band is back with 64 songs based on each hexagram of the I Ching. That is a whole lot of writing and it is not going to come at us a all at once as there are eleven songs on this first installment of the project. As heady as this all sounds, this is a fine pop album that starts off with power, but gets a lot quieter as it goes onward. Ambitious? Yes. Overreaching? Perhaps, but it is a gutsy project that would take too long to study to see exactly what depths of understanding these songs have with the I Ching. And it is fun listening while we await that verdict, well down the road.

Songs to start with:

The Book of Too Late Changes - Keith Moon lives at least in these beats behind (or in front) of a cool Who-like power pop cut.

Close to the Sun - A classic indie rock sound but a song as fresh as today.

Queen of Swords - A fine piece of pastoral pop, strings, piano, and a Ray Davies feeling here.

DIGGING ROOTS “AK 47 PLUS…”

For once I got my geographical feel for a song completely incorrect. While on the right continent at least, I heard a distinct New Orleans flavor to the music of this Canadian husband and wife duo. I actually make a lot more mistakes like this since I am willing to admit and it will only get worse as world wide communications are as wildly open as they ever have been and the history of music in the 20th century and beyond offers anyone a host of styles to emulate, combine, and incorporate. Ultimately there is a lot of blues in here amidst rock beats, reggae lines, and other R&B moves and pace. it is performed quite well.

Songs to start with:

AK 47 - Kind of psychedelic funk R&B

Clumsy Lover - Vocal line anything but clumsy and the music cleverly snakes around it all.

It Won’t be Long - They can even make a snarly vocal easy going.`

DYAN “LOOKING FOR KNIVES”

This is pop music of the mannered variety. Very steady, very assured, with nary a note out of place. As such, it does not quite engage me as much as I would like. I can see this drawing in a solid segment of the modern pop world, but the drum machine beats and soft edged pop melodies do not grab me like I would like. The vocals are also low key, but of a nice quality that sometimes turns into something that will stir up the emotions a bit. They add a little shoegaze late in the game, but it is still on the light side in keeping with the floating ethereal qualities of their shorter pop songs.

Songs to start with:

Days Upon Days - Bright and sunny and it briskly reminds me it does not last days upon days.

Aging - A relaxing guitar based cut where you can kind of feel yourself aging.

Trouble - Ah, a shoegaze sort of epic that reminds me of Mono—again… the band, not the disease.

FUTURE GENERATIONS “FUTURE GENERATIONS”

his well named band plays modern electro pop with a bite. The sound is bold and assertive so rockers can get into this more than others in this area. But you really won’t be rocking out, as this is assertive pop music that has a thoughtful base. It is strong in execution and can hold its own on stage with the rockers. You will want to have that head bopping with a smile posture through most of this. I put this firmly in the likable camp, but if you are a fan of the style, you will probably like this a lot.

And you can catch them live this Friday, August 5th at Tropicalia on U Street.

Songs to start with:

Stars - There is some bounce in the step and a highly attractive vocal line.

You’ve Got Me Flush - Strong rhythm and undulating guitar wrapped around the vocals.

Coast - Bigger vocals to match the music.

GRIEVING “DEMONSTRATIONS EP”

Just five songs to sample here and although it is a tough brand of earnest punk rock, there are some indie moves here and some emo in rather long songs. It is effective enough, although not something beyond what I feel I have heard enough of in my life. If you are not oversaturated on this, then check these guys out. The best cut for my money is ‘Ownership’. That has some guitar heft and some nice style shifts here. I have to conclude that this Cambridge outfit is a lot better than others playing this style with their creative shifts they employ.

GRINGO STAR “THE SIDES AND IN BETWEEN”

I have enjoyed Gringo Star’s live performances here in DC for many a year. They manage to capture their spirit and energy here on this record with ten songs of snappy popsike. Don’t think light, though, as these guys have some sharp rock moves and a variety of arrangements, both playful like a Fairground or in a deeply orchestral mode. I love their variety, yet the nasally vocal style keeps this unified and attractive. Gringo Star are still one of those extremely likable bands.

Songs to start with:

Still Alive - A robust drum beat and more sporadic instrumentation gives this a special edge.

Knee Deep - A nice Black Angels vibe with this droning psyche meditative piece.

It’s You - This is almost South American psyche, or perhaps psyche from the ninth continent.

GUTS CLUB “SHIT BUG”

This has a bit of that rural Karen Dalton feeling, but lacks the magic. It veers toward a laconic and laid-back sound with unique female vocals. Different, but not terribly interesting to these ears. And a laid back style coupled with a steel guitar is death for me. I thought the six and half minute ‘Burn Pile’ was lasting about twenty minutes. The vocals are not smooth either, which could be dramatic if the music did anything. I hear this is called weirdo country. That is about right, but it had me wanting to run to a sequin country act at the Opry. Nah, this is better than that, but I think this is destined for a very limited audience, and one I don’t want to hang with.

HELIOTROPES “OVER THERE”

When you review a lot of records, it is good to mix it up between edgy primitive music and smoother beautiful styles. At least that works for me. Once in a long while you get elements of both. Heliotropes leans a bit more toward beauty, especially with the lush inviting vocals. But they have a deep intense rawer undercurrent as well. When they combine these successfully, they can really shine.

Songs to start with:

Normandy - I’m not sure if it was the guitar line or the female harmony vocals that grabbed me first, but I’m grabbed.

Over There that Way - Spacey beginning with great acoustic guitar sound and warm mysterious vocals.

Dardanelles Pts 1+2 - A fine set of songs that emphasize different band components within a unified theme.

HEROES OF TOOLIK “LIKE TONIGHT”

This the strange dream that you just can’t quite shake. It is quite pleasant but it seems quit illogical unless you can figure out some of the internal logic at work. Heroes of Toolik is like this with it’s mix of laid back lounge style featuring plenty of trombone with quirky pop moves and out and out psychedelic passages. If it were not so light and fun, it would be downright eerie. In fact, it is even eerier because of that if I stay on this too long. Strange, strange band, yet they are so agreeable to the ear. This is one you should try out for yourself. You may have a different take entirely. But I plan on spinning this many more times.

Songs to start with:

Perfect - A perfect mishmash of styles blended and shaken into a smooth mix.

8 Miles - A droning light psychedelic surprise.

Say Virginia - A bouncy jazz pop thing of sorts.

LAST HOLOGRAM “BRAVE NEW UNIVERSE”

There are some intriguing worldly rock songs with pop hooks and creative instrumentation all at work here. They do go for the pop jugular on a few songs, while others stretch out a bit into steady rockers with a pop approach. This is nice and one of those records that I can respect right away and suspect that I will like at more after 4-5 listens. I am liking pop music more as I age especially when there is some thought behind it.

Songs to start with:

City is Swollen - Inventive instrumentation elevates a fine song.

The Lens - Good melodic rock that you can even dance to… a bonus.

Dreamchaser - Nice acoustic guitar and electric guitar combination in this catchy cut.

LEFT LANE CRUISER “BECK IN BLACK”

Dirty nasty blues rock is usually good fun. LLC plays it well and varies speeds, intensities, and sonics to keep it fun and lively. If you grew up on Skynyrd and the many, many knockoffs, this will fit right in, but still sounds like they have heard some bands on SubPop. I’ve heard a few records but have not caught the live show, which would likely be a real kick.

Songs to start with:

Circus - The snarling edge makes this one a cut above.

G Bob - If you like down home porch stomping music, this will do nicely.

Chevrolet - The drum solo with no need for ‘more cowbell’ is a nice bit.

MAGIC TRICK “OTHER MAN’S BLUES”

There is some nice spacey pop music on this album, that doesn’t quite hit the full popsike vibe unfortunately. There is just too much of a laconic pace and slacker vocal style for me. I want to be excited by the music I listen to and any sense of a band sitting on a lounge chair just does not do it for me. You can go slow or quiet and be as powerful and exciting as the Bad Brains, so it is not about pace. It is an attitude, but I need to get off the soap box and say that Magic Trick has a few songs where they can conjure up some magic. I would like to hear a lot more of that next time around.

Songs to start with:

More - The opener establishes a laconic style with an underlying toughness amidst some intriguing open space.

I Held the Ring - An atmospheric ramble along a crisp beat.

First Thought - Strong guitar solo and the long concluding passage.

RÓISÍN MURPHY “TAKE HER UP TO MONTO”

Irish poptronica exists and here is the evidence. Róisín Murphy has been around electronica in bands and duos for some time. Her solo work shows plenty of things going on with sharp and versatile vocals being the main reason to listen. The elecronica is not bad either with a lot of space and odd undulating rhythms and patterns to keep it edgy, even while being smooth to the ear. Her fashion sense from the live show is something missing here, alas, which I think would make this music even that much more fun. But the sounds, electronic and otherwise (such as piano) offer a lot more than the average electronic band and work into smart melodies and subtle but pulsating rhythms. There is great touch in the execution here and this is a memorable album.

Songs to start with:

Pretty Gardens - Quirky moments and big gothic sounds all vie for time in this interesting cut.

Lip Service - Like a Brazilian pop song.

Whatever - Great edgy but intimate vocals and ethereal melody.

NO BLITZ “FEELING STRANGELY FINE”

This local outfit has a firm hand aboard the wheel of the mainstream rock/punk rock hybrid ship. It is a beast to tame, but they manage it well—certainly better than I at keeping my metaphors on theme. I really like their tough intense sound. It never falls into the emo trap and although they sound like they could survive in an arena, they keep the music fast paced and ferocious enough for the clubs. Sometimes I like the usual ballads, although they don’t work quite as well here, even when the execution is good. Still, it is always good to pull back from pace and power at times during an album. And overall they come through well on this album, with more than a hint of what you will get from a live outing.

Songs to start with:

Losing Control - The opener sets the tone, establishes the sound and offers a great catchy melody.

No Damn Good - Actually, quite good.

Exception to the Rule - Well, no exceptions to the fine guitar work here.

PYLON “LIVE ”

Pylon was the Athens, Georgia band that befriended and influenced that other Athens, Georgia band that just a few more people heard of. Pylon was born out of the punk scene, but stayed on its artier side. The good thing for both sides is that the guitars had plenty of bite and the vocals were quite intense. So they were an easy band to like and still are as these live recordings show. In fact, they sound a lot more like Siouxsie and the Banshees crossed with the Bags than REM or Vic Chesnutt. 20 songs in all, this is a fine collection of their music. The recordings are a bit on the raw unpolished side of the ledger, but that just makes the vocals more guttural and intense. The guitar lines are intricate and alternate between snake charming runs and a proto-REM style that we all know quite well. There is that extra post punk edge there as well and at times the rhythm section even sounds a bit like Joy Division. This is the final show from their first run recorded in its entirety from 1983. File this one under “still powerful and still influential.”

RADIO MOSCOW “LIVE IN CALIFORNIA”

Ah, now here’s an old school hard psyche rock band that could have been opening for Blue Cheer back in the day. So we have ferocious guitar riffs and fills, pummeling rhythm section, and throaty hard edged vocals. Add plenty of wah-wha pedal and you are there in the sun drenched California hills amidst the acidheads watching this SoCal band. With both these songs and the live recording, there is not of variety here. You can leave the room or house depending how loud you play this, and come back later and not feel like you missed any song in between. That can be a compliment or a problem, depending on what you are looking for. But if you want Grand Funk meets Blue Cheer meets Mountain, then give this a listen.

SNOWGLOBE “SNOWGLOBE”

Rosebud… well, perhaps a more happier memory of youth here, as Snowglobe brings back the brighter side of the 1960s. There is some rock amidst the pop, but not much in the psychedelic department, which kind of cuts against the grain of what is happening these days. The vocals are male with some female flourish and the instrumentation is strong, even as they vary the arrangements quite a bit. This is bright and sunny from beginning to end and I detected no corn as the bounce in this band’s step is sincere and effective. Well done.

Songs to start with:

Easy - This sounds like some old pop classic from an American Kinks like band.

Walking with Her - The second song continues the breezy late sixties style that almost made you think flower power could work.

She’s Dying - Slower story and some fine orchestrated backing. Delicate but powerful

SUGAR CANDY MOUNTAIN - 666
by Kyle Schmitt

Ash Reiter’s dreamy vocals highlight this California band’s psychedelic sound. The four-piece group’s pleasant backing complements her musings, such as, “All that you touch, you change / all that you change, it changes you.” Reiter sounds her most playful in “Eye on You”, a poppy song in which confesses attraction for someone she’s pretty sure feels the same way. The Sugar Candy Mountain rhythm section of Will Halsey (drums) and Peter Maffei (bass) sets a sturdy foundation for each song, enabling the adventurous synth and guitar work on tracks like “Being” and “Atlas”. They sound tightest on “Tired”, winding themselves around the tune as Reiter calls out the dreams that “rob me while I sleep”. Despite the occasional rough night, Sugar Candy Mountain keeps a positive, laid-back vibe rolling throughout this record.

Songs to Start With First

666 - Likely the most serene recital of the number of the beast in recording history.

Being - Halsey’s buoyant drums lend bounce as he and Reiter ask sweetly, “Have you ever seen the light?”

Eye on You - An early-60s sound reminiscent of Blondie at their most clever and personal.

SUNSET HARBRINGER “FINALLY HOME”

This six song EP has a pretty healthy array of sounds in these songs. They feature spritely electronics and keyboards with subtle winds and brass beyond the rhythm section and light guitar. The female vocals are equidistant between ethereal and lounge to sound just airy enough while warmly enveloping the listener. There are some rhythmic exercises and variations of pop music to make this an engaging affair and far richer than most EPs of this size.