Nearly a year after they released their debut LP, Hello Victor has unveiled their first full-length, “Whatever You Want.” The Kalamazoo band has dusted off the tracks from the LP and coupled them with its brand-new material, making for an unexpectedly fresh album. Hello Victor’s sound on “Whatever You Want” is like the soul of old-timey bayou blues reincarnated in the body of emo-indie, and smoothed over by the catchy sensibility of pop music: think Wilco meets Brand New. The unlikely juxtaposition of country and country-indie against emo and melodramatic pop allows the band to explore limitless creative territory and experiment with sounds and ideas seldom brought to the table in the realm of modern “pop music.”
From the bleary-eyed blues of the opening track “Good Fish” through to its electrified doppleganger, album closer “Gold Fish,” Hello Victor leads us on a self-reflective rollercoaster ride through late adolescence and that awkward time that comes after it: recalling the carefree days of youth, while delving into the frustration, uneasiness and fear that adulthood presents. This notion is perhaps best presented on the album’s second track “Really Me,” which awakens listeners from the twangy opener with vocalist Eric Martin’s jaded proclamation of “Well I missed you for days and days/ but now all I miss is the days that I wasted/ while I was wasted, passed out in cold basements…” and continues to build tension as Martin’s voice rises, eventually releasing into one of the biggest and most memorable choruses on the album.
Bounding into the playful “Is There a Man in That Couch?” --the obligatory pop-sing-a-long and quite possibly the “catchiest” song on the album-- and then powering through the next few tracks, the album continues to roam every corner of indie-pop terrain, reaching an apex in the final moments of the single-y “Put Your Head On Straight,” whose pop-blues guitar riff and kitschy, honky-tonk piano seem less concerned about genre-defying experimentation and more about… well, in a word: fun. From there, it’s a sullen trudge through broken-down ballad “KVK,” which , after the suicidally beautiful verses, erupts into a climactic bridge in which a chorus backs Martin’s emotionally-exhausted lamentations of “I need a break!” while the guitar part soars above it, like a soloist ad-libbing vehement hallelujahs over a gospel choir. The album’s only instrumental track, “1492” features ambient, echoing instrumentation for a foggy, spooky feel, before melting seamlessly into the noir mania of “Mermaids Are Ugly,” which vaguely recalls the percussive-sounding guitar from the verses of “That’s Typical Chelsea.”
From country to indie to emo and back again, “Whatever You Want” is indeed that: a bona fide crowd pleaser. The album’s examination of the harsh realities of life, its throwbacks to times past, and even its good old-fashioned fun make for an interesting journey for the listener, and it seems that Hello Victor is reaching out-- and while the all-over-the-map nature of the album begs the question of whether there’s an end goal to be grasped, or if they’re just grasping at straws, this is an undeniably promising release, lightyears ahead of their own fairly recent debut work-- and, in spite of its complexity, “Whatever You Want” really asks only one question in the end: what’s next?
An alternate version of this review will appear in the August 2010 issue of Recoil Magazine.
Tuesday, July 20, 2010
Saturday, June 26, 2010
Maps & Atlases @ the Strutt [6/24/10]
I'm back from the dead once again; this time with with an epic tale. It's the tale of a show the likes of which I have simply never experienced.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
Saturday, May 22, 2010
"Shaken Daddy Syndrome" Premiering This Weekend
Filmmaker and Kalamazoo native Kevin Park will be premiering his film, "Shaken Daddy Syndrome" tonight, soundtrack of which is comprised exclusively of selections by local bands. With songs by MESA, Nobody's Favorite, Chris Voss, Blue Dahlia, Ghosts of the Great Lakes, REA, Aaron Young and his Night Jars, and more, this film show cases some great music from the Kalamazoo scene's past and present.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
Saturday, May 01, 2010
Can't Make It To Your Favorite Band's Show This Summer?
Well, my friends, all you need is a new favorite.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
Saturday, April 24, 2010
The Best (and Worst) of Grand Rapids' Electro and Hip-Hop
Grand Rapids has always been a hot spot of the Michigan music scene... dominated by ska, punk, and hardcore, occasionally a band of a different persuasion will rise to the top. After the rise of hyphy (E40 anyone?), electro-dance (Daft Punk, I see ya'll), and, of course, a million DIY beatmaking programs, electronic music and hip-hop scenes everywhere are thriving right now, and the Murder Mitten is never one to be the exception. However, like any scene, GR hip-hop has its ups and downs. Here's a little bit of what's going on in the scene right now...
(For fun, there's going to be a point system, from 1 to 10:)
1 (they straight triflin') - - - 5 (they aiight) - - - - 10 (DAYUMN!)
[A.B! and Coconut Brown]
My official favorite band today.
This funk-hip-hop 6 piece (guitar, bass and synth filled out by a horn section) led by GR-area MC Adrian Butler plays hook-heavy, dance floor-ready hip-hop jams. With fearless, intelligent and articulate rhymes alongside smooth, funky hip-hop a la the Roots (see "Astro-Cool," available on their Myspace), these guys are a breath of fresh air in a scene crowded with indie and rock bands (both locally and nationally). While their strongest work lies in their fresh style of party-starting, warm-summer-night-driving hip-hop, AB&BC at times borrow from rap-rock ("The Breaks") and straight-up ska (the quirky, wake'n'bake-y "Apricot") with impressive competence and versatility.
Song pick: "Japanese Denim." This surprisingly simple gem, built around a classic hip-hop beat (complete with a Sugar Hill Gang reference) and set off by a horn-based hook as well as AB's memorable rhymes (it's probably the only hip-hop song to ever contain the totally un-"street" phrase "Quality control: the thread count is too low!") would be worth a trip to one of their shows in and of itself.
Honorable mention: "E Squared." AB shows off his rapping skills; he is undeniably impressive, if not a little cocky ("Am I the only black dude/ in Advanced Placement?"). This one also highlights guitar player Biggie G with (SPOILER ALERT) a killer solo.
Alas, we leave AB&CB with my favorite rhymes from their MySpace selections (from "Astro-Cool"):
"I'm an astronaut, baby,/ wit astronaut boots/ chocolate ice cream I got astronaut scoops/ The dude gets sick, I got astronaut soup/ Astronaut warfare wit astronaut troops./ Astronaut pimps and astronaut coops/ Astronaut beats wit astronaut loops/ Astronaut cufflinks wit astronaut suits/ Your girl wants to play the astronaut crew."
[Editor's Note: In case you get the feeling these guys know how to party (I sure do) they are playing a Cinco de Mayo show at the Intersection if you feel like putting the "rage" in "outrageous."]
POINTS: 10 (DAYYUUUMMN!)
[Almost Famous]
This GR duo (comprised of rappers "Goob" and "J-Zav") brings white-boy hip hop to a new low. With a conspicuously homemade sound, andlaughable humorous rhymes, these guys are following in the Puma-laden footsteps of LMFAO and other such novelty rappers. But, hey, at least they're memorable: in a song directly addressing their haters, "Don't Kid Yourself," contains not only an obscure "Family Matters" reference ("And my flow, you can't step on/ You're Steve Erkel/ and I'm fuckin' Stefan") alongside unabashed spoiled-suburban-kid cliches: "I'd rather kill myself than sell out like Cobain/ For every single person weeping over my grave/ I'd raise from the dead and I'd slap 'em in the face/ I'd tell em they should be ashamed, cause the pain of being lame is worse than worms in my brain." They even flex their Autotune muscles on "I'd Rather Have Nightmares."
Through Almost Famous' lackluster beats and monotonous vocals don't stoke the hip-hop fires in my soul, their sense of humor shines through their rhymes and they are definitely good for a chuckle or two...
Song pick: "Party Dudes." "P-A-R-T-Y, cause we got to/ well, we don't have to/ but we really ought to/ Booze in the glasses, beer in the bong/ Dude, fill up the cups, we're gonna play pong." Oddly, I can see this song catching on...
POINTS: 5
[SuperDre]
What might be more accurately described as trip-hop, this experimental DJ weaves simple beats with trippy loops that would be just as at-home in a nightclub as the soundtrack to a black-lighted, at-home chill sesh... a "just-sit-back-and-enjoy-the-ride" kind of vibe. Experimenting with a mindblowing range of sounds-- from the spaced-out "A Lot On My Mind" to the porn-y "Bouncy Spacekids" to the mod-disco and then highly-psychedelic "Down Below," DJ SuperDre takes her listeners for a mind adventure the likes of which the world just might be ready for.
While SuperDre certainly holds one's attention, I couldn't help but feel that a lot of her beats would be more satisfying if they were complemented with a consistent rapper or vocalist (rather than mostly beat-oriented work with a few featured vocalists). Alas, for those of you with a taste for instrumental electro/ trance and/or slightly "weirder" musical palates, this is guaranteed to hit the spot.
Song Pick: "With A Certain Style." This song is the musical embodiment of a sweaty basement rave... in a good way. With echoed, spoken-word-poetry vocals over an absolutely hypnotizing beat, this song is a psychedelic journey grounded by thought-provoking insight-- think of it as a 60's Greenwich Village poetry slam from inside the mind of an acid-tripping Beatnik. But don't panic. As one of my most notorious heroes once said, "Buy the ticket, take the ride."
We might even have something to learn from SuperDre's guest poet-vocalist on this track: "So people, I want everybody to come together, come together, come together/ under the roof/ of a funky sky."
POINTS: 8
***
Well, that's all for tonight, folks... it's Saturday night; hope this post made you want to get your groove on. I know I do.
XOXO
--Meg (thevolumejunkie)
(For fun, there's going to be a point system, from 1 to 10:)
1 (they straight triflin') - - - 5 (they aiight) - - - - 10 (DAYUMN!)
[A.B! and Coconut Brown]
My official favorite band today.
This funk-hip-hop 6 piece (guitar, bass and synth filled out by a horn section) led by GR-area MC Adrian Butler plays hook-heavy, dance floor-ready hip-hop jams. With fearless, intelligent and articulate rhymes alongside smooth, funky hip-hop a la the Roots (see "Astro-Cool," available on their Myspace), these guys are a breath of fresh air in a scene crowded with indie and rock bands (both locally and nationally). While their strongest work lies in their fresh style of party-starting, warm-summer-night-driving hip-hop, AB&BC at times borrow from rap-rock ("The Breaks") and straight-up ska (the quirky, wake'n'bake-y "Apricot") with impressive competence and versatility.
Song pick: "Japanese Denim." This surprisingly simple gem, built around a classic hip-hop beat (complete with a Sugar Hill Gang reference) and set off by a horn-based hook as well as AB's memorable rhymes (it's probably the only hip-hop song to ever contain the totally un-"street" phrase "Quality control: the thread count is too low!") would be worth a trip to one of their shows in and of itself.
Honorable mention: "E Squared." AB shows off his rapping skills; he is undeniably impressive, if not a little cocky ("Am I the only black dude/ in Advanced Placement?"). This one also highlights guitar player Biggie G with (SPOILER ALERT) a killer solo.
Alas, we leave AB&CB with my favorite rhymes from their MySpace selections (from "Astro-Cool"):
"I'm an astronaut, baby,/ wit astronaut boots/ chocolate ice cream I got astronaut scoops/ The dude gets sick, I got astronaut soup/ Astronaut warfare wit astronaut troops./ Astronaut pimps and astronaut coops/ Astronaut beats wit astronaut loops/ Astronaut cufflinks wit astronaut suits/ Your girl wants to play the astronaut crew."
[Editor's Note: In case you get the feeling these guys know how to party (I sure do) they are playing a Cinco de Mayo show at the Intersection if you feel like putting the "rage" in "outrageous."]
POINTS: 10 (DAYYUUUMMN!)
[Almost Famous]
This GR duo (comprised of rappers "Goob" and "J-Zav") brings white-boy hip hop to a new low. With a conspicuously homemade sound, and
Through Almost Famous' lackluster beats and monotonous vocals don't stoke the hip-hop fires in my soul, their sense of humor shines through their rhymes and they are definitely good for a chuckle or two...
Song pick: "Party Dudes." "P-A-R-T-Y, cause we got to/ well, we don't have to/ but we really ought to/ Booze in the glasses, beer in the bong/ Dude, fill up the cups, we're gonna play pong." Oddly, I can see this song catching on...
POINTS: 5
[SuperDre]
What might be more accurately described as trip-hop, this experimental DJ weaves simple beats with trippy loops that would be just as at-home in a nightclub as the soundtrack to a black-lighted, at-home chill sesh... a "just-sit-back-and-enjoy-the-ride" kind of vibe. Experimenting with a mindblowing range of sounds-- from the spaced-out "A Lot On My Mind" to the porn-y "Bouncy Spacekids" to the mod-disco and then highly-psychedelic "Down Below," DJ SuperDre takes her listeners for a mind adventure the likes of which the world just might be ready for.
While SuperDre certainly holds one's attention, I couldn't help but feel that a lot of her beats would be more satisfying if they were complemented with a consistent rapper or vocalist (rather than mostly beat-oriented work with a few featured vocalists). Alas, for those of you with a taste for instrumental electro/ trance and/or slightly "weirder" musical palates, this is guaranteed to hit the spot.
Song Pick: "With A Certain Style." This song is the musical embodiment of a sweaty basement rave... in a good way. With echoed, spoken-word-poetry vocals over an absolutely hypnotizing beat, this song is a psychedelic journey grounded by thought-provoking insight-- think of it as a 60's Greenwich Village poetry slam from inside the mind of an acid-tripping Beatnik. But don't panic. As one of my most notorious heroes once said, "Buy the ticket, take the ride."
We might even have something to learn from SuperDre's guest poet-vocalist on this track: "So people, I want everybody to come together, come together, come together/ under the roof/ of a funky sky."
POINTS: 8
***
Well, that's all for tonight, folks... it's Saturday night; hope this post made you want to get your groove on. I know I do.
XOXO
--Meg (thevolumejunkie)
Tuesday, March 30, 2010
Announcements, etc
Hello everyone.
I thought it might be time for a bit of an update since the Bird Rights feature was my 40th post and, no, that's not a huge number, but it's a little bit of a milestone (kinda). Espect somethin' cool for the 50th ya'll. Just sayin.
I just want to thank all of my readers for coming to the site; those of you who send encouraging words, feedback, etc are very much appreciated. Those of you will less-nice things to say are appreciated as well. It's true what they say: a handful of "haters" and critics (or even just one) makes you stronger and teaches you more than a million fans, even if it hurts at first. (As Nick Flora says, "Everyone's a critic with a sharp tongue/ I, for, one have been stung/ One too many times/ It's hard to fake a smile.") But you just have to keep on truckin'! Controversies in the greater Kzoo music scene, often in the form of blog-bashing, have been going around... whether you're a musician or a writer, just keep it up-- art is art, and criticism is at the heart of being any type of artist. My hope for all artists who are part of Kalamazoo media/ culture continue to love, support, and constructively criticize one another in the hope that we will all find our voices and create some amazing legacies to leave behind, in whatever medium we so choose.
Without further ado, a couple exciting news tidbits:
[NOISE! Convention]
When I first launched TVJ, I had an idea to have a big show with some of my favorite local bands to promote the site. That never occurred, since I have no idea how to go about booking a show... alas, the intervention of Fate brought two lovely young men into my life with their lovely new site, Kalamazoo NOISE!. As a contributing writer for KN, I'm pleased to announce that we will be hosting a HUGE bash, coined "NOISE! Convention." I believe I've briefly mentioned it previously, but I wanted to reiterate: this is a HUGE-ASS SHOW (16 bands will be playing) to which you and ALL of your friends are more than invited!! (Check out the Facebook invite here.... go ahead, RSVP, you know you wanna.) This is, no doubt, better than anything I could've cooked up. I am SO excited for this and I hope all of you guys will be there. It's going to be amazing. Here are the deets:
What? Quite possibly the most incredible show of all time. Ever.
Who? The Hex Bombs, Ghosts of the Great Lakes, Ender, Hello Victor, Please Promise, Branden Mann and the Reprimand, Elm Street Riot, Brena, Trixy Disco, The Sedgwyck Agent, Sara Never Loved Me, Dead Scene Radio, The Post Addition, Crash City Saints, Dunktank, and Kathryn Tapper. And me of course (and the other KN! boys and gal). And most importantly, YOU!
When? April 29th... the last day of exams for all you WMU folks!!! What a killer way to unwind!
Where? Both stages of The Strutt at the corner of Stadium and Academy.
To date, we've got exactly 400 confirmed guests on Facebook... just sayin', all the cool kids will be there. No pressure or anything. Come on out! Bring your friends! This will be a night none of us will forget! Please be sure to introduce yourself... I can't wait to see your beautiful faces!
[Upcoming Publications]
RECOIL: Check out the April '10 issue for an article by "yours truly" (I hate when people say that) which will hit newsstands (not so much newsstands as countertops in various music-peopley places like Fourth Coast, Guitar Center, and many other places in the greater Kalamazoo/ Grand Rapids area) April 1st... no foolin'!
REVUE: I've got a pending article for this which may or may not run. Long story...
KALAMAZOO NOISE!: As always, keep checkin'.
[Cool Upcoming Stuff]
April 7th at The Strutt: Koji, Ender, and Kevin Devine. AMAZING AMAZING AMAZING AMAZING AMAZING. Also be on the lookout for my coverage of this show via KN!
If you're not excited right now, check your pulse homey. For reallz.
XOXO
--Meg Alexander (thevolumejunkie)
PS: Don't forget to add me on Facebook and MySpace for any and all blog updates and other related matters. Big hugs to all of you who have already :) Later days!
I thought it might be time for a bit of an update since the Bird Rights feature was my 40th post and, no, that's not a huge number, but it's a little bit of a milestone (kinda). Espect somethin' cool for the 50th ya'll. Just sayin.
I just want to thank all of my readers for coming to the site; those of you who send encouraging words, feedback, etc are very much appreciated. Those of you will less-nice things to say are appreciated as well. It's true what they say: a handful of "haters" and critics (or even just one) makes you stronger and teaches you more than a million fans, even if it hurts at first. (As Nick Flora says, "Everyone's a critic with a sharp tongue/ I, for, one have been stung/ One too many times/ It's hard to fake a smile.") But you just have to keep on truckin'! Controversies in the greater Kzoo music scene, often in the form of blog-bashing, have been going around... whether you're a musician or a writer, just keep it up-- art is art, and criticism is at the heart of being any type of artist. My hope for all artists who are part of Kalamazoo media/ culture continue to love, support, and constructively criticize one another in the hope that we will all find our voices and create some amazing legacies to leave behind, in whatever medium we so choose.
Without further ado, a couple exciting news tidbits:
[NOISE! Convention]
When I first launched TVJ, I had an idea to have a big show with some of my favorite local bands to promote the site. That never occurred, since I have no idea how to go about booking a show... alas, the intervention of Fate brought two lovely young men into my life with their lovely new site, Kalamazoo NOISE!. As a contributing writer for KN, I'm pleased to announce that we will be hosting a HUGE bash, coined "NOISE! Convention." I believe I've briefly mentioned it previously, but I wanted to reiterate: this is a HUGE-ASS SHOW (16 bands will be playing) to which you and ALL of your friends are more than invited!! (Check out the Facebook invite here.... go ahead, RSVP, you know you wanna.) This is, no doubt, better than anything I could've cooked up. I am SO excited for this and I hope all of you guys will be there. It's going to be amazing. Here are the deets:
What? Quite possibly the most incredible show of all time. Ever.
Who? The Hex Bombs, Ghosts of the Great Lakes, Ender, Hello Victor, Please Promise, Branden Mann and the Reprimand, Elm Street Riot, Brena, Trixy Disco, The Sedgwyck Agent, Sara Never Loved Me, Dead Scene Radio, The Post Addition, Crash City Saints, Dunktank, and Kathryn Tapper. And me of course (and the other KN! boys and gal). And most importantly, YOU!
When? April 29th... the last day of exams for all you WMU folks!!! What a killer way to unwind!
Where? Both stages of The Strutt at the corner of Stadium and Academy.
To date, we've got exactly 400 confirmed guests on Facebook... just sayin', all the cool kids will be there. No pressure or anything. Come on out! Bring your friends! This will be a night none of us will forget! Please be sure to introduce yourself... I can't wait to see your beautiful faces!
[Upcoming Publications]
RECOIL: Check out the April '10 issue for an article by "yours truly" (I hate when people say that) which will hit newsstands (not so much newsstands as countertops in various music-peopley places like Fourth Coast, Guitar Center, and many other places in the greater Kalamazoo/ Grand Rapids area) April 1st... no foolin'!
REVUE: I've got a pending article for this which may or may not run. Long story...
KALAMAZOO NOISE!: As always, keep checkin'.
[Cool Upcoming Stuff]
April 7th at The Strutt: Koji, Ender, and Kevin Devine. AMAZING AMAZING AMAZING AMAZING AMAZING. Also be on the lookout for my coverage of this show via KN!
If you're not excited right now, check your pulse homey. For reallz.
XOXO
--Meg Alexander (thevolumejunkie)
PS: Don't forget to add me on Facebook and MySpace for any and all blog updates and other related matters. Big hugs to all of you who have already :) Later days!
Monday, March 29, 2010
Bird Rights: a Phoenix Rising (artist feature)
Warning: checking out this new Grand Rapids-area band may cause a mild case of déjà vu. If seeing the basketball-jersey-clad Boyea brothers onstage, crafting a unique brand of indie rock based on love, life, and wonder induces that woozy-wonderful headrush, don’t worry; it’s not you, or your memory-- Bird Rights is the reincarnation of the brothers’ former band, the Flowbs-- or, it could just be a side effect of their dreamy, melodic, indie-meets-shoegazer tunes (think an indie-er Snow Patrol, or a chilled-out Bloc Party).
The Boyeas, rounding themselves out to a trio with drummer Spencer Engler, have traded the more hyper façade associated with the Flowbs-- with their tendencies towards uptempo rock, at times leaning toward ska and pop-punk-- for stripped-down balladry, characterized by a delicious subtlety and a haunting ambience, underscored by flawless melodies and thought-provoking lyrics. Their lyrics, based on introverted reflections on life-- particularly transition (look out for their first single as Bird Rights, “Nightmare”) and reinvention, a very real theme for the band at this point-- tend to be at once brave and vulnerable; juxtaposed against lightly-distorted guitars and shimmery, gentle percussion, the combination is haunting, undeniably radio-ready and likely destined for solo sing-a-longs on lonely drives home and sober mornings-after.
Like the proverbial phoenix, Bird Rights confidently rise from their former rocker selves into the mature, thoughtful crew we see today: amazingly unpretentious and humbly self-assured. The evolution is duly reflected in their newly-released material; for example, on the aforementioned single “Nightmare,” singer/ principle songwriter Luke Boyea proclaims “I’m gonna climb these castle walls/ I don’t care if I fall/ I’m not gonna die here,” and continues throughout the band’s new material to evoke feelings of determination, frustration, and, ultimately, confidence; there is certainly a palpable sense that these guys have found their stride. And it seems rightfully so: according to the band, singer Luke Boyea has “developed the swag and appropriate ego of a great front man,” and, alongside his brother Eric’s “imaginative guitar playing” and Engler’s “groove-based beats” the trio seems poised for greatness; Bird Rights have settled softly into their newfound niche as not just musicians, but craftsmen: gloriously reviving the lost art of the ballad, most effective on the lovelorn gem “Owl Man,” whose twinkley guitar parts alongside the depth of a striking piano melody makes for a listening experience you won’t soon forget.
With their feet squarely in the door of Grand Rapids’ music scene, Bird Rights have had no trouble setting up shop as the new band on the block, and will begin playing shows as early as April 9th (at Brewstirs) and May 7th (at the Intersection).
[Editor's Note: look for this review in the April '10 issue of Grand Rapids' Recoil Magazine!]
Addendum: this is my 40th post!! Now go crack a frosty Oberon.
The Boyeas, rounding themselves out to a trio with drummer Spencer Engler, have traded the more hyper façade associated with the Flowbs-- with their tendencies towards uptempo rock, at times leaning toward ska and pop-punk-- for stripped-down balladry, characterized by a delicious subtlety and a haunting ambience, underscored by flawless melodies and thought-provoking lyrics. Their lyrics, based on introverted reflections on life-- particularly transition (look out for their first single as Bird Rights, “Nightmare”) and reinvention, a very real theme for the band at this point-- tend to be at once brave and vulnerable; juxtaposed against lightly-distorted guitars and shimmery, gentle percussion, the combination is haunting, undeniably radio-ready and likely destined for solo sing-a-longs on lonely drives home and sober mornings-after.
Like the proverbial phoenix, Bird Rights confidently rise from their former rocker selves into the mature, thoughtful crew we see today: amazingly unpretentious and humbly self-assured. The evolution is duly reflected in their newly-released material; for example, on the aforementioned single “Nightmare,” singer/ principle songwriter Luke Boyea proclaims “I’m gonna climb these castle walls/ I don’t care if I fall/ I’m not gonna die here,” and continues throughout the band’s new material to evoke feelings of determination, frustration, and, ultimately, confidence; there is certainly a palpable sense that these guys have found their stride. And it seems rightfully so: according to the band, singer Luke Boyea has “developed the swag and appropriate ego of a great front man,” and, alongside his brother Eric’s “imaginative guitar playing” and Engler’s “groove-based beats” the trio seems poised for greatness; Bird Rights have settled softly into their newfound niche as not just musicians, but craftsmen: gloriously reviving the lost art of the ballad, most effective on the lovelorn gem “Owl Man,” whose twinkley guitar parts alongside the depth of a striking piano melody makes for a listening experience you won’t soon forget.
With their feet squarely in the door of Grand Rapids’ music scene, Bird Rights have had no trouble setting up shop as the new band on the block, and will begin playing shows as early as April 9th (at Brewstirs) and May 7th (at the Intersection).
[Editor's Note: look for this review in the April '10 issue of Grand Rapids' Recoil Magazine!]
Addendum: this is my 40th post!! Now go crack a frosty Oberon.
Their Teeth Will Be of Lions "True Stories Are Harder To Make Up" review
Kalamazoo indie rock seven-piece their Teeth Will Be of Lions is back and better than ever, taking their already larger-than-life sound to even greater heights than expected.
True Stories Are Harder To Make Up-- specifically designed to be listened to on vinyl-- “forc[es] us to use our time wisely,” proclaims the album’s liner notes. And time is, indeed, a very conspicuous force on this album: with genre-spanning tempo changes from song to song (and, often, within the songs themselves), Teeth’s sonic repertoire ranges from melodic vocal parts, decorated by piano, acoustic guitar, and even Sufjan Stevens-esque banjo, into Aeolian bursts of sound, at times channeling the arena-rock intensity of Muse, Coheed and Cambria, and the Foo Fighters.
With a risk-taking exploration of new themes and ideas alongside a wider range of tempos, genres and sounds than we ever thought possible-- and, of course, the unforgettable theatricality for which Their Teeth Will Be of Lions has become known-- True Stories are Harder to Make Up smashes expectations and firmly re-establishes their place in the local (and statewide) scene. The A-Side flows from an instrumental hard-rock intro, to the frustrated yawp at capitalist culture that is “Nickels and Dimes,” and through the epic “I Went To Minnesota Not To Be Alone (I Lost My Way Home),” pushing through every conceivable tempo and song structure, and creating a mosaic of concept-driven art rock (think an indie-rock "Bohemian Rhapsody"). The B- Side, in turn, does not disappoint: at first appearing to shift gears from the A-Side completely, the dance-floor-ready “Everyone Made It Out Alive” (an apparent homage to their 2007 debut album Everyone Made It Out Alive… Almost!) kicks it up several notches with 21st century-style disco, moving unexpectedly into the bounding rock of “Brown Sugar Body Bags” and, eventually, into the haunting last track, on which half-spoken vocals decorate a melancholy piano melody, creating a pleasingly suspenseful feel, leaving listeners simultaneously satisfied and wanting more.
In short, True Stories contains every ounce of energy found on Everyone Made It Out Alive... Almost!, but with none of the silliness, and the depth they exhibited on The Death... The Reincarnation...And The Unfamiliar Tales Of:, but with more urgency, showing off their ever-growing confidence and the chops they’ve earned as indie veterans of the Kalamazoo scene. Teeth takes their sound to new heights, proving themselves in the face of new expectations, and leaving listeners with only one question: where will Their Teeth Will Be of Lions go next? There’s simply no telling… and it seems that‘s exactly the point.
True Stories Are Harder To Make Up is to be released at The Strutt in Kalamazoo on April 17th, 2010.
[***Editor's note: press copy of "True Stories Are Harder to Make Up" courtesy of Glen of TTWBOL; who now has a solo project you can find here***]
True Stories Are Harder To Make Up-- specifically designed to be listened to on vinyl-- “forc[es] us to use our time wisely,” proclaims the album’s liner notes. And time is, indeed, a very conspicuous force on this album: with genre-spanning tempo changes from song to song (and, often, within the songs themselves), Teeth’s sonic repertoire ranges from melodic vocal parts, decorated by piano, acoustic guitar, and even Sufjan Stevens-esque banjo, into Aeolian bursts of sound, at times channeling the arena-rock intensity of Muse, Coheed and Cambria, and the Foo Fighters.
With a risk-taking exploration of new themes and ideas alongside a wider range of tempos, genres and sounds than we ever thought possible-- and, of course, the unforgettable theatricality for which Their Teeth Will Be of Lions has become known-- True Stories are Harder to Make Up smashes expectations and firmly re-establishes their place in the local (and statewide) scene. The A-Side flows from an instrumental hard-rock intro, to the frustrated yawp at capitalist culture that is “Nickels and Dimes,” and through the epic “I Went To Minnesota Not To Be Alone (I Lost My Way Home),” pushing through every conceivable tempo and song structure, and creating a mosaic of concept-driven art rock (think an indie-rock "Bohemian Rhapsody"). The B- Side, in turn, does not disappoint: at first appearing to shift gears from the A-Side completely, the dance-floor-ready “Everyone Made It Out Alive” (an apparent homage to their 2007 debut album Everyone Made It Out Alive… Almost!) kicks it up several notches with 21st century-style disco, moving unexpectedly into the bounding rock of “Brown Sugar Body Bags” and, eventually, into the haunting last track, on which half-spoken vocals decorate a melancholy piano melody, creating a pleasingly suspenseful feel, leaving listeners simultaneously satisfied and wanting more.
In short, True Stories contains every ounce of energy found on Everyone Made It Out Alive... Almost!, but with none of the silliness, and the depth they exhibited on The Death... The Reincarnation...And The Unfamiliar Tales Of:, but with more urgency, showing off their ever-growing confidence and the chops they’ve earned as indie veterans of the Kalamazoo scene. Teeth takes their sound to new heights, proving themselves in the face of new expectations, and leaving listeners with only one question: where will Their Teeth Will Be of Lions go next? There’s simply no telling… and it seems that‘s exactly the point.
True Stories Are Harder To Make Up is to be released at The Strutt in Kalamazoo on April 17th, 2010.
[***Editor's note: press copy of "True Stories Are Harder to Make Up" courtesy of Glen of TTWBOL; who now has a solo project you can find here***]
Bomb Diggity (Hex Bombs set 3/13)
So if you read my post a few weeks ago, you might have known how excited I was about the Mustard Plug show on 3/13 (although I incorrectly dated it in that post... my bad). And, seeing as you already know that I am a fan (and, of course, that I left halfway through their set for a late-night jam session; that's a different story for a different day) it would be redundant to review their set and perhaps a bit annoying and what some Kalamazoo NOISE! anonymous commenters might find fellatious. Instead, I'm going to focus on a Kzoo band who played alongside them, one we know and love: the Hex Bombs.
[Hex Bombs set, Papa Pete's 3/13/10)
The first thing I notice is that-- 20 or 30 minutes late-- I am still awkwardly, embarrassingly early and there are awkwardly, embarrassingly few people. The crew I had agreed to meet at doors (9 pm) is conspicuously absent.... and now is the perfect time to observe (and, as always, eavesdrop). I'm in the middle of several groups, and am more or less camouflaged; with everyone assuming I'm part of at least one of these conversations, I am, effectively, not here at all, and simultaneously, a part of every single conversation.We they discuss details of their bands' recording progress, and collectively harsh Guitar Center, hipsters, and rockabilly kids while old-school Mitten Ska scene kids loiter and mingle over well-whiskey mixers. What sounds to me like Flashlight Brown is blasting from the speakers, which wait patiently beside the completely empty stage, before the mostly-empty room, like a well-meaning teacher trying to amp up an unenthusiastic class of mostly-present students. Building suspense? Winning them over? We'll see in... well, whenever Hex Bombs are ready. Because "[THEY] ARE ROCK'N'ROLL!!!!" dammit!
The half-silence that fills the room makes my identity increasingly conspicuous-- an awkward girl with a cup of pop and a notebook-- I am, indeed, a writer. The Enemy. I shed my hoodie-- the other (5 or so) girls aren't wearinghoodies much at all-- and try to relax a little... quando a Roma.
Beneath the hovering green lights above the pool tables, shaggy-haired misfits in Bush-era slogan t-shirts ("Not My President".. you're goddamn right he's not; get a new t-shirt) lean low over the tables and dreadlocked girls in too-tight pants look on.
I impatiently tap my toes to Hex Bombs' soundcheck and wonder what happened to the ska scene as a boy nonchalantly and inexplicably moons the stage.
They finish soundchecking; Social Distortion throbs through the speakers and I can sense that the time is near.
I immediately realize it's going to be a great show as the Hex Bombs tear into their set with the anthemic "This is My Life," and the house comes to life with the Bombs' unique brand of proletariat punk. With a classic punk-revival attitude, Hex Bombs play with a Rancid/ NOFX-rendered swagger that is part passion, part defiance, part... pirate (?) and a whole lot of fun. And for all of you who miss the aforementioned skate-punkers-- as well as Mad Caddies, Dropkick Murphys, the Misfits and the rest of the crew-- rest assured: punk rock is alive and well. Their old-schoolishness is quite what I like about the Hex Bombs: half throwback, and half novelty; either way, props for stickin' with it. They have a legitimacy that you can't fake, even if you try: these guys truly fucking believe in what they do... bonus props for being real in a decreasingly-authentic world and a decreasingly-authentic scene.
Not to mention, I would like the Hex Bombs anyway if only for the fact that I can't get enough pirate in my life, being a landlocked Midwesterner and all. But, somehow, they pull it off. The mix between their inexplicable seadoggishness and their uniquely Michiganian brand of punk rock strikes a comfortably familiar and, at once, bravely novel, chord in all of us ex-teen-punkers out here.
After Hex Bombs' whirlwhind of a set was the Cin-city ska band called The Pinstripes... if you're into soulful, reggae-influenced ska, these dudes are magically delicious... check 'em out here!
Oh yeah, and Mustard Plug was good too...
Later days.
--thejunkie
[Hex Bombs set, Papa Pete's 3/13/10)
The first thing I notice is that-- 20 or 30 minutes late-- I am still awkwardly, embarrassingly early and there are awkwardly, embarrassingly few people. The crew I had agreed to meet at doors (9 pm) is conspicuously absent.... and now is the perfect time to observe (and, as always, eavesdrop). I'm in the middle of several groups, and am more or less camouflaged; with everyone assuming I'm part of at least one of these conversations, I am, effectively, not here at all, and simultaneously, a part of every single conversation.
The half-silence that fills the room makes my identity increasingly conspicuous-- an awkward girl with a cup of pop and a notebook-- I am, indeed, a writer. The Enemy. I shed my hoodie-- the other (5 or so) girls aren't wearing
Beneath the hovering green lights above the pool tables, shaggy-haired misfits in Bush-era slogan t-shirts ("Not My President".. you're goddamn right he's not; get a new t-shirt) lean low over the tables and dreadlocked girls in too-tight pants look on.
I impatiently tap my toes to Hex Bombs' soundcheck and wonder what happened to the ska scene as a boy nonchalantly and inexplicably moons the stage.
They finish soundchecking; Social Distortion throbs through the speakers and I can sense that the time is near.
I immediately realize it's going to be a great show as the Hex Bombs tear into their set with the anthemic "This is My Life," and the house comes to life with the Bombs' unique brand of proletariat punk. With a classic punk-revival attitude, Hex Bombs play with a Rancid/ NOFX-rendered swagger that is part passion, part defiance, part... pirate (?) and a whole lot of fun. And for all of you who miss the aforementioned skate-punkers-- as well as Mad Caddies, Dropkick Murphys, the Misfits and the rest of the crew-- rest assured: punk rock is alive and well. Their old-schoolishness is quite what I like about the Hex Bombs: half throwback, and half novelty; either way, props for stickin' with it. They have a legitimacy that you can't fake, even if you try: these guys truly fucking believe in what they do... bonus props for being real in a decreasingly-authentic world and a decreasingly-authentic scene.
Not to mention, I would like the Hex Bombs anyway if only for the fact that I can't get enough pirate in my life, being a landlocked Midwesterner and all. But, somehow, they pull it off. The mix between their inexplicable seadoggishness and their uniquely Michiganian brand of punk rock strikes a comfortably familiar and, at once, bravely novel, chord in all of us ex-teen-punkers out here.
After Hex Bombs' whirlwhind of a set was the Cin-city ska band called The Pinstripes... if you're into soulful, reggae-influenced ska, these dudes are magically delicious... check 'em out here!
Oh yeah, and Mustard Plug was good too...
Later days.
--thejunkie
Friday, March 05, 2010
Pop Is Not a Four-Letter Word: Dead Scene Radio: 3/3/10 Interview
Only seconds into meeting Dead Scene Radio, I do something I never set out to do: blatantly embarrass the band.
In an honest effort for accuracy, I ask that they wear nametags (which are actually mailing labels-- all together now, “amateur”); I’m not too worried about it until our self-proclaimed “80’s hair metal freak” waitress (more on that later) calls out Aaron.
“Can I just say that I love that you’re wearing a nametag?” she says in blatant, but clearly flirtatious mockery.
Before I can jump in and explain, Aaron (bass) proudly pats it even more firmly into place, and offers an interesting factoid, launching us into the first of an unknown number of side-tracks: apparently, the upper right-hand side of one’s shirt is the “correct” place to wear a nametag, because it’s easier to see when you extend your right hand in a handshake. Unaffected by the helpful networking tip, the waitress bounces off to retrieve our first of several pitchers of Rolling Rock.
All the while, three fourths of Dead Scene Radio (Aaron, bass; Matt, guitars; and drummer Jeff]; second guitar player Jake is yet to show up) are cracking jokes, quoting everything from Zoolander ("How do you spell eu-google-y?") to Coffee and Cigarettes to The Office; each, in turn, interjects random references and sends the other two into a fit of laughter; they are the conversational equivalent of an Asian sibling acrobatic team in Cirque du Soleil, reading each other in a near-telepathic manner, appearing as appendages of one entity.
Jake shows up in time; we revert, almost immediately, to the past. The boys met in high school, and apparently, principle songwriters Matt and Jake didn't get along; the reasons for which, like so many great human mysteries, have been lost to time. Matt smiles and shrugs off discussion of the rivalry, but Jake, ever his counterpoint, offers an explanation: "You [hadn't] grown into your glasses yet, and your hair was short as shit!"
Almost immediately, it becomes apparent that though they are tight-- almost frighteningly so-- the guys really couldn't be more different. A juxtaposition of musical influences from MXPX, Our Lady Peace, and the Supertones, to the Beatles and Elvis Costello, to 1930's blues and Motown, makes for a unique final product: everything we love about rock and roll with a healthy dose of all the fun, catchiness, and charm of pop: think Weezer and latter-day They Might Be Giants, proudly clinging to the "four-letter word" that "pop" has become in a world of groups selling out of the pop styles that have nurtured generations of music geeks into sleeker, more (superficially) cerebral "indie."
But make no mistake: these guys aren't just fucking around. In fact, their level of seriousness and commitment both surprises and impresses me; these are good (and rare) qualities in a local band. With a full-length in the works, the guys are calling on their years of music training and experience-- which stems from their days in high school choir, but has since been elevated to the point that, at one point, Jeff identifies the note of a glass-clink-- to produce a what will likely be a very memorable debut album.
The album began to take shape over a year ago; the EP they have since released was, according to Matt, "what didn't fit" in with the album. In fact, Matt says, "The difference [between the EP and the album] is astronomical. You won't hear another song like 'White Flag,'" he promises, alluding to the band's more punk-rock tendencies, and although the EP was "more fun," Matt states, "To me, the album is more meaningful."
"It's a lot sexier!" Jake blurts.
"I feel sexier when I play it!" Aaron interjects, without missing a beat.
Among other things, we can also expect their full-length to contain a wider variety of sounds than their EP, which featured a more straightforward pop sound, like the novel, Beatle-rendered "Fuck The Times" (whose adorable chorus refrain is "fuck the times/ let's dance the world away").
The Beatles' influence is a nearly palpable force on the band. This fun foursome of high-school mates plays material primarily composed by Jake (who has a propensity for all things "catchy") and Matt (whose musical style is a bit more serious, and a lot more complex). Does this dynamic sound familiar? And while most of the parallels to the boys from Liverpool might seem to be only skin-deep, their influence is undeniable: with favorite albums ranging from "Please Please Me" and "the early stuff" (Aaron) to "Revolver," and "Abbey Road (aka "which one has 'Oh! Darling' on it?")" (for Jake and Matt) to "Let It Be" (Jeff), Dead Scene Radio has it down. Catchy, but oh-so-carefully drawing a line in the sand against the wolfbane/ Kryptonite/ taboo "too catchy;" the dichotomy that separates "boys in a band" from "boy-band."
But to be fair, there is a distinct boy band quality about Dead Scene Radio-- "quality" being the operative word. This was thrown into amazing relief when Jake sauntered in to the interview, a half an hour after we had begun (with a bevy of apologies met with resounding cries of "don't worry... we're having a blast!"), with a Kirk Cameron half-grin and a sheepish admission that "My hair usually looks more fly than this. Like Matt. Matt has the cuteness going on."
By the end of the interview, the band and I have shared information-- musical, personal, and nearly everything in between-- laughs, and inside jokes. Hell, we even find out (I'm still not sure how) that our waitress has two Motle Crue tattoos and that Nikki Sixx is "her idol." How, you might ask, did you happen upon this information without a "real" conversation?
Well, that's just the kind of guys they are.
Oh yeah, and one more thing to look out for from Dead Scene: "The Pet Sounds EP." Pet Sounds... sound familiar? Yes, of course; but, oh wait. "Each of us is going to write a song about one of our pets," Jeff explains. Weird, but cute, and-- all at once-- stubbornly interesting, it sounds about right for Dead Scene Radio.
Dead Scene Radio is to release a full-length album, the date of which is TBA.
In an honest effort for accuracy, I ask that they wear nametags (which are actually mailing labels-- all together now, “amateur”); I’m not too worried about it until our self-proclaimed “80’s hair metal freak” waitress (more on that later) calls out Aaron.
“Can I just say that I love that you’re wearing a nametag?” she says in blatant, but clearly flirtatious mockery.
Before I can jump in and explain, Aaron (bass) proudly pats it even more firmly into place, and offers an interesting factoid, launching us into the first of an unknown number of side-tracks: apparently, the upper right-hand side of one’s shirt is the “correct” place to wear a nametag, because it’s easier to see when you extend your right hand in a handshake. Unaffected by the helpful networking tip, the waitress bounces off to retrieve our first of several pitchers of Rolling Rock.
All the while, three fourths of Dead Scene Radio (Aaron, bass; Matt, guitars; and drummer Jeff]; second guitar player Jake is yet to show up) are cracking jokes, quoting everything from Zoolander ("How do you spell eu-google-y?") to Coffee and Cigarettes to The Office; each, in turn, interjects random references and sends the other two into a fit of laughter; they are the conversational equivalent of an Asian sibling acrobatic team in Cirque du Soleil, reading each other in a near-telepathic manner, appearing as appendages of one entity.
Jake shows up in time; we revert, almost immediately, to the past. The boys met in high school, and apparently, principle songwriters Matt and Jake didn't get along; the reasons for which, like so many great human mysteries, have been lost to time. Matt smiles and shrugs off discussion of the rivalry, but Jake, ever his counterpoint, offers an explanation: "You [hadn't] grown into your glasses yet, and your hair was short as shit!"
Almost immediately, it becomes apparent that though they are tight-- almost frighteningly so-- the guys really couldn't be more different. A juxtaposition of musical influences from MXPX, Our Lady Peace, and the Supertones, to the Beatles and Elvis Costello, to 1930's blues and Motown, makes for a unique final product: everything we love about rock and roll with a healthy dose of all the fun, catchiness, and charm of pop: think Weezer and latter-day They Might Be Giants, proudly clinging to the "four-letter word" that "pop" has become in a world of groups selling out of the pop styles that have nurtured generations of music geeks into sleeker, more (superficially) cerebral "indie."
But make no mistake: these guys aren't just fucking around. In fact, their level of seriousness and commitment both surprises and impresses me; these are good (and rare) qualities in a local band. With a full-length in the works, the guys are calling on their years of music training and experience-- which stems from their days in high school choir, but has since been elevated to the point that, at one point, Jeff identifies the note of a glass-clink-- to produce a what will likely be a very memorable debut album.
The album began to take shape over a year ago; the EP they have since released was, according to Matt, "what didn't fit" in with the album. In fact, Matt says, "The difference [between the EP and the album] is astronomical. You won't hear another song like 'White Flag,'" he promises, alluding to the band's more punk-rock tendencies, and although the EP was "more fun," Matt states, "To me, the album is more meaningful."
"It's a lot sexier!" Jake blurts.
"I feel sexier when I play it!" Aaron interjects, without missing a beat.
Among other things, we can also expect their full-length to contain a wider variety of sounds than their EP, which featured a more straightforward pop sound, like the novel, Beatle-rendered "Fuck The Times" (whose adorable chorus refrain is "fuck the times/ let's dance the world away").
The Beatles' influence is a nearly palpable force on the band. This fun foursome of high-school mates plays material primarily composed by Jake (who has a propensity for all things "catchy") and Matt (whose musical style is a bit more serious, and a lot more complex). Does this dynamic sound familiar? And while most of the parallels to the boys from Liverpool might seem to be only skin-deep, their influence is undeniable: with favorite albums ranging from "Please Please Me" and "the early stuff" (Aaron) to "Revolver," and "Abbey Road (aka "which one has 'Oh! Darling' on it?")" (for Jake and Matt) to "Let It Be" (Jeff), Dead Scene Radio has it down. Catchy, but oh-so-carefully drawing a line in the sand against the wolfbane/ Kryptonite/ taboo "too catchy;" the dichotomy that separates "boys in a band" from "boy-band."
But to be fair, there is a distinct boy band quality about Dead Scene Radio-- "quality" being the operative word. This was thrown into amazing relief when Jake sauntered in to the interview, a half an hour after we had begun (with a bevy of apologies met with resounding cries of "don't worry... we're having a blast!"), with a Kirk Cameron half-grin and a sheepish admission that "My hair usually looks more fly than this. Like Matt. Matt has the cuteness going on."
By the end of the interview, the band and I have shared information-- musical, personal, and nearly everything in between-- laughs, and inside jokes. Hell, we even find out (I'm still not sure how) that our waitress has two Motle Crue tattoos and that Nikki Sixx is "her idol." How, you might ask, did you happen upon this information without a "real" conversation?
Well, that's just the kind of guys they are.
Oh yeah, and one more thing to look out for from Dead Scene: "The Pet Sounds EP." Pet Sounds... sound familiar? Yes, of course; but, oh wait. "Each of us is going to write a song about one of our pets," Jeff explains. Weird, but cute, and-- all at once-- stubbornly interesting, it sounds about right for Dead Scene Radio.
Dead Scene Radio is to release a full-length album, the date of which is TBA.
Tuesday, March 02, 2010
Wax Artistic: Ghosts of the Great Lakes: 3/2/10 Interview
Traipsing into a smoke-filled dive, I'm flagged down by Ghosts of the Great Lakes' Benny West, who is accompanied by bandmates Jeff Goodman and Ben Bojanich (as well as Their Teeth Will Be Of Lions' Derek Feltner and his lady, in a serendipitous twist of fate); "Cupid's Shuffle" is blasting at a tacky volume; a squadron of rough-looking, first-week-of-the-month partiers "shuffle" accordingly.
Over Magic Hat #9, Kamikazes, and awkwardly large plates of nachos, we rap for awhile about La Dispute, Dead Scene Radio's next album, the NOISE! Convention, and Teeth's upcoming album release show (Goodman: "We've been trying to get on a show with SpaceLift for years! Well, for a year...") while we beat around the bush at the real reason we're there: to discuss Ghosts of the Great Lakes' new lineup, new perspective, and most of all, their new release, "Erasing You."
Having replaced their original bass player (Mike Snyder, currently of Guardian Devil) and drummer (Dane McClarren, currently of Aploid and various other experimental percussion-oriented music projects), Ghosts have been spending time laying low from the Kalamazoo scene, concentrating on finding their stride as a mostly-new band.
The Ghosts seem to agree that the new rhythm section contributes to a very different overall sound for the band. Their drummer is a newcomer on the Kalamazoo scene, Jesse Blankenship, a studio drummer from Minnesota with a degree in percussion. "Jesse is a lot more 'rock' [than McClarren]" says Goodman, Ghosts' guitarist. "Dane had a lot more jam and hip-hop influences. Jesse is a great 'broad' drummer... he's solid."
Goodman continued that new bassist Ben Bojanich is "more complex" than their original bass player, and that Snyder's playing was "more straightforward," allowing for the complexity of Bojanich's style to lend a noticeable freshness to Ghosts' formerly austere sound. "I'm really a guitar player," says Bojanich, who is heavily influenced by Joy Division, Modest Mouse's Johnny Mars, and, most of all The Cure. "The Cure is a big deal to me," he says. "They are the Bob Dylan of their genre."
Though Bojanich is considerably younger than the rest of the crew ("He's the Young Buck to our 3 6 Mafia"), he's settled into the crew with no problems. Bojanich remembers an immediate click between himself and Blankenship musically: "Jesse and I locked in fast," he said. And while Goodman and West, who have been playing together since extremely-short-lived 2008 Kalamazoo band Designer Virus, seem to miss, in certain ways, their former bandmates and their contributions, they seem excited about the new direction the band has taken. "We're the strongest we've ever been," says West.
At this point we're screaming at one another to communicate over the horrific metal that the bar is blasting, at this reasonable hour of a week night. West has had enough. He flags down our waitress: "Dude..." he says. "I'm so young. But seriously. Turn this shit down." West, dripping with quintessential frontman charisma, does not seem the least bit surprised when she immediately complies, lowering the music to a more tolerable volume. Known for his "diva" antics, such as storming off a stage at Corner Bar after sound issues, West has gained notoriety throughout the local music community. For him, though, it's about high expectations: "I honestly only care about technicality, and the quality of our music," he says. "We're not competitive with other bands, we're competitive with ourselves."
And though they maintain that their main drive is self satisfaction, and that they don't condone Battles of the Bands or other such band competitions for "novelty prizes and that kind of shit" that facilitate hostility between members of music communities, they do seem to be feeling the pressures of the competition within the Kalamazoo scene. "At every show we play, we try to be the best band there," says Goodman. Admirers of local bands-- Their Teeth Will Be of Lions, and especially of Immigrant Blue-- Ghosts do also have their share of scene rivals: "Other bands hate us," says West. "We are the most hated band in Kalamazoo. I feed off of it. I love it."
This unique take on the brotherhood, if you will, that could/ should/ sometimes does exist between local bands takes a backseat to Ghosts of the Great Lakes' tendency to look at the proverbial Big Picture: themselves as part of a the current music industry in general. In the April 2009 issue of Revue, Ghosts' first album, "The Death of the Party" was featured, at which time it was hailed as a "resurrection of the album," and West speculated on an ever-growing controversy to post-Napster generation radioheads: the diminishing of the album, in favor of iTunes-ready singles padded by meaningless filler. West adamantly opposes this trend, opting instead for its counterpoint: the concept album (which both "The Death of the Party" and "Erasing You" are proclaimed to be); West waxes artistic on the subject at length during our interview, revealing that the track "Dear Billy" on the upcoming record is a call-out on one of West's idols, Smashing Pumpkins' Billy Corgan, for selling out to single-culture.
In discussion of what to expect on the next record, West yanks up the hood on his black sweatshirt, takes a swig from a bottle of Heineken, and, moments later, says it all: "Fashion, dude. It's fuckin' fashion." Fashion and graphic design have been at the heart of Ghosts' image since they first hit the scene late 2008. Referring to the designer duds, high-end gear, stylish promotional strategy and glitzy album artwork for which the band has become known, Goodman states "It's not just about the music, it's the whole vibe." Bojanich agrees immediately, adding that Ghosts' image-oriented presence is "about professionalism."
With their propensity to leave no detail ignored, we might already know what to expect from Ghosts of the Great Lakes' new release. Still... what of the epic tale of city life, drug addiction, and doomed love that was told in "Death of the Party?" (which seemed to change slightly from interview to interview). What of the unnamed protagonist mentioned in the Revue feature? West assures that "'Erasing You' is an accompaniment to 'The Death of the Party.' It fills in the blanks in the album and takes it past its ending point [the instrumental 'London']."
One thing we know for sure about "Erasing You:" its track list, posted prematurely on the band's MySpace blog. I mentioned this in my last post, and I couldn't help but bring it up in the interview: "I knew that was coming!" said West. He continued to explain that to "some people," it was important to know the next part of the self-proclaimed cliff-hanger that was "The Death of the Party;" furthermore, they weren't concerned about taking away suspense for the album release, maintaining that their fans appreciated the information: "Anyone who's ever called me in the middle of the night crying because they listened to 'Souls' appreciates that. It fuckin' matters to people."
Whether or not you cried listening to "Souls," you can be sure that "Erasing You" will pick us up right where we left off: a glamorous big-city escapade: addiction, heartache and "fashion" galore.
Around eleven pm, the bar cranks back up the prison-core metal. "Is this Mindless Self Indulgence?" asks Goodman good-naturedly. "Whatever it is, it's fucking my face," counters West.
On that note...
* * * * *
Ghosts of the Great Lakes will release their second full-length, "Erasing You" June 16th, 2010 at Papa Pete's.
Over Magic Hat #9, Kamikazes, and awkwardly large plates of nachos, we rap for awhile about La Dispute, Dead Scene Radio's next album, the NOISE! Convention, and Teeth's upcoming album release show (Goodman: "We've been trying to get on a show with SpaceLift for years! Well, for a year...") while we beat around the bush at the real reason we're there: to discuss Ghosts of the Great Lakes' new lineup, new perspective, and most of all, their new release, "Erasing You."
Having replaced their original bass player (Mike Snyder, currently of Guardian Devil) and drummer (Dane McClarren, currently of Aploid and various other experimental percussion-oriented music projects), Ghosts have been spending time laying low from the Kalamazoo scene, concentrating on finding their stride as a mostly-new band.
The Ghosts seem to agree that the new rhythm section contributes to a very different overall sound for the band. Their drummer is a newcomer on the Kalamazoo scene, Jesse Blankenship, a studio drummer from Minnesota with a degree in percussion. "Jesse is a lot more 'rock' [than McClarren]" says Goodman, Ghosts' guitarist. "Dane had a lot more jam and hip-hop influences. Jesse is a great 'broad' drummer... he's solid."
Goodman continued that new bassist Ben Bojanich is "more complex" than their original bass player, and that Snyder's playing was "more straightforward," allowing for the complexity of Bojanich's style to lend a noticeable freshness to Ghosts' formerly austere sound. "I'm really a guitar player," says Bojanich, who is heavily influenced by Joy Division, Modest Mouse's Johnny Mars, and, most of all The Cure. "The Cure is a big deal to me," he says. "They are the Bob Dylan of their genre."
Though Bojanich is considerably younger than the rest of the crew ("He's the Young Buck to our 3 6 Mafia"), he's settled into the crew with no problems. Bojanich remembers an immediate click between himself and Blankenship musically: "Jesse and I locked in fast," he said. And while Goodman and West, who have been playing together since extremely-short-lived 2008 Kalamazoo band Designer Virus, seem to miss, in certain ways, their former bandmates and their contributions, they seem excited about the new direction the band has taken. "We're the strongest we've ever been," says West.
At this point we're screaming at one another to communicate over the horrific metal that the bar is blasting, at this reasonable hour of a week night. West has had enough. He flags down our waitress: "Dude..." he says. "I'm so young. But seriously. Turn this shit down." West, dripping with quintessential frontman charisma, does not seem the least bit surprised when she immediately complies, lowering the music to a more tolerable volume. Known for his "diva" antics, such as storming off a stage at Corner Bar after sound issues, West has gained notoriety throughout the local music community. For him, though, it's about high expectations: "I honestly only care about technicality, and the quality of our music," he says. "We're not competitive with other bands, we're competitive with ourselves."
And though they maintain that their main drive is self satisfaction, and that they don't condone Battles of the Bands or other such band competitions for "novelty prizes and that kind of shit" that facilitate hostility between members of music communities, they do seem to be feeling the pressures of the competition within the Kalamazoo scene. "At every show we play, we try to be the best band there," says Goodman. Admirers of local bands-- Their Teeth Will Be of Lions, and especially of Immigrant Blue-- Ghosts do also have their share of scene rivals: "Other bands hate us," says West. "We are the most hated band in Kalamazoo. I feed off of it. I love it."
This unique take on the brotherhood, if you will, that could/ should/ sometimes does exist between local bands takes a backseat to Ghosts of the Great Lakes' tendency to look at the proverbial Big Picture: themselves as part of a the current music industry in general. In the April 2009 issue of Revue, Ghosts' first album, "The Death of the Party" was featured, at which time it was hailed as a "resurrection of the album," and West speculated on an ever-growing controversy to post-Napster generation radioheads: the diminishing of the album, in favor of iTunes-ready singles padded by meaningless filler. West adamantly opposes this trend, opting instead for its counterpoint: the concept album (which both "The Death of the Party" and "Erasing You" are proclaimed to be); West waxes artistic on the subject at length during our interview, revealing that the track "Dear Billy" on the upcoming record is a call-out on one of West's idols, Smashing Pumpkins' Billy Corgan, for selling out to single-culture.
In discussion of what to expect on the next record, West yanks up the hood on his black sweatshirt, takes a swig from a bottle of Heineken, and, moments later, says it all: "Fashion, dude. It's fuckin' fashion." Fashion and graphic design have been at the heart of Ghosts' image since they first hit the scene late 2008. Referring to the designer duds, high-end gear, stylish promotional strategy and glitzy album artwork for which the band has become known, Goodman states "It's not just about the music, it's the whole vibe." Bojanich agrees immediately, adding that Ghosts' image-oriented presence is "about professionalism."
With their propensity to leave no detail ignored, we might already know what to expect from Ghosts of the Great Lakes' new release. Still... what of the epic tale of city life, drug addiction, and doomed love that was told in "Death of the Party?" (which seemed to change slightly from interview to interview). What of the unnamed protagonist mentioned in the Revue feature? West assures that "'Erasing You' is an accompaniment to 'The Death of the Party.' It fills in the blanks in the album and takes it past its ending point [the instrumental 'London']."
One thing we know for sure about "Erasing You:" its track list, posted prematurely on the band's MySpace blog. I mentioned this in my last post, and I couldn't help but bring it up in the interview: "I knew that was coming!" said West. He continued to explain that to "some people," it was important to know the next part of the self-proclaimed cliff-hanger that was "The Death of the Party;" furthermore, they weren't concerned about taking away suspense for the album release, maintaining that their fans appreciated the information: "Anyone who's ever called me in the middle of the night crying because they listened to 'Souls' appreciates that. It fuckin' matters to people."
Whether or not you cried listening to "Souls," you can be sure that "Erasing You" will pick us up right where we left off: a glamorous big-city escapade: addiction, heartache and "fashion" galore.
Around eleven pm, the bar cranks back up the prison-core metal. "Is this Mindless Self Indulgence?" asks Goodman good-naturedly. "Whatever it is, it's fucking my face," counters West.
On that note...
* * * * *
Ghosts of the Great Lakes will release their second full-length, "Erasing You" June 16th, 2010 at Papa Pete's.
Sunday, February 28, 2010
Top 10 Things I'm Excited About
If there's one thing I love doing, it's making Top-10 lists. You might remember a minor overuse of them during Hip-Hop Week, but it's been months and I think it's ok now...
[10. The Sedgwyck Agents and Your Best Friend: Papa Pete's 3/5/10]
The first time I heard about Your Best Friend, the conversation literally went like this:
Much-cooler friend: What are you doing tonight?
Meg: Aw, I don't know.
MCF: Your Best Friend is playing a show at Corner Bar!
M: ...my best friend? .......who........?
MCF: NO, have you ever heard of the band, YOUR BEST FRIEND?!
She was/is way cooler than me, but now I know! Anyway, the Detroit-area band Your Best Friend will be bringing the hotness to Papa Pete's on March 5th! I saw YBF at Papa's last summer, I believe, with Ghosts of the Great Lakes and others. And, though those were my pre-blogging days (can you imagine? I can't), I still feel that I may tell you that they rocked my fucking face off.
For the record, I once had a similar conversation about Something Corporate ("Do you listen to Something Corporate?" "I listen to a lot of corporate music"); I swear to God that happened. Anyway...
Opening for Your Best Friend will be Kalamazoo's own Sedgwyck Agents. These masters of garage-grunge, also chock full of face-rocking goodness, mash heavily-distorted guitars, riotous cymbal-crashing fury and snarling, Johnny Rottenesque vocals: the kind of music you jacked up way, way too loud when you were an angsty high-school asshole (no worries, I've been there). Your parents' worst nightmare... but (ugh oh) your best friend.
Check this show out. Promise.
Also, look for my upcoming feature on Sedgwyck on Kalamazoo NOISE! for whom I will soon be a contributing writer. These guys rock-- bookmark this page to keep in the loop about Kalamazoo and southwest Michigan shows, as well as check out band profiles, etc, etc, etc.
[9. Ghosts of the Great Lakes' new full length "Erasing You"]
That's right, the band who once likened their sound to "shiny dirt" are releasing their sophomore effort. With a revamped lineup, Ghosts promise that "We are not fucking around in the least on this album." (from their blog); and vow additionally that it will "be loud." And while they brought the pain on their last release "The Death of the Party," which was favorably reviewed by Recoil, Revue and others, it will be interesting to see what they come up with this time around, having taken a minor hiatus from playing live shows and generally been off the proverbial radar.
And in case you've been curious about what they've been up to, they've released the a track list from the upcoming album on their blog. Though I can't see a reason to do this other than just liking the songs' titles a lot, they are officially... released. With promises that we will finally hear the music behind the titles in... June.
Anti-climactic, much?
Regardless, given the endlessly creative take on modern rock with which Ghosts have made a name for themselves in the Kalamazoo scene, I'm stoked for their next release.
See ya in a few months, guys!
[8. Elm Street Riot (formerly Bermuda Groove)]
Elm Street are sort of the new kids on the block of Kalamazoo indie-rock, blending classic 90s alt rock and gritty garage-blues with an indie perspective (think Cage the Elephant, the Black Keys and Ryan Adams' more "rock" stuff).
When I saw them in the fall at the Strutt as Bermuda Groove, I was confused and almost disappointed that they weren't more like this, given their name. But, I kicked back and enjoyed the set; they're kind of like seeing the first high school garage band you were really impressed by; like, "oh, you can be THAT cool and sound like that?! That's really good!"
Anyway, it's still in the early days of Elm Street Riot's tenure on the Kzoo scene, but I'm expecting to hear MUCH more from these guys in the coming months. In the meantime, you can check out their EP here and rock steady; during which time, please be advised that Elm Street "is sure to make your ears bleed in the best possible way."
[7. Trixy Disco] (what is "Dutch Pop?")
Another new band I've happened upon since selling out to MySpace: Trixy Disco. With a name like "Trixy Disco," a MySpace wallpapered in mosquitoes, and (most of all) their funky, experimental hard-rock sound, I was instantly intrigued. Though they only have one song up on MySpace, the headbanging "C'mon Sunshine," their sound has a presence and a uniqueness that you can't fake-- or ignore.
It might be a little premature but I'm expecting fantastic things from this band... they will be rockin' out the dungeon that is Corner Bar on March 19th, so I guess we'll see?
[6. Their Teeth Will Be Of Lions CD Release Show 4/17/10]
What the band rightly calls a "strange collaboration of talent and compassion" on their own MySpace is Kalamazoo's indie tour de force Their Teeth Will Be Of Lions. Taking us on an experimental-indie roller coaster ride of sound since their first release "Everyone Made it Out Alive.. Almost!" and through the darker "The Death... The Reincarnation... And The Unfamiliar Tales Of:" the band brings us their third album, "True Stories Are Harder To Make Up" in April.
Preferring their dance-y first album to the more brooding sophomore effort, I felt that their original B52s-meets-Rocky-Horror-Picture-Show antics suited the quirky seven-piece a little better than what they've been coming up with lately;. for example, "We Plunge Our Hands Deep Into The Sand:" an almost-harmonizing a cappella intro, leading into bass-driven indie, festooned with Sci-Fi synth and overdubbed with an excerpt from Obama's presidential acceptance speech... A little much? I think so.
However, while I don't know quite what to expect from the third-- a bridge between ridiculous-but-fun and serious-but-overbearing? or a third direction we don't even see coming?-- I'm sure that the CD release show will be worth catching. While naysayers can say what they will about Teeth's recorded work, there is no denying that they have always put on one of the most fun shows in town. And, alongside a killer lineup of some of the area's best bands-- The Skies Revolt (Grand Rapids), Hello Victor, Ghosts of the Great Lakes, Spacelift, and Toro and the National Guard-- this show is guaranteed to be killer.
[5. Reggae Dancehall Xplosion 2010]
What do you get when you mix the resurrection of one of Kalamazoo's greatest venues of all time (the Kraftbrau... nowadays "Old Dog Tavern") and the amazing island-inspired world-beat dance music spun by WIDR's Selector Jonathon/ "Dread I Sound?" That's right: a "Reggae Dancehall Xplosion" the likes of which this town has never seen. Spinning a combination of "roots music, afro-beat, dub, nyahbinghi, rock-steady, dub-step, one-drop, dancehall, rockers, acoustic, dubtronic, lovers, tropical, soca, steel pan, modern roots, calypso and the occasional non-reggae African-based music" (from the Reggae Revolution MySpace), Dread I Sound and DJ Assane (who I mysteriously cannot find anywhere on the internet, and consequently cannot provide you with a link; sorry) revive a long-lost art: the reggae dance party.
You might remember Dread I Sound from Bob Marley Birthday Bash this year; and, in true irie spirit, he has generously sent me playlists of his radio show, which I am thrilled to say IS AMAZING. Alongside super obscure reggae-oriented acts from all over the world (not just the Caribbean, but as far-flung as Sardinia, Italy, Sweden, the UK, France, and Belgium; and even the US and Canada... who knew?) are names you'll recognize from mainstream radio and probably your own music collection... Sean Paul, Matisyahu, Peter Tosh, Burning Spear, Rancid (?! what are you doing here, Rancid?) and more.
And, well, it's not spring yet. So if you need a break, hit up Old Dog Tavern, crack open a Red Stripe and post. Dread I Sound has a gift for turning what is often misunderstood as a very homogeneous genre and turning it into a truly diverse and amazing tessellation of styles, cultures, and sounds. Interested? You bet your ass you are. Check out the next Reggae Dancehall Xplosion on March 18th; until then, Reggae Revolution is on WIDR (89.1 FM) Tuesday nights from 10-midnight.
[4. Dead Scene Radio's Full-Length; release date TBD]
Wellllllll if you read my last post (was that the last one? damn) you already know how I feel about Dead Scene Radio.
You know then, indeed that we are expecting a full-length from them coming up, the details of which should be released any time now now.
What they do have up is this video, which, even without vocals, sounds killer and falls squarely within their tried-and-true indie/pop paradigm, and resembles the rest of their music: laden with upbeat, electric instrumentation, bright melodies and subtle vocal harmonies.
Anyway, I'm going to try to set up an interview with these guys and see if we can get in the loop. In the meantime, check out their current stuff if you haven't: a feel-good blend of old-school Beach Boys/ Buddy Holly pop/rock and roll plus indie rock.
[3. Hello Victor: full-length due out in June 2010]
You might remember one of my very first local reviews, Hello Victor's EP, "1623" last fall.
After my mostly-favorable review of their EP, I saw them play a few times-- most recently over Christmas Break, I think-- and now can say that I thoroughly believe in this band. With an increasingly-killer live show to amplify their already impressive studio work (available on MySpace and anjuno), Hello Victor is building suspense for their first full-length, due out this summer, releasing a song or two at their recent shows but keeping fairly quiet about what they're up to in the studio.
During an unofficial interview with Hello Victor, I learned that they have been keeping quite busy; with a new management deal and studio options being discussed, the band seems to hope to live up to the buzz that their EP and live shows have generated, continue playing live shows (including a slew of Kalamazoo-area dates and a show in Chicago) in the coming months. With moderate lineup changes (including adding members of the now-defunct Kzoo indie gem The Rock and the Hive) and a notable feeling of newfound assurance in their music, Hello Victor is looking pretty good these days.
[2. Mustard Plug at Papa Pete's 3/16/10]
AHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
My favorite local(ish) band EVER and one of my all-time faves, MUSTARD PLUG, is playing at Papa Pete's in a mere TWO WEEKS!
I've seen this band I think around nine times (I lost track at seven) and they have never, never disappointed me. I checked them out for the first time when I was 15, at State Theatre. I think it was the first concert I ever went to. It was summer. I wore sandals. It was painful. I had an awesome time.
One thing I love about Mustard Plug's shows: consistency. They are consistently the most fun shows I see. Despite having serious ska chops and being a mainstay in the national ska scene-- and, now an internationally-performing band-- these guys are mindblowingly down-to-earth, allowing for an anything-goes atmosphere at their shows. I'm talking skanking, crowdsurfing, stagedancing and any other beer- /Beer- fueled shenanigans you can imagine, an elbows-and-knees melee over soaring requiems of 2 Tone chaos.
I can promise you that THIS WILL BE THE SHOW of the season in Kalamazoo. Except for...
[1. Fruit Bats 3/5/10 @ the Strutt]
At last, Fruit Bats are making their triumphant return to Kalamazoo after Barking Tuna 2009.
If you didn't catch my Barking Tuna coverage last fall, here's a synopsis: despite having played an amazing show at State Theatre on Night Three, the Fruit Bats received little attention in Kalamazoo, even from a city with what I observe as a pretty indie-centered music scene.
But still, it seems like people are fairly excited about this show; in a rare move, The Strutt is pre-selling tickets (they are $10 in advance, $12 at the door, I believe.). I know I am.
With a delightful, Shins-rendered style of indie-pop, Fruit Bats (currently on the music snobs' Most Infamous Label: SubPop) exemplify everything that is great about indie: intricate-but-accessible, tone-conscious guitar parts, weaving flowing harmonies with cerebral lyrics and the occasional piano jam. Frontman and principal songwriter Eric Johnson has an incredible combination of the characteristic indie sensibility with roots in classic rock; think Jeffy Tweedy meets Loud Reed meets the Beatles' "Let It Be" (Phil Spector style or "Naked," you decide) times indie, minus whining; to the tenth power.
Also, check out their blog; their latest chronicles a session with Sean and my boys over at Day Trotter!
[10. The Sedgwyck Agents and Your Best Friend: Papa Pete's 3/5/10]
The first time I heard about Your Best Friend, the conversation literally went like this:
Much-cooler friend: What are you doing tonight?
Meg: Aw, I don't know.
MCF: Your Best Friend is playing a show at Corner Bar!
M: ...my best friend? .......who........?
MCF: NO, have you ever heard of the band, YOUR BEST FRIEND?!
She was/is way cooler than me, but now I know! Anyway, the Detroit-area band Your Best Friend will be bringing the hotness to Papa Pete's on March 5th! I saw YBF at Papa's last summer, I believe, with Ghosts of the Great Lakes and others. And, though those were my pre-blogging days (can you imagine? I can't), I still feel that I may tell you that they rocked my fucking face off.
For the record, I once had a similar conversation about Something Corporate ("Do you listen to Something Corporate?" "I listen to a lot of corporate music"); I swear to God that happened. Anyway...
Opening for Your Best Friend will be Kalamazoo's own Sedgwyck Agents. These masters of garage-grunge, also chock full of face-rocking goodness, mash heavily-distorted guitars, riotous cymbal-crashing fury and snarling, Johnny Rottenesque vocals: the kind of music you jacked up way, way too loud when you were an angsty high-school asshole (no worries, I've been there). Your parents' worst nightmare... but (ugh oh) your best friend.
Check this show out. Promise.
Also, look for my upcoming feature on Sedgwyck on Kalamazoo NOISE! for whom I will soon be a contributing writer. These guys rock-- bookmark this page to keep in the loop about Kalamazoo and southwest Michigan shows, as well as check out band profiles, etc, etc, etc.
[9. Ghosts of the Great Lakes' new full length "Erasing You"]
That's right, the band who once likened their sound to "shiny dirt" are releasing their sophomore effort. With a revamped lineup, Ghosts promise that "We are not fucking around in the least on this album." (from their blog); and vow additionally that it will "be loud." And while they brought the pain on their last release "The Death of the Party," which was favorably reviewed by Recoil, Revue and others, it will be interesting to see what they come up with this time around, having taken a minor hiatus from playing live shows and generally been off the proverbial radar.
And in case you've been curious about what they've been up to, they've released the a track list from the upcoming album on their blog. Though I can't see a reason to do this other than just liking the songs' titles a lot, they are officially... released. With promises that we will finally hear the music behind the titles in... June.
Anti-climactic, much?
Regardless, given the endlessly creative take on modern rock with which Ghosts have made a name for themselves in the Kalamazoo scene, I'm stoked for their next release.
See ya in a few months, guys!
[8. Elm Street Riot (formerly Bermuda Groove)]
Elm Street are sort of the new kids on the block of Kalamazoo indie-rock, blending classic 90s alt rock and gritty garage-blues with an indie perspective (think Cage the Elephant, the Black Keys and Ryan Adams' more "rock" stuff).
When I saw them in the fall at the Strutt as Bermuda Groove, I was confused and almost disappointed that they weren't more like this, given their name. But, I kicked back and enjoyed the set; they're kind of like seeing the first high school garage band you were really impressed by; like, "oh, you can be THAT cool and sound like that?! That's really good!"
Anyway, it's still in the early days of Elm Street Riot's tenure on the Kzoo scene, but I'm expecting to hear MUCH more from these guys in the coming months. In the meantime, you can check out their EP here and rock steady; during which time, please be advised that Elm Street "is sure to make your ears bleed in the best possible way."
[7. Trixy Disco] (what is "Dutch Pop?")
Another new band I've happened upon since selling out to MySpace: Trixy Disco. With a name like "Trixy Disco," a MySpace wallpapered in mosquitoes, and (most of all) their funky, experimental hard-rock sound, I was instantly intrigued. Though they only have one song up on MySpace, the headbanging "C'mon Sunshine," their sound has a presence and a uniqueness that you can't fake-- or ignore.
It might be a little premature but I'm expecting fantastic things from this band... they will be rockin' out the dungeon that is Corner Bar on March 19th, so I guess we'll see?
[6. Their Teeth Will Be Of Lions CD Release Show 4/17/10]
What the band rightly calls a "strange collaboration of talent and compassion" on their own MySpace is Kalamazoo's indie tour de force Their Teeth Will Be Of Lions. Taking us on an experimental-indie roller coaster ride of sound since their first release "Everyone Made it Out Alive.. Almost!" and through the darker "The Death... The Reincarnation... And The Unfamiliar Tales Of:" the band brings us their third album, "True Stories Are Harder To Make Up" in April.
Preferring their dance-y first album to the more brooding sophomore effort, I felt that their original B52s-meets-Rocky-Horror-Picture-Show antics suited the quirky seven-piece a little better than what they've been coming up with lately;. for example, "We Plunge Our Hands Deep Into The Sand:" an almost-harmonizing a cappella intro, leading into bass-driven indie, festooned with Sci-Fi synth and overdubbed with an excerpt from Obama's presidential acceptance speech... A little much? I think so.
However, while I don't know quite what to expect from the third-- a bridge between ridiculous-but-fun and serious-but-overbearing? or a third direction we don't even see coming?-- I'm sure that the CD release show will be worth catching. While naysayers can say what they will about Teeth's recorded work, there is no denying that they have always put on one of the most fun shows in town. And, alongside a killer lineup of some of the area's best bands-- The Skies Revolt (Grand Rapids), Hello Victor, Ghosts of the Great Lakes, Spacelift, and Toro and the National Guard-- this show is guaranteed to be killer.
[5. Reggae Dancehall Xplosion 2010]
What do you get when you mix the resurrection of one of Kalamazoo's greatest venues of all time (the Kraftbrau... nowadays "Old Dog Tavern") and the amazing island-inspired world-beat dance music spun by WIDR's Selector Jonathon/ "Dread I Sound?" That's right: a "Reggae Dancehall Xplosion" the likes of which this town has never seen. Spinning a combination of "roots music, afro-beat, dub, nyahbinghi, rock-steady, dub-step, one-drop, dancehall, rockers, acoustic, dubtronic, lovers, tropical, soca, steel pan, modern roots, calypso and the occasional non-reggae African-based music" (from the Reggae Revolution MySpace), Dread I Sound and DJ Assane (who I mysteriously cannot find anywhere on the internet, and consequently cannot provide you with a link; sorry) revive a long-lost art: the reggae dance party.
You might remember Dread I Sound from Bob Marley Birthday Bash this year; and, in true irie spirit, he has generously sent me playlists of his radio show, which I am thrilled to say IS AMAZING. Alongside super obscure reggae-oriented acts from all over the world (not just the Caribbean, but as far-flung as Sardinia, Italy, Sweden, the UK, France, and Belgium; and even the US and Canada... who knew?) are names you'll recognize from mainstream radio and probably your own music collection... Sean Paul, Matisyahu, Peter Tosh, Burning Spear, Rancid (?! what are you doing here, Rancid?) and more.
And, well, it's not spring yet. So if you need a break, hit up Old Dog Tavern, crack open a Red Stripe and post. Dread I Sound has a gift for turning what is often misunderstood as a very homogeneous genre and turning it into a truly diverse and amazing tessellation of styles, cultures, and sounds. Interested? You bet your ass you are. Check out the next Reggae Dancehall Xplosion on March 18th; until then, Reggae Revolution is on WIDR (89.1 FM) Tuesday nights from 10-midnight.
[4. Dead Scene Radio's Full-Length; release date TBD]
Wellllllll if you read my last post (was that the last one? damn) you already know how I feel about Dead Scene Radio.
You know then, indeed that we are expecting a full-length from them coming up, the details of which should be released any time now now.
What they do have up is this video, which, even without vocals, sounds killer and falls squarely within their tried-and-true indie/pop paradigm, and resembles the rest of their music: laden with upbeat, electric instrumentation, bright melodies and subtle vocal harmonies.
Anyway, I'm going to try to set up an interview with these guys and see if we can get in the loop. In the meantime, check out their current stuff if you haven't: a feel-good blend of old-school Beach Boys/ Buddy Holly pop/rock and roll plus indie rock.
[3. Hello Victor: full-length due out in June 2010]
You might remember one of my very first local reviews, Hello Victor's EP, "1623" last fall.
After my mostly-favorable review of their EP, I saw them play a few times-- most recently over Christmas Break, I think-- and now can say that I thoroughly believe in this band. With an increasingly-killer live show to amplify their already impressive studio work (available on MySpace and anjuno), Hello Victor is building suspense for their first full-length, due out this summer, releasing a song or two at their recent shows but keeping fairly quiet about what they're up to in the studio.
During an unofficial interview with Hello Victor, I learned that they have been keeping quite busy; with a new management deal and studio options being discussed, the band seems to hope to live up to the buzz that their EP and live shows have generated, continue playing live shows (including a slew of Kalamazoo-area dates and a show in Chicago) in the coming months. With moderate lineup changes (including adding members of the now-defunct Kzoo indie gem The Rock and the Hive) and a notable feeling of newfound assurance in their music, Hello Victor is looking pretty good these days.
[2. Mustard Plug at Papa Pete's 3/16/10]
AHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
My favorite local(ish) band EVER and one of my all-time faves, MUSTARD PLUG, is playing at Papa Pete's in a mere TWO WEEKS!
I've seen this band I think around nine times (I lost track at seven) and they have never, never disappointed me. I checked them out for the first time when I was 15, at State Theatre. I think it was the first concert I ever went to. It was summer. I wore sandals. It was painful. I had an awesome time.
One thing I love about Mustard Plug's shows: consistency. They are consistently the most fun shows I see. Despite having serious ska chops and being a mainstay in the national ska scene-- and, now an internationally-performing band-- these guys are mindblowingly down-to-earth, allowing for an anything-goes atmosphere at their shows. I'm talking skanking, crowdsurfing, stagedancing and any other beer- /Beer- fueled shenanigans you can imagine, an elbows-and-knees melee over soaring requiems of 2 Tone chaos.
I can promise you that THIS WILL BE THE SHOW of the season in Kalamazoo. Except for...
[1. Fruit Bats 3/5/10 @ the Strutt]
At last, Fruit Bats are making their triumphant return to Kalamazoo after Barking Tuna 2009.
If you didn't catch my Barking Tuna coverage last fall, here's a synopsis: despite having played an amazing show at State Theatre on Night Three, the Fruit Bats received little attention in Kalamazoo, even from a city with what I observe as a pretty indie-centered music scene.
But still, it seems like people are fairly excited about this show; in a rare move, The Strutt is pre-selling tickets (they are $10 in advance, $12 at the door, I believe.). I know I am.
With a delightful, Shins-rendered style of indie-pop, Fruit Bats (currently on the music snobs' Most Infamous Label: SubPop) exemplify everything that is great about indie: intricate-but-accessible, tone-conscious guitar parts, weaving flowing harmonies with cerebral lyrics and the occasional piano jam. Frontman and principal songwriter Eric Johnson has an incredible combination of the characteristic indie sensibility with roots in classic rock; think Jeffy Tweedy meets Loud Reed meets the Beatles' "Let It Be" (Phil Spector style or "Naked," you decide) times indie, minus whining; to the tenth power.
Also, check out their blog; their latest chronicles a session with Sean and my boys over at Day Trotter!
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