100 Shows of 2010 - #75: Women/ DD/MM/YYYY @ DC9, 10/11/10

Upon seeing this here show, I’ve come to a conclusion, my sweetest of sweet loves. We could each and every one of us benefit from more Women in our lives. No, not women women. I mean Women, the Canadian ensemble full of much supreme awesomeness and an excess of sonic splendifery. Though, come to think of it some of you could probably use more women, too, but that’s neither here nor there. So let’s consider #75 here as the one in which two bands of northerly neighbors come to DC and lay down some seriously bitchin, spectacular noise. Mama like.

MINI RECAP: DD/MM/YYYY = Dashingly Thunderous! Women = More Than Women To Me! Overall score: A

I’d been curious about DD/MM/YYYY (aka Day Month Year, just so you know) for a little while now, and was exceedingly pleased with the live stylings of their befuddling, bulky sound. Wishing us all a Happy Columbus Day, they thrashed through a set full of goodies. I’d call it a mish mash of the bratty spittle snarl of Black Eyes (RIP), the dark synthy rhythms of Underworld, and the general jarring, angular dissonance of what the kids might call art punk. Whatever the ingredients, the finished product was a fine little nasty wallop, and I kinda sorta really liked it. In fact, this (and really, this applies to Women, too) was probably what Heather Chandler had in mind when she uttered the immortal words, “fuck me gently with a chainsaw.” Between the deafening waves of blistering attitude and the drummer with a major case of the spazz, I was totally enamored.

The glorious insanity didn’t stop there, my friends. Oh no. For up next was the band I had been wanting to see since, well, the last time I saw them. Which, quite frankly, was far too long ago. Women, o Women. How much I love thee. “We’re gonna play songs now,” they stated, and play songs they damn well did. It was just what I had hoped it would be, the giant wall of noise tempered with the hint of melody here and there. The stark leanness of the older songs was balanced by the more structured, dare I say almost psych-influenced songs to be found on their new record. With the stridence came the loveliness, and it came as quite a pleasant surprise to hear this evolution. At times I felt as if my head might explode with the dazzling wonder of it all. Hearing my favorite of favorite Women songs, “Black Rice,” was the sweetest of cherries. The slightly sped-up, but no less killer, song is so rad to hear live that that one song pretty much made my night. These guys are straight up artists of the aural assault, turning the onslaught of noise into something almost beautiful. Having seen them a second time, I can confirm that Women is getting better. And that is almost scary.

So guess what I’m gonna tell you kids? Go see these two bands live. Seriously. It’s for your own good.

mp3: Narrow With The Hall (Women from Public Strain)

100 Shows of 2010 - #70: The Acorn @ DC9, 9/26/10

Moustaches might be all the rage right now, friends, but some folks choose to keep it old school and stick with beards and shadow. And I'm an old-fashioned gal at heart, and I loves me some beards and shadow. The Acorn, some of my new favorite neighbors to the North, fancies it old school, too. Which, in truth, is but one reason to love them. Having seen them live, finally, I can assure you there's plenty more to become smitten with. Beardage is just the tip of the iceberg.

MINI RECAP: The Acorn = Totally Astonishing! Overall Score: B++

Ambling onto a stage that felt more like a lakeside living room than a DC stage, thanks to some lamps and actual cabin walls imported from Canada for the tour, The Acorn demonstrated that a band can actually look like they sound. That being rustic and lovely and just a bit woodsy (hey, there was some plaid present, after all, not to mention all that rugged facial hair). Their sound took me to the land of big skies and piney woods and crystal lakes, at times ever-so dreamy and lulling and always, always beautiful.

"Crooked Legs" was possibly the highlight of the night for me, the breathtaking delicacy eliciting scenes of firefly-lit nights serenaded by nocturnal animals and lit by starlight. While it might seem impossible, the live version of this, and probably every song they played, was even lovelier than the recorded version. Something about this band, friends, something about them is just bewitching. But of course, it wasn't all arch perfection. No, no. These Canucks know how to get a little raunchy, launching into "the sex vibes" with a song "about our collective genitalia." I was pleased to note the band can also bring a little rock, too, proving more than idyllically one-track ponies. And nothing earns points with a DC blogger like favorably comparing and contrasting DC crowds with Philly crowds.

But to me, The Acorn is at their best when carefully and delicately creating bucolic gems full of pretty, pretty sounds. The result is all sorts of glorious goodness. And really, this is a band that should be experienced often and regularly. You can interpret that however you want, you dirty bastards.

mp3: Crooked Legs (The Acorn from Glory Hope Mountain)

100 Shows of 2010 - #64: Dreamend @ DC9, 9/9/10

Man alive, we Terribles sure have been hitting a lot of shows together lately. I assure you, friends, this doesn't usually happen, and I have rather enjoyed this spate of quality time with my dear better blogging half. On yet another of our evenings together, we found ourselves being Terrible at DC9 (well, before I had to split to head to another show!). I did, however, manage to enjoy quite a delightful set by Dreamend, otherwise known as the brainchild of Ryan from Graveface (and Black Moth Super Rainbow). I'd heard scant little of Dreamend before this show (and managed to miss Ryan when he blew threw town months back with The Appleseed Cast), but hot damn if I wasn't totally swept off my feet! The songs might not sound as they do on record, but being a Gemini I appreciate a little of the musical schizophrenia. And when it sounds this good, well, who cares if the vibe is totally different. I sure don't.

MINI RECAP: Dreamend = Sassily Schizo! Overall Score: B+

My enjoyment began pretty much right after the dynamic duo (much like myself and Chris, obviously) stepped onto the stage. I immediately fell in smit with the live incarnation of Dreamend, all gorgeously ethereal ramblings with guitar and drums. I got a kind of Mogwai vibe, when the noisy Scots tread more delicately and not so destructively (think "New Paths to Helicon 1" etc.). And just as with Mogwai, the boys of Dreamend can get pretty dang aggro in a snap. But how cute was that little cartoon of those be-toga'd Romans (or Greeks, it's all in the interpretation)? Ryan was almost hiding behind his oversized hoodie and some equipment, letting the fuzz (and sometimes his lovely voice) let his presence be known. Pavement also sprang to my mind on certain songs, and when you remind a gal of Pavement and Mogwai in one set, well, you're doing mighty fine. Even more amazing were the shades of my beloved, dearly departed Brits Six By Seven (if you don't know of them, well, check out the brilliant song "European Me", because I heard a lot of it sprinkled hither and thither in this set). It only took about two songs to make me verily distressed to have missed the set back in April. But better late than never, so the saying goes.

A lot of two-person bands tend to throw their hats into the garage ring, but Dreamend waves the flag for fuzzodistortonoisiness, and I find that incredibly fantastic. The band also racked up major points for penning one of my favorite lyrics of the year, with the assertion, "I know just who you think you are". Classic. Dreamend was solid from start to finish, creating a glorious, enchanting dreamscape only to have it grounded by Ryan's perfectly imperfect voice and a swell of gigantic waves of sound. Totally, utterly bitchin.

I wasn't quite sure what to expect from the set, but lo and behold, Dreamend sunk my battleship. If you get the chance, go check 'em out for damn sure. Don't sleep on this band, or you might just be sorry.

mp3: Magnesium Light (Dreamend from So I Ate Myself, Bite By Bite)

100 Shows of 2010 - #55: Thieving Irons @ DC9, 8/23/10

It’s rather amusing that of all the t-shirts in my closet, the Pela shirt is the one I ended up wearing today. You see, friends, this here #55 show involves ¼ of Pela, pets emeritus of LET. After the band’s demise, guitarist Nate Martinez (otherwise known as one of my most favorite people around) couldn’t shake the itch, and continued work on stuff he’d had floating around in his head. The result was an album’s worth of awesome, also known as This Midnight Hum (which you should definitely buy). And to properly welcome the record into the world, Nate and his conglomeration of rad cohorts got themselves down to DC for their first ever live show. And what a show it was. Thieving Irons has definitely adapted the Pela tradition of great music, great live performances, and just being plain ole great.

MINI RECAP: Thieving Irons = First-time Charmers! Overall score: A.

Lee Hazelwood was soundtracking the soundcheck, so I knew that obviously good things were to come. It didn’t take long to prove me right. Starting with “Ashes On The Riverbank”, which reminded me how much I’d missed Nate’s deft guitar playing and ever-so likeable stage presence. I didn’t expect the comparison that began to form in my mind during this first song, but Nate’s voice kinda sorta reminded me of The Boss, minus the Jersey and a lot of the gravel. But the earnestness, the emotion, that’s the crux. So Boss Junior he shall be. The songs, with their scope and composition, dove into E Street Band territory here and there. It all felt rather special, I must say.

“I Can Hear a Pin Drop” was next, another fine musical display that really showed off Nate’s songwriting chops (a particular favorite: “I am a coward in my own skin”). The goodness lasted for the entire set, the songs given added weight and depth by the multi-awesome Mike Brown, who took turns on banjo, guitar, lap steel, and the occasional note on the keys. The ethereal shimmer of the steel, for instance, added even more of a dream-like quality to the sensational “Wave’s Gonna Break”. Nate’s voice proved endearingly vulnerable during several songs, but this one in particular. “On The Horizon” featured one of my favorite lines by just about anyone in “It’s too cold to shiver,” and it was during this song that I noted that this could very well be on of those shows I gloat about having been present at years from now.

“Pale Blue Dots” for some reason conjured up Chris Isaak’s “Wicked Game”, though less obviously hormonal. To me, it was the sound of sultry nights, fire escapes, and hazy rings surrounding a muggy moon. It was during “Babylon Is Burning” that I realized my foot hadn’t stopped tapping all night, and that was the set’s tenth song. And it should be noted that while a shout-out from the stage doesn’t automatically guarantee a good review, it sure doesn’t hurt. “These Shaking Walls” and “Tow The Line” finished up the show, and both were splendid.

It’s a good thing I didn’t envision doing anything other than totally loving the Thieving Irons live experience. I hereby decree that Thieving Irons should be recommended listening as a part of your musical diet, and that seeing this band live will do wonders for your soul. Come on in, y’all, the bandwagon’s fine. Pull up a seat right here next to me.

mp3: Ashes On The Riverbank (Thieving Irons from This Midnight Hum)

100 Shows of 2010 - #54: Admiral Radley/Hooray For Earth @ DC9, 8/21/10

It’s a blue moon rare kinda thing when you get both of us Terribles in one room at one time, my little darlings. Given our mad crazy constantly conflicting schedules it had been many a month since we got together, and as you probably already noticed, Chris and I joined forces for what I’d call easily one of the best shows of the year. Put together an emerging band from the Big Apple and a supergroup of sorts and you’ve got a recipe for one heck of a night. And that’s exactly what it was.

MINI RECAP: Admiral Radley = California Love! Hooray For Earth = NYC Love! Overall score: A.

Hooray For Earth was up first. I was so very happy to see them, because I had managed to miss the vast majority of their set a couple months back. They sounded totally different than what I remembered, and I could have sworn they lost a few band members in the interlude between the last show and this one. And if that’s the case, it was a change for the better. Or it could just be my horrible memory. Either way, I was totally impressed with HFE, their live set more torn and frayed than they are on record, a little bit Pavement and a little bit shoegaze and a little bit dreampop (or, as I wrote in my notes, think of it like that kinda spacey vibe of Steve Miller meets synth meets the Jesus & Mary Chain). Their songs proved rather punchy and rather enjoyable, and I just can’t resist a band that successfully juxtaposes totally chaotic guitar distortion and bouncy, bubbly basslines. Apart from the vocals being a little muddy, their set was totally great. And I can’t not give a shoutout to the drummer for drumming with one hand and banging the tambourine with the other. Now that, friends, is skill. Definitely watch this space, because I really dig me some Hooray For Earth.

Up next was the awesome of Admiral Radley. And let me just go ahead and get my bad pun out of the way, but you really can’t spell Radley without rad. Think of it, won’t you? You take two members of the fantastic Earlimart and fuse them to two members of the equally fantastic Grandaddy. It’s a surefire formula for success if ever there was one. I loved them immediately, their sound pulling from both bands but not as such that it seemed like a crutch. The guitar play reminded me of the Grandaddy record The Sophtware Slump a whole lot, and the sound was very bouncy and atmospheric. The projections flanking the band on either side of natural and cosmic elements totally fit their overall vibe. “How come you’re so far away back there and I’m up here like Bono,” a cheeky Aaron Espinoza asked Jason Lyttle, causing ripples of giggles throughout the crowd. Their banter was even great. At one point Espinoza adapted the lyrics to fit his frame of mind, singing, “I forgot the words/but it doesn’t matter now/cuz I’m all fucked up on beer/I’m fucked up on beer”. It was, hands down, the best drunk lyric forgettal recovery ever. They might heart California, but I heart me some Admiral Radley.

And that was all she wrote. It was a doozy of a dandy show, and not even the late start or late finish could put a damper on the displays of musical prowess. If you’re not already smitten with both of these bands, I suggest you give it some serious consideration.

mp3: Surrounded By Your Friends (Hooray For Earth from Momo)

100 Shows of 2010 - #34: This Will Destroy You/Light Pollution/Slow Six @ DC9, 6/10/10

What better way to recover after two utterly insane nights with The Brian Jonestown Massacre than with a trio of monumentally loud, breathtakingly noisy bands? There’s no other way, there’s no other way. All I could do was watch them play, and man alive it was one heck of a show. The newly-revamped DC9 floorplan took a backseat to all the sonic mayhem on the stage, and it was painfully spectacular.

MINI RECAP: This Will Destroy You = Beautifully Loudest! Light Pollution = Beautifully Louder! Slow Six = Beautifully Loud! Overall score: B+.

Up first was Brooklyn’s Slow Six. They emitted a very dreamy, very layered sound, reminiscent of England’s Yndi Halda. I definitely dug their dual-threat violin angle, probably the first time I’ve come across that in a non-orchestral setting. “Cloud Cover” was noise on a grand scale, with a misty swirl of an intro and miles and miles of glorious drone. Something dark simmers under the surface of this band, a little bit threatening and very much appealing. All the looping and swirling gave their music an ethereal quality, as it traversed all sorts of interesting places. I heard someone say “ambience” at one point in the set, and they weren’t just whistlin’ Dixie. Slow Six does indeed knock out some very ambient noise. Both welcoming and off-putting, at times the band was rather disquieting. All in all, Slow Six really impressed me. If you’re in the market for some eerie, hauntingly lovely and really loud music, you might wanna check these folks out.

Occupying the bill’s sandwich spot was Chicago’s Light Pollution, a band I’ve seen recently and was totally excited to see once more. Once again, they were totally fantastic, even from the few notes of “Cinnamon Girl” someone snuck in during their soundcheck. Their delightful mix of pop, indie rock, and knob-twiddling just makes me so very happy. They opened with a very bouncy, perky version of “All Night Outside”, which was absolutely adorable. They really started to hit their stride with “Bad Vibes”, with the swelling buzz of the keys and a feeling of being sonically all over the place yet totally in command. The awesome drum explosion in the middle of the song was incredible. “This song’s call ‘Good Feelings’. It’s about feeling good,” was our intro to the most excellent “Good Feelings”. The bass was deep and rich, and the band continued to hit all the right notes. They were totally on point, and my only complaint about the set was that it was too short! I wanted more, dangit.

As if the first two bands weren’t good enough, on came This Will Destroy You, the Texans with a penchant for seriously amazing noise. I was in the mood for inordinately, ungodly loud music, and TWDY didn’t disappoint. In a way, their music lives up to their name, because it can pretty much liquefy your brain. The music of This Will Destroy You makes me think of an inky black, cloud-heavy night where you can’t see a star through all the weight of the clouds, except on the occasion of the moon poking through for just a brief instance. It’s a little chilling, a little heavy, and exceedingly beautiful. They play lovely, delicate parts against crunchy, super loud bits and it creates a brilliantly gigantic wall of sound. The merciless pounding of the drums was incredible, and the songs were so delightfully dark. It’s a full frontal aural assault, melodic and lovely and crushing all at once. The band seemed almost methodical, working carefully to make sure every note was precise and perfect. At one point I saw a few dudes trying to block their ears with their hands against the onslaught of magnificent noise, but I can’t imagine it worked very well. Even with my earplugs in I could feel the noise seeping into my skull. Their set was so very good, it was have mercy on me good. This is a band that could soundtrack both oblivion and salvation. They’d make a great tour pairing with Mono, and I’d be at that show in a heartbeat.

In conclusion, I can but urge you to go see each of these three bands whenever you get the chance. Just make sure you bring your earplugs.

mp3: Cloud Cover (part 1) (Slow Six from Tomorrow Becomes You)

100 Shows of 2010 - #21: Family Of The Year @ DC9, 4/29/10

So what if the show was over an hour behind schedule (even bands get stuck in traffic)? So what if there were veritable swarms of Gold Motel fangirls? What I saw at DC9 on a gorgeous Thursday night made me one heck of a happy, happy girl. And that, my friends, is thanks to the group of fabulous people known to the music world as Family Of The Year.

MINI RECAP: Family Of The Year = Sunsational! Overall Score: B+.

I know this is a subject raised many a time before, but how come so many California bands sound like, well, California? I like to think it's something in the air out there, that gorgeous, rarified (smog be damned) air that passes through magical places like Laurel Canyon and inspires and seeps into band after glorious band. Such is definitely the case with Family Of The Year, hailing as they do from Silverlake.

I could literally use every single sun-related word to describe their live awesomeness. But I won't do that to you. I'll say other things about their 9-song set. During their (too brief, if you ask me) time on the DC9 stage, the band held sway somewhere between gentle acousticism and frolicsome, toe-tappingly delightful jangle. Their boy-girl harmonies and sunbleached (sorry!) instrumentation were just too cute. I closed my eyes and saw beachscapes. Their music is just perfect for this time of year (or, well, anytime really), and absolutely beckons you to listen to it. It's perfectly pastoral, and not even the overly talkative crowd could mar my FOTY experience.

I'm hoping their path crosses this way again soon, and in the meantime, loves, make sure you get yourself out there to check 'em out. The current tour with Gold Motel runs for about another week.

mp3: Chugjug (Family Of The Year from the Through The Trees EP)

100 Shows of 2010 - #19: Yukon Blonde @ DC9, 4/27/10

The week before this particular show was for all intents and purposes pretty spectacularly craptacular. My car had been violated by some friendly neighborhood thuglets, meaning big bucks on repairs, and I was feeling pretty darned bummed. But leave it to a bunch of Canadians to drag me out of the dumps, and turn my frown way, way, way upside down.

MINI RECAP: Yukon Blonde = Purrfect. Overall Score: A.

Friends, Yukon Blonde was exactly what I needed. They were just the prescription I needed to make me snap out of my mean reds. Right away I felt my spirits lift, as soon as they started to play. And by the time they had finished the first song, I was well and truly in love. Their sound is so very rich, sparkling and vibrant. In a way, their sound is a little reminiscent of Fleet Foxes, just a more chipper, upbeat variety. It felt like, for a fleeting while, being part of the golden age, basking in the sun somewhere out west.

The crowd, well, was rather small. But bless their hearts, the Yukon Blonde-ians played like they were surrounded by thousands of adoring fans. And quite frankly, they should have been. They were sensational, and it makes me as pleased as the cat that got the cream to be able to lord it over everyone who wasn't at this show. This is a band that seems to be disarmingly humble, and that in itself is oh so appealing. And then when you throw in how great they are, well...

They just all sorts of blew me away, and could very well have manouvered their way into the title of Megan's Favorite Canadians. The back-to-back "Blood Cops" and "Wind Blows" were probably my faves, the jaunty bounce of "Blood Cops" tempered by the starkly beautiful vocals of "Wind Blows." There's something so very pastoral about them, golden and calm. And on this night, they sounded nigh on perfect. My only complaint (well, apart from the rather sparse crowd, your loss if you weren't there) was that their set was only 6 songs. I suppose, however, that 6 such magnificent songs are better than a longer set by most other bands. I'm already eagerly awaiting their return to the area in June, and I suggest you look into seeing Yukon Blonde live yourself. It'll be well worth your while.

mp3: Blood Cops (Yukon Blonde from Yukon Blonde)

100 Shows of 2010 - #15: The Appleseed Cast @ DC9, 4/13/10

Amazing how time flies when something shitty happens! Some neighborhood punks throw a brick through my car window and suddenly it's been over a week since I was at DC9 for the really, really good show put on by The Appleseed Cast. I'll tear myself away from thoughts of castration to tell you just how good this show happens to have been.

MINI RECAP: The Appleseed Cast = Loudy loud loud! Overall score: B+.

Of all the shows I've been to thus far in this long and winding road I've decided to undertake, I've been the least acquainted with The Appleseed Cast. They're just one of those bands that flew well under my radar for whatever reason (perhaps my slight snobbery about bands that might be considered even slightly emo). Obviously, though, they haven't flown under lots of other radars. The DC9 show was sold out, which hasn't happened at a show I've been to there since the floor-wobblingly excellent Does It Offend You, Yeah? show many moons ago. All assembled seemed pretty pleased to be there, and there was a warm, cozy vibe in the place by the time I arrived (mere minutes before the band took the stage).

The Appleseed Cast joined the growing list of bands partaking in the trend of playing albums in their entirety at live shows. This tour, the Low Level Owl Tour, sees the band playing their super massive epic Low Level Owl 1 & 2 (hence the name on those pretty rad tees they had for sale). An ambitious undertaking for sure to try to work through 20+ songs each and every night of a tour! Right from the beginning of the set, I was pretty dang impressed. Their ambient, expansive noise appeals to my need for sheer size and scope of songs, and the accompanying visuals (shown on the club's TVs) of retro scenes and old photographs fit the overall feel of the set perfectly. Song after song was strong, textured, and definitely managed to hold my attention. It was the kind of show that could have lasted hours, maybe even days, and you'd never really be quite sure of just how long the band held you in their clutches. I found the somewhat dark undertones very appealing, and the way some songs came at you in waves of layer upon layer, much like the movement of a dark, stormy sea. Each song bled into the next, keeping a constancy in the set and serving as a way to keep us all reeled in. There was plenty to enjoy about the set, and not just about those hypnotic video images. The guitars were intricate and lively, and I was pretty impressed with each and every member of the band.

For being not really familiar with the band before the show, I was well and truly impressed with them, and a little surprised at how much I enjoyed myself.

mp3: Steps and Numbers (The Appleseed Cast from Low Level Owl vol. 1)

100 Shows of 2010 - #12: Past Lives/Snack Truck @ DC9, 4/4/10

We've all been to this kinda show. It happens every so often, perhaps a couple times a year, where I go to a show and am totally stunned by the sparseness of the crowd. When I rolled up to DC9 on Easter Sunday, friends, I was gobsmacked (hi, British friends!) by the teensy tiny little crowd assembled for the show. Sure, it was Easter Sunday, but I was totally psyched for this show which means other people should have been, too. Come on now, DC. Get your shit together. Y'all missed one hell of a rock show, I'll tell you that much.

MINI RECAP: Snack Truck = Mind-Liquifying! Past Lives = Head-Crushing! Overall score: A.

Having lived in Richmond for a little while, I was already rather familiar with Snack Truck. I saw them once, at the now-defunct Artist's Underground, and that was enough to make me love them long time. I'll vouch for them as one of Richmond's best bands any day of the week. They're one of the only bands I know of to successfully and kick-assedly utilize the stick skills of not one but two drummers, and watching the two of them have a go as they beat the holy hell out of their respective drum kits is pretty hypnotic. So too is the wailing guitar and furious bass that round out the Snack Truck sound, a sound that is so overwhelming and raging that I couldn't hear myself think about thinking, let alone hear myself think. I'm pretty sure they've gotten louder, too, in the months since I last saw them. Five minutes in my ears were already hurting, but I wanted more. I'm a glutton for such heavenly punishment, this swirling, pulsating mass of sonic energy, brilliant in its deafening, kaleidoscopic noise. They're a band that definitely keeps to Richmond's whole "give me loud bastard rock or give me death" thing. I sing the gospel of Snack Truck, friends, so make sure you check 'em out.

But happily, the awesome didn't stop there. I've been listening the hell out of the new Past Lives record, Tapestry of Webs. I never really got into any of the band member's prior bands (Blood Brothers, Chromatics, Shoplifting, etc.), but damned if I'm not pretty smitten with them now. The song "Paralyzer" in particular gets me all in a tizzy, with the slow burn and fuzzy guitars and shouty vocals. Gorgeous. And addictive. Right off the bat the band sounded totally Ziplock tight, wonderfully angular and slightly dissonant and crushingly loud. At times Past Lives reminded me of one of my favorite, sadly now-dead DC bands Black Eyes: A perfect mix of shouting and rhythm and fierce, fierce riffs. Mark Gajadhar, the drummer for Past Lives, gets major shout outs for his ferocity and thrashing behind the kit. Seriously folks, he's good. But then again, they're all good. Even singer Jordan Blilie, being one of the recently vocally afflicted (I'm gonna blame the pollen count), belted out the songs with vim and vigor. This band absolutely killed it. And yes, my beloved "Paralyzer" sounded as bitchin' as I had hoped.

This show was a doozy, and I'm so glad I took a break from the Easter candy to be there. Friends, go see these bands whenever you can. See them now, ask questions later.

mp3: Paralyzer (Past Lives from Tapestry of Webs)

Live Review: Darker My Love @ DC9, October 5, 2009

Fact: Darker My Love is one of LET's pet bands (see here, here, and here). Not only is this one hell of a band, they're also one hell of a bunch of nice dudes. Sure, I'd still love their music if they were assholes, they're just that good. Digressions aside, Darker My Love is a band worth checking out, and keep those feelers up because I've been assured a new record is in the works (the sooner the better, my loves). Also, they're pretty killer when it comes to the whole playing live thing, as I have been fortunate to learn not once but twice, most recently last month at the delightfully cozy DC9. They were one piece of a rather excellent bill, sandwiched between All The Saints and A Place To Bury Strangers (note to bands: extra points for using dry ice). Darker My Love doesn't go for dry ice, but it's of no consequence.

The last time I saw these Los Angelinos live, they were seriously stealing The Dandy Warhol's psych-addled thunder at the 9:30 Club. While they certainly did well on such a large stage, I'd been dying to see them somewhere like DC9, all up close and personal like. I knew it would be special, and lo and behold, I was right. It's a miracle the five of them and all their gear fit on the stage, but despite the cramped quarters it was rock'n'roll from the word go. They overcame some initial soundboard difficulties and played a solid, saucy little set. It felt much more rock, somehow, than my first Darker My Love experience. Perhaps it was the lack of that wacky gooey projection or something, but the slightly more stripped-down sound was incredible, and really demonstrated how great a band this really is. Sure, they left "Two Ways Out" off the setlist, but I'll forgive them. The set was heavy with new songs, heightening expectations for a quick release (please?) of even more retrodelica. Happily, a couple songs from their debut made it onto the setlist, too. Sometimes you have to see a band live to really appreciate the sounds they make, and a live Darker My Love show proves just how gifted these guys are as musicians. They are simply compelling live, and command your attention. Which, of course, you'll readily oblige them with.

All in all, I left DC9 feeling totally impressed by the entire show, but especially by Darker My Love. This is a band that not only can wow you on record, but also knows how to put on a live show.

Setlist above written out by DMLer Will Canzoneri, who has so much musical knowledge it will knock your socks off. "Talking Words" is below for your enjoyment. And believe you me, you will enjoy it. For all you Euro kids out there, make sure you keep a close eye on DML, as they are on your side of the Atlantic as we speak.

mp3: Talking Words (Buy: Darker My Love)

Live Review: Brothers and Sisters @ DC9, September 14

We’ve all been at these shows, the ones where a band we know is great is playing but the crowd is what you might refer to as sparse, the shows where you know you’re seeing something people in a few months will be kicking themselves for not going to, the kind of show where you scratch your head and wonder where everyone is. So it was with the Brothers and Sisters show at DC9. Not that it was empty, mind, but the attendance was rather thin. And frankly, that’s a shame, because those of you who weren’t there missed a great, great set from one of my favorite Austin bands.

Brothers and Sisters is rapidly becoming one of my pet bands, and I was intrigued as to how they would turn out live. I am pleased to report that the Courtney sibling-led band is even better in the flesh than in recorded form, which endeared them to me even more than before the show (after all, I do so love a band that’s better live). Whether it was a sweet version of the ever-so-charming “One Night,” newer songs from album Fortunately like “Mason City,” “The Wind,” or “You’re Gone,” or a fantastic, twanged out folktastic cover of America’s classic “Sister Golden Hair,” Brothers and Sisters’ earthy, earnest country was a glorious aural experience. The tandem of Will and Lily Courtney’s boy-girl vocals was warm and rich, the steel guitar more poignant, and the overall set was better than I had hoped. Between songs, Will’s somewhat bashful banter was adorably endearing, and the whole of the band exuded a down home affability that made the songs somehow even more likeable. Song after song was a treasure, and it was obvious that this is a band that loves and believes in what they’re doing.

And at the risk of sounding overly trite, I believe in them too, and I sure do hope that the next time Brothers and Sisters roll into your town you’ll go. I guarantee you won’t be disappointed.

Live Review: Does It Offend You, Yeah? @ DC9, September 5

For those of you that have not yet had the pleasure of attending a show at DC9, I need to impress upon you one very, very important detail about this particular venue: it is small. Very small. Not the smallest venue ever, surely, but small enough to make you feel a wee bit claustrophobic on nights when a hugely, hotly, hyperly hyped band from foreign shores lands, selling out the venue in advance and ultimately pushing the fire code numbers to the limit.

Needless to say, when I ventured up 95 for the Does It Offend You, Yeah? show, the place was quite possibly more jammed than I've ever seen it. Great for the band, great for the venue, bad for any possible notions of personal space. It was a night of ceaseless sweat, endless dancing, and unstoppable awesomeness. Those little scamps came, saw, conquered, and left us wanting more all in the span of just about an hour.

It wasn't the best show I've been to all year, but it just might be the most entertaining. The super full club was enraptured, and jumped up and down so much and with such lustful abandon that on numerous occasions I was pretty sure the floor was about to collapse, killing us all. But hey, there certainly are worse ways to go. While I lost count of the number of times I was elbowed, poked, and kicked, I was just pleased to see people enjoying themselves as much as I was. And the gleeful performance given by Does It Offend You, Yeah? was most definitely worthy of our adulation. They rolled through bits and bobs from the album You Have No Idea What You're Getting Yourself Into, such as the synthily anthemic "Dawn of the Dead" and my pair of favorites (perfectly played back-to-back), "Being Bad Feels Pretty Good" and "Let's Make Out." It was as if we were witnessing modern day Pied Pipers, because the kids couldn't stop dancing. Each song was given a welcome you'd expect from a large venue, never mind a tiny one. It was the perfect Friday night show, the best way to kick off the weekend.

When it's all said and done, their song "We Are Rockstars" might be tongue-in-cheek, but on this night, the members of Does It Offend You, Yeah? were every bit the rock star.

Live Review: Die! Die! Die! @ DC9, March 25

If you’ve been paying attention, you already know that Die! Die! Die! is one of my current pet bands. It is bearing this in mind that for my review of their gig at DC9, I’m going to refrain from saying too much and just post a bunch of pictures that I took from smack dab in front. As with every other D! D! D! show I’ve seen, there was much writhing around (courtesy Andrew), much jumping (courtesy Lachlan’s bunny-esque hops), and much deafening (courtesy all three boys), despite my use of earplugs. Also included in the fun was Lachlan’s invitation to invade the stage, which he was eventually taken up on. I’d like to go ahead and state that I consider this band’s shows not-to-be-missed affairs, and encourage you to go see them whenever possible. Even if it requires several hours of driving and multiple cans of Red Bull to get you there and back. And yes, I do in fact speak from personal experience.

A photo of the set list is below, but it served more as a recommendation than anything else. It was amended, shall we say, as the show went on, most notably with an actual encore (despite protestations from Andrew), featuring the excellent older song “Ashtray! Ashtray!”. And as an added bonus, three tracks are down below, an old version of "Blue Skies" and the aforementioned "Ashtray! Ashtray!", along with the excellent "Britomart Sunset" from new release Promises, Promises.