Live Review: Broken Social Scene, Warner Theater, 9-13-10

As Kevin Drew pointed out at the start of Broken Social Scene's two-hour plus musical extravaganza last night, Monday nights are a weird night to get one's groove on. Of course, that did absolutely nothing to stop the band from tearing through an equal mix of classic audience favorites and new material to the obvious joy of those attending. If anything, the usual somberness that accompanies the start of a week (hangover; cough; say nothing; act casual) created an almost reverential air, as was evidenced during one of the night's highlights, a church-like version of "Lover's Spit."

i often compare BSS to a Canadian Wu-Tang, but every time i see them live i remember the better comparison is Parliament Funkadelic. While Drew is the apparent leader of the group (on vocals, if nothing else), each member plays a variety of instruments throughout the set, and everyone gets a crack at the mic, too. Shoring up the female side of things this time was the captivating if seemingly disinterested Lisa Lobsinger. Back up duties and a decent "All to All" were nice, but when she took the lead for the final encore number, "Anthems for a Seventeen-Year-Old Girl," well, i think i might have developed my latest crush. The only time the band stopped rocking was when they actually stopped long enough for each member of the band actually jumped into the audience to dole out hugs. Swear to Black Dynamite, they did. And that was the vibe all night, one of shared camraderie, a bunch of our clearly more talented friends on stage to entertain while the night wore on, an excellent way to spend an otherwise mundane Monday, vibe be damned.

A quick note on the Warner--when did that place start falling apart like that? The arm rest on my seat fell off, the stuffing was coming out of the chair in front of me, and i was worried one of those angels in artwork was going to do a Greg Louganis into the good seats at any moment. The real pisser for me personally, though, was my being told no cameras allowed. Best damn seats i've ever had there (thanks, BSS Fan Club!), and all i brought in was my cell phone. Knives Chau sitting next to me had multiple cameras and some dude was packing a telephoto lens the size of a wildebeest cock (What? Exactly.), so i'm afraid you'll have to look elsewhere for the spectacular shots that i'm sure others took. i can tell you that i was close enough to finally realize Kevin Drew is NOT a dead ringer for my buddy Eddie W., but what good does that do you?

This marks the third or fourth time i've seen the band, and they have yet to disappoint. If anything, last night may well have been the best i've ever seen them. They've got their groove on tight. Go see them while the gettin's good, that's all i'm saying.

mp3: Superconnected (Broken Social Scene from KCRW, 11-18-05)

mp3: Anthems for a Seventeen-Year Old Girl (Broken Social Scene, Live in Stockholm, Sweden, 7-8-04)

mp3: Lover's Spit (Feist from the Black Sessions)

100 Shows of 2010 - #59: Unnatural Helpers/Heavy Cream @ Black Cat, 8/31/10

Sometimes DC really, really pisses me off. Such times include when the parking gestepo gets a smidge overzealous, or when some event or other blocks off a bazillion blocks when you're late getting somewhere. But DC also vexes me when good bands come to town and few people venture out to see them. Sure, it's happened quite a bit this year, but this here show was SO FUCKING GOOD that it really bugged me more people weren't there to experience it. So, fellow denizens of the District and environs, I chide you if you were not there for the amazing Heavy Cream and the brilliant Unnatural Helpers. After all, this was without question one of my top shows of the year. And now you'll have to listen to my gloat gratuituously about having been there for it.

MINI RECAP: Heavy Cream = Howlingly Colossal! Unnatural Helpers = Unnervingly Neat! Overall Score: A.

It took me all of about three nanoseconds to decide that I loved Heavy Cream. Their songs were short and spiky, full of lady cajones and overflowing with sass. I loved their chunky, heavy riffage and driving drum beat. It was pure, simple rock and roll, in your face and unadulterated, which is pretty much all you could ever want or need as far as I'm concerned. Frontgrrl Jessica has stage presence in spades, hopping off the stage into the crowd, twisting and shouting her way through song after song in blissful, howling abandon. At times she seemed to sneer her way through the songs, which only added to their edgy appeal. This, my loves, is a goddam awesome band. They are magically, scuzzily delicious. I couldn't help but toy with the thought that Heavy Cream is what might have happened had the bratty gents of The Black Lips been mostly girls and living in Nashville instead of the Peach State. Their spitfire sound was a thing to behold, all that noisy goodness providing the perfect antidote to the mundanity of Tuesday night. Their set came and went far, far too quickly, and I'm already holding my breath for their next trip back.

After that performance, it was going to take a hell of a lot to impress yours truly. Heavy Cream set one heck of a high bar, but Seattle's Unnatural Helpers was not to be outdone by those upstart Nashvilleans. I mean, a red gentleman's romper? You sir, are my hero. It takes a real man to wear a romper, my friends. Put that with the fact that Dean Helper sings whilst playing drums (Holy Levon Helm, y'all!), and I was bound to like Unnatural Helpers a whole lot. And then they started to play, and within a few moments of that unholy wail I knew I was in love. Their set was insanity, loud and brash and totally irresistible. At times, the noise was overwhelming, so much rock and so many layers! Perhaps veering towards what the kids call artpunk, Unnatural Helpers took no prisoners. Ferocity was oozing out of ever pore up on that stage, and it was a beautiful, beautiful thing. My mind, well, I have to say it was pretty much blown.

While Unnatural Helpers were definitely a little more "out there" than Heavy Cream, this bill made total, perfect sense to me (the winning formula of noisy rock + noisy rock = bliss). All bills should be this great! I urge you, nay, implore you, nay, demand you to go immediately forth and procure all music by both bands that you can find, and to go and see them live whenever you can. I promise, you'll be so very glad you listened to me. DC folks, that goes double for you. You owe yourself one.

mp3: Watusi (Heavy Cream from Danny)

mp3: Girl In The Window (Unnatural Helpers from Cracked Love & Other Drugs)

100 Shows of 2010 - #58: Morphius Records & HotCarsKill & Churchkey Records Showcase, BiMA @ Wind-Up Space, 8/27/10

After a wee intermission (and speaking of intermissions, hey y'all! Hope you missed me, cuz I sure did miss your pretty faces), it was time for my second BiMA event of the night. Being as I was a little out of festival practice, this felt like a massive, yet awesome, undertaking. By this point in the evening I was serving as keeper of the spectacles for a friend, and I'd like to offer a word of warning, darlings: Don't attempt taking notes whilst wearing prescription specs that are not, in fact, prescribed for you. It makes deciphering them, well, interesting to say the least!

MINI RECAP: A whole lotta shakin goin' on! Overall Score: B+

The first band of round two to light my fire was Churchkey's Free Electric State, one of those daggum Research Triangle bands that you'll find being awesome just about wherever you look. Seriously. Those North Carolina bands are everywhere, and it's probably got something to do with how great they tend to be. FES was loud, loud, loud, and lordy me I love some loud. A little hint of distortion tends to go a long way when it comes to winning my affections. I liked this band a whole lot, with the hints of shoegazery that permeated into their big ole sound. They sounded dark and a little dangerous, and what gal doesn't like a little danger? Their energy was off the charts, and their intensity matched their musical radness note for note.

As impressed as I was by FES, I was possibly even more smitten with The Moaners. They were, for lack of a better term, badass. They even broke a string, and it really doesn't get much more badass than onstage string breaking. Ok, it does, but work with me. They made some ridiculously filthy, nasty, raunchy rock and roll, which is right up my alley. The rawness they conveyed was off the charts. I was reminded a little of first album Von Bondies, but this band took that Detroit dirtiness and made it sizzle even more, if possible. They were seriously, absolutely, majorly worth the drive up to Baltimore all by their lonesome, and I'm thrilled to have been able to see them.

Up next, new LET pets Hammer No More The Fingers, yet another one of those damned North Carolina bands. I actually wrote in my notes "Stop. Hammer Time", and I just had to share my scribble with you just because (boys, need a new tee idea?). Duncan got himself a haircut and looked eerily like Graham Coxon, so I was preoccupied by that for a while. They once again pulled heavily from their new, unreleased material (coming soon, I've been told). And once again, their big, bad, 90s college radio sound won me over. There's something so cheeky and fun about this band, I just can't help but like them to bits and pieces. They're violently enjoyable, with that kicky racket they make.

All in all, those three bands were all damned, damned fine. And I have to tip my hat to David Andler for his hard work getting BiMA up and running. I was nothing but impressed with my festival experience (well, except for the parking), and I really hope the festival will continue to grow and get even more wonderful year after year.

mp3: Mushrooms (Hammer No More The Fingers from Looking For Bruce)

Beat Meet: DJ, Mix Me a Mix Edition

Lots of LOOOONG mixes for this installation of the Beat Meet, so i hope you've got some time mapped out for all this noise i'm bringing your way.

To get things rolling, however, let's start with the thin mint goodness of "Why Like This?," another track from Teebs' forthcoming Ardour. If the first two tracks are any indication, the latest Brainfeeder uber-beat-maestro is going to have his own entry in the "Top 10 Beat Albums of 2010" like so many of his other label mates seem to be doing this year.

mp3: Why Like This? (Teebs from Ardour)

To help Mary Anne Hobbs close out her final show on BBC Radio 1, Burial and Kode9 put together the following mix. If you don't know who MAH is, you probably have no business reading this particular column. Regardless, this mix does not disappoint.

mp3: MAH Mix (Burial & Kode9 from MAH Show)

i keep trying to spread the love for Andreya Triana, but i'm not sure if the message has been well received. Perhaps this mix from the good folks over at The Couch Sessions, highlighting far more of her career than i have, will help to prove my point.

mp3: The Dream Suite Featuring Andreya Triana (JConda from The Couch Sessions Presents...)

If Flying Lotus says to check out a mix, well, you check out a mix. You can decide for yourself whether or not he's on spot this time with the latest from Lukid. Personally, i say the Floating Flower remains on the money with this banger filled with new and exclusive material from the extended Brainfeeder family, but you're big kids now. You can make your own decisions. Hopefully, we've been raising you right, so it's all good.

mp3: brainfeeder mix (Lukid from Brainfeeder Website)

Ed. Note: i don't normally comment on the accompanying post pictures, but is it just me or is the Buddha totally scoping out that DJ's ass? Good on you, Fat Buddha!

Free Music Fri...turday: The Late, Abbreviated Version

Don't tell your parents, but i'm late.

Yesterday afternoon, i received two tracks that merited an instant Free Music Friday, even though i had already done the Tobacco/Junk Culture/Dreamend review. But i fell asleep early, so the instant part went out the window. Still, i don't want to be the last site of what's sure to be many posting these, so here we are.

You'll see both Meg and i together again at Those Darlins next week (9/15) at the Black Cat, and it appears that the girls found out and released a 7" in honor of the occasion. At least, that's the story i'm sticking to. Regardless, it's an intense track, showing a side of the ladies not apparent on their debut. More menacing and sexier, with a bit less twang and a lot more tits (that's the female equivalent of balls, right?). If this is the new direction of the band, i likey. i likey a lot. What's more, you can listen to both sides of the 7" here. B-side, "Funstix Party," has the same sinister edge, but, as the name clearly states, this is a party track, plain and simple. Better still, there's apparently a new full-length with a TBD release date of early next year. Which is nice.

mp3: Night Jogger (Those Darlins from Night Jogger 7")

LET respects facial hair. Which isn't even a tenth of the reason why we dig Megafaun, but it's still in the DNA of the relationship somewhere. So we probably would have posted this gem from their mini-ablum, Heretofore, even if it hadn't been a rollicking, good time, breezily singing about their home state. Fortunately for all of us, it is. The boys, too, have a full-length in the works, apparently heading into the studio this fall, which also is nice.



mp3: Carolina Days (Megafaun from Heretofore)

Live Review: Dreamend, Junk Culture and Tobacco; DC9; 9-10-10

Stop me if you've heard this one before, but, yes, Meg and i went to see the following show, too, so you will see her spin shortly. However, the lovely lass was double booked last night, so she only got to see Dreamend open. i certainly hope she had a blast at her prior engagement, as this was one of the most entertaining shows i've seen this year.

The entire night was devoted to digital manipulation, and not the masturbatory kind, either. Each of the three duos used computers, samplers and the like to create unique soundscapes that pushed the boundaries of what a "live band" is and can do. i kind of thought of it as the honky version of what i imagine a Wednesday night at the Low End Theory to be like (with all due respect to Junk Culture's Deepak Mantena).

Opener Dreamend was nothing like their CD had expected me to hear. Whereas the excellent album (quickly making its way into my top ten for 2010) is an almost dream-freak-folk-pop hybrid, on-stage is a horse of a different color. Comprised of Ryan Graveface on guitar and an unnamed drummer (d.kyler, perhaps?; i know little of BMSR), the two were the musicians of the evening. While there were certain tuning issues, the two played a strong set with a lot more speed than their CD counterparts, everything filtered through computers. Graveface mentioned twice, "Why did we play that song so fast? Odd choice." It was a moot point, however, as it was a fantastic set.

Next up was Junk Culture, comprised of the aforementioned Mr. Mantena and a second, different, unnamed drummer (c'mon, bands, take James' advice to heart and give the drummer some, for chrissakes). Let me tell you, this kid on the skins was an absolute beast. i'm still not sure how he kept such a perfect and seemingly wild beat to accompany a sampler, but i'll be damned if he didn't. Mantena was the most engaging performer of the evening, starting seemingly random conversations with the audience, stopping between songs to demand that the crowd inch closer to the stage, and literally leaping off the stage and bouncing, Tigger-like, damn near every single member of the audience until the whole house was jumping up and down with him.

With the musicians and performers out of the way, Tobacco took the stage, and the mad scientist came home to roost. Accompanied by a lovely, young lady i'm guessing was The Seven Fields of Aphelion (seriously, i've never been in a room where i thought that the players needed name tags more), the two didn't say a word for their entire set, but concocted a glitchy, spastic, fuzz-drenched set that had the entire house going ape shit.

When Tobacco and Dreamend came back to encore together, i was told it was a Black Moth Super Rainbow reunion of sorts, and while i can't really speak to that, i can say they rocked that fucking joint, yo.

i would be remiss if i didn't mention that part of what made it one of the most "entertaining" shows of the year was the fact that each band played videos in the background a la Admiral Radley. And while each was entertaining in its own right, Tobacco clearly took the prize for the evening. The only "problem" was that i was so captivated by his video show, i arguably found myself not paying enough attention to the music from time to time. It started with a clip of the Fat Boys, followed by a montage of various break dancers. Then, what i'm almost positive was Shô Kosugi from either "Revenge of the Ninja" or possibly "Ninja III: The Domination." When i thought i couldn't take any more 80s goodness, Tobacco somehow found a boatload of what originally appeared to be 80s aerobics videos. However, i knew those faces were too familiar, and it quickly proved itself to be glorious porn which he montaged into short clips of facial expressions only. And yet, nothing could prepare me for what concluded the evening.

Now, i thought "Edward Penis Hands" was the strangest pr0n ever made, but Tobacco proved me wrong, unearthing an E.T. fuck flick.

Let me repeat that--he found and played a porno where the female lead was dressed up in a full E.T. costume, with only her mouth and one nipple showing.

While his music is amazing, it is this feat that has me tipping my hat to the artist. Well done, sir. Well done, indeed.

Tobacco may be bad for your lungs, but goddamn, it's good for your soul.

mp3: Where You Belong (Dreamend from So I Ate Myself, Bite by Bite)

mp3: West Coast (Junk Culture from West Coast)

mp3: Heavy Makeup (Tobacco from Manic Meat)

Live Review: Best Coast with Cults, RNR Hotel, DC, 9-8-10

Contrary to the unfounded rumors i've been spreading to make myself sound like the Mack, even though Megan and i attended yet another concert (third in three weeks?) together, she is not my sugar mama, and i am not her bitch. Well, maybe the latter is true, but if you saw us together again last night, trust me, The Missus already knows and is cool with it. As such, expect Meg's take on this one to follow yet again.

i believe i've come to the conclusion that the Rock and Roll Hotel is perhaps the worst venue to see live music in all of D.C. The sound system is atrocious, and apparently management has something against spending money on electricity. Not only are there no spotlights on the performers, but both fans and A.C. were left in the off-position for the duration of last night's concert featuring the Cults and Best Coast, giving the show the dubious honor of literally being the smelliest show i've ever attended. About half way through Best Coast's set, it smelled like a mixture of girls gym locker room and wet cat. Not a good combo, i guarantee.

Fortunately, the music was better. When i bought the tickets, i didn't even know Cults were opening, which was a nice surprise. i'd only heard a handful of their singles, so i was quite surprised to see the full band. More surprising still was the amount of hair on stage for their performance. While bands bond over numerous things, from shared musical tastes to favored bands in common, i'm fairly sure Cults came together over a mutual love of rich, creamy shampoos and conditioners. The band was pleasantly spry, though their style was pretty consistent throughout, meaning not a lot of tempo changes or the like. And while this made them a perfect fit for BC, it didn't make for the most exciting show. Add to the fact that lead singer Madeline Follin's voice was pretty, but not particularly strong, and you get a better than average, but not stellar, performance. It probably would have been markedly better if i could have heard half of what she said and/or sang, but what can you do?

And i'd say about the same for Best Coast. Again, a lot of hair on stage (is that making a comeback? Do i need to work on a comb over now?). Now, fortunately, their lead singer, Bethany Cosentino, has a powerhouse set of pipes. Sure, she used the same echo effect on mic as Follin, but Cosentino's voice never was lost amongst the backdrop of her bandmates. Speaking of bandmates, even though both bands play similar lo-fi, 50s/60s early rock with surfer tendencies, BC bassist Bobb Bruno adds heft to the sound. Now, i realize you're either a fan of the sound or you're not (i am, but am nearing my limits), but it would have been nice if they had thought their set through a bit more. The only upbeat songs came at the end during the encore. While there was a lot of swaying throughout the show, the bouncing that started at the end finished before it even got fully underway. Sure, Cosentino tried to make small talk periodically between songs, but the mixture of sweaty crotch and barely audible speeches did not do much to bring the crowd into the moment.

Don't get me wrong, shitty venue and horrific crowd stench notwithstanding, it wasn't a bad show. That being said, it certainly wasn't the best i've seen this year, even if we're only talking about the handful i've seen with my wonderful writing partner this past month.

Maybe i'm just a jealous bald guy, though. Hot chicks with long hair have that effect on me. Throw in the dudes with long hair, and i'm completely off my game.

mp3: Go Outside (The Cults from Cults 7")

mp3: When I'm With You (Best Coast from Black Iris 7")

mp3: Sun Was High (So Was I) (Best Coast from Art Fag 7")

Beat Meet: More Mooncircle Love

Seriously, if Project: Mooncircle had a face, i'd make sweet, sweet love to it. Keeping to their own Madlib-ian pace, they just hit us up with another two creeper joints to keep asses bumping and heads nodding.

First up is a killer comp piece, Finest Ego Japanese Beatmaker Compilation. If you have taken the time to check out any Japanese beat tracks, you know they have a knack for the abstract, stereotypically speaking. Point being, as a generalized rule of thumb, "they" tend to put together jamming tracks with unsuspected breaks and an ear for incorporating the off-kilter. Normally, if someone was to ask me a good starting point for breaking into the sub-genre, i'd have pointed to the Samurai Champloo series (the music, not the anime; though you can't go wrong with the anime, either). Now i'd be equally, if not more so, comfortable recommending this joint. The CD is up for free, but only for a couple more days, so move your ass and pick this one up while the price is right, kids.

mp3: Samurai Assassin (BudaMonk from Finest Ego Japanese Beatmaker Compilation)

mp3: Spotless (a.z. from Finest Ego Japanese Beatmaker Compilation)

Closer in texture to label mate Robot Koch as far as my ears are concerned, P:M is getting ready to drop the solo debut of Russian cum Ukranian up and comer Pavel Dovgal. Pavel floats on a genteel cloud of softly glitchy clank. Occasional vocal loops add a layer of depth and shading to an already chilled out ride. Keep an eye and an ear out for this sumbitch, children.

mp3: Document (Pavel Dovgal from Cassiopeia)

The Back-to-School Edition

Just last night, it sounded like uncontrollable sobbing was coming from a number of my neighbors' windows. i couldn't figure out what the problem was until this morning when i saw huddled masses of teens at the bus stop, marking the beginning of yet another school year! Since i haven't had a three month summer vacation in damn near 20 years, these things tend to not affect me much anymore. That being said, my heart goes out to you, kids. Knockers up, head down, study hard, party responsibly only on the weekends and see if you can't get some decent grades this year. It'll make your mama happy, if nothing else.

mp3: School Announcements (Bob & Doug McKenzie from Great White North)

mp3: She Drives a Speederbike to School (Sex Wing Starfighter from Same Old Hope)

mp3: Hot for Teacher (Van Halen from 1984)

mp3: We're Going to be Friends (White Stripes Cover) (Bree Sharp from Her Website)

Late. Or early. Or something.

Somebody needs to make this that.

(And it's way too late with way to get to too much. So if you have a problem...that bitch will cut you, so don't think she won't.)

mp3: Sun is Shining (Bob Marley & the Wailers from Kaya)

mp3: Grown So Ugly (The Black Keys from Rubber Factory)

mp3: I Wanna Get High (Cypress Hill from Black Sunday)

And if this ain't enough to get you kicked, well...

i'm not saying, i'm just saying. You know what i'm saying?

No matter what you are feeling this early in the early, this is the beginning of the best mix that is the best mix, so...

Late Night Free Music Friday: The After Hours, Beat the Meet Edition

It's been a looong fucking week at the office, but i ain't gots no time for none of that bullshit and various other grammatically incorrect vernacular vehemence! That being said, there was just too much good music this week not to share. As it happens, i probably could have made this a Beat Meet just as easily, but check your calendar, bitches.

I'm gonna get you high today, 'cause it's Friday; you ain't got no job... and you ain't got shit to do.

Old school gets a lift from the new generation, which is an excellent thing for beat music fans. Brad Laner has a new one out called Natural Selections. What caught my immediate attention, however, was the fact that Baths decided to remix the first single. The Master of the Tub adds his airy touch to an already otherworldly jam. For the helium minded, natch.

mp3: Crawl Back In (Baths Remix) (Brad Laner from Natural Selections Remix)

Ever since i saw them open for Lykke Li a couple of years back, i've been impressed by Wildbirds & Peacedrums. And every new track i hear shows growth and improvement from the last, highlighting their growth as musicians. On this new one, the percussion heavy band adds steel drums to create a breezy, slower jam that's a nice send off to the quickly fading summer.

mp3: The Drop (Wildbirds & Peacedrums from Rivers)

OK, i've dug 2010's foray into fuzz-reverb-heavy, Spector-esque chick bands as much as the next guy, but i think i'm about ready for this phase to wrap itself up. i'm well aware that Frankie Rose and the Outs comes from the highest of pedigrees within the genre, and this track isn't too shabby, but let's watch ourselves here, eh, kids? Too much of a good thing is just going to give you gas, children.

mp3: Little Brown Haired Girls (Frankie Rose and the Outs from Frankie Rose and the Outs)

i kept meaning to check out Prince Rama, but there are only so many hours in the day, right? Of course, much like with Mr. Laner above, it only took the right man to remix things to pique my interest. Enter Sun Araw and one hell of a tribal treatment to his highness' beat.

mp3: Storm Worship (Sun Araw Mix) (Prince Rama from Shadow Temple Remix)

And now a hearty thank you to the fine folks over at the Brainfeeder camp who just decided to overload us with audio riches this past week. Teebs' first single, "Arthur's Birds," for his Brainfeeder debut, Ardour, sounds like the music made by cyborg parakeets, so we've got that. The Gaslamp Killer is getting ready to drop a new one, too. To tease Death Gate, they've released a new track with Gonjasufi, which quite frankly, is the best Gonjasufi track i've ever heard; the two apparently like-minded artists just nail this Far East sounding jam. And what would Brainfeeder be without the magic of their maestro, Flying Lotus, behind it? That's conjecture for another day when we've got more weed than we do now, but you can groove along with him as he sits in with the Miguel Atwood-Ferguson Ensemble from this set, live in Los Angeles, July 23rd, 2010.

mp3: Arthur's Birds (Teebs from Adour)

mp3: When I'm in Awe (ft. Gonjasufi) (The Gaslamp Killer from Death Gate)

mp3: Drips/Take Notice (Miguel Atwood-Ferguson Ensemble ft. Flying Lotus from a live show in LA, 7-23-10)

With the weather hopefully just starting to cool off a bit, i think i'm going to have to make good on my promise to start "paying back" Levi for their incredible Pioneer Sessions with the purchase of some denim. This week, it's Nas' take on Slick Rick's classic, "Hey, Young World."

mp3: Hey, Young World (Nas from Levi's Pioneer Sessions)

Just when you think you've had enough and right after i bitched about having too much of a good thing, you don't think i'd send you off without this wafer thin offering from Low End Theory, did you? Here's Podcast 17, featuring Daddy Kev and Baths (sumbitch is everywhere lately, which is nice). Oh my.

mp3: Episode 17: Daddy Kev and Baths (Low End Theory Podcast)

Now off with you, and for my U.S. compatriots, enjoy the start of a long weekend.

Newsflash: Story/Stereo With John Davis Tonight!

Hey local kids! Are you hunting for something to do this evening, other than the oh-so predictable Friday night out binge drinking with the hugely regrettable Saturday hangover? Get yourself out of the gutter and up to Bethesda for some quality, wholesome entertainment at The Writer's Center. Story/Stereo is kicking off its second season with local music mainstay John Davis (Q & Not U, Georgie James, Title Tracks), who will do a short solo set as well as a set with bandmates after readings by two of the Writing Center's Emerging Writer Fellows. A night of smashing music and splendid literature is sure to ensue. If I wasn't already booked I'd be there in a heartbeat. So friends, the festivities get underway at 8 pm sharp. Get your skates on.

[photo by Shervin Lainez]

100 Shows of 2010 - #57: Birdnote Records Showcase, BiMA @ Wind-Up Space, 8/27/10

Y’all. I’ve gotta tell you, I’ve been in festival withdrawal something terrible over the past year and a half. But just when I was totally down in the festival-lacking dumps, up pops this great, great new festival, the Baltimore Independent Music & Arts Festival, better known (and heretofore known) as BiMA. Not only did BiMA manage to rope in over 100 artists from far and wide (i.e. Baltimore and beyond) to take part in the festivities, but it was localish (i.e. a mere 60-some miles), which was one of the best things about it. For a fledgling festival, it was pretty darned entertaining. My first taste of BiMA was the Birdnote Records showcase, and it was a rather fine time.

MINI RECAP: Well done, everyone! Overall score: B.

After circling around for what seemed like ages trying to park, I arrived at the Wind-Up Space just as DC’s own Bellflur was getting underway. Now, despite having wanted to see them live for quite some time now, it was a feat I hadn’t accomplished until BiMA. The venue appealed to me right away, as did the band. I definitely haven’t heard anything (at least, not that I can think of at the moment) come out of DC before, their sound being a very interesting mix of gentle rhythms with some subtle grooves and synthy goodness. In my notes I compared them sonically to a much, much less gloomy and non-Scottish Arab Strap. They used sound bytes in several songs, adding to the cinematic feel of the music. It was rather atmospheric and a touch dramatic, and I was pretty impressed with the boys of Bellflur. Their set was way too short for my liking, which I suppose just means I’ll have to work hard to make another Bellflur sighting happen. They were definitely my favorite band of this particular showcase.

Next up was Solar Temple Suicides. Their name made me think of a 60s stoner band, and their sound tended to trend that way. It’s perhaps what might happen had The Young Sinclairs been more into Phish than The Rolling Stones, in that their sound was very loud and very swirly and very expansive, with more straight-up noise than song structure. I preferred them sans vocals, but found their set to be rather entertaining. Stoner drone seems to be their forte, and the sound of the Wind-Up Space enhanced their vibe.

Milwaukeeans Brief Candles were the third band of the showcase, and I was curious to see what their sound would be like after the two vastly different preceding bands. They turned out to be a little dark and sinister, which I loved. They concocted a big ole wall of sound through the guitar and the bass, which made me quite happy. My only question about their set was the vocals. When Jen Boniger was doing vocal duty, I couldn’t ever quite tell how I felt about her voice, and preferred when guitarist Kevin Dixon took over. Their overall sound was pretty good, though, and I’m glad to have seen them, my reservations about vocals notwithstanding.

I paid a little more attention to the hot pink narwhal on the wall than I did to Baltimore’s Avec, which is probably not their fault. I just became fixated. However, the band was almost as awesome as that narwhal. They were super loud, and their boy-girl vocals worked really well off each other. They all had serious stage presence, which goes a long way in winning me over, and their sound was polished.

By the time Thrushes played I was well and truly distracted by the narwhal and friends that had rolled into town. But on the whole, I must say the showcase was fantastic. It got my BiMA experience off on the right foot, and proved that a newbie festival doesn’t have to suck while going through inevitable growing pains.

mp3: Insect Politics (Bellflur from asleep.asleep)

Live Review: Autloux, Black Cat, 9-1-10

The stars have aligned yet again, and Megan and i found ourselves enjoying the same concert together in one another's company. As such, expect her take on things shortly. In the meantime, i'm guessing mine will be the only one of the two that admits to a troubling fascination with Carla Azar's drumming, but who knows? Maybe Meg will surprise us both.

i try not to get too effusive about Autolux, as i invariably focus in on my own infatuation with Ms. Azar, who, as far as i'm concerned, is the greatest female drummer out there today, and probably in the top ten drummers over all, if i can be both honest and sexist at the same time. i'm not sure what it is about the band, but every time i see them (and this was at least my fifth show, if not more), i find myself uncontrollably bobbing my head. While George Clinton or Prince might get my booty shaking more, or House of Pain might make me jump more, no other band i've ever seen has that same hypnotic effect on me that Autolux does. And this time around at the Black Cat, things were no different.

The band played pretty equally from both albums, but the clear winners of the night were from debut album, Future Perfect. And it's easy to see why, as the band has had the time to make them anthemic and intimate at the same time, truly mastering the tracks in a live setting. Tracks like "Blanket" and "Robots in the Garden" had the house swaying. In an obviously crowd pleasing mood, Azar not only rocked the skins all night, she was given more vocal duties than i can recall her ever being given at any of the past shows i've attended.

If there was any complaint to be had, i'd argue bandmates Eugene Goreshter (lead vocals, bass) and Greg Edwards (guitar, vocals) both went a tad overboard on the reverb. What i couldn't tell is if that was their doing or the Cat's older speakers simply not having the juice left to handle the boys' desired effect. The sad part is these guys write killer hooks, and according to my brother, "if you didn't know those songs, you could hardly tell what they were playing." Except, of course, for the steady, almost robotic hand of Azar. No matter how far afield the boys might wander, she was there to anchor each song methodically. In a fitting gesture, as the band closed the set, each member walked off stage without saying a word. The boys left first, leaving Azar to hold the fort and soak up the last of the well deserved applause as the appreciative audience clapped and stomped and hollered.

i can't say it enough--if you're lucky enough to have Autolux blow through your burg, go. And thank me later.

mp3: Capital Kind of Strain (Autolux from Future Perfect)

mp3: Persons and Machinery (ft. Autolux) (U.N.K.L.E. from War Stories)

Crossing The Pond #2: Ice Black Birds

Our inbox is always runnething over here at Les Enfants Terribles. It’s terribly exciting to open up our inbox and see what goodies have been sent to us. Most of what we get is pretty good, but every now and again, my loves, every now and again we get a little something sent to us that really tickles our fancy. And Brighton’s Ice Black Birds, well, they tickle my fancy, float my boat, and shiver me timbers. And then some.

My love for Ice Black Birds was nearly instantaneous. From the sunshine-through-the-clouds, bluesy guitar riffs that serve as the introduction to the band to the slightly theatrical, insanely captivating vocals of “As Birds We’d Be Fine”, I couldn’t tear my eardrums away. It’s a song that feels nearly anthemic at times, so big and broad and bulky is the sound. “I love love love the things that you do,” sings, nay croons, Sam Denniston, and I boomerang that sentiment right back at them. “As Birds We’d Be Fine” is nothing short of fantastic, and could very easily turn into one of my favorite songs of the year. But they’re not done yet. “Doors” is a distinctly sassier, though equally catchy, little number, calling to mind shades of the naughty cheek of bands like Mott The Hoople and Slade (maybe it’s all that cheeky, bombastic falsetto in the middle of the song?), but without all that flouncing and glitter and with a whole lot more of the raunchy Northern Soul, underground kinda vibe. The gist is that they're fucking fantastic, and I was powerless to resist them.

Ice Black Birds has totally, utterly, and completely beguiled me. I’m a smitten kitten over them, and if they don’t somehow come over to the US of A in the near future I’ll be totally heartbroken. They’re definitely my newest objects of sonic affection, and I can’t recommend them enough.

mp3: As Birds We’d Be Fine (Ice Black Birds from As Birds We’d Be Fine)

mp3: Doors (Ice Black Birds from As Birds We’d Be Fine)

You'll Get Nothing, And Like It!

You heard Judge Smails.

It was one of those hectic type days at the office, i'm going to see Autolux in a few hours, i still haven't finished the Rock the Bells review (spoiler alert: good, but by no means great) and i don't have anything planned as back-up right this moment. Consider this the moose out front telling you.

In lieu of anything musically meaningful today, i instead offer up the following joke told to me by this guy, who also happens to be in my fantasy team (and soundly trounces me every season).

Helium walks into a bar.

Bartender says, "We don't take kindly to Noble Gasses here."

Helium doesn't react.

mp3: Ain't Got Nothin' (Supreme Beings of Leisure from Supreme Beings of Leisure)

mp3: Can't Do Nuttin' For Ya, Man (Public Enemy from Fear of a Black Planet)

Album Review: Jarvis Cocker – Further Complications

To me, there is but one voice that marries the slink of super sexy seduction with droll, wry realism. That voice, my loves, belongs to Jarvis Cocker, the lanky and exceedingly droll frontman for the divine band Pulp, one of the best of the Britpop bunch, the band that made you drink and dance and screw while Blur and Oasis were waging war in the charts with their Wonderwalls and their Country Houses. Having steered Pulp for over two decades, Cocker took advantage of a lengthy lull in Pulp relations and released a rather excellent solo record, succinctly titled Jarvis. Full of the razor-sharp, sarcastic pragmatism that made Pulp so great, Jarvis was a wonderful listen (particularly the glorious songs “Black Magic” and “Tonite”). And so with the news of a second solo record, I was rather pleased and excited to see what Jarvis had to offer up the second time around.

Further Complications begins with the snappy little title track, a rollicking romp through the banalities and tribulations of modernity. As you might expect, Jarvis and his voice are the star attractions, the combination of his lyrics and that voice always proving to be a winning one. “Angela” is a dancefloor gem, not quite up to par with “Common People” or “Disco 2000” of the heydays of Pulp, but pretty fine nonetheless with its handclaps and fuzzy riffs. “I wanna love you/whilst we both still have flesh upon our bones,” Jarvis offers in his dry, no-frills delivery, “before we both become extinct,” touching upon a few of his favorite themes, sex and aging and death. But as ever, Cocker makes his dark, brooding frankness ever so appealing with the overflowing bounty of his wit and that knack for clever, engaging lyrics.

“If every relationship is a two-way street/I have been screwing in the back whilst you drive”, comes the sardonic line in “I Never Said I Was Deep”, one of the best of the best on Further Complications. It’s not exactly breaking news, but I’ll just go ahead and reiterate the fact that nobody does cynical self-deprecation better than Mister Cocker. “Hold Still” shows off Cocker’s penchant for the sexy sidle of 70s-influenced lounge, and it’s not hard to imagine Jarvis holding one of those thin microphones while swaying around a plush set on some retro pop music program, bright lights reflecting in those thick specs that have become his trademark over the years as he come hithers for the folks at home.

It was initially a bit hard for me to let go of the Jarvis from Pulp thing, given how smitten I was for that wonderful band. However, given this second solo recording, the ties are easily cut. Further Complications is a great record, and leaves no doubt as to who’s behind it. Be it in Pulp or on his own, Jarvis Cocker is a force to be reckoned with. And I think it’s a fairly safe thing to say that anything he touches will be pretty bloody fantastic.

mp3: Further Complications (Jarvis Cocker from Further Complications)

100 Shows of 2010 - #56: A Place To Bury Strangers @ Rittenhouse Square, 8/25/10

I went to Philly’s Rittenhouse Square expecting nothing more than my second fantastic A Place To Bury Strangers gig. I left town a little shorter of hearing and pretty convinced that I’d just experienced the best gig of the year thus far (and that’s even taking into account the small group of juvenile delinquents intent on moshing). But those three boys of APTBS seemed hell-bent for leather on making this one seriously killer show, and succeed they did.

MINI RECAP: A Place To Bury Strangers = Deafeningly Diabolical! Overall score: A+.

Sure, driving to Philly the night before one has to be at work around 7:30 in the morning might, on the surface, seem like not such a good idea. But missing A Place To Bury Strangers for the second time this year was too unacceptable a notion for me, so up to Philadelphialand went I, with my bestie Laura, my most favorite of show companions. We strolled to the park and nabbed spots right near the stage in the middle of the greenery just in time, as the band was already setting up and testing the sonic barriers of the Square. Initially I wasn’t sure how the chaotic, intense sound of APTBS would translate to the open air, but when it was all said and done I felt silly for ever questioning.

I’m pretty sure this band could sound amazing just about anywhere you asked them to play. Taking the stage right as the sun had said farewell for the night, the trio pounced on their instruments and proceeded to tear their set apart for nearly an hour. It was a riotous set, nearly sixty minutes of blistering, beautiful aural ferocity. Think this band is fierce on record? You ain’t heard nothin’, my friends, til you’ve seen ‘em live. It was raw and powerful and violent and absolutely breathtaking. They chose four of my favorite songs from their gorgeous, must-own record Exploding Head (“I Lived My Life to Stand in The Shadow of Your Heart”, “In Your Heart”, “Deadbeat”, and my uberfave “Ego Death”), along with a bevy of first album tracks to boot. Each and every song was given the same careful attention to destruction, the band seemingly overtaken with a maniacal force driving them every onwards in their demolition. Every stake was raised, and they all delivered time and time again.

Singer and guitarist (and Virginia boy) Oliver Ackermann was particularly possessed, at times prone to a slightly deranged glint in his eyes just before he launched into a thrashing near-ruination of his guitar. Jerking around the stage almost as if in fits, he and his compatriots blew me away minute after minute. To quote a friend of mine, it was as if they had bellies full of hell. The guitar was searing, the vocals sneered menacingly, the bass inspired with its brutality, and the drums pounded without mercy. This was a band on the edge, and it was magnificent.

It all ended with a nearly incomprehensible wall of noise, as the boys turned things up to 11 and made with the never-ending waves of distortion that barraged the crowd for quite a while. I made the mistake of de-ear plugging a little too soon, and a few days later my hearing is still not quite right. The one real fly in the ointment? The smoke, which had been so effective when I had seen the band many moons ago at DC9, didn’t quite work as well in the great urban outdoors. But when a lackluster smoke machine is the biggest issue, you know it’s been a goddam good set. I felt the earth literally move more than once, and that can’t all be chalked up to my spot right near one of the speakers.

I’ve never been so happy to be experiencing some hearing loss. Ok, so there’s a few more months left in 2010, and plenty more shows where this one came from. But as of right now, this is it, folks. Show of the year thus far. No doubt about it.


mp3: Ego Death (A Place To Bury Strangers from Exploding Head)

More Star Tunes

Seriously, i freaking love the Interwebs.

While trying to find the exact wording for this quote (which clearly is the world's greatest response when anyone asks you what you want), i googled "speak Bocce" and somehow stumbled upon this gem. Though it came out more than a decade ago, apparently no one had bothered to tell me that some geeks had gone all out, writing and performing Star Wars: The Musical. Well, as a fellow geek, i say, well done, ladies and gents! Whereas a lot of these types of projects merely use existing music and throw in some silly lyrics, these cats went all out. Except for where they use original source music, this entire thing is completely the work of the writers, music, lyrics and all.

Not only does the website have downloads of the entire score, but they've also got the Fan Film award-winning "One Season More" video, lyric sheets AND, I SHIT YOU NOT, A KARAOKE INSTRUMENTAL VERSION OF THE SCORE FOR YOUR NEXT STAR WARS THEMED PARTY!!!

Honest to Slave Leia, i love geek love.

mp3: Do You Speak Bocce? (Star Wars: The Musical Cast from Star Wars: The Musical)

mp3: Let's Blow This Thing (Star Wars: The Musical Cast from Star Wars: The Musical)

It's Covered: Simon Smith and the Amazing Dancing Bear

i've got a big review of yesterday's DC stop for the Rock the Bells tour coming soon, but what's the point of co-owning a blog if you can't take time out to wish The Missus a happy second wedding anniversary? A lot of people lost money on that bet, i tell you what.

In honor of two years of wedded bliss, a quick It's Covered on the Randy Newman classic, "Simon Smith and the Amazing Dancing Bear." The Missus and i have a running joke about getting eaten by bears, which probably isn't that funny if you were friends with this guy, but it's a laugh riot to us regardless. You go hang out in Alaska meeting your in-laws, and tell me the thought doesn't cross your mind. Then have your father-to-be draw a pistol on what turns out to be a leafy stump swaying in the breeze. It's a knee slapper, i tell you what.

While Newman penned it, it was first performed by Harpers Bizarre and, with the change of an article, was made classic overseas by Alan Price (though if you're from the States and about my age, you might credit its true international success to Scooter, Rowlf and Fozzie).

i'll let you decide for yourself.

mp3: Simon Smith and the Amazing Dancing Bear (Randy Newman from Sail Away)

mp3: Simon Smith and the Amazing Dancing Bear (Harpers Bizarre from The Platinum Collection)

mp3: Simon Smith and the Amazing Dancing Bear (Harry Nilsson from Harry)

mp3: Simon Smith and the Amazing Dancing Bear (Okkervil River from Golden Opportunities mixtape)

mp3: Simon Smith and the Amazing Dancing Bear (The Muppets from The Muppet Show - The 25th Anniversary Collection)

mp3: Simon Smith and His Amazing Dancing Bear (Alan Price from The Best Of)

mp3: Simon Smith and His Amazing Dancing Bear (The Animals from Perform Price)

(Ed. Note: Today's Blog-on-Blog love gets you sticky from She'll Grow Back, who longtime readers will remember inspired this column in the first place, thereby giving you the correct answer to the upcoming LET version of Trivial Pursuit.)