Tour Alert: Colour Revolt / Empires

Empires, of Chicago (and yes, still the Scrappy Little Band of My Heart) are teaming up with Colour Revolt, of Oxford, Mississippi and visiting some cities  this fall. I can’t get to their Brooklyn show – law school is once again interfering with my rock and roll lifestyle – but I encourage all y’all to go and check them out.

As enticement, I give you some video. First up, there’s Empires, with Spit The Dark, from Howl, the first song they wrote as a band:

http://vimeo.com/7093690

 

And then Colour Revolt, with Eight Years, from their new record The Cradle. It’s the story of eight years playing together – the highs, the lows, the sublime, and the totally, grossly ridiculous:

Colour Revolt "8 Years"

The Felice Brothers / Nicole Atkins and the Black Sea / Diamond Doves, Webster Hall, 9/29/11

It’s been almost approximately a year since I last saw the Diamond Doves (formerly the Dearland in Elvis Perkins and Dearland, now doing their own thing) and in that time they’ve changed: they’ve become tighter and more focused, and their drums are bigger and louder and roll like mighty waves.  They were good before, but they’re better now. I’m also pleased to report that they are still making the hipsters dance. Here they are in action:

 

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Next up was Nicole Atkins and the Black Sea. I (once again) had never heard them before and had no idea what to expect. Ladies and gentlemen: this band rocks. Nicole Atkins has an amazing voice – powerful, flexible, commanding, and sultry at the same time – and she and the band bring some serious jams. If you haven’t experienced them yet, you should get on that right away.

 

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And then there were The Felice Brothers, who are on tour right now. The crowd was a little bit flat at first – some of them perhaps hearing songs from Celebration, Florida live for the first time – but they perked right up and made the floor vibrate with their joy when the band launched into familiar favorites like Run, Chicken, Run, White Limosine and, of course, Frankie’s Gun.

The one I was waiting for, though, was River Jordan. It’s one of my favorites, mainly for the steady, thudding, mournful drums; the line about Fuck the House of Blues; and also the point near the end where either the band cuts Ian Felice loose or he breaks free, but either way he’s soaring.

This time it came at the end of the main set, and it was spellbinding, all the way down to the last two minutes or so when various band members stopped playing and walked back into the wings, until it was just the drums ringing out under the lights.

They came back, of course, and the mood changed. They did a cover of Springsteen’s Darkness on the Edge of Town that made that song expand and thrum with new energy, followed by a raucous rendition of Helen Fry, and then the show really was over. These are some of the pictures I took during the festivities:

 

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And here is one more of the Diamond Doves (& friend), in their capacity as the Felices’ horn section:

 

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Nick13 / Brett Detar, The Bell House, 9/24/2011

When I last wrote about Brett Detar (formerly of The Juliana Theory) I had just listened to his new solo record and loved it. Last Saturday night I got to see him sing some of those songs live, and it was fantastic.

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It was just him and his guitar (and later banjo), so the songs – with the exception of Cocaine Whiskey and Heroin – were at times little slower and more subdued than on the record, but they were no less lovely for being stripped down. He has a big powerful voice and it was a pleasure just to listen to him sing.

Anyway, here’s one more of him, this time with the banjo:

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Next up was Nick13, formerly of Tiger Army, who I had never heard before in either of his incarnations – Tiger Army happened while I was in cultural exile – and thus had no idea what to expect.

I realize this has become something of a trend with me. I promise I do go to concerts where I am familiar with the work of all of the acts ahead of time! It’s just sometimes (okay, often) I’m perfectly content to go on a voyage of discovery.

And as for Nick13, I am once again happy to report that I was pleasantly surprised.

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For those of you who have heard of Tiger Army and are wondering how the new sound compares, I have since corrected my deficiencies and can tell you that what he is playing now is really, really different. The psychobilly has left the building.

The new sound is – well, it’s kind of old, in the sense that it harkens back to what country sounded like in the middle of the 20th century. My reactions were basically We play both kinds, country and western, though referencing the score of Greater Tuna, not Blues Brothers, and also He’s like Gene Autry with neck tattoos.

Though I do also have to say that he’s less tinny and schmaltzy than Gene Autry, or at least, Gene Autry as presented by Spotify. There’s definitely some punk and/or rock sensibility swirling through everything as well, but it’s subtle – just enough to give the rhythm a little bit of kick.

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Mostly I thought the music was sweet, and kind of gentle, but most certainly not dull. I put his CD in my iPod, and while it’s only been in rotation for a couple of days, I can tell it’s the kind of thing I will be returning to at the end of long days and when exams are making me crazy. It’s also music I will play for my parents, as I think they might enjoy it.

If you would like to check both Nick13 and Brett Detar out for yourself, the tour is still on the march, and will be making stops across the Mid- and South-West through early October.  If they’re coming to your town and you have the evening free, go down and visit with them. I promise it will be a good time.


Everything All The Time: Mojo Fury


Mojo Fury is: Michael Mormecha (guitar/vocals), James Lyttle (guitar/vocals/keys), Ciaran McGreevy (bass) and Gerry Morgan (drums), and they are from Lisburn, just outside of Belfast, in Northern Ireland.

The title of this post is a lyric fragment from Pill Pigeon is an Orange Wheel, song number six on Visiting Hours of a Travelling Circus, their first record, released earlier this year by Graphite Records. It is also an accurate summation of their overall sound.

There are sharp syncopated synths layered over precise quasi-industrial drums, and the remaining space is filled with heavy, slightly fuzzy guitars and Michael Mormecha’s voice. (If there are any fans of Pretty Hate Machine-era Nine Inch Nails and Rage Against the Machine in the audience, this band is for you.)

There are two breaks from the whirlwind: the first one is We Should Just Run Away, which is as close to a pop love song as they get, which  is not all that close, really. The (somewhat) softer side of Mojo Fury still contains thudding industrial echoes.

The second one is Electric Sea, which really is the aural equivalent of walking into the sea. It starts with a simple almost-acoustic guitar and cymbals that skitter through like foamy wavelets on a shell-strewn shore, and then layers of sound build gradually, until suddenly you’re out past the breakers and it’s time to play jump or dive with the whitecaps, or, rather, a sudden wall of guitar. In this case the correct answer is dive: just sit quietly for a moment and wrap yourself in the last minute or so of the song.

As an examples/enticements to explore further, here they are with (WARNING: CONTAINS CLOSE-UPS OF BUGS!) The Mann:

 

Mojo Fury - The Mann

 

and (BUGLESS!) We Should Just Run Away:

 

Mojo Fury - We Should Just Run Away

Water Tower Bucket Boys: Sole Kitchen

Pictures courtesy Water Tower Bucket Boys

Dear Water Tower Bucket Boys,

You had me at “we hung out and drank beer, sang Rancid songs late into the night on Telegraph Street”. I am hoping a New York date gets added to your schedule soon, so we can have a proper visit.

xo

Jennifer

Dear everyone else,

That lyric I quoted above is from the aptly-named Telegraph, song number three on their fourth record Sole Kitchen, which was engineered, mixed, and produced by MxPx/Tumbledown front man Mike Herrera at Herrera’s Monkey Trench Studios in Bremerton, Washington.

In addition to name-checking one of my favorite punk bands, the Water Tower Bucket Boys (say that three times fast!) also bring some serious bluegrass. There are sweet harmonies and delicate picking (Telegraph, again) fast fiddles (Blackbird Picking at a Squirrel), some good sing/stomp-along songs (Since You’ve Been Gone; Goatheads), and one where they sing in French (Fromage).

Readers, they are really, really good, and I encourage you to stop what you are doing and introduce them to your record collection.

Or, if you happen to be joining us today from the North-East of England in general and the outskirts of Nottingham in particular, to get out to a show, as they are on tour in your corner of the world through Sunday, September 18.

Right now it looks like after the UK tour they’ll be doing a few shows in their home state of Oregon before heading out to visit portions of the American South and South West in the fall, so readers from those locations, you should also have a glance at their schedule.

Meanwhile, here they are with my personal favorite, Telegraph, from a performance at Mississippi Studios earlier this year:

 

Water Tower Bucket Boys @ Mississippi Studios 2/9/11 - Telegraph

Ones to Watch: Will Hanson

Every once in a while a new (or at least new-to-me) musical act settles into my collection as if they have been there forever, rather than just for a week or a month. Les Wampas was one such act, and Will Hanson is another.

Moving a Body (12/26 Records), Hanson’s first solo effort – he was formerly a member of Proxy – came out in late August, and while I have only been listening to the whole thing for a week or so, every time his voice floats up on shuffle, I feel like I’m visiting with an old friend.

Originally based in London, Hanson recently moved to Glasgow, Scotland to record his (mostly) dark and sometimes dreamy, sometimes noisy tunes with producers Jamie Savage (Chemikal Underground) and Oli Bayston (Keith, Howls) at Chemikal Underground. His work with them was funded by Creative Scotland, and Mr. Hanson has additional Scottish connections via his 6 piece Glasgow based band.

Here they all are performing one of my favorite tracks, The Bats:

Postcards from the Pit: Woods

The evening I saw them, Woods was the last band of a four-band show at the Bowery Ballroom. They shared the bill with Widowspeak (ethereal on top, solid and dark on the bottom, very good); White Fence (high quality surf punk, even better when I wasn’t being moshed into a wall); and Ducktails (he has a new record out). I had gone out mainly to see White Fence;  by the time Woods came on it was late, it was also Saturday, so I resolved to hang out at least for a little while – two or three songs, maybe – and see if I liked them.

Readers, I loved them. Woods are delightful, and I stayed for their whole set. Many of their tunes were sweet, delicate indie-pop confections, but woven carefully between the hand-clapping sing-along songs were darker, more psychedelic instrumental numbers that functioned as the aural equivalent of a palate cleanser.

I enjoyed every minute of their time of the stage, and I strongly encourage you to get a-hold of their new record, Sun and Shade. I have had it on my iPod more or less since the show, and their songs never fail to lighten my mood when they float up on shuffle. And given that in the time since the show major events in my life have included a water/gas main break in my neighborhood, an earthquake, a hurricane, and part of my bathroom ceiling falling down, my mood has most assuredly needed lightening on a fairly regular basis.

Sample tune:

WOODS- Pushing Onlys by WOODSIST

In conclusion, here are a few pictures I took at the show I went to:

Widowspeak:

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White Fence:

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Ducktails:

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Woods:

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Ones to Watch: Barry

Barry is a folk-rock band from Hume, New York, made up of three brothers: Patrick Barry (guitar/harmonica), Benjamin Barry (bass), and Bradford Barry (drums). Barry formed in 2011, in the wake of Patrick and Benjamin’s former alt-rock band, Navar.

Here are some reasons why I am extremely fond of their very first EP, Yawnin’ in the Dawnin’, presented in no particular order:

 

1) The title song, which has beautiful harmonies, sounds remarkably like a sea chantey. I love sea chanteys. I especially love sea chanteys about being very tired and wishing one had gone to bed earlier because that is me and my incorrigible accidental nocturnal tendencies to the bone.

 

2) The third song, Carnival(e) has a killer creepy sideshow Nightmare Before Christmas vibe, and they made a video for it, which also celebrates their upstate New York roots:

 

 

3) Drink One More, a song which features three carefully intertwined birth stories – one of my favorite genres of personal narrative – and is generally an exhortation to have one more drink and tell one more story, one for the road in both cases. I’m not much for beer but I do love a good yarn, and as far as I am concerned there are few finer pleasures than an evening of friends sharing stories.

 

4) Great Unknown, a song about second chances, which sketches a whole relationship in a series of tiny but telling details. It’s also about telling someone I don’t know where we’re going but I want to go there with you.

 

5) The harmonies, which I am bringing up again because they are in every song, not just the title track. Finally, these gentlemen have a lot of rock in their folk-rock, which is also a thing I appreciate.

Yawnin’ in the Dawnin’ is their first record, but evidently there is more coming soon! If you like what you hear, you can keep up with their adventures via Facebook.

 

Friday Eye Candy: The Guitars of the Sunset Strip

It’s Friday, have some pretty things to look at! These guitars are part of Guitar Town Sunset Strip, a public art installation sponsored by the Gibson Foundation, the philanthropic arm of Gibson guitars. According to the Gibson website the exhibit was supposed to last six months and then the guitars would be sold at auction and the proceeds given to charity; that was in August 2010, and, uh, a lot of them are still there. In any case, here are the ones I managed to capture:

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An Evening At: The Grand Ole Echo, The Echo, Los Angeles, with Welldiggers Banquet, Grant Langston and the Ruby Friedman Orchestra

On my very last night in Los Angeles I ventured out to Echo Park to check out the Grand Ole Echo, a weekly Americana/country/roots music event held at The Echo. Once again I had no idea what to expect, this time because I was mainly going to check out the event as a concept.

It turned out to be an excellent evening, the kind of thing that I decided if I lived in town I would totally go over every Sunday. (In fact I really wish there was something like it in New York.) If you’re in the Los Angeles area, drop in on them sometime – it’s free, all ages, 5-9 PM on Sundays, April through September. Plus there’s BBQ and more music on the porch!

Confession: I did not manage to sample either the BBQ or the bluegrass band that was playing on the evening that I went. I spent all of my time indoors, absorbing the musical stylings of the following bands:

1. Welldiggers Banquet

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My post-set notes on this band were “country with rockabilly swing, great stuff.” They have been a band since 2004, and their self-titled CD was released in 2007, though evidently a new record is expected shortly. I’ve been carrying their tunes around with me since I got back, and enjoying pretty much the entire record, though I do have a special fondness for Frio, White River and Charms of the City. If you enjoy a foot-stomping good time as well as the occasional ballad, check them out.

2. Grant Langston and the Supermodels

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Mr. Langston and his merry crew are more rock than rockabilly, but still have a strong country core. And some seriously entertaining song titles, such as Burt Reynolds Movie Brawl which is “get me OUT of here” account of an oncoming barfight. If you enjoy the Bakersfield sound, you will enjoy them.

3. Ruby Friedman Orchestra

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This band was perhaps more bluesy soul with hard rock underpinnings than Americana or country, but that didn’t bother me a bit, as they were absolutely amazing. Seriously, y’all, if they roll through your town, get out and see them. They sound like a force of nature given a voice, sometimes howling, sometimes crooning, but always bigger than life. Recommended tracks: Montmartre and It Makes Me Want To Hold Your Hand (A Little Tighter).