Post-Scotch: The Everymen Rocked my Saturday

Hopscotch creates the optimal environment for music discovery. Many music festivals have multiple stages but few host fourteen venues for anyone with a wrist band to drift in and out of. This drifting brings about a method of discovering music that fits well with the Internet music age. We live in a world where the customer really is always right because their entire experience has been personalized for the individual. In this case, it is a personalized concert for three nights straight.



I had few artists that I absolutely had to see: Earl Sweatshirt, A-Trak, and Future Islands. Saturday was the most open out of all the nights. Other than Saints Apollo, Adult. and Big Black Delta, I had no shows planned out. Out of of all the new bands I saw perform, no show was more entertaining than The Everymen's performance at The Pour House. I almost walked out before it even started, too. I went in ten minutes before the start of The Everyman but ran into DJ Sarahnade from Post Rock Block. right outside. She had seen this band earlier and was coming back for more.

"Piano's over the head kind of stuff" she explain to me.

I was sold.

It turned out to be the best rock show I've seen in a long time. The energy and stage presence The Everymen had was outstanding, and the crowd showed it right back. Everyone for at least the first few rows was going hard to a the male and female fronted band. The lead singer/guitar player made for great mid-song commentary.

At one point, a duel was put forth between the sax and piano player. This ended with the keyboardist picking up his piano, laying one end into the crowd and just going nuts on it. This New Jersey band will forever be cemented in my memory bank.

My personalized concert ended up being spot on thanks to the amazing people who put the effort into making Hopscotch a success.

You can find their Bandcamp here - bandcamp

-Muta

 (Not pictured above: The awesome and crazy keyboard player)

Hopscotch: Saturday Night Highlight Photos

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Show Review: GHOSTT BLLONDE, Virgins Family Band, and Free Clinic

by John Mitchell

 

GHOSTT BLLONDE, VIRGINS FAMILY BAND, FREE CLINIC SUNDAY AUGUST 18, 2013 SLIM'S DOWNTOWN: RALEIGH

I was working at Morning Times in Downtown Raleigh when Mark Kuzio walked up and started smoking a cigarette outside. I took a break from the website I was designing to go talk to him. It turned out that he was playing a show downtown. We planned on meeting up at the venue, and turns out the door dude is a super awesome guy, and he let me in (with large X's and the if-you-drink-I-will-murder-you speech, of course). I entered just in time to see Wilmington garage pop trio Free Clinic sound-checking their equipment. This new band loves lots of reverb on everything. There's a casual start to the set, with the band slowly turning their chorus-soaked lead lines and big, jangley chords on their head through a great ear for delay-tastic breakdowns. A competent, yet reserved drummer reigned everything into a nice glow. Though they mentioned they're looking for a bass player, the atmosphere isn't in any particular need to be pulled down. They've made due and developed an impressive sonic platform that will grow as their songwriting skills do.

Virgins Family Band take the stage next, and I'm impressed again. The toneless guitar and incredible keys make way for two drummers and some very fun bass lines. And while their compositions are much more complicated than those of Free Clinic, the psych-outs a little more reserved. Both bands worked extremely well together on a line-up for reasons that can't be explained with your ear; it's all because of the curatorial skills of that fellow I ran into at the coffee shop several hours before. Granted, it's a little funny to say that, because I usually associate curation with quiet guys that have huge beards, not bombastic and wiry kids. But it's this guy's sunny presence, very similar to Iggy Cosky of the Lollipops, that makes all the bands he's assembled for the show and all the friends he's amassed in the crowd sync into place.

Ghostt Bllonde is a band that popped up on my radar several months ago through a taped-together cd-r sleeve in the local rack at KNC. There are blown-out tracks withered with melodramatic hooks and way-too-heavy percussion. There was real potential there though; potential to turn these ideas into hooky songs everyone wanted to sing along to. With the recent release of TrashPop//DoomWop, they've gotten much closer to that goal. It doesn't lose the super-saturation or the booming drums that made the band unique to begin with, but it amplifies everything with comparatively razor-sharp articulation. Live, the energy was brought back up to the level of those first recordings, without all the necessary straining to understand what's going on. That's a great thing, because this isn't heady music at all. It had the crowd, which consisted of 30-something guys with dreads, girls who'd look less out of place at the Architect, and a fair amount of plainclothes college kids bopping their heads, pulling out lighters during the slow points, and best of all, smiling. It's going to be hard not going to Slim's Downtown for another three months. In a few hours, the general divey-ness, tiny corner stage and half-a-foot of room I had to stand in started to feel like home.

Show Review: Kurt Vile and The Violators with Swirlies

DJ e-baby recaps his experience below at the Kurt Vile show at Cat's Cradle:



One could really tell the kids were home for summer. The crowd appeared more refined than one would expect. The Swirlies, an old school band formed in the 90’s, started the show.

They played with much gusto but little uniformity. The band members seemed to be on a different page including the small female vocalist who could barley handle her guitar. I have never been a fan of Mumford and Sons until they used it to cover up the sounds of the Swirlies leaving. I went to the bar and waited with the crowd for Kurt to emerge.

Kurt Vile took the stage and the air was palpable. Kurt was a vision in long dirty hair and torn jeans. He commanded attention. Kurt’s raspy coos and extended lo-fi riffs picked the crowd up after the Swirlies’ disappointing performance. Kurt and his band played a long show, pausing between ten-minute songs to pound Red Bull and mumble mysteriously into the mic. The show felt like a slow motion summer ride. It was sad when it finally winded down. Kurt ended things with “Baby’s Arms,” transfixing the crowd and stepping away into the night.

~ebaby

WKNC Show Picks for the Week

If you're not being slaughtered by exams, I recommend you check out some of these shows this week. I AM in the slaughter, and I will still be there. Cinco de Mayo has never looked so good y'all.

 

Thursday 05/02: WKNC presents LBLB with DOCO at Tir Na Nog

Friday 05/03: Mandolin Orange/Ryan Gustafson at Kings Barcade

Saturday 05/04: Youth Lagoon at Cat's Cradle


Saturday 05/04: Oberhofer/Wool at Kings Barcade

Sunday 05/05: Lost in Trees/Loamlands/Love Language at Cat's Cradle parking lot (DAY show from 4-9 PM)

Sunday 05/05: Telekinesis/Deep Sea Diver at Local 506

Wednesday 05/08: Band of Horses at The Ritz

 

-Cest La Bri

WKNC Show Picks for the Week

I'm DJ C'est La Bri, and here are my show picks for this week in the triangle. These are opinions and only reflect the preference of one DJ: Bri. Hope to see you all at the shows, support your local musicians, and thank goodness for the resurgence of warm weather! Only a short while until Hopscotch!

 

Thursday 4/25: WKNC presents LBLB with Virgins Family Band and Diali Cissohko at Tir Na Nog

Friday 4/26: Airstrip/Birds & Arrows at the Pinhook

Saturday 4/27: Fleshwounds/Wax Idols at the Pinhook

Saturday 4/27: The Snails/Lollipops at Kings Barcade

Sunday 4/28: Akron/family/Loamlands at Motorco

Sunday 4/28: HEYROCCO/Clockwork Kids at Local 506

Tuesday 4/30: Shabbazz Palaces at Kings Barcade

WKNC Show Picks for the Week

Apart from this week being my birthday (C'est La Bri turns 21 on Saturday y'all!), it's also another great week for spring shows in the Triangle.

4/17 (Wed): Bleached/Hunters/Gross Ghost at Pinhook

4/18 (Thurs): Bob Mould/Barren Girls at Cat's Cradle

4/18 (Thurs): WKNC presents Local Band Local Beer with North Elementary/Antique Firearms/Natural Science at Tir Na Nog

4/19 (Fri): T0W3RS/Estrangers/Cassis Orange at Kings Barcade

4/19 (Fri): WXDU presents Letha and Dan Melchior Benefit feat Greg Cartwright/The Dirty Little Heaters at Pinhook

4/20 (Sat): Schoolkids Records presents METZ etc as a DAY SHOW for Record Store Day

4/20 (Sat): Pet-Tich-Eye NC music collaborative project at Motorco


Check back next Wednesday for another weekly update on some of the Triangle's biggest shows!

-Cest La Bri

Must See Show of the Week: Brett Harris/Young Rapids/Paperhaus

Tuesday, April 2nd- Brett Harris, Young Rapids, and Paperhaus at Motorco Music Hall, 8pm, FREE

 (Young Rapids)

As always, the Triangle provides us with some great concerts this week.  You can check out the full round-up over at the Rock Report.  The standout show for this week features local singer/songwriter Brett Harris as well as two up and coming indie pop-rock bands out of DC. Brett Harris has become something of a local master of pop. He began his career by releasing a batch of EPs and touring heavily. His debut album Man of Few Words was released in 2010 and made its rounds through various music blogs.  After some time off since its release, he is back at it again.

But the main highlight of this show are the bands making their way down from DC.  Young Rapids released their debut album Day Light Savings last year.  The album received quite a bit of praise from all around including some love from NPR's All Songs Considered as their infectious breed of perfectly crafted indie pop-rock took hold.  Their music is a very smartly composed and driven of indie rock that is sure to get you going.  With them they bring an even newer band out of DC, Paperhaus.  Paperhaus is a band in much of the same vain with a bit more of a psychedelic influence.  Their new song "Helicopters" off their upcoming EP, Lo Hi Lo, was recently featured on NPR.  While love for music from DC is to expected from NPR, this DC duo of bands have received a stamp of approval from the rest of the country as well as their two-month nationwide tour approaches its end.  So be sure to stop by the Motorco this Tuesday for a great time.  Who can say no to a free show?

Show Review: Bombadil House Show

When you think of a house show, you typically think a grungy basement with beer cans strewn everywhere. This show was quite different. This concert was put on by Common Chord Concerts, a self-proclaimed "network of music-lovers in Charlotte and surrounding communities that share an interest in original acoustic, Americana and folk/rock music." Common Chord has only been in existence for a couple months, but has put on some incredible shows so far with a strong line-up of shows in the coming months.

After walking into the Common Chords founder's wonderful home, I knew this show would be anything but ordinary even by Bombadil's standards. The atmosphere was very light-hearted as show-goers brought snacks to share and mingled with the band members and other fans. The turn-out for the show was quite impressive for this being Common Chords' third event. As 8 o'clock approached, everyone made their way into the living room area where the band had set up their equipment. Some moved to the kitchen and others to the balcony to get a better view as everyone geared up for the concert that was about to take place in the living room.

Everyone cheered as the band members made the transition from socializing to taking the makeshift stage space in their usual eccentric clothes. James announced that it had been a while since they had played a house show and they were really looking forward to the intimate opportunity. This show was to be my first time seeing them as a three-piece since their guitarist Bryan was off finishing his graduate studies and unable to join. They are each incredibly talented songwriters and musicians, so I was interested to see how their show would hold up with the absence of a band member. I was not disappointed. The performances were incredible and the atmosphere made for some great story-telling about the origins of the songs. The narratives made for one of the most intimate shows I had been to as Daniel shared his hardships of trying to continue writing songs while he was suffering from nerve damage several years back. The stories covered everything from sweet tea to cross country unicycle rides as the entire audience listened and laughed along.

There seemed to be no real set list as they continuously called out songs to each other as well as asking the audience for requests. They played a good mix of songs that spanned their entire career. From "Jellybean Wine" and "Johnny" to new songs such as "Have Me" and "Boring Country Song" from their upcoming album Metrics of Affection due out July 23rd. Everyone in attendance was singing along and enjoying the incredible performance. To make the night even more personal, they relocated to the kitchen to perform an a cappella version of "Get to Getting On." At one point, Daniel made Stuart perform his new solo piano song "What Does It Mean" as he joined the crowd in the rows of folding chairs and couches. Although they seemed to have played every song in their repertoire, the show ended all too quickly with an extraordinary performance of "Honeymoon." They barely finished bowing before someone in the kitchen started chanting encore. As a form of payback, Stuart then joined the ranks of chairs as he made Daniel give a stirring rendition of "Marriage" as everyone sang along. After the applause faded, they took their places at their instruments one last time for the song "We Were Meant to Be." After thanking the audience and the hosts, the house once again transitioned from venue to house party as everyone milled around and socialized after the mutual experience. Although it was not quite your typical concert, the unique atmosphere made for one amazing night with the always impressive Bombadil.

Must See Show of This Week: Art Lord & the Self-Potraits

Thursday, February 14th- Art Lord & the Self-Potraits, GOOGOOLOO, and Lonnie Walker at Kings Barcade, 9pm



 

While there are many great shows this week that can all be seen here at the Rock Report, there is one show that rises above all the rest. As you probably know, we here at WKNC worship the North Carolina bred synth-pop fanatics Future Islands.  But what you might not know is that Future Islands was not the first endeavor of Samuel Herring, William Cashion, and Gerrit Welmers.  Before Future Islands, the three of them were in a band with Adam Beeby called Art Lord & the Self-Potraits.  They played their first show 10 years ago on Valentine's Day.  The band toured vigorously around North Carolina as well as a tour with Dan Deacon up and down the East Coast. After 2 years of existence, they laid the Art Lord to rest and started Future Islands.

This Valentine's Day, Art Lord & the Self-Potraits are getting back together for a 10 year anniversary of their first show to release a double LP retrospective off Friend's Records entitled The Definitive Collection.  This release is their first vinyl release to date and compiles songs from their four albums.  The show is at Kings Barcade this Thursday at 9pm. Brian Corum opens with a special solo Lonnie Walker set followed by GOOGOOLOO. Art-Lord and the Self-Potraits will then close out the night which is sure to be one of the best shows of this year.  So grab your loved one and come on out to the show.

 

---
You can check out one of the remastered tracks that will be on the upcoming release here. These songs were all remastered by Talk Normal's Sarah Register.

 

Check out a synopsis from Samuel Herring of how Art Lord & the Self-Potraits came to be below:

"AT THE BEGINNING OF THE 1980’S, THE SPECTRUM OF MUSIC AND ART WERE BEING BLOWN WIDE OPEN. THE WORLD WAS CHANGING AND THE PEOPLE WANTED A STAR, AN ICON, TO CHALLENGE THEIR MODE OF THINKING. SOMEONE THEY COULD FOLLOW, WHETHER TO WATCH THEM ASCEND OR PLUMMET INTO THE HISTORY OF TEXTBOOK LORE.

AT THE AGE OF 18, LOCKE ERNST-FROST, WOULD BE SUCH A MAN. PROPELLED INTO BEING—LOCKE—THE SELF-PROCLAIMED, GERMAN LORD OF ART (FROM GERMANY, OHIO), THE NEW YORK ART SCENE BY STORM. GIVING HIS ONE OF A KIND VIEWPOINTS ON THE BANALITY OF LIFE, HE TORE APART THE AMERICAN POP CULTURE IDOLATRY, AND CHASTISED THE WORLD AUDIENCE’S FOOLISHNESS FOR FALLING FOR SUCH SIMPLE TRICKS.

HOWEVER, THIS PROVED TO BE TOO GREAT OF A CHALLENGE FOR THE YOUNG MAN. WHILE THE WORLD HERALDED HIM AS THE SAVIOR OF ART, HE REALIZED THAT HE WAS BECOMING THE THING THAT HE DESPISED. THE SPOTLIGHT WAS TOO GREAT, THE LEVEL OF OBSERVATION TOO HIGH. HE WANTED TO ESCAPE THE LIFE HE HAD CREATED. AND SO, AT THE RIPE OLD AGE OF 19 HE BANISHED HIMSELF FROM THE SPOTLIGHT, TO A BUNKER IN ZURICH, NEVER TO BE HEARD FROM AGAIN.

FLASH FORWARD, FEBRUARY 2003, LOCKE ERNST-FROST EMERGES FROM THE BANKS OF THE TAR RIVER, IN THE SMALL, COLLEGE TOWN OF GREENVILLE, NORTH CAROLINA. IT HAS BEEN TWO DECADES SINCE THE ART LORD HAS SPOKEN, AND NO ONE KNOWS HIS NAME. THE MYTH. ERNST-FROST HAS BEEN IN SECLUSION FOR THE LAST TWENTY YEARS TRYING TO CRACK THE AESTHETIC CODE. HE HAS SPENT EVERYDAY, SINCE HIS RETIREMENT, DREAMING, SCULPTING AND PAINTING THE MOST BEAUTIFUL THING IN THE WORLD. HIMSELF. AFTER BEING SET AWAY FOR SO LONG, HE BELIEVED IT WAS TIME TO FINALLY STEP OUT OF THE DARKNESS, AND SING TO THE WORLD HIS TALES OF WOE.

AFTER AUDITIONING MUSICIANS FOR HIS PROJECT, HE REALIZED IT WAS FRUITLESS. NO ONE WAS GOOD ENOUGH TO PLAY FOR HIM. DETERMINED, HE GAVE LIFE TO THE ONLY BEINGS WHO WERE WORTHY TO STAND ON THE STAGE BESIDE HIM, FOUR TEARS DROPPED ON CANVAS, AND HIS SELF-PORTRAITS WERE BORN. TOGETHER, THEY SET OUT, LOCKE, #1, #2, #3, AND #4. FINALLY, THE ART LORD AND HIS SELF-PORTRAITS, COULD TELL THEIR STORY TO THE WORLD…HOW HARD IT IS, TO BE, SO GREAT."

Show Review: Jeff Mangum at the Brooklyn Arts Center

This was my first opportunity to see Jeff Mangum and I jumped at the chance to see him by purchasing my ticket months before the show. Although this will not be his final tour, he does not plan to return to the same cities he has already played during this solo acoustic tour. This might explain his decision to play the quaint little Brooklyn Arts Center in downtown Wilmington.

The show was opened up by folk rock duo, Tall Firs. After their set, Jeff Mangum took the stage and the crowd was elated. His performance was very stripped-down with just his voice and guitar. Although he kept apologizing for having to ask his sound guy to continuously tweak the levels after every song (he admitted to skipping the sound check earlier that day) nobody really seemed to mind. I think his almost neurotic behavior about the quality of the sound made everyone appreciate him a little bit more. Jeff revisited songs from all of Neutral Milk Hotel’s albums including “On Avery Island,” "Everything Is," and the most famous “In the Aeroplane Over the Sea.” His raw voice echoed off the refurbished cathedral ceilings while he carried out the last word to the lyrics “Can’t believe how strange it is to be anything at all,” sending chills down my spine.

Jeff would switch between a number of different acoustic guitars surrounding him on stage (I counted five) and you were able to hear a new perspective to the songs. With this raw performance, you could listen with a newfound appreciation for the lyrics. Jeff thanked the crowd several times throughout the evening for coming out to see him by explaining that he was still just used to just playing for his friends in a living room. Even though he has been playing these same songs for the past sixteen years, sometimes at huge venues, I get the feeling that this was the atmosphere he prefers. I can’t wait to experience another heart-felt performance from Jeff Mangum.

Show Review: Local Band Local Beer - Toon & The Real Laww

Toon & The Real Laww

This week's Local Band Local Beer was an awesome yet insanely odd one.  First off, any time I get the chance to see live hip-hop I'm naturally going to jump all over it, it's just an incredible experience through and through...especially when you've got a live band joining in as well.  Toon & The Real Laww were joined by The Band (not that that The Band), comprised of members of LiLa's rhythm section and a keyboard player that was twerking like his life depended on it, the combination of a live band with the booming bass brought by DJ Shahzad was what made Thursday night at Tir Na Nog truly special.  While the crowd was filled with an abnormally large amount of bougie folks dressed to impress, that didn't stop the crowd from raging like nobody was watching.

Toon & The Real Laww have been building up quite the reputation for themselves, drawing a lot of attention from a heavily acclaimed Hopscotch set and various other local performances, the group is swiftly being mentioned with names like Kooley High, King Mez, and The Beat in terms of top local rap artists.  Toon's clever lyricism and wordplay bounce perfectly off of the precision and finesse of The Real Laww's flow.  Both have bukus of charisma, engaging in practically every audience member in arms reach, and often times a few more.  From free styling with the aid of a few words written by crowd members to the massive amounts of crowd participation, Toon & The Real Laww were an engaging and exciting act, a fantastic to spend a study-filled Thursday.  While the dance party continued on after the set, the dense crowd gave me no room to cook in so I unfortunately had to bounce.

 

Show Review: O'Brother bring an ear-ringing, bangover inducing show to Kings

It's been over three years since O'Brother played in Raleigh and two since I've seen the mind-blowing post-punk-rockers put on their dazzling live show.  In those past few years the band has been busy playing sold out shows with the likes of Manchester Orchestra and Thrice all over the continent, but alas the Georgia based group is finally making their way out on a headlining tour for the first time in what feels like ages.  Since my last encounter with the O'Bros the band had put out a highly acclaimed debut full-length and signed to Triple Crown Records, a wonderful feat for a band I once sat cross legged for along with fifteen or so others in my hometown of New Bern.  These years of busting their asses on the road and in the studio have clearly payed off though, the band practically up-ended their old style of melodic post rock to a far heavier end of the spectrum, turning what used to be subtle nuances towards a heavy influence has now morphed into a barrage of fast paced, in-your-face post-punk with the occasional yet breathtaking melodic break.  I was anxiously awaiting this show, and having last seen the band as they were beginning to play out with their Beneath Your Garden Window material , I wasn't quite sure of what to expect from this set.  Plus opening act Harvard (or their newer, vowel-less name HRVRD) has been a band on my radar for quite some time and was just coming off of the sold out opening spot for fun. at The Ritz this past Thursday, making this the perfect chance to check out a band that I may be becoming very familiar with soon.

The night started off with the Raleigh locals of Octopus Jones, a band whose work I'd skirted around before checking out the end of their set here at Kings.  While the band brings a fun and upbeat blend of psychedelic surf rock with punk rock undertones, the melodies and lyricism seemed a bit lacking and couldn't really hook in this listener.  Vocalist and guitar player Danny Martin was doing a great job of hamming it up on stage though, adding to the quirky and upbeat vibes given off by the bands self-described "spank-wave boogie".  I only got to catch the last four songs from Octopus Jones before it was onto HRVRD and one step closer to seeing the o'bros!

HRVRD

Before I delve into HRVRD I must admit that I've got a thing against bands without vowels in their name, and while I've embraced a select few thus far (SBTRKT and TNGHT being glaring standouts), I'm always a bit apprehensive to check a band out...especially if they used to have a name that didn't read like a sixth graders notebook cover.  Personal grudges aside, whatever changed about this band when they became HRVRD worked wonders for them, the Charlotte outfit used to give off a larger pop influence than the experimental and haunting tunes that were on display at Kings.  Thought vocalist Jesse Clasen was coughing throughout damn near every song and informed the crowd of his sickness, his vocals were still soaring through the invigorated crowd at Kings.  When I saw Clasen pull out a trumpet after already wowing me with the band's overwhelming live presence I became enamored in this act.  After I saw their use of vocal loops I was sold.  HRVRD combined elements of punk, pop, and experimental music to create a compelling product that's accessible by fans of Manchester Orchestra or Circa Survive alike.  And make no mistake, I've long grown out of the high pitched vocals and chuggy yet melodic guitar thing...the Circa Survive ship never came to port for this fella, but HRVRD have taken that sort of approach and turned it into an intriguing blend of styles that mesh together perfectly.

Sickness aside HRVRD could have easily stolen the show if it weren't for me being such a fanboy of O'Brother.  As soon as the band took the stage I drew myself uncomfortably close despite their live shows being notoriously loud and known to induce "bangovers" by many attended.  Well consider me a bangover statistic, because when the band opened with an old favorite, "Ascension" I was thrust right back into my high school days of losing myself in the same ambient yet ear rattlingly heavy anthem.  The band smoothly transitioned into "Lay Down", the track that marked the beginning of a heavier phase of O'Brother, filled with throaty shouts and heavily distorted guitars but juxtaposed with softer, melodic bridges.

O'Brother

The rest of the show can only be described as painfully awesome, the band was so loud that it was hard to discern much of Tanner Merritt's vocals, even when he was screaming into the microphone.  This volume issue can be a bit of a draw back with a band like this, while their live presence lies heavily in the physicality of their music (you can pretty much feel the bass in your chest, it's fantastic!) the band's lyricism is arguably just as strong.  With a separate floor tom to add depth to the band's already powerful rhythms along with their DIY lighting setup consisting of string lights run over all of their equipment, the on-stage ambience is an equally compelling aspect of the band's performance.  To summarize it, it's all great.  While the mixing at these shows could be a bit better to bring out Tanner's vocals, it's hard to nitpick at a show that leaves the listeners so speechless.  While I miss the melodic side of O'Brother, this band has tread into new territory with their latest releases and their intensity and talent conveys just as strongly through shouts in spurts as it did through their tamer releases.  O'Brother is an absolute powerhouse of an act both on stage and in-studio, but nothing compares to seeing these gentlemen perform live, and Sunday proved just that.

 

 

Show Review: A Very Sufjan Christmas!

Sufjan Stevens

Throughout the past decade Sufjan Stevens has cemented himself as one of the most talented and unique artists of our generation, with a diverse array of talents ranging from classically inspired folk pop to the aural adventures of the past few years with Age of Adz and BQE, it's a toss up as to what direction any new music from Stevens is going to take.  When he announced his most recent release, Silver & Gold: Songs for Christmas, Vols. 6-10, I wasn't too sure of what to expect...especially with the lead-off single of "Christmas Unicorn".  The track was as bizarre as it was insightful and infectious (especially the seamless transition into Joy Division's "Love Will Tear Us Apart"), which can pretty accurately describe the three plus hours of Christmas inspired material on Silver & Gold.  Shortly after the album announcement came news of the "Surfjohn Stevens Christmas Sing-A-Long: Season Affective Disorder Yuletide Pageant On Ice" tour, a string of shows which would feature good ol' "Sufjy Pants" spreading Christmas cheer by way of his modern takes on Christmas classics as well as his incredible new holiday inspired originals.

While some of the Christmas inspired material is brief and zany, like "Happy Family Christmas" a jaunting yet melodic track wishing that "Just this once for Christmas I want us all to be like one great big happy family", and while the holiday is exactly a month away, Sunday at Haw River Ballroom felt like a gigantic family Christmas gathering.  With hundreds of concertgoers decked out in festive sweaters and unicorn horns, Sunday provided one of the most unique and magical show experiences one could ever wish for.  While opener Sheila Sapputo (better known as singer-songwriter Rosie Thomas) donned a Santa suit for a quirky Portlandia-esque bit of dry comedy, the highlight of the show could be nothing other than the marvelous display put on by Sufjan and company.

The show was broken up into bits of Sufjan originals and highly enjoyable breaks for Christmas classics from the Wheel!Of!Christmas!, a Price Is Right style spin-wheel designed to randomize the carols we've all grown to know and love.  Upon entrance we were all given a songbook, endearingly referred to by Sufjan as our "book of hymnals", and these carols provided for some of the most memorable concert moments in recent memory.  While Sufjan originals like "Sister Winter" and the aforementioned "Christmas Unicorn" stood out amongst the set, the true highlights came from the innovative takes on old classics.  An electronically driven version of "Do You Hear What I Hear?" was a show-stopping performance, featuring vocoded Sufjan vocals and spastic electronic melodies that excellently juxtapose the calm and soothing stylings of the original.  After the Wheel of Christmas selected "Joy to the World" early on in the set, Sufjan brilliantly transitioned into a refrain from "Impossible Soul", a track from Age of Adz, inducing shouts of approval from the crowd.

Sufjan himself described the show as, "running the gamut of Christmas from the profane to the insane", and with inflatable unicorns being thrown out at the same show as inflatable Santa's I'd say it's a pretty accurate description.  The end of Sufjan's set was haltered by the second fire alarm of the evening, but the band took it all in stride and led the crowd in an a cappella rendition of "Silent Night" divided between males and females in the first two verses followed by a harmonious ending as monitors blasted back to life and the set came to a beautiful end.  A roaring ovation from one of the most dense crowds I've seen at Haw River resulted in a three song encore of Sufjan originals from Illinois and Michigan.  Starting off his encore with a beautiful take on "Concerning The UFO Sightings Near Highland, Illinois", the crowds anticipation was rapidly rising and greeted with "For The Widows of Paradise" which started as a solo banjo track and blossomed into a full band performance.  Closing with fan-favorite, "Chicago", Sufjan thanked the crowd for being so wonderful and patient, but all thanks is graciously pointed towards Sufjan, the band, and the fine folks of Haw River Ballroom for housing such a beautiful show.  It's very rare to build a sense of community within a single show, but the "Surfjohn Stephenopolous Sing-A-Long" certainly achieved just that.

Show Review: Local Band Local Beer - Phil Cook & His Feat w/ Sumner James

Phil Cook & His Feat

Two side projects shone bright on Thursday at Tir Na Nog, as Phil Cook and James Phillips shed their usual full-time bands for a more stripped down and intimate performance for the weekly Local Band Local Beer.  James Phillips (of Bombadil) made his first solo outing with the help of Elyse Thebner (Some Army, JKutchma & The Five Fifths) to fully flesh out his minimalistic electronic act inspired by his stay in Oregon earlier this year.

A far cry from his work in the quirky folk act of Bombadil, Phillips' set up consisted of a laptop from which to blast beats and an array of synths to produce the dense soundscape that sets the somber yet hopeful tone of his solo work.  Joined by fellow local musicians like Stuart and Daniel of Bombadil and Christy Smith of The Tender Fruit, Sumner James transitioned surprisingly well for a debut live act.  Closing with the album's lead-off single of, "Home", James was borderline shouting his heart out on "Losing his mind" in the state of Oregon.  These tunes can be just as therapeutic to the listener as it evidently was for Phillips, much like the deep emotion and soul poured into the mostly instrumental tunes of Phil Cook.

Phil Cook is usually just accompanied by his feet on percussion, but with the addition of Yan Westerlund (brother of Megafaun drummer Joe Westerlund and regular drummer for Bowerbirds) on drums, the fans at Tir Na Nog were treated to a tight and blues driven performance from a vastly underrated local act.  In a mostly electric set, Phil Cook jammed out on open tunings that were oozing with emotion, notes were being bent to his will and captivating concert goers to move and shake like an old revival show.  From instrumental blues jams to a rootsy lullaby sung for his young son, Phil Cook displayed his breadth of talent with dobro jams and a strong sense of musical connectivity with Yan who provided simplistic yet driving rhythms for songs he was mostly unfamiliar with.  For a low key show from local side projects, these two acts displayed vast amounts of talent and promise, making for a fantastic way to spend a Thursday evening.

Show Review: Dr. Dog brings the heat on a cold Monday in Saxapahaw

Dr. Dog

It's a firmly held belief for me that Haw River Ballroom is the finest venue in the state, and each show I attend at the gorgeous venue drives that point further and further home.  Between the fine gas station dining of the Saxapahaw General Store (it's not at all what it sounds like, incredible food with a diverse menu!) and the breath taking aesthetics of the ballroom, there's nothing to dislike about this place.  The crowd got surprisingly wild for a Monday night, but when you've got an incredible act like Dr. Dog on the bill the date is really irrelevant...it's gonna be a party either way.  Throwing in old favorites and plenty of gems from their latest album Be The Void, Dr. Dog had a little bit of something for everyone on Monday night.

Cotton Jones

Cotton Jones was the opening act, and while the band put on a great performance they suffered from a heart breaking condition that has been sweeping the nation for decades, OBS, or Opening Band Syndrome.  When you've got an act like Dr. Dog headlining it takes a lot to maintain the attention of a packed crowd, an opening act has to be bursting with energy to become a memorable part of the evening when you're opening for a powerhouse.  While Cotton Jones' folk pop tunes from Maryland blend rustic goodness with vivid lyricism, they lacked the presence needed to be anything other than an opening act.  In any other setting their charm may have shone through brighter, with a one man brass section playing tuba and trombone, the band certainly had the potential to be an incredible opener.  However, once Dr. Dog took the stage Cotton Jones' laid back folk songs took a backseat to the raucous live act.

Dr. Dog

Allow me to preface this by saying I've already had a failed attempt at seeing Dr. Dog this year when I was stuck in a traffic jam on I-40 on my way to see the band at Music on the Mountaintop back in August, so my excitement for this show was through the roof.  Haw River was the PERFECT venue for this band, with fantastic acoustics and a wide open room the ballroom perfectly housed the heart warming sounds of Dr. Dog.  From open to close, Dr. Dog lead the crowd in a joyous singalong with a fantastic career spanning set.  While the bulk of the set came from Be The Void, with tracks like "How Long Must I Wait", "Lonesome", and "That Old Black Hole" standing out amongst the crowd, the band scattered in personal favorites from Fate and Shame, Shame like  "The Breeze", "Shadow People", and set closer, "Jackie Wants A Black Eye".

The band's harmonies lived up to all of the high expectations I'd set for them, lead vocalists Toby Leaman and Scott McMicken put on dazzling performances filled with passion and energy.  While there wasn't much stage banter, the band did plenty of interacting with the crowd, like Leaman grabbing a camera bag from the front of the stage and using their cell phone to make a phone call mid-song.  The band's lyrical depth can easily define their music in the studio, but their live performance breathes vivacity into otherwise low-key songs.  Dr. Dog is a band like no other, they perfectly blend elements of indie rock with psychedelic folk to make for an array of beautiful textures that are perfectly suited for their devastatingly brilliant lyrics.

 

Show Review: The Lollipops sweeten up a Thursday night at Kings

The Lollipops

Despite being a college student, I'm pretty much an old man.  I watch my Jeopardy every night and I'm usually nodding off during The Daily Show, but every now and then I'm compelled to drag my lazy ass out of the house on the weekdays.  Thursday was one of those fated days, with a handful of incredible acts playing in downtown Raleigh including a stellar lineup for GZA's Liquid Swords tour, I chose the local route with DiggUp Tapes standouts The Lollipops and Jenny Besetzt.  While the initial showing was a bit lackluster, as the night went on the crowd got gradually larger and more raucous.  While Jenny Besetzt had a handful of swaying head-nodders, by the end of the night The Lollipops were leading Kings in a full on PBR-fueled dance party.

 

Jenny Besetzt

The night began with one of the most heavily lauded local bands of the year, Jenny Besetzt.  The band just made their way back to North Carolina for their tour after playing a bit further up north and what a homecoming it was.  The band recently added Justin Flythe (formerly of Lonnie Walker) as their new keyboard player, and while their regular drummer wasn't playing on Thursday the band still proved to be incredibly tight and harmonious.  Blasting through favorites from their debut full length, Only, these songs shine in a new light during live performances.  The band packs a bit heavier of a punch with live performances, guitar lines feel less ethereal and more jaunting, but the vocals still perfectly counteract that added grit with raw intensity while maintaining it's dreamlike aspects.  Jenny Besetzt continues to impress me with each show I see, they've made the leap that many can't by transitioning their shoegaze-y sound into a driving and powerful live act that not only grasps your attention but leaves you speechless, thirsting for more.

Companion

After Jenny Besetzt was Companion, a stellar Brooklyn band that played with Jenny Besetzt in New York and made their way down the coast for their first official tour.  The band is relatively new but displayed a fantastic sense of self with entrancing three part vocal harmonies that counteracted their driving rhythms perfectly.  Fueled by a tasteful mixture of electronic beats and physical drums, the addition of an electronic percussion sound added an entirely new layer to this already dense and lush arrangement.  I must say I was thoroughly surprised by this band, and I think they were equally surprised by the Thursday night outing, as the band's lead vocalist Pepi Ginsberg brought out a camera of her own to take a big family picture of the crowd.  This was the perfect band to transition from the depth and wonder of Jenny Besetzt to the simplistic yet equally invigorating bedroom pop sounds of The Lollipops.

As the band was taking the stage, brainchild Iggy Cosky was frantically writing out a setlist, an image that perfectly encapsulates the essence of The Lollipops.  Everything flows together wonderfully yet still feels spastic and urgent.  Painfully infectious pop melodies perfectly counteract the gritty lo-fi bedroom recordings and transition into one hell of a live show, Cosky leads the band with a commanding presence, Iggy seems genuinely excited to be on stage and that excitement permeated throughout the once spread out crowd of Kings.  The crowd condensed into one tightly packed dance party that was bursting with energy, bouncing along to favorites like "I Love You" and "Wolves".  During the show Iggy announced a soon to be released album, making for their "third release in 8 months".  To put it simple these guys go hard in the paint.  This lineup was excellent from top to bottom, and ending with the brilliant pop sounds of The Lollipops was the best way to go out.  An incredible way to spend a Thursday night!

Show Review: El Ten Eleven at Kings Barcade

This was my first time seeing El Ten Eleven. The LA-based post rock (even though they hate being categorized) duo recently released its fifth full-length album Transitions, a fast-paced hypnotically layered ten-track.

Kristian Dunn plays a Wal fretless bass and a guitar/bass doubleneck, using multiple loop and effects pedals to create full sounds.  Tim Fogarty has his drum kit fed into some of the pedals, giving Kristian the ability to control loops on that as well. By the way -- this is all done live. No samples, no pre-recorded loops. They made it a point to make sure the audience knew this. Without dropping names, they were able to subtly bash artist who essentially just hit the play button on their Mac.

As a matter of fact, when a mic went out on stage they decided to do an improv song. Kristian asked the audience for a key to play in, and major or minor. This led into an album-worthy rendition he dubbed "Raleigh in F minor." This equated to the best stage banter I've heard, and compensated for when he tried to say something generic like "so how about that local sports team?" to the audience. Usually this wouldn't have stricken a nerve, but he got booed for that comment. Apparently only NC State fans were at the show. (Our football team unfortunately lost to UNC for the first time in six years, and it was also their first in-state win of the season.) I forgive you, Kristian.

I couldn't stop smiling or dancing the entire show. Seeing how the songs came together was incredible and added a lot to the experience of listening to them, live or at home. The projection panels behind them intensified the beats. Plus, being surrounded by zombies, mimes and a Bob Ross was great.

A little after 1:00AM, Kristian announced that they would be playing their final song -- they're "real" final song. He called other artists out for "faking" the encore, the say goodbye but let's still leave our instruments on stage and walk back out after we let the audience tell us how much they love us for approximately 75 seconds. From the opener "Thanks Bill" (my favorite) to the last note of the last song, the band was on point and engaging. I'm looking forward to catching them again sometime.

Show Review: Father John Misty woos the Cats Cradle

Father John Misty

Friday night proved to be another fantastic time at The Cat's Cradle, as the freak-folk rock act of Father John Misty took the crowd by storm with their swagger and prowess.  Father John Misty is the moniker taken on by J. Tillman, former drummer of Fleet Foxes for his latest musical project.  Bored with the pedantic, sad-sack songwriting of many of his peers, Tillman took a road trip with no destination and a bag full of mushrooms, eventually leading him to Los Angeles in an unexpected turn of events.  Tillman hulled up and found himself writing with a new voice, one that's filled with equal parts of self deprecation and self aggrandizement.  With a bit of snark and honesty, Tillman has created a unique and captivating sound that serves as the perfect outlet for his oftentimes poetic lyricism.

Fear Fun is the debut full-length from Father John Misty and it's been filling my ears for quite some time now, but hearing the songs live breathes a new life into them.  Father John Misty is a refreshing take on the current folk music trend, the songs feel grounded with familiar themes, but explore content that contemporary folk artists wouldn't dare.  If your average songwriter spends his albums licking his wounds, Tillman takes an approach of patching them up and raring past the bad times for a drug-filled haze of enlightenment and wonder.  Father John Misty feels like classic country clasping on to its rustic roots while adapting to the commercial and occasionally vapid world we're surrounded with.  Tillman had a presence that I doubt anyone could have expected, he crooned and swayed across the stage for an enchanting and lively set that felt more like a rock n roll show than a display of one man's lyrical prowess.  It's always awesome going to a show where you can thoroughly enjoy all of the acts that you see, and The Cat's Cradle usually provides just that.

I arrived just in time for the end of Jeffertitti's Nile, placing myself dangerously close to the speakers.  Just my style.  The psychedelic sounds of Jeffertitti's Nile swirled garage punk with folk for a brief yet welcome encounter.  I wish I'd gotten to see more than three songs from the band, their songs weren't breaking the mold or anything, but I'll be damned if they weren't a blast to kick off the evening with.  As the bands loaded in and out I pondered upon the state of my hearing and found myself a bit taken aback by the off-kilt crowd at the Cradle.  Filled with chatter like, "Yeah, I don't really go to shows anymore.  Nobody good plays around here!" and endless Obama/Romney chatter, I couldn't have screamed louder when L.A's La Sera took the stage.

La Sera

La Sera is a bright, upbeat pop act led by Katy Goodman of Vivian Girls.  Their songs were the spark of energy needed to get the crowd moving and as the set went on the crowd packed tighter and tighter.  La Sera's music isn't groundbreaking, but the trails that they blaze for themselves are certainly worth walking down.  Their lyrics are intelligent, yet approachable, never too dense to lose yourself in but with enough attention to detail to leave the listener satisfied and waiting for more.  Songs like "Please Be My Third Eye" display this perfectly, Goodman prefaced the track with a simple, "This song is about telepathy", then jumped into another short blast of pop goodness.  With soaring vocals and a driving rhythm section, La Sera was a welcome addition to this diverse lineup and the perfect lead-in for Father John Misty.

 

Father John Misty

As Tillman and company took the stage I turned around to see a surprisingly dense crowd that was arguably more excited than me for this show, something thats always wonderful to experience.  The energy was palpable, and as "Fun Times In Babylon" kicked off the set it was clear that the crowd was in for a treat.  Tillman played perfectly off of the crowd, his stage banter opening the door for adoring shouts from the audience.  An obligatory "I love you" was shouted before the band even began and Tillman responded quickly, "Let me prove my worth first!", setting the tone with his quick wit and obvious excitement.  Tracks like "Only Son of the Ladiesman" and "Nancy From Now On" were songs that took a brand new form on stage, Tillman opens up his soul as he glides across the stage often taking the mic stand with him wherever he pleased.  Through his smooth vocals and commanding stage presence, Tillman had the crowd in the palm of his hands.  Blasting through staples of the album, the show felt like it was over before it started simply because of how fun it is to watch this band perform.  As Tillman sang, "Look out Hollywood here I come" the crowd shouted with joy, and this line can perfectly sum up the new vibe of Tillman's music.  Gone are the days of the sad, sappy songwriter and here's a new headstrong, vivacious young man that is ready to take on the world in its fucked up glory.  As the show was coming to a close with the powerhouse "Hollywood Forever Cemetery Sings", my ears rang loudly and my soar throat was begging me to stop shouting along.  The crowd sang along proudly to the helpless reprise, "Someone's gotta help me dig!" and I couldn't help but feel overwhelmed at how perfect the show was.

I weaved in and out of the crowd as the song was ending, evidently missing the tail end of the show and a bottle being thrown on stage.  Tillman apparently shrugged it off as excitement, an endearing snapshot of the character displayed by this act.  My old mannish tendencies were rearing their heads on the ride home, the yawns set in, my ears were ringing, and my back was aching...but I'll be damned if it wasn't worth it.  I know I for one will be making a point of seeing Father John Misty whenever they stop through the area, mostly because it would have been hard to walk away from that show without a smile on.  Another night at the Cradle filled with incredible tunes!

 

MoogFest: A Look Back

 

 

 

This coming Thursday sees the arrival of the annual Thanksgiving holiday here in America. Like everyone else, I'll be eating turkey among family. I'll also be thinking about what I was thankful for this year, and perhaps the thing that pops up the most is live music. I've seen plenty of it this year, mostly great, and one of the highlights was the second annual MoogFest in Asheville, North Carolina.

Friday, October 28



Atlas Sound

My first stop at this year's MoogFest was at The Orange Peel to catch Atlas Sound. With Deerhunter, Bradford Cox tends to mix sprawling psych-rock landscapes with gorgeous melodies. His solo project, Atlas Sound, follows a similar sound, but whereas Deerhunter can get very loud and very rocking, Atlas Sound songs tend to be quieter, more fragile affairs, usually absent of electric guitars. Sitting on a stool in the middle of the stage, Cox played and sang delicate melodies that he would then loop over one another. Songs would build from vocals and guitar to a great wall of sound. This was the third time I had seen Atlas Sound, and while I enjoy Cox's solo performances, I've seen what he's capable of with a band backing him (Atlanta band The Selmanaires backed him at one of those prior shows). While he certainly does a fine job on his own, the songs just sound better when he brings a band along. After catching a few songs, I decided to move along and head over to the Asheville Civic Center.



Tangerine Dream

I must make a confession: prior to MoogFest, I had not listened to one second of Tangerine Dream's music. So when I first walked into the Thomas Wolfe Auditorium half-way through the band's set, I was pleased to hear psychedelic, ambient soundscapes coming from the speakers. This went on for a couple songs. Then things just got..... weird. The music quickly devolved into cheesy, Mannheim-Steamroller-like synth-schlock. Guitarist Bernhard Beibl and saxophonist would play solos that sounded straight out of a 1970's porn flick. While it was interesting to watch leader Edgar Froese experiment with all manner of Moog synthesizers, plus the fact that he looked like some sort of urban witchdoctor with his hat, scarf, glasses, and long white hair, I ultimately walked away disappointed, knowing what the band was capable of.



Moby

 



TV On The Radio

 



Brian Eno's Illustrated Talk



Crystal Castles



Amon Tobin



77 Million Paintings



Active Child



M83



Neon Indian



Passion Pit



Ghostland Observatory



Gold Panda

 

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