SHOW OF THE MONTH

The Intelligence/Thee Oh Sees

Someday Lounge

Portland, OR

March 23, 2008

Guitar resting a mere inch from his strong chin, his long arms and legs bowing and bending under him as he played, frontman John Dwyer worked the Someday Lounge stage like a marionette finally cut free from its strings. His delicate balancing act looked as if it was ready to topple over at any minute, but he managed to stay aloft for the entire exhilarating set.

It’s an apt metaphor for his band, as well. The four members of Thee Oh Sees (Dwyer, vocalist Brigid Dawson, guitarist Petey Dammit and drummer Mike Shoun) kept up their clattering symbiosis the whole evening, despite their ramshackle equipment and skittish energy.

The sound of Thee Oh Sees is a nice change of pace for Dwyer, who has spent much of his career singing loudly into telephone receivers as a member of Coachwhips and Pink and Brown. Although it began as an equally noisy solo project, releasing a series of home-recorded CDs under the name OCS, it has become a full-fledged band and a much better group because of it. Thee Oh Sees’ stripped-down, reverb-heavy garage rock quite often feels like The Cramps if they were willing to rid themselves of their ‘50s B-movie culture affectations.

The Intelligence (who ended up as the first band of the evening, due to the surprise cancellation of both Experimental Dental School and NRSZ) are one of the only bands that has managed to find that perfect balance between the artful intentions of the post-punk world and the wiry energy of a power-pop band. This quartet from Seattle, on record at least, has always seemed a little plodding and somewhat restrained. Live, however, they let themselves wonderfully loose, ripping into songs at double the speed of their recorded counterparts, but controlled enough to not lose any of the almost synthetic sheen that frontman Lars Finberg brings to them.

The restraint that The Intelligence exhibits in the studio was evident at this show as well, expressed through the uncanny interplay between Finberg and Nicholas Brawley’s beautifully discordant guitar work. Their tandem of inventive chords and understated use of effects pedals resulted in a six-string yin yang, with one guitar working the dark lower register while the other rang out light, chiming tones. Yet, the two managed to never overplay, providing just the right amount of color and texture to Finberg’s songs.

Although the two bands on the bill this past Easter Sunday didn’t necessarily mesh on paper, they connected quite easily thanks to their inventive sounds and bracing energy.

-Review by Bob Ham; photo by Lowell Abellon

Wild Orchid Children/Foxy Shazam/Portugal. The Man

The Troubadour

West Hollywood, CA

March 21, 2008

After a violin-infused performance by Denver hip-hop act Flobots, Seattle’s Wild Orchid Children took over Friday’s sold-out show at The Troubadour with an intense presentation of chaotic guitar shreds paired with aggressive vocals. Almost immediately, devoted fans committed to violently singing and thrashing around, causing a nasty fist fight to ensue. Although it was not the last of the brawls to break out during the band’s brief set, vocalist Kirk Huffman was able to keep his act together amidst the distractions. Self-described as “Gonzo soul music,” the band was certainly a group of entertainers. Comprised of members of Kay Kay and his Weathered Underground, Gatsby’s American Dream and The Divorce, it’s no surprise Wild Orchid Children have such a large cult following. Bouncing back and forth across the stage, mixing a metal-like drum and bass sound with soulful keys, the band certainly made a unique impression.

Next up was Foxy Shazam, an eclectic and energetic group of performers with a soulful take on dance pop. Although the band was slightly more focused on the performance than its instrumentation, the crowd was nonetheless inspired by lead singer Eric Nally’s James Brown-esque dance moves and rather dangerous theatrics. Nally regaled audience members with tales of an employment stint at The Salvation Army while lighting a cigarette on stage. Fittingly dubbing themselves the “Evel Knievel of rock ‘n’ roll,” Nally stood on his head during one song and Schuyler White more than once stood on his keyboard, threatening to fall forward into the expectant audience. Although their set was tight, nearly without error, the melodies shifted so rapidly from danceable pop to fitful bursts of angry screaming that audience members had a difficult time finding a beat they could stick with.

Headliners Portugal. The Man’s display of talented musicianship exceeded all expectations for the night. After two weeks of touring, the Wasila, Alaska band was able to produce a flawless performance, mellow and focused by comparison to earlier acts. The vocals, rich in falsetto, added a unique element to the abstract lyrics. The Beatles-inspired group played an impressive cover of “Helter Skelter,” with vocals startlingly reminiscent of Paul McCartney. The bass driven sound paired with psychedelic lighting effects and fog-induced haze made for a 1960s evocation of The Mars Volta. Experimental and far too progressive for the label of indie rock, Portugal. The Man was undoubtedly the highlight of the night.

-Review by Audrey Cortes; photo by Anthony Saife

Die Fledermaus/Modern Arms/Murder Party

The Sunset

Seattle, WA

March 16, 2008

Despite the auspicious surroundings of The Sunset, three up-and-coming bands put on a great show this relatively quiet Sunday evening in Seattle, highlighting unique sounds for the few in attendance.

Kicking off the bill were show organizers Die Fledermaus, whose trademark Chambergrass sound filled the venue with banjo, guitar and cello. At their strongest for the song “She Always Walks Alone,” Die Fledermaus brilliantly blurred the line between classical and Americana by seamlessly mixing the sounds of baroque chamber music with the twang of the South. Co-vocalists Dan Yost and Benjamin Newton nailed their complicated originals behind Yost’s guitar virtuoso and Newton’s inventiveness on the banjo and ukulele. Their cheeky remake of “A Little Less Conversation” was also a highlight, as it put a clever spin on a classic song.

Next up was Modern Arms. Forged out of an appreciation for country storytelling and classic rock musicianship, this four-piece band showed off its chops with beefy guitar solos and excellent drumming. Though its vocalist was a little out of sync with the rest of the band, Modern Arms delivered fresh interpretations of a somewhat clichéd sound.

Finally, Murder Party took the stage to play what turned out to be one of their last shows ever, since breaking up to pursue other projects. Though it wasn’t readily apparent that they wouldn’t be together much longer, Murder Party played with the urgency of a band with nothing to lose. After dedicating their set to guitarist Lino Fernandez’s grandmother, they were “awesome to rock” through their psychedelic-fuzz set. Of particular interest were Margaret Rasmussen’s vocals which, normally drowned by the sound of the rest of the band, were crisply on display tonight. Creative bass lines by Susan Williams countered Fernandez’s staggering musicianship on guitar and keyboard, especially in “Song 3.”

Such diverse sounds made this an evening to truly enjoy, and hopefully Seattle will see much more from Die Fledermaus and Modern Arms. As for Murder Party — rest well, as we hardly knew ye.

-Review by Rob Bergquist;
photo by Ashley Oaas

The Heavenly States/Citay/The Botticellis

The Idependent

San Francisco, CA

March 7. 2008

Oakland quartet The Heavenly States were basking in the glow of their new album, Delayer, the night of their record release party at The Independent. This glow, though, did not outshine the two nostalgia-tinged openers, Citay and The Botticellis, the latter soothing the scanty crowd with their swathes of muzzy organ, plucked right out of the Paisley era and placed on their debut album, Old Home Movies.

For added emphasis, The Botticellis’ keyboardist Burton Li covered his instrument with the aforementioned pattern as a clever wink for tunes like the choral “When I Call.” The song’s burrowing surf guitar bridge induced goose bumps. The swirling “Flashlight” waltzed onto the dance floor with a scurrying diminished chord progression from lead singer/songwriter Alexi Glickman. Bouncy tracks like “The Reviewer” jolted the audience with some ‘70s nostalgia, preparing for the aural assault of the happy hardcore six-piece that was to follow.

Citay lived and died by the axe during their Little Kingdom-heavy set. Huge neon guitar riffs usually ascribed for hair metal bands were pushed through tiny electric and acoustic progressions and dyed in a psychedelic veneer of wordless harmonies. The band started its set with the Eastern-influenced “Nice Cuffs,” off its 2006 self-titled debut. Twin electric guitar solos crept up the back of a steady bongo/maraca beat on “First Fantasy,” and even the dual neon guitar lines of “Little Kingdom” were played live for the first time.

The Heavenly States continued the night’s sometimes-calamitous task of introducing new material, with Oakland soul singers Vickia Brinkley and Wendy Anderson of the Street Level Gospel group lending their amazing, dexterous pipes to the catchy “Lost in the Light.” Before the song, The States’ lead singer Ted Nesseth urged the audience to take a plunge and buy a gospel album. Despite a heaping amount of energy, The States’ chief foul came on the frenetic keyboard stomp of “Pretty Life.” The rock ‘n’ roll lyrical self-referencing within the song seemed idle, as Nesseth assured the audience that “It’s a pretty life / ‘til you’re smashing the rock into roll.” Yet any wringing of inoculated angst proved to be outshined by Genevieve Gagon’s brisk violin playing. She impressively added levity to a set that was bursting with it.

On an evening where operetta vocals and violin garage-pop rubbed up against ‘70s surf rock and psychedelics, crowning the highlight seems moot. In the end, each band was both enjoyed and carped by different sections of the audience throughout the night.

-Review by Kyle Lemmon; photos by Oleg Malov

Calico Horse/Papercuts/Beach House

The Casbah

San Diego, CA

March 12, 2008

With a mix of experimental and melody-driven tunes, local band Calico Horse and touring bands Papercuts and Beach House played to a packed house at The Casbah — San Diego’s cozy hotbed for independent rock. Taking the stage first and showcasing a laidback alternative sound was Calico Horse, formerly known as The Clock Work Army. Frontwoman Emily Neveu provided much of the band’s excitement, her carefree but intriguing vocals holding the audience’s attention as she switched between guitar and keyboard. Accompanying Neveu was Dave Pettijohn (bass/vocals), Matt Mournian (guitar/vocals) and Tom Peart (drums). Though the first three songs made it questionable whether or not Calico Horse was actually having any fun, its members began to lighten up as the room filled up, incorporating heavier dynamics, and in turn, more life into their songs. Any late arrivals trickling in were greeted with the band’s standout final song, “Hi-Fi Plane Ride,” notably bolstered by the contributions of rhythm section Pettijohn and Peart, and properly serving as the culmination of Calico Horse’s set.

The San Francisco-based Papercuts took the stage next, led by frontman Jason Quever wielding a beautiful, double cutaway vintage Hohner guitar. Immediately, Quever’s hypnotizing voice stood out, ringing with that “made” quality that makes people wonder whether or not they’ve heard it on the radio before. A cast of quality musicians rounded out Papercuts’ distinctive psychedelic folk/pop sound, including Trevor Montgomery, a towering bass player dressed straight out of the ‘70s with a Tom Sellek mustache to boot. Making his large bass guitar look like a child’s toy, Montgomery displayed much more than great stage presence as he and drummer Kelly Nyland worked together to create a rock-solid rhythm section behind Quever.

The crowd at The Casbah hung onto every note the bands played, always responding with rowdy applause; the sound was great, the performances were tight, and the pants were even tighter. The Baltimore-based duo Beach House finished off the successful night with the most interesting set of all. Incorporating a drum machine and a self-made light display, Beach House proved that with a little effort, two musicians can easily take over the stage at a rock club, though they did receive a little help from their tourmate, Quever, who sat in on drums and played right along with the drum track. Papercuts took full advantage of Beach House’s musical talents as well, recruiting Alex Scally on keyboards for their set. It’s no surprise the two bands have over three months of shows scheduled together, and judging by the crowd they brought to The Casbah, they will continue to tour successfully for a long time.

-Review and Photos by Dave Boodakian

You.May.Die.In.The.Desert/Colt Vista/Bronze Fawn/Panther Attack

High Dive

Seattle, WA

March 13, 2008

This night’s four-band bill was a veritable sample platter of guitar-based instrumental bands. Panther Attack, the only band on the bill to employ two full-time guitarists, showed quite an aptitude for intricate counterpoint. This penchant for meticulous nuance extended to the rhythm section, which would stop on a dime to clear space for a single pick scrape or pinch harmonic. Their collective demeanor was disarmingly reserved, which allowed them to display the full extent of their technical prowess without giving off a pretentious air.

Where the openers’ set found success with rapid changes and complex arrangements, Bronze Fawn followed with an elaborate multimedia presentation. Video operator Dan Wilk manipulated loops of grainy footage in real time, adding occasional keyboard touches as well. In some cases, these clips formed a narrative that essentially put the musicians onstage into a supporting role. In others, they simply added to the overall mood, repeating filtered images and creating patterns over time. The result was direct and emotionally purposeful in a way that no other band that night could replicate. In most cases, the musical contribution was low-key and hypnotic, with carefully placed crescendos breaking through the fog. Jim Acquavella’s drumming was especially notable for its staggering power; crash cymbals at venues across town would wince each time he raised both arms skyward. With a few exceptions where neither the visuals nor the music seemed to take clear precedence over the other, the overall effect was consistently dynamic and arresting.

Portland’s Colt Vista braved northbound I-5 to occupy the evening’s penultimate slot. With many of the songs built around ominous, repeating guitar figures, the band demanded a degree of patience from the audience. Their methodical pace was admirable for its restraint, but it would probably fare better on record than in a boisterous rock club setting. Compositions that gathered and released momentum with a greater sense of immediacy had much more captivating results. The inclusion of Rhodes, fretless bass, and melodica helped to add texture, although the details were at times obscured in the mix.

You.May.Die.In.The.Desert finished up the night, celebrating the release of their split record with Virginia band Gifts From Enola. It was a torrent of flying headstocks and authoritative rhythms from the get-go. All three members maintained this frantic energy throughout the set without sacrificing the polished musicianship that defines their aesthetic. They exhibited the stage presence of seasoned professionals, taking advantage of the extra real estate that their smaller lineup permitted. As bassist Brandon Salter dropped to his knees for the last beat of the last song, the curtain fell on an evening of savvy musicianship and diverse approaches to non-vocal rock.

-Review by William Cremin

Health/Funeral Party/Pack of Wolves

The Independent

San Fancisco, CA

March 8, 2008

The turnout at The Independent Saturday was less than desirable given that two notable acts, HEALTH and Crystal Castles, were co-headlining the evening’s festivities. Just days before the show, tragic news leaked through various media outlets that the Castles’ Alice Glass was seriously injured in a car accident, and the group would be unable to perform a handful of shows leading up to its appearance at SXSW. But, for the other superb bands on the bill, as the old saying goes, “the show must go on!” — and it certainly did.

Opening the night was Pack of Wolves, an electro-rock duo hailing from Santa Rosa. The rambunctious twosome conjured up some seriously danceable rock songs, with rhythmic drumbeats and funky guitar hooks performed live over pre-composed and recorded electronic tracks, played via laptop. The combination of sounds produced an edgy, dirty disco that not only warmed up the crowd, but kept them dancing.
Next up was Funeral Party, fresh off of the East L.A. nu-wave music scene, offering an all too short but sweet set. Comprised of Chad Elliott (vocals), James Torres (guitar), Kimo Kauhoala (bass), Tim Madrid (drums) and Danny Santillan (percussion/keyboard), Funeral Party creates jittery post-punk dance rock (a la The Rapture) and then brings it to a whole new level. Though, for being an up-and-coming band, perhaps these guys take themselves a little too seriously — their motions felt a bit mechanical and trained, their faces expressionless. However, judging from the crowd’s discerning but positive response, the band accomplished its mission.

Los Angeles’ noise-rock cool kids HEALTH took the stage as the first headliner. Their definitive stage presence was led by their endless amounts of raw energy, with guitarists, Jake Duzsik and Jupiter Keyes, and bassist John Famiglietti bouncing and convulsing around the stage while drummer BJ Miller went into a fit of madness on his set. HEALTH’s music is not easy to swallow for those with untrained ears. Heavily experimental, yet engaging and dramatic all at once, it is noise, but an artfully crafted noise, utilizing raw synth, haunting monotone vocals and crashing drums.

What most media failed to inform the masses was that despite Crystal Castles not being able to perform, the group’s live appearance would be replaced by a DJ set showcasing the band’s work, and taking on the task was local DJ Claudio. The beats continued through the evening until closing, and though this was definitely not as amazing as seeing the Toronto duo live, it was a valiant effort to give something special to those few who did attend their show.

-Review and photos by Nicole Sheikh