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Beirut began their journey in 2006 with Gulag Orkestar. Influenced by front man, Zach Condon’s, visit to Europe, the first album combines Balkan folk and Gypsy music, which continues throughout their most recent albums. Since then, Beirut has evolved into a folk pop sound, but still incorporates the common European instruments and melodies using brass and string instruments such as trumpets and violins. Their newest album, No No No, gives the classic sound a modern twist by utilizing pop synthetic sounds and upbeat piano melodies. No No No introduces a focus on the folk pop sound that seems less prevalent in previous albums. Multiple instruments and the contrast of Condon’s deep, smooth vocals with sharp synthetic sounds give the tracks a layered and complex sound.
“Gibraltar” opens with a tribal beat and transitions to an upbeat piano sound that becomes prevalent in multiple tracks and gives the album that folk-pop sound. The piano, prevalent in multiple tracks, exudes a vintage, 70’s pop sound that listener will find comforting and catchy. “August Holland” also exhibits the same style with a rhythmic piano melody. “No No No” follows with Beirut’s signature electronic sound, overlaid with fluid vocals that soften the synthetic sound. “At Once” transitions to a somber mood with blooming trumpets. “As Needed” follows suit and acts as an intermission for the energetic album with a soft, instrumental melody. The track successfully combines subtle haunting melodies with the softness of a lullaby. Finally, “So Allowed” completes the album with Beirut’s familiar sound and Condon’s deep, lofty vocals.
Perhaps this album is an indicator of Beirut’s evolution in a musical world where one listeners can be attracted to vastly different genres. No No No debuts Beirut’s ability to keep with their old, familiar sound, while pushing the limitations of multiple genres in order to appeal to more listeners as well as keep up with their loyal listeners’ continuously changing tastes.
After many grueling hours in the studio, up-and-coming artist Laura Marling may deliver the best folk Americana album this month. With every song drenched in depth, this singer-songwriter branches from her usual acoustic to much grungier electric guitar.
The album’s concept primarily lies within Marling’s exploration of herself. As a child growing up in London, she started strong in the business, even racking up a famous relationship with a Mumford brother. Marling moved to LA during her time off from the scene and searched for her soul, taking a full break from music. However, after two years, she found her way back. Short Movie, recorded in London’s Urchin Studios, marks her return.
The album features musicians Matt Ingram on drums, Ruth De Tuberville on Cello, Nick Pini on bass, Tom Fiddle, and of course Marling on guitar. All songs were written and produced by Laura herself.
The album starts off with song “Warrior,” a Bonnie Tyler/American lyric-inspired synthy western love story. She presents herself in this moody, ambient mix, reminding listeners of exactly who she is as an independent singer/songwriter.
The album only gets better with “False Hope.” Marling fans have probably played this song a thousand times from her “Short Movie Sessions” available both on her website and YouTube. The song shows off not only Laura’s lyrical abilities but also the band that helps bring her magic to life. As she sings about her life in New York, her band – even live – hits every note perfectly and provides the ideal balance with every riff and drum beat to this upbeat yet melancholy piece of genius.
The next song, which is just as brilliant, has a similar sound to the “Warrior.” Unlike “Warrior,” however, “I Feel Your Love” includes the beautiful sounds of the violin instead of synth. Touching on relationships in life, this song provides you with a continual chill as she creates an image of a caged bird yearning for freedom, regardless of the love she feels.
The album takes a turn with the song “Strange.” Instead of showing off her singing, Marling speaks straight poetry as bongos and maracas play, giving a different twist to this folk game she plays.
Tracks “Easy” and “Gurdijeff’s Daughter” have a similar taste but differ in the lyrical scenarios Marling presents. And trust me – the album only gets better – “Worship Me” is not one to be overlooked – and worship you, we do, Marling.
Although Marling has been placed in the folk-Americana-indie singer/songwriter genre, which has become overrun with many musicians these days, Marling strives for innovation through self-reflection in this album. Every song brings a different thought to the table.
It’s been close to three years since the release of Marina and the Diamonds’ sophomore record Electra Heart, a polarizing concept album about female archetypes. With Diamandis’ third album, FROOT, she forgoes listening to the input from others to deliver a tight 12 song set that she co-produced with Bat For Lashes producer David Kosten. The resulting product is her most sonically cohesive effort to date and depicts the maturing songwriter’s state of mind throughout her hiatus.
Album opener “Happy” begins with a dry vocal that’s accompanied by a piano as the lyrics play off the forlorn atmosphere (Couldn’t relax, couldn’t sit back / and let the sunlight in my lap.) While the first verse doesn’t sound like the title would suggest; the stacked harmonies that come in towards the end of the second verse establish a more optimistic tone. It’s an interesting choice to start the album with since the campaign has been full of bright, neon colors; however it works as a good lead-in to the disco title track “Froot.”
Although “Happy” appears to be the most introspective track on the record based on a topical listen, “Gold” is truly the show runner from a thematic point of view. In a recent interview, she mentioned this song was written during her opening run for Coldplay. Perhaps she didn’t intend for the track to be interpreted as her internal conflict regarding how Electra Heart was initially perceived, but it certainly comes across as such with the lyrics “I’ve been waiting for the penny to drop / I’ve been working to get back what I lost / But whatever happens I’ll be okay.”
Farther along in the album is “Solitaire,” and it’s easily one of the best tracks on the album. Dissonant sonar blips set the stage for the deeper end of her range; this time slightly reverberated and filtered to appear like it’s coming from an old fashioned radio. The title itself is a play on the definition of the word “solitaire” as Diamandis juxtaposes the feeling of singularity in first verse (Don’t wanna talk anymore / I’m obsessed with silence / I go home and I lock my door / I can hear the sirens) against the uniqueness of a diamond in the chorus. The minimalist approach to the song builds to its bridge as the blips combine into cascading synth sparkles.
The second to last track “Savages” is a cliché – by her standards — musical approach to showing her disdain for how human treat one another, but she considers it to be the most important song on the album. It contains the same snarky mentality as other songs in her back catalog like “Girls” and “Hermit the Frog” with far less metaphorical imagery. The song’s saving grace is the fourth verse which concludes with “I’m not afraid of God / I’m afraid of man” after listing off the animalistic ways in which humans interact with one another.
With this record, Marina has nothing to prove to her fans and critics because they already know what she’s capable of producing. Instead, FROOT is an inside look into the alternative pop artist’s mind as she confronts her dislike for her last record and wants to strip everything back down to the essentials. As Diamandis sings in the title track “Good things come to those who wait / but I ain’t in a patient phase,” the finished product truly shows what happens when an artist is left to their own devices and achieves a true moment of self-realization.
In our Stopover preview, we highlighted a bunch of locals acts worth making a point to check out. A number of them managed to stand out from the pack, even within the mix of touring acts. Cusses, Crazy Bag Lady, and Boy Harsher all pulled decidedly large crowds and delivered truly epic performances. The Furious Hooves label showcase was a hit as well, with fantastic performances from the likes of Black Water Choir, Heavy Boots, and Blackrune. But discounting those acts we’ve already spoken about, here are our top five picks from the weekend… some more expected than others.
The Prettiots
NYC-based all-girl trio The Prettiots play sweet and innocent-sounding art pop tunes about boys and heartbreak. With a drummer that looks straight-up like a baby doll and lead singer Kay Goldberg crooning away with her ukelele, it couldn’t get much sugary and cute, but they do it so damn well. All the members are under 25, and that may account for why Goldberg has such a fresh memory of all the boys that she dated in high school. They played an early evening set at Hang Fire Bar on Friday to a modest crowd, but no doubt these girls have bigger crowds and bigger stages in the near future.
Penicillin Baby
There will always be something to be said for some good rock music. And people will always appreciate it. Take note of Penicillin Baby, an up and coming group out of Nashville that push the boundaries of rock n roll with their fuzzed out psych pop tunes. Their energetic performance at Ampersand Friday evening was as crowded as I’ve ever seen the place, and speaks to the truth of my earlier statement. Grunge rock, surf rock, cosmic rock… call it what you will. We’ll just call it good.
Generationals
With arguably the most hype leading into Stopover weekend, New Orleans electopop duo Generationals put on a fitting showing late Friday night at Club One. The perfect spot for a dance party, this venue is a gay club every other weekend of the year, and boasts an impressive light rig, massive disco ball, and sizeable dance floor to hold the feet of a bunch of jazzed up festival attendees enjoying the hits like “Gold Silver Diamond”. Generationals put out their fourth LP on Polyvinyl last fall to a wave of success and they’re not ready to slow down just yet.
San Fermin
San Fermin’s performance in Trinity United Methodist Church Saturday evening was both energetic and serene. With a big stage and an even bigger arena to fill, the Brooklyn-based chamber pop group brought out all the horns, strings, and sireny vocals to have folks both glued to their seats in the pews and dancing dancing in front of the altar. The group is helmed by classically trained composer Ellis Ludwig-Leone but the impressive vocals of Allen Tate and Charlene Kay take center stage in beautiful ballads like the glorious cut “Sonsick” off their debut self-titled album. We eagerly await the follow-up.
French Horn Rebellion
French Horn Rebellion’s set at Hang Fire Bar was perfectly placed and timed for a dance party, and that’s just how it turned out. Where the “cool kids” would hang out on a Saturday night anyway, and being one of the last shows of the weekend, out-of-towners and locals alike were able to let loose, down maybe one too many drinks, and soak in the lush and danceable tunes coming from the tiny stage in the corner. The NYC-based duo have been cranking out remixes for the likes of Beyonce, Savoir Adore, and Sleigh Bells while collaborating on original tracks with Haerts, JD Samson, Ghost Beach, and plenty more. According to their Twitter, “We used to play French horn. Now we make hot dance beats.”
Back in December 2014, the Internet was still repairing itself from the assault of Kim Kardashian’s nude photo shoot when 13 demos in various stages of completion from Madonna’s upcoming thirteenth LP Rebel Heart surfaced. This was met with severe backlash from Madonna herself, who broke an iPod and posted the picture on Instagram likening to situation to terrorism.
Despite the leaks, she insisted some of the tracks would not be used and the ones on the final album would be tweaked. Less than a week later, the floodgates opened, and by January 2015, not only had nearly every single demo from the recording sessions leaked, but so did an unmastered copy of the super deluxe edition.
While she remained quiet about the final batch of leaks, more and more information surfaced about how the record was supposed to be a double disc with one being Rebel and the other Heart. Though the product was not a double disc, the thematic duality of the record coupled with some of Madonna’s most genuine lyrics makes RebelHeart her most sonically interesting release in the last decade of her 30+ year career.
Instead of focusing on working with a single producer much like her first few albums, the album includes production from Avicii, Diplo, Kanye West, and Ryan Tedder. The album opener “Living For Love” is a deep house cut that features a piano part played by Alicia Keys, background vocals by MNEK and a grandiose bridge. The album juxtaposes the concept of empowerment between a menacing bassline and an unrelenting beat, a common theme repeated throughout the duration of the record.
“Joan of Arc” showcases the vulnerable side of Madonna is a poignantly reflective first verse “Every time they write a hateful word / dragging my soul into the dirt / I wanna die / never admit it but it hurts.” It’s interesting to hear her deconstruct the image that media has constructed for her. My only complaint with the finished track is the seemingly out of place drums that weren’t present in the leaked demo.
“Iconic” and “Veni Vidi Vici (feat. Nas)” are two of the album’s most self-referential songs, the first being a trap track – yes, you read that correctly – with a spoken intro by none other than Mike Tyson and a rap verse by Chance the Rapper. The latter song sees Madonna’s voice somewhere between spoken word and singing as she describes her career by interpolating the titles of her previous singles (I opened up my heart / I learned the power of goodbye / I saw a ray of light / music saved my life) within the verses. If you listen closely you can hear a small “Ray of Light” sample and the horn section from “Holiday” during Nas’ fiery guest verse.
“S.E.X” is an interesting turn in the momentum of the album as it recalls the Erotica era with more spoken word, this time in a laundry list of objects needed for S&M: twisted rope, a leather mask, fish nets and raw meat. It’s a jarring transition before the orchestral “Messiah” but it stands as a testament to how Madonna strives to rebel ageism in the industry.
At 19 songs, the deluxe edition is one of Madonna’s longest albums clocking in at 74 minutes and is certainly one of her most diverse. Grab a listen when the album officially drops tomorrow.
Without a doubt, the streets of Athens consistently churn out exceptional musical talent. One particular band to take note of is the up and coming Saturn Valley. Consisting of five players Chris Freiberg on Keys, Christian McDaniel on percussion, Nick Jones on guitar, Zach Webster on drums, and Scott Andrews on bass (previous bassist/bassist on On The Rings Charlie Ferrell), this band channels the funk of Santana, the skills of Jimmy Page, and the overall essence of Widespread Panic. Each and every song consists of creatively different jazz tones, especially in their recent album, On the Rings.
The song “Odysseus” begins with one of the tastier riffs on the album. However, once the drums ensue, this tune starts to take on many different routes. The drums lead listeners into a metal-based synth spell and then bring listeners back to that original riff. Quite a fitting song title for such a journey.
“Rusty Bane” brings out the more sensual side of SV. The song begins with a horn section, opening the door to the keys and guitar’s simple, soul-filled notes. Then, all hell breaks loose when nothing but funk enters the mix, a surprising segue from the prior melancholy tone. Each note then ventures into classic funk, leaving you bouncing as there music fills your speakers. Billy Cobham fans, this one is for you.
“Tollbooth” is another great catch on this album, focusing primarily on the skills of Frieberg as he takes the lead in his own style. This song shows truly the skill and effort these lads have dedicated to this band, as well as their love for music. Miles Davis circa Bitches Brew would be so proud.
What’s truly beautiful about this album is the apparent and absolute hard work these guys have put into its creation. Each song was well mixed – including their live show, which you can find on ReverbNation.
Saturn Valley has created music that can relate to any music lover out there (unless you are truly against instrumentals). With their hard work and experience, Saturn Valley can really rise. Athenians, you can currently snatch this catch at Wuxtry.
Touring legends Bright Light Social Hour are at it again with their kick-ass new album Space Is Still The Place. Courtesy of band mates Jack O’Brien, Curtis Roush, Edward Braillif, and Joseph Mirasole, this compilation will be just another step of progress in the name of Rock. Woven with funk, soul, psychedelic tones, and straight good ole fashion rock n’ roll, this album brings a unique sense to the scene moving this band up in the ranks alongside artist like Moon Taxi, The Tontons, and Quiet Company.
The premise behind the album comes straight from Bright Light’s insane touring schedule throughout the south. After their southern binge, they created the concept of “Future South” and collaborated to bring this idea to life.
The album starts off with a bang with the song “Sweet Mandele,” a western trip backed by a Beatles mentality. The drums provide an almost tribal element as the guitar rings out bluesy chords with the occasional post punk twist. However, you will receive inexplicable chills once the breakdown occurs. Slowing tempos and spacy vibes turn suddenly into the perfect indie dance tune.
The next song to turn to on this album is “Dreamlove.” Bringing out that synth that fans adore these days, this song brings you back to 80’s culture, releasing memories for those who remember when the Jam and Bauhaus reigned supreme. Diving deeper underneath the musical fills, the bass line is quite amazing. A total jam song you should play at your next party – trust me, the entire song seems to be about getting high.
The bass lines only get better with “Ghost Dance.” Starting off with killer bass runs accompanied by those Jimi-inspired guitar riffs, “Ghost Dance” is just another hit on this album. By this song, fans will get a sense of Jack White-esque writing.
Their slower tune, “Sea of the Edge,” is also noteable. The guitar gets more simplified, and a jazzy tone shines through. This song is one of the more generic sounding listens on this album, reminding us more of their genre counterparts, really.
Such basicness becomes completely overruled once “Outerboros” hits your speakers. With repetition, this band brings the blues back with yet another Jack Whitey sounding song, yet still possessing that badass southern feel.
The next song shows BLSH’s diversity by bringing forth a pop sounding beat. The drums are tight as the guitarist strums those chill chords. The song holds true to the BLSH sound, but adds more of a radio-sounding side to their portfolio.
The album overall is worth a listen. There truly is a song for anyone. Good job, boys.
Be sure to catch BLSH on tour (dates below), and pre-order Space Is Still The Placehere and here for vinyl.
5/5
BLSH Spring Tour Dates:
3/5 New York, NY @ Mercury Lounge (Early Show)
3/6 New York, NY @ Mercury Lounge (Late Show)
3/7 Philadelphia, PA @ Boot & Saddle
3/27 Austin, TX @ Stubb’s **Official Album Release Show**
Nearly half a year has passed since of Montreal published a brief Facebook post announcing its 13th studio album Aureate Gloom (streaming now on NPR), and now the time has come for it to be released. Accompanying the release on March 3 is an unrelenting tour schedule that even the most seasoned bands would be fearful of tackling.
This same determination is what inspired Aureate Gloom and has driven the band’s sonic developments with each release. A need for change followed front man Kevin Barnes’ late 2013 divorce which resulted in a creative explosion that led to the completion of the record in less than a month.
The sonically chaotic album succeeds in constructing a dense lyrical narrative around a noticeably more uptempo instrumental track. In “Aluminum Crown,” Barnes sings “You can’t let them hear what you’re thinking / or they will throw you back in jail” amidst jangling guitars until the track completely deconstructs itself in the bridge into a gauzy dreamlike trance.
“Virgilian Lots” is an emotionally heavy track that catches Barnes reminiscing about his failed marriage, comparing it to the twin volcanoes of Cuauhnahuac and the destruction of a village. The optimistic tone in Barnes’ voice totally contradicts the subject matter, but the instrumental segues between the verses are complexly dissonant to reflect his confusion.
The album’s opener “Bassam Sabry” is the least personal track on the album, but the mostly likely to be heard on the airwaves of the remaining alternative rock radio stations. In fact, it contains the perfect amount of Talking Heads-esque funk and Led Zeppelin lyrical anarchy tied together loosely by the sound of violins.
A single guitar strum leads into the deep-cut “Estocadas” and is the closest the band gets to recreating the psychedelic sounds of its previous albums. There’s a dizzying keyboard arrangement that’s later accompanied by a sweeping orchestral section before everything drops out in an over-minute-long somber outro. The track honestly doesn’t work too well with the flow of the album – the lyrics suggest bitterness (“Such a stupid offering / what’s it meant to symbolize? / Hostile immobility / is it something to prize?”) while it sounds boringly downtrodden and plaintive.
Not every track on the album is memorable, but there are certainly enough memorable tracks on the album to make it safe to claim that Aureate Gloom is quite possibly the best – and most personal – the forward thinking of Montreal has sounded since the release of Skeletal Lamping back in 2008.
4/5
Tour Dates
1/13/15 Tallahassee, FL – The Moon ^
1/14/15 Pensacola, FL – Vinyl Music Hall ^
1/15/15 Gainesville, FL – High Dive ^
1/16/15 Orlando, FL – The Social ^
1/17/15 Tampa, FL – Crowbar ^
1/18/15 Miami, FL – Grand Central ^
1/19/15 Jacksonville, FL – Freebird Live ^
1/20/15 Macon, GA – Cox Capitol Theatre ^
1/21/15 Charleston, SC – The Pour House ^
1/22/15 Greensboro, NC – The Blind Tiger ^
1/23/15 Nashville, TN – Mercy Lounge ^
1/24/15 Chattanooga, TN – Rhythm and Brews ^
3/5/15 Athens, GA – 40 Watt #
3/6/15 Carrboro, NC – Cat’s Cradle #
3/7/15 Washington, DC – 930 Club #
3/8/15 Philadelphia, PA – Union Transfer #
3/9/15 New Haven, CT – Toad’s #
3/10/15 Boston, MA – Paradise #
3/11/15 New York, NY – Webster Hall #
3/12/15 Cleveland, OH – Beachland Ballroom *
3/13/15 Chicago, IL – The Metro *
3/14/15 Milwaukee, WI – Turner Hall *
3/15/15 Minneapolis, MN – First Ave *
3/16/15 Omaha, NE – Waiting Room *
3/17/15 Oklahoma City, OK – ACM @ UCO Performance Lab *
3/18/15 Houston, TX – Walter’s Downtown *
3/19/15 Austin, TX – SXSW
3/20/15 El Paso, TX – Tricky Falls !
3/21/15 Tucson, AZ – The Rialto !
3/22/15 Los Angeles, CA – The Regent !
3/23/15 Los Angeles, CA – Largo at the Coronet
3/24/15 San Francisco, CA – Great American Music Hall !
In Thing, Chicago’s Valaska have molded a set of warm, friendly songs to keep the harsh winter at bay. Careful consideration has been placed in each lush, melodic track.
But don’t confuse their acoustic preferences as a sign of simplicity. As with, say, the average Antlers record, no arrangement is overloaded, and there’s plenty of room to breathe. Props to each band member for leaning back when needed, because for these songs, focus on ensemble is key.
Drowsy as the feel may be, there are a lot of cool ideas to be found throughout its nine tracks. Opener “Espejismo” (Spanish for “mirage”) has the same vaguely mystical vibe of Midlake at the height of their minor key-mellotron use, whereas “Re-Animator” is a plinking, meandering War On Drugs song set to the wrong RPM.
The sonic space is no mistake – front to back, this is an album about mid-20s existential blues, one that requires plenty of reflection and pensiveness. On songs like “Fair To Say” and “Wabasha”, there is a quiet determination in needing to strike out somewhere new, a feeling most can relate to. “Ain’t it a shame tryin’ to live the American dream / And you wake up displeased with who you turned out to be?” muses singer Dave Valdez on the bubbly waltz “Epoch”. This record’s themes align neatly to any given Girls episode – Valdez may not be “at peace with 24”, but in the grand scheme of things, that’s still awfully young to feel like all is lost. These are songs that speak to the dissonance between being ready to be the responsible, emotionally sound grown-up you aspire to, and actually arriving at that accomplishment.
Valaska’s lyrics are perfectly fitting puzzle pieces with pop sensibilities, and even when they’re vague or metaphoric, they don’t feel like they’re trying too hard. This is a group of natural writers who feel perfectly comfortable within each verse and chorus. Though his voice isn’t anything special, Valdez knows how to use it: “Somewhere New” is a Dana Swimmer-esque slow burner about the very personal feeling of rejection meant to be impersonal, and the height of Valdez’ emotive howling will stick with you. Each song flows cohesively into the next, and the record never quite gets a chance to rub the sleep out of its eyes. Though not exactly unfamiliar territory for the average indie fan, Thing makes a darn good companion for contemplative Sunday strolls through rainy forests. Grab yourself a listen to the album, out today.
3/5
Check out our exclusive Thing track-by-track breakdown from Valaska vocalist Dave Valdez below:
1. “Espejismo” – This song is about separating reality from illusion. Everyone has an idea as to what they want their future to be but it’s always blurry in the distance.
2. “Fair to Say” – This song spawned from a conversation with Erik, the guitarist of Author. We were sitting in an empty bar talking about where our lives were headed and the uncertainty of our future. Erik stated “This is the oldest I’ve ever been” and the first lyric of the song was there.
3. “Epoch” – I was going to scrap this song until I showed it to Matt Holmes who insisted on piecing together all the body parts and bringing it to life. The song turned out to be one of our most energetic songs on and off the record.
4. “Common Sense” – I wrote this song while we were on tour supporting Natural Habitat, I had just finished reading The Alchemist which deals heavily with life and finding meaning.
5. “Re-Animator” – Zach Porlier and I recorded everything totally live for this song, afterwards, Matt went in and added all the bells and whistles.
6. “Wabasha” – This song is based off the concept of creative differences.
7. “Somewhere New” – It’s a song about the inevitable. Relationships end and we move on, but there is always surprise in learning this.
8. “Collecting Rocks” – It was the first song written for Thing, not even a month after I had finished tracking Natural Habitat.
9. “Ink” – This was first brought on by reading a Charles Bukowski poem. It’s about the difficulties in turning away, the difficulties in forgetting.
This past Thursday night at the 40 Watt saw a packed, diverse evening of what rock has been up to in the past three decades. It was also the debut event for local startup Aria Promotions, and they did a damn good job – the show was almost sold out.
Opener Juna delivered sludgy, math-intwined boomers. Between the Prozac haze guitar chords, quirky time signatures, and buffet table drumming, they definitely qualify as new members of the emo revival. A few of their meandering guitar noodles seemed ripped straight from a Sunny Day Real Estate record. Despite technical issues at the beginning of the set, they were still able to churn out winding high-passion sonic explorations. Lead singer Hunter Whitehead is probably the most impassioned bassist the Classic City has ever seen, and I was halfway convinced drummer Sasha Schilbrack-Cole was gonna permanently maim his kit. They were also really, really loud – once again, thank the heavens for We’re hEAR For You.
Waitress was up next, and at this point it seemed that the night existed on an exponential \m/(>.<)\m/ graph. They sounded like a Black Flag-Descendents intermediary, and even on their slower, more intricate songs, they still sounded like a metal Dismemberment Plan. Lead Brian McGhee was beyond delightful, basically standing in as a stand up between their ultra-tight songs. He waxed poetic about everything from Clickhole to Cliff Bars, and was charitable enough to tell each of his bandmates just how hot they are. In terms of straight technicality, the night went to drummer Ryan Houchens, who gave me Whiplash if you know what I mean.
But then Monsoon took the stage, and holy SHIT. For just three Athens kids, they made a whole lot of really great noise. Singer and guitarist Sienna was a natural showwoman, prowling and climbing the stage like a feral bilingual lunatic. Their pseudo-Americanized J punk / coked up Beach Boys vibe is something I’ve been searching for my whole life and didn’t even know it. If Clocked were a band, it would be Monsoon. There’s nothing more enjoyable than watching three obvious best friends absolutely weird-out and wreck a set of songs that don’t quite sound like anyone else. I feel like an idiot for not having seen them before, and would now like to publicly swear my undying allegiance to this band.
Then Atlanta’s The Howling Tongues came on amidst smoke machines and a light show that would make Kanye West say, “Dudes, you’re doing a lot.” While a great technical band – they had clearly practiced their set and song changes ad infinitum – they were playing a bluesy brand of rock and roll that’s really not supposed to sound this rehearsed. They were pleasant enough, and on the surface they were great; but they felt an odd choice as city-slicker closers juxtaposed to the earnest, scrappy punk of the Athens bands that opened for them. Some garage rock bands who deal in Rolling Stones riffage fall victim to the uncanny valley of soul vs. precision, and it looks like the Howling Tongues are one such band. Their whole schtick felt too familiar – making a big show of chugging Jack Daniels; songs involving “I’ll give it to you” double entendres; women smoking cigarettes in red dresses. Every “Whassup Athens?!” and “How y’all doin’ tonight?!” platitude felt empty and forced. It didn’t help that lead singer Taylor Harlow asked permission to “play some rock and rooollll” from the audience between every.single.song, and his playful joshing of the crowd’s lack of energy became uncomfortable berating by night’s end. And I wasn’t the only one who noted the irony of the Tongues’ “Ain’t Too Proud To Beg” cover. Basically, this is a group who’s proper to their own detriment, and doesn’t appear comfortable in their own skin. Loosening up would do ’em a lot of good.
