Friday, May 31, 2013

Even more shameless self promotion!


Yep, that's my band! You can hear what our demos sound like here and can see how we bring it here. And most importantly you can LIKE us here!

So yeah, we are playing a show Saturday June 8 at DC's Bier Baron. This is the old Brickskeller located in DuPont Circle. Doors open at 730, show is at 9, and it's a trifling $10 at the door.

We are fortunate to have two amazing artists joining us: Emily Henry is a gifted singer/songwriter and she will be kicking things off; I know 100% you will like her as much as we do!! Steve Bowes is an old friend and he will be joined by his Pharmacy Prophets cohort Wes Fleming for some old fashioned cry-in-your-beer acoustic numbers and slow ballads (as Johnny Cash would say). Then as a special treat (I hope at least) I'll be doing some numbers from my two solo records before Braddock Station Garrison does a special acoustic set; we are seriously excited about this set because you will see us in a whole new light. What better way to spend a Saturday night in DC?!?

Here's a catchy little number you will hear at the show. It's called "Fall."





 We hope to see you there and appreciate the support!

Monday, May 27, 2013

Don't Be Afraid Of Ghost (B.C)

Ghost B.C. is a Swedish metal band whose schtick is their heavy Satanic-leanings. The trick is to not take them seriously (as they obviously don't) and appreciate the music. It helps that the band's members (only identified as Nameless Ghouls) dress in black robes and hoods except for the singer (named Papa Emeritus) who wears elaborate face-paint while dressed in Papal-inspired robes. Over the top, you say? Sure, but that's what makes it so amusing.

Their latest record is called Infestissumam. It's a bit of a departure from their debut (Opus Eponymous) and in this case that is ultimately regrettable. What's gone from the new record is the hooks; the debut was a stunningly catchy record, you could almost sing-along with it if you didn't find the material too terribly objectionable. I like metal that has a hook, and the Ghost debut was filled with them.

Infestissumam is much more...plodding is the best way to put it. The catchiness is not quite gone but it's limited. There's a lot more keyboards here, which is not a bad thing. It has a much more progressive rock feel but I am not convinced it entirely works. There's still a sing-along aspect but the musical vibe is far darker, almost like a requiem.  That is probably the natural progression for a band like Ghost B.C.

By the way, they used to be called just Ghost but they evidently got sued by a band with the same name, or were threatened with a lawsuit, so now they go by Ghost B.C.

Here's one of the better songs on the record: "SECULAR HAZE." It has a nice carnival-like atmosphere. HA, carnival! Not the kind you'd take the kids to (unless you're named Rosemary).


Yeah, the schtick is laid on pretty thick. Reading interviews with them you understand it's a joke, a way to stand out from the pack and write the kind of melodic metal that people like me dig. This record is not as playful (if that can word can be used to describe Ghost); it feels more serious, a term I use lightly.

Other strong tracks are "Year Zero" with a laugh-out-loud chant to start the song before breaking into a classic metal groove and lyrics comparing man's fate to that of lice, and especially "Jigolo Har Megiddo" with a great little descending guitar riff. The vocals are strong throughout. Too much metal these days relies on screaming or growling; I like bands that actually SING. Papa Emeritus' voice is bit odd; he kind of sounds like he is preaching but that's part of the act.

There are some duds though: "Ghuleh/Zombie Queen" goes on way too long despite a very good "Yes"-ish keyboard break. The record limps to a close with "Depth of Satan's Eyes" and "Monstrance Clock." But there are enough good moments that will keep me interested.

They headlined here in DC but the timing was bad; they came while I was visiting South Africa. I saw them previously when the opened for Mastodon and Opeth (which I wrote about here) and they put on a fantastic show. I expect they will be back and assuming I am around I will definitely see them.

So, good record but a bit disappointing because the first one was SOOOOO good. Who knows, I will probably wind up loving it once I give it a few more listens.

Tuesday, May 21, 2013

Where Does He Find Such Wonderful Bands!!??!!

Every now and then I am asked where I find out about new music, especially some of the obscure bands I talk about here.

Music review-wise, I lean heavily on Pitchfork. Although I have railed about them and their tendency to revel in putting down bands they deem as unworthy (though I admit they don't do this as often as they used to) the fact they do five album reviews a day gives plenty of opportunity for me to learn about new bands, especially ones that I likely have never heard of. Many times the review references other bands that are obscure, which to me kind of defeats the purpose of seeing x-is-like-y. But you know, whatever. They also have a really good feel for new metal that is coming out.

I also think the AV Club does a great job of reviews and interesting music-related articles. Though they are affiliated with The Onion, they have a great batch of serious music writers. An interesting thing they do at the AV Club is compose a list of 25 songs of varying popularity and invite a band to come in and cover that song. They video record it, cross it off the list and put it on the site. The next band then has to select from what's left, until only 1 song is left and some band is left covering a turd...or a beautiful piece of art.

One writer I especially like is Steve Hyden. He is currently the main music writer for Grantland but spent time with the AV Club and still does reviews for Pitchfork. I think he's the best rock writer out there right now, especially since Chuck Klosterman doesn't seem to write about music anymore, and he only wrote about metal anyway (nothing wrong with that).

To see what is about to come out I will peruse the Pause & Play site. This is basically a digital version of the old record store upcoming-releases-chalk-board. Well, I guess it is nothing like that but you get the idea. It goes pretty far into the future, usually a good two or three months, so I use it to just stoke my anticipation.

Spotify has a "New Releases" section though it's usually not very informative. I have been exposed to a couple of new records and artists there. Friends on Spotify will send me stuff they like and I will do the same. Following bands on Facebook and Twitter lets me know when new stuff comes out and bands that those artists are digging. I am also part of an old fashioned email distribution list of friends that talk about music both new and old. Sometimes the best way to find out about something is old fashioned word of mouth!

Sunday, May 19, 2013

The Stand-In Takes Center Stage

The most expressive of musical instruments is the voice. Such a range and depth of emotion can be conveyed from one line to another. Caitlin Rose is a another Nashville artist and is blessed with an excellent instrument in her voice. She is also a gifted songwriter.

Her latest record is The Stand-In and is a great slice of modern takes on a classic country sound. Focusing on the lady side of the house, country music in it's current popular format has become so commercialized and pop-ized that it has been rendered unlistenable. What makes good country music great is the pathos, the longing, and most importantly the element of strength imbued in the music and the lyrics. It started with Shania Twain, whose ex-hubby Mutt Lange added electric fiddles and a pop sensibility. Sure it had an element of feminism but it had no punch; it was girl-power in the form of girls-night-out-in-short-skirts-and-high-boots. Fair enough (and nothing inherently wrong with that), it was made to move records and it moved a LOT of records, but the music isn't interesting in the slightest. This has culminated in the form of Taylor Swift, who for all the praise and sales is to me absolutely terrible. It's bubblegum without any of the sweetness. And country music this ain't.

That doesn't mean good female country isn't out there. Artists like Tift Merritt, Shannon McNally, Lindi Ortega, Allison Moorer, Shelby Lynne are still doing their thing. Add Caitlin Rose to the interesting mix. The Stand-In is a classic sounding record with a modern touch. It has that Loretta and Patsy vibe on songs like "Golden Boy," "Dallas" and "Pink Champagne," goes nearly indie-rock on "Everywhere I Go" and then rocks a way Shania can only dream of in tracks like "No One To Call" and "Silver Sings."

She has such a great expressive voice. It's classic sounding but unique; that's what makes a truly great singer. Ms Rose has a wonderful instrument at her disposal and she knows how to write songs that let her gift shine. It helps she has a crackerjack of a band backing her.

Here's the best song on the record, co-written with Gary Louris of The Jayhawks, "Only A Clown." Taylor Swift wishes she could write a song this good. It has a fantastic hook in the chorus that just grabs me and makes me smile.


Of course though this song won't be a hit because the system is fixed. That's another story, though.

PS smoking is bad for you, Caitlin!

Saturday, May 18, 2013

Impossible Truth

I am not alone in thinking it but I feel the guitar is the most expressive musical instrument besides the human voice. I've written before about my appreciation of guitar-based instrumental music, especially that done by Explosions In The Sky and by James Blackshaw. We can add a third brilliant artist: William Tyler.

Tyler comes from Nashville but Music Row doesn't rub off on his music. Like Blackshaw, he works at creating soundscapes driven by working through chords and progressions. Where Blackshaw uses the 12-string acoustic, Tyler uses both electric and acoustic. The results are often stunning. The songs are mostly just his guitar but a few tracks employ stand-up bass and horns to perfect effect.

His latest record is Impossible Truth. Though I sometimes rag on Pitchfork, they are a fantastic resource for finding new music; this record is yet another. It was on my Spotify playlist for a couple months before I decided it was an LP I needed to add to the collection.

I take back what I said about Nashville; there is a country-vibe that permeates the songs. Take the gorgeous "Cadillac Desert." It's eight minutes long here; give it at least a few.


There is a definite rustic element; I see a front-porch kind of thing in my mind's eye. Not just the beauty of the playing but the sophistication of the song is what draws you in. It is very difficult to make music like this that stays engaging. It's easy for it to become pretentious or meandering or down right boring.  Tyler doesn't do that. The music shimmers off the LP. This kind of stuff needs to float on the air, waft into your head and settle in. I listen and I feel I need to pat attention. Where is it going next? It has a basic structure that may be repetitive but it builds and builds and works itself around and takes new paths. It's perfect for late night driving or as I am wont to do lay back on the couch with the headphones pulling on a beer.

Thanks to William Tyler for a very beautiful record.

Friday, May 3, 2013

O My Soul!!

After a doing a killer show in Baltimore with my band at The Sidebar Tavern last night, the icing on the day's cake was coming home and finding this on my doorstep:


Big Star is one of those bands that are held in high esteem exclusively by other bands. They are the proverbial "missing link" between The Beatles and R.E.M. doing guitar driven power-pop when that kind of music was losing steam.

Big Star started as four fellows from Memphis: Chris Bell, Alex Chilton, Jody Stephens and Andy Hummel. Chilton had success when he was just a teenager with The Box Tops...you've probably heard this. He got pretty disenchanted with the whole scene, tired of being handled and wanting to do his own music. Enter Big Star. They only have three proper records but they are all brilliant in their way: #1 Record is the only one that features Chris Bell and is their brightest record, with "classics" like "Thirteen," "The Ballad of El Goodo" and "In The Street" which Cheap Trick covered for the opening titles to That 70s Show. Tthe follow-up, Radio City, was a bit darker but contains two of their best songs: "Back of a Car" and "September Gurls." The last record, sometimes called Third and sometimes called Sisters Lovers is their least accessible but fascinating as a portrait of a band in complete melt-down mode. (There is a fourth one from a few years ago which includes Jon Auer and Ken Stringellow from the Posies supporting Chilton and Stephens but it's not really any good).

Chilton has always been an irascible figure. On a live set recorded for radio he comes across as supremely jaded by the whole experience. The first two records were both critically acclaimed in 1972 and 1974 respectively, but poor label management sent them into the dust-bin. That failure took it's toll; on Bell and his leaving the band and his ensuing battles with drink and ultimately tragic death in a car wreck in 1978, and on Chilton. The music he created on the third record is a harbinger of what he would create in his solo records, an artist who continually thumbs his noise at the business and his fans, making music for himself and damn it if anybody buys it.

I actually got to see Big Star twice. In the mid 90s they did a couple shows in NYC that me and friends trekked up to see. Both times had Chilton and Jody Stephens supported by Auer and Stringfellow and both times was amazing. Chilton, for all his curmudgeon-ness, seemed to be having a real good time, especially with the positive reaction of the crowd. The bills were good to...one of them had Perfect (Tommy Stinson's band post Replacements and post Bash and Pop), Superdrag, and Meat Puppets. The other had Yo La Tengo. It might have been some mix of those bands but I remember seeing all of them.

Nothing Can Hurt Me is the name of a new documentary about Big Star. I haven't seen it yet but plan to as soon as practical. This 2 LP set was a Record Store Day release that I was able to (cheat and) get through eBay. It's alternate versions of songs; different mixes, sometimes different lyrics. All in all it's a very interesting set and very enjoyable. I am already listening to it for the second time today.

Cool story: in college we read on the internet (the early days of the Internet as we know it now) that Jody Stephens was still working at Ardent Studios in Memphis and you could order Big Star t-shirts. Remember this was before the days where you could buy anything you can dream of on the Internet, so the possibility of getting Big Star t-shirts was too awesome to not follow up on. My buddy Eric found the phone number for Ardent and called them up. he asked for Jody and was told he was out to lunch could she take a message. To nerds like us that was pretty cool! Jody called back and we were able to order t-shirts. I still proudly wear my when I feel like upping my street cred at shows.

It's easy to say that Big Star was one of those bands that didn't quite make it or to view them as some kind of sad tale. But the impact they had on guitar bands is, although not known or overt, is still striking. Bands like REM, Tom Petty, the whole wave of early/mid 90s guitar bands all owe a lot to the songwriting of Chilton and Bell.

Here's "September Gurls" which was interestingly covered by The Bangles on A Different Light.