Start Your Weekend Early!

Tomorrow night, which would be Thursday September 26, my band Braddock Station Garrison hits the stage once again. This time at the Tree House Lounge at 1006 Florida Avenue, NE in Washington DC. This is a nice intimate club, occupying the second floor of a townhouse right next to Gallaudet University. No jokes about a rock club next door to the school for the deaf. Actually makes perfect sense, I think.

It's a special show for us. We are supporting California's Aloha Radio on their national tour. They are a very cool alt-surf-indie band. Also sharing the stage is our good friends Bells & Hunters; the are a great modern rock band sure to impress you. A real treat for us is having our record producer Don Zientara open the show at 8pm with what I expect will be a great acoustic set. When we last saw him he had a surf-themed slide show so it really fits perfectly with the bill.

Speaking of our record, it is finally available. It is called High Water. You can get digital copies at iTunes and Amazon. You can also get a real CD or digital version through CDBaby. You can stream it through Spotify and Rhapsody. It astounds me that our cool little record is available at all these places. Most importantly we have a whole box full of them that I shall have in tow tomorrow night. Come on down and get a copy!!

High Water features 6 original songs: "Into Your Arms," "A Lot To Ask," "Fall," "Maria With Child," "California Specific," and "Girl Gotta Gun." All were recorded and mixed at Inner Ear Studios in Arlington VA by Don Zientara and mastered by TJ Lipple. Photography was done by my wonderful wife Jodi. Our logo was designed by the extremely talented Emily Blackwell. The package design was put together by our own Patrick McCann. Not surprisingly we encourage you to get yourself a copy!

We hope to see you there!!

Patrick, Steve, Michael and Tom
at Manassas Battlefield 

The Eldritch Dark

When all is said and done this year, I expect The Eldritch Dark by Blood Ceremony to by sitting at the top of my favorite records of the year list. They are one of the many bands that Spotify has recommended to me since I started using the service.

I have mentioned them a couple times here. First when I
saw them open for Kylesa; second when they made my mid-year report. In case you're just tuning in they are a four-piece from Canada fronted by a keyboard and flute playing lady. Naturally she is fine but that is honestly just ancillary to the music, which is a cross between Jethro Tull and Black Sabbath. Lyrically it is kind of silly, singing about witches and sorcery and goings-on in related forests, but that's part of the fun. It doesn't waste anytime, as album opener "Witchwood" (of course) demonstrates:

Black magic has come to Witchwood

Their devilry takes place within our lonely woods

Such strange words and stranger visions

Forbidden hymns to summon things one never should

The record continues in that vein. There's more about shape-shifters, and sisters up to no good, and the moon, and the dark, and magicians, and a song about Christopher Lee when he burned up The Equalizer in The Wicker Man. This kind of stuff always makes me laugh a bit. When I was a kid I used to think how dangerous it was to listen to things like Iron Maiden. It was more interesting than what you usually got out of rock lyrics. Blood Ceremony are the same way. The pseudo-witchiness comes across as kitsch more than anything else. It's not scary like Slayer is; when you see Kerry King you get the impression he probably does worship Satan. Blood Ceremony does it with a nod and a wink. And I mean this all as a positive!! Looking at the notes in the record it appears guitarist Sean Kennedy writes all the lyrics. That is somewhat disappointing. Lead singer Alia O'Brien is a looker and it's more alluring to think she wrote them, but that's really a whatever kind of thing. The charm is that you have a pretty girl getting all witchy and singing about devil hymns. She seemed like a nice girl when I saw them live.

The music is great through and through. It's a very folky kind of heavy rock. I've seen them filed under doom metal. It's not really metal...too much gets lumped under metal these days. It has mellow spots where the flute takes over but it has plenty of rock to keep the head banging, but it stays to a very 70s inspired brand of metal. Really very debut record-era Sabbath. The band is altogether tight. Good grooves, good melodies that are both bright yet sinister-esque. Great vocals. Guitarist Sean Kennedy played a beautiful Yamaha when I saw them which inspired me to look into getting one of my own. I found one on eBay which I got for a total steal. Granted mine is the low-end base model wile his was the high-end fancy one, but it plays amazingly well for a guitar I got mainly because I liked the look, so much so it has become my primary gig guitar. Sweet!

Anyway, here's the second track off the record, "Goodbye Gemini."

Power Pop Round-Up

Here's a round-up of some of the power poppy kind of records I have added to the collection the last few months.

One of the records my lovely wife got me for my recent birthday is the latest from Scottish power poppers Attic Lights, Super De Luxe.  The best in Scottish power-pop has always been Teenage Fanclub, whose drummer Francis Macdonald handles production duty here. The band is kind of large, three guitarists not including one of the vocalists who also handles keyboards. All those guitars don't make for a Lynryd Skynyrd sounding album, instead we get a great bunch of 3 minute tunes. Very classic sounding Raspberries kind of power-pop. Album opener Say You Love Me sounds a bit too much like Weezer, but second track "Future Bound" has one of those choruses that make you jump. "Hit And Miss" and "Orbison" and album closer "Gabrielle" are the rest of the best of a really good set of smartly written songs.

Someone Still Love You Boris Yeltsin is an interesting band from Missouri. I first saw them when they were first on a bill with Two Door Cinema Club and somebody else who I already forgot. I have this feeling it was somebody I actually like quite a bit, but I am just spacing out on it right now. Anyway I liked them quite a bit and wound up leaving with their t-shirt. They do this jittery, lo-fi kind of power-pop.  Their new record is called Fly By Wire and it is OK. The production is a little hollow sounding, a real 80s British vibe permeates the record. The vocals are up in the high registers. Most power-pop doesn't need to be deep, but this is a bit more trifling than most. My head didn't really turn until we got to "Ms. Dot" at the end of the first side. It is a really nice, Shins-y number with a nice acoustic guitar line that lilts along. Second side openers "Loretta" and "Unearth" are nice mid-tempo numbers that bounce along. The record has the lyrics printed within gatefold of the record; I wonder why they felt compelled to do that. The lyrics aren't particularly deep, especially when compared to Attic Lights; they are the cryptic variety, back of the high-school notebook kind of stuff. One very cool thing is the vinyl disc itself; it's half red and half white and smeared in the middle thing so that when it rotates it wobbles. Very cool looking but it gives me a bit of a belly ache.

I heard of Big Eyes through a tweet from Dischord Records. They mentioned having CD copies of their latest record Almost Famous. I listened to a few tracks on Spotify and immediately found the record on Amazon (Dischord was out of vinyl). It has a harder vibe; when I shared it with my band-mate Patrick he mentioned I tend to like the crunchier, louder, more punky kind of power-pop. A buddy in college once told me the same thing, where he liked his power pop mellower and cleaner while I went the rough and teetering out of control kind. Lots of great tracks on this record, all of which would be perfect on Little Steven's Underground Garage: "Ain't Nothing But The Truth," "A Matter Of Time," "Nothing You Can Say," "You Ain't The Only One" might not have the best grammar but they have killer hooks. The record kind of blends into one another but it's hard and fast and gets in and out. Hey, that sounds dirty.

Lastly for tonight, we have Destroy This Place. I read about these guys in The Onion, where they and an article about good ways to market your band. I guess it worked because I checked them out and bought the record! Again, very noisy, fast, hooky, but with great singing and great harmonies. Great singing in that it fits perfectly with the vibe, not just screaming or yelling along but using the voice as part of the rock. Reminds me of bands like Heavy Into Jeff, bands I found hidden away in the Not Lame catalog and described as heavier Cheap Trick and Sweet.  Kind of Replacements-ish without the worry they might pass out at any moment. Bunch of really good tracks here: "Tight Sleeves," "Absorb You," "Born With Guitars In Our Hands," "Like Mice" and the killer album closer "Ghost Ride The Lightning."

Disconnecting Art From Action

For the most part I don't really dig emo bands. I find them kind of tiresome in general but moreover they tend to lack in hooks. Surfer Blood falls in the sort of emo, more indie rock kind of thing but has the pop hooks I hold near and dear to my heart.

Album opener "Demon Dance" gets things off to a rousing start before giving way to "Gravity", the best track on the record. It has one of those great 90s college radio choruses. Then there is a spectacular hook at the start of the chorus of "Weird Shapes" that soars up before doing a Walter Payton-esque stutter step. "I Was Wrong" bumps along like a harder-edge Shins track. The second side doesn't resonate as much as the first but it still bounces along.

Lyrically the record has familiar tropes of broken relationships and bad love. But it has an added element of real life that is potentially hard to disengage from. Before the record came out earlier this year, band leader John Paul Pitts was arrested for domestic battery, though charges were ultimately dropped. The interview I have read is admittedly one-sided to the artist, but it is also something he hasn't shied away from. He acknowledges it while not going into details. That's his right I reckon, but it provides a context around a song like "Squeezing Blood" that has lyrics like 

Damning allegations have come to light

Stapled to the background in black and white

That's the way it's always been

That's the way it's gonna end

All this world fell silent when I read the verdict

Steven Hyden writes about disconnecting art from the person much better than I ever could. He eloquently describes his challenges and dutifully brings in the likes R. Kelly and Chris Brown. He ultimately dismisses the record because the music isn't worth the guilt he would feel about liking it; the music isn't worth the hassle.

For me, I have no idea what went on in the world of this songwriter. I don't know the man, the woman, what the situation is/was/will be. Is he an asshole? Was he in a complex and volatile relationship and just snapped? Why were the charges dropped? Because there weren't any to press? Because the woman has her own issues to sort through? I don't condone anything here, but nobody knows the truth but them.

If he had come out and been all Sean Connery that would probably be one thing; or maybe not. Do I not watch James Bond movies or Indy 3 because Connery is a douche? If I equate morality with all the artists out there, then there probably won't be much to watch or listen to or read. J.D Salinger ran through girls like they were going out of style, does that make Catcher In The Rye unworthy of appreciating (or depending on my mood being exceptionally critical of)?

But what's the limit? If it came out that the lead singer of my favorite band murdered somebody in cold blood would I still listen to their records? Wow, probably not. If it came out that Pitts did assault his girlfriend would it change my view of the record? Maybe. Probably. Would I even remember five years from now any of that? Like Hyden I agree it isn't spectacular so as to remain culturally relevant because of any potential backstory, sordid or not. So I am left to sort out how I feel about it.

Interesting questions; a bit of heaviness to what is ultimately a lightweight yet enjoyable record. In Surfer Blood's case, I am in no position to judge anything but the music. In that vein let's just call the music what it is: a good indie rock record.

Anyway, here's the video for album opener "Demon Dance."

Awaiting the Mothership

In the DISCOVER section of Spotify, it will say things like "You listened to so-and-so, you might like these-other-folks!" or "You haven't listened to Debbie Gibson in a while. Listen now?" or "Your friend  likes Stryper. Check it out?"

One of the bands that fit under the first statement is Texas' Mothership.  Apparently there are a lot of bands out there named Mothership. Most of them seem to be cover bands, including one Led Zeppelin tribute band. These guys are a tribute in that they salute the 60s and 70s hard rock and heavy blues bands of days gone by. A lot of bands do this kind of stuff but most of them unfortunately can't quite pull it off. Mothership, surprisingly in a way, do. The lyrics are...well let's just say it..sort of dumb in spots. For example "City Nights" talks about rock n roll being here to stay and how they are ready to fight and yadda yadda yadda.

But a band like this isn't agreeable because of the lyrics. Or the vocals, which are kind of meh, but are very happily crystal clear so that you can hear the guy is really singing, so I really do dig that. But it's all about the riffs, man.

And the awesome album cover. See said awesome-ness there ----->

But mostly the riffs. The jams are classic sounding 70s hard rock veering into metal. Like the side 1 closer "Angel Of Death", it's got a killer Richie Blackmore-esque lick that drives the song. "City Nights" has the wanting lyrics but it's no worse than any Scorpions song (that's a compliment). The album opens with a wicked-cool instrumental "Hallucination" before segueing right into "Cosmic Rain." The back side opens with a "Win Or Lose," which could have been a bonus track off some expanded edition of Never Say Die. It has songs that every hard rock record should have: songs about eagles and guys in charge of the moon and some weird word that looks like a girl' name. She's probably  the busty angel on the cover. Or at least a witch.

The band is a power trio from where I grew up...Dallas, Texas. Two brothers and a guy named Judge.  The bassist kind of look like Kim Thayil from Soundgarden. The lead singer looks like the fat violin guy from Kansas. The drummer looks like a drummer. The LP comes with a poster, which is fucking cool and should be in every metal record, that shows a wall of Orange speaker cabinets, so that immediately makes these near and dear to my heart.

Jokes aside, I like this record a lot. Music is supposed to be fun and this record is fun! It's not as inventive as Kylesa or as wicked as Blood Ceremony or as retro as Kadaver or as scary as Baroness but it's incredibly, incredibly solid heavy rock.

Here they are doing their thing with "Win Or Lose."

Works In Progress

Bill Mallonee has long been one of my most favorite song-writers. I was first exposed to him through his band Vigilantes of Love. I remember reading about them in an issue of No Depression magazine, which at the time was my preferred music reading rag because I was deep into the alt-country scene. Me and my buddy Clay would go to Tower Records every month or so and I would pick up the latest copy. The record they were writing about in this case was Audible Sigh and it said all the things I wanted to hear in a record.

When looking at the metadata associated with Bill and with VoL you'll probably see things like Contemporary Christian and Christian and Religious. To me that is a stretch. Those genres are the compilation discs you see advertised late at night on Fox News where you see people in the crowd swaying their arms and singing along to incredibly bland and lyrics. I have no problem with an artist exploring his faith, to each his own, right? Bill Mallonee does explore his faith deeply but not in an insulting or overt or pushy way. He's a man who has faith and is struggling with it, struggling with the day to day challenges of life, and using his faith to get through it. The songs are often questioning, looking at the hardships of life and how we get through them in our own ways. It's exhilarating song-writing.

I had a chance to meet Bill very briefly at a show he did with VoL at Iota in Arlington VA. It's a small club, very intimate. I remember the crowd was not that big, but he and his band put on a great show. He was a great presence on stage; he looked a bit nerdy but he commanded the stage with tics and hand waves and tilts of his head. After the show he and the band were selling their merchandise in the lobby. Usually I am very shy in these scenarios but I bucked up and bought a VoL tee-shirt, which I still proudly wear.  What I remember most is the genuineness with which Bill thanked me for coming out and taking a tee shirt home. I always try to buy something at a show, especially for bands that are out there working hard doing their thing maybe struggling from show to show.

Bill records under his own name now. He's been doing a long-running series of download-only recordings he calls Works Progress Administration. I urge you to check them out and if you can download one or two. They feature his and his wife on all instruments. I have downloaded several of them. Right now I have "Heaven In Your Heart"/WPA 18 playing. That's the last one I got and two more have come out since then. Right now "(I'm Always) The Last To Know" is playing. It's typically great. Here's a taste of the lyrics:

There's a place out here
where the sky gets clear
and tired world holds it's breath
the light finds a curve
undisturbed
and that whisper...it's either God or death

His music is a challenge against the difficulties of life. And there is always grains of hope in the trials. Sometimes that's all we need. And sometimes's that all the music needs.

Here's Bill doing the title track form the record that first caught my ear:

Singled Out!

One of the many cool things about buying vinyl exclusively is finding little 7" singles. Artists use these to release special things (like when I wrote about Record Store Day) or just a way to release odds and ends or just getting something cool out there. Here's some 7" singles I've gotten in the past few months.

Birth of the Pipesnakes by The FED - Truth be told I know these guys and I had the true honor of playing a gig with The FED last night. Happily they were selling copies of their vinyl and I was more than happy to snatch up a copy. They are a great local DC band that do a kind of swamp-boogie-thing. I describe them as Kings of Leon before Kings of Leon started to suck. Their live show definitely makes you move. My favorite track off of this is the first cut on side A, "'83," just a great piece of dirty rock n roll. The rest of it is plenty great to.

"Criminal Fingers"/"The Bear and the Maiden Fair" by The Hold Steady - This was a 2013 Record Store Day buy (actually I cheated and bought it on eBay). The A side is a mellow track called "Criminal Fingers" but it's the B side that is the real jewel: their imagining of "The Bear and the Maiden Fair" from Game of Thrones. The National did something similar with "The Rains of Castamere," keeping to the morose and sad spirit of that track. The Hold Steady do their thing here, bringing their classic exuberance and energy to a fun song. I am going to try to talk my band into covering this!

"Southern Comfort"/"Stars" by Æges. A great progressive metal band from California, leaning more toward the prog side but with plenty of heaviness. They are made up of guys from Pelican, Undertow and Rise (amongst other bands). They do the de-tuned guitar thing but have a great sense of melody and happily the singer sings and doesn't grunt or snarl. The first side is a cut off their great record The Bridge. The back side is a great unreleased tune called "Stars." It has great dynamics with heavy sections broken with mellower spots connected by a great pop sensibility when it kicks into it's groove.

"Deny The Absolute"/"The Truce" by Pelican - Speaking of Pelican, they are another great progressive leaning metal band. Where Æges has vocals, Pelican keeps it to instrumentals. These are two new tracks off their forthcoming record. Like I keep preaching, I love melody, and these guys have a sure grasp of it. The A-side is a great stomper; you can bang your head but not so much that you break your neck.  The B-side is a great acoustic-based number, a really nice touch from a normally heavy sounding band. They are playing DC9 in November...I already have my tickets! I bought both this and the Æges record from The Mylene Sheath. Check them out for a lot of interesting proggy metal acts.

Iron Road by The Old 97s - Last and certainly not least is one of my most favorite alt-country acts The Old 97s. This is another Record Store Day get (though they appear to have released it in greater quantities now). Their are two 7" here featuring 4 tracks from 1996. The first disc is a treat because it has the original outlaw himself, Waylon Jennings, taking the lead vocal on "Iron Road" and "The Other Shoe." Waylon's classic voice fits the Old 97s like a glove. Just a perfect slice of outlaw country. The other disc has demo versions of "Visiting Hours" and "Fireflies."