popwreckoning

The first time Civil Twilight breezed through the area they hit a little venue called The Bottleneck. It was a Monday night and about 12 people showed up. Obviously not the best turnout a band could hope for.

Well the second time the band came through was again on a Monday, but this time within the walls of the Record Bar. What was the crowd size this time? Well it came in somewhere along the lines of 100, at least. The time between the two shows spanned a mere 3 months, which was not nearly the proper amount one would expect for a mass following to develop. Yet the night proved to be full of 20-30 year olds primed and ready for the sweet sounds from the South Africans.

With only their self-titled release to fill a set list, it still turned out to be an impressive hour or so. Some body moving sounds came from songs like “Soldier” and “Perfect Stranger”. Both of which are a showcase of Andrew’s (lead guitar) amazing talent. His ability to mix bluesy rhythms with powerful rock notes is just mind boggling. The slightly more entertaining of the two was “Soldier”. And that stems from the definite pep in the vocals that comes out regardless of what the lyrics are actually saying: “I’m just a soldier, fighting for someone else”

The night clocked in three favorites: the first of which was a song that has been previously featured on the show House. “Human” is an absolutely breath-taking song, that focuses on Steven (lead vocals) and their delicate yet empowering nature. And then when he sits down at those white keys, everything just lifts away.

Second for the favorites brings a cover and another yet connection to House, except this time it’s from the theme song. Massive Attack’s “Teardrop” is a great song by itself, but when the three fellas picked it up as a cover, they took it one step further. From the original fairly mellow nature, the song morphed into a live representation of awesome. Rock played a huge roll in the transformation, as well as energy. Everything was kicked up a couple notches and thrashed back out to the crowd. The band weren’t the only ones sweaty after that number.

The final song that stuck out was their current single “Letters From The Sky”. This was most likely one of the main reasons why most of the people in attendance knew of Civil. As this is the song currently that is being spun on stations in many, many markets. Its starts off very similar to “Human” with Steven lightly tip-toeing across the piano, but after awhile Andrew brings in the full force of his guitar. Each member plays their instrument to its optimum level and the result is a fury of Coldplay-like melodies mixed in with alternative notes played so fast you’d think they’re fingers would fall off.

This was the kind of show the band needed to prove to them that the Midwest is worth a trip. Between the love they receive from the local radio station and the crowd that gathered that night, it definitely secured a return trip.

Everything Everything is one of many bands out of the burgeoning and quite exciting Manchester music scene. We previously featured this song of theirs, “My Kz, Ur Bf”, and remixes done by their peers on PopWreckoning. They have recently released a new promo video for the song – watch it in all its surrealism below. The single will be released on August 23 in the UK, followed by the album Man Alive to drop on August 30. Expect big things from these Northerners.

On the day of their Lawrence show, The Faint‘s Jacob Thiele tweeted, “Eating biscuits and veggie gravy at Java Break & Worked Up So Sexual came on the stereo. Awkward! Mostly cuz its strange music 4 breakfast.”

I beg to differ, Mr. Thiele. There is never a strange or wrong time to listen to your band’s music.

I was only 8 when the Faint formed up in Omaha. I wish I could that I was savvy enough at 8 to have started listening to them then, but it would be almost another 8 years when I would discover Danse Macabre and learn that there was a world of musical genres that existed outside of what I heard during my middle school years at the roller skating rink. At that point in my life, I did start listening to the Faint at all hours of the day…even during breakfast. Two and a half years later, I had my first chance to see the band live in Lawrence at the Granada. It was the first time I ever danced at a show.

Suffice it to say, I was ecstatic when a co-worker offered me her extra ticket to the evening’s show. I couldn’t wait to return to the venue where the band first blew me away five years prior.

The band has come along way since when I first saw them. They had some sweet lights, but the set up was modest. A few years ago, I saw them in Omaha and the set up had expanded to three times as many lights and singer Todd Fink donned a lab coat and goggles (looking like Dr. Horrible). Tonight, the stage had been taken over by eerie, foil-covered robots. Their arms outstretched like at any moment they’d attack the band and the audience. The almost looked alive as the strobe lights reflected off their metallic sides, creating the illusion of movement. Fortunately, they were stationary, which was nice because they gave me the heebie jeebies without needing animatronics.

The audience wasn’t as filled as past shows, but for who did show up, they were all packed into the pit throwing their arms up and dancing with the band. It was a party, as any The Faint show should be. A big electronic, indie rock, dance party. The band didn’t play a single song that I felt stopped the energy level or was a dud to the fun. Of course, some tunes stood out more than others such as “Get Seduced,” “Worked Up So Sexual,” “Paranoia,” and “Geeks Were Right.” At one point, some girls from the crowd even hopped on stage and put a hat on Fink. He went with it, but a roadie didn’t look as pleased as he escorted the girls off.

Now, as much as I love dancing, I think I love watching the Faint more. Remember when I said I was 8 when the Faint formed? These guys are over twice my age, but they have more energy than a preschool classroom. They all feed off each other and if they’re not busy playing an instrument (yes, this band is electronica, but they still play actual instruments!), then they’re dancing. It is fantastic! It’s crazy to me to think that a couple days from now, they’re opening for Spoon in their hometown. I’d hate to be the band to try and follow The Faint. Good luck.

I got to the show late after work, so I wasn’t able to snag photos. However, my awesome friend, Fally, also blogged about the show and she does have photos and video that you can check out here.

Set List:
Mirror
Dropkick
Agenda
Conductor
Psycho
In Concert
Southern
Hospital
Machine
Desperate
Seduced
Centipedes
Worked Up
Paranoia
//
Geeks
Glass Disappear

The stoner heroes and chillwave artists Neon Indian have released a new stop-motion video for “6669 (I Don’t Know If You Know).”

The video is pretty cool with it’s almost “I Spy” -like image frames. Heck, I’m even impressed by the recycled spider that gets created, and I abhor spiders. Seriously. I almost lost a leg to a spider bite. Not a fan of the crawlers, but I guess it is kind of fitting this creepy, but sleek arachnid is in a song titled with a mash up of the Devil’s number and a symbol for sex.

Just the other day, we announced that Jimmy Eat World would be releasing Invented September 28. We also showed you the album artwork.

In another update, the band has revealed the track listing for the album and started their Amazon pre-order today. Pre-order the album and stay up to date as the continue revealing more about this upcoming record here.

Track Listing:
1. Heart Is Hard To Find
2. My Best Theory
3. Evidence
4. Higher Devotion
5. Movielike
6. Coffee and Cigarettes
7. Stop
8. Littlething
9. Cut
10. Action Needs An Audience
11. Invented
12. Mixtape

photo by: Patrice Jackson

Beach Fossils – Daydream

Coming from the musical Mecca that is Brooklyn, Beach Fossils came to play a stellar set at the Replay Lounge Sunday night. The band is consisted of Dustin Peyseur (lead singer and guitarist), John Pena (bass), Tommy Lucas (drummer) and their extremely new guitarist that JUST learned their songs in 24 hours named CJ.

This quartet carries a lo-fi, fleeting, blissed out sound. Filled with hazy vocals, jangle guitars and steady percussion, this band gives  you a sense of nostalgia and simpler times.

Check out their tour dates on their myspace!

Photos by: Patrice Jackson

Photographer Hilary J. Corts hit up the New York Warped Tour stop in Uniondale. She documented her day at the pop-punk-rock traveling festival. Check out her photos below:

All-American Rejects:

Andrew W.K.:

Breathe Electric:

Every Time I Die:

Jac Vanek & TWLOHA:

Polar Bear Club:

Sum 41:

The Bigger Lights:

The Rocket Summer:

The Summer Set:

View more of Hilary’s work at www.hilaryjcorts.com.

When a young band gets booked at a large venue you never know how they’re going to react. It’ll either be the egos that grow or their appreciation for the fans. In the case of The Gaslight Anthem it was the latter. Having plugged in an entire three years on the music circuit, it was quite surprising that they were placed in a venue like the Midland. A venue that seats over 3,000 people generally houses acts like B.B. King, Steve Martin and Ok Go, and so it wouldn’t have been a surprise for anyone if the band had thought themselves rock stars in that place. But when the four members walked out on stage, there was nothing but genuine ear-to-ear smiles on each. To this the crowd appropriately reacted with their own glee and thus the show began.

From the new album came songs like: “American Slang,” “The Spirit Of Jazz” and “The Diamond Church Street Choir.” “American Slang” got everything going with its alt rock beats paving the way for a little guitar pitched up to an octave generally only seen in the likes of pop rock bands. Yet for this song, it’s that octave that was the perfect place for the cheerful sentiment that inevitably resulted.

Staggered between the newer selections were a few solid and slightly older hits. One of these (“Old White Lincoln”) seemed to groove on a slightly different frequency than the rest, but still proved to translate to the stage almost seamlessly. The fairly monotone rhythm section though not really defining, did manage to bring in a The Killers kind of dance (or sway rather) from the audience.

“This next song proves that Miles Davis is cooler than me.” When Brian (lead vocals) uttered these words, there was an instant increase in respect. This naturally stemmed from the vast appreciation of Mr. Davis and his music, but also from the reassuring fact that Gaslight still believes that they are at the beginning of their careers and have much to learn. The point of this was not to do anything just mentioned, but rather to preface the song “Miles Davis And The Cool.” A song while not directly influenced musically by the classic jazz of the 60’s, still referenced a feeling ever to familiar to Miles – the blues. Again a comparison to The Killers pops out with the repetitive and quick motions from the guitars and lyrics that sound like they come out of a man who was just beaten down by love.

An hour long set ended and an audience full of mid-to-late twenties begged for more. At one point they actually randomly started chanting a soccer saying, which was odd, but apparently effective. After a quicker than the normal “fashionable wait for encore” time, the boys were promptly back on stage. While the wait was shorter than normal, the encore was longer. Six songs made it on the list, like the song “Film Noir.” A song that was positioned for a guitar solo, however this solo was surprisingly impressive. Though fairly simplistic in nature, it screamed of 80s classic. It was the type of guitar talent similarly seen in a band like Cream. That type of rock faded for some punk rock gut wrenching screams so raw and raspy you’d swear it was Tim, veteran punk from Rise Against.

The night ended with their huge hit from The ’59 Sound album called “The Backseat.” It squeezed out what little energy that crowd had left with its choruses bursting with emotion and chord progressions that just wouldn’t let go. Those feet that were previously merely tapping had convinced the entire body to let go.

The masses of people that flocked to the show came without expectations. They only wanted to hear one of their favorite bands perform. No fancy effects or expensive equipment was needed. And that just what Gaslight was happy to do.

If you haven’t already heard Devo‘s Something for Everybody, you’re missing out on an album that really does offer something for everybody…even cats like it. The synth-pop, dome-wearing group continues delivering hooky tunes with plenty of sharp wit.

And soon, you’ll be able to catch them live. The band is heading out on a North American tour beginning July 23 in Kansas City as part of 96.5 the Buzz’s Buzz Under the Stars series. Full tour dates are listed below.

Tour Dates:
7/23 – Kansas City, MO – City Market
7/24 – Des Moines, IA – Simon Estes Riverfront
7/26 – Indianapolis, IN – The Vogue
7/28 – Atlanta, GA – Chastain Park
7/30 – Richmond, VA – The National
7/31 – Clifton Park, NY – Northern Lights
8/1 – Montreal, QC, Canada – Osheaga Music & Arts Festival
8/4 – Columbus, OH – Ohio State Fair
8/5 – Chicago, IL – Congress Theatre
8/6 – Chicago, IL – Lollapalooza 2010
9/4 – Squamish, British Columbia – Live at Squamish
9/18 – Phoenix, AZ – Arizona Fall Frenzy

As the finale for a week-long benefit for Seattle’s premiere all-ages venue The Vera Project, the newly-remonikered Brite Futures (formerly Natalie Portman’s Shaved Head) played their first show with the new name, not to mention their first show in Seattle in 9 months. As singer Shaun Libman said during their set, “We could have had a baby in the time we were gone.” Guitarist Luke Smith replied with, “Maybe we did. The baby’s name is Shaun.” But in all seriousness, it was nice to see them playing in Seattle again.

As I stood in line outside the venue, this man – who was obvious inebriated – shouted, “who’s playing tonight, the Jonas Brothers?” Seeing that this was a benefit for the all-ages movement in Seattle, a large majority of the people who came out to see Brite Futures was underage. It made me feel quite old, but the one really good part about all-ages shows is that they’re never short on energy. And it was good for me because the people standing in front of me were considerably shorter than I so I had a perfect view of the stage.

Now, Brite Futures weren’t the only band to play at this “A Drink for the Kids” benefit show. They were preceded by Motopony and Sap’N, both Seattle bands, and both of which I’d never heard before. So this was a nice treat. Both bands were awesome, but in quite different ways.

Motopony started off with the understated indie folk rock vibe, but singer and guitarist Daniel Blue had far more soul than I would have expected to match with the music. After a few songs, I turned to my sister and mentioned that his voice reminded me of Cold War Kids. She agreed. And along with the building energy from song to song, Blue eventually got up from his chair (he had to sit because his guitar strap broke) and started to dance. Not just shimmy and trip around the stage, but really dance. Like spin and salsa and even possibly moonwalk. It was refreshing. Motopony’s set was short, but the heavy and groovy “Seer” was my favorite song of theirs. I say groovy because while staying current, Motopony had a bid of a retro feel, with kicking guitar licks and organ tones. The fact that keyboardist Buddy Ross was a playing a clearly retro keyboard could have contributed to that too, as well as lead guitarist Brantley Cady’s Hendrix-esque Afro.

After Motopony finished their set around 9:45, we had a short interlude before Seattle’s own electro-soul performance duo Sap’N took their place. They’d just come off the release of their debut EP, produced by another Seattle artist P Smoov (of Fresh Espresso and Mad Rad). The singing boy/girl duo, Mitch and Regina stepped out on stage, accompanied by their DJ Joan Law, all sporting glittering face paint, just to up the energy ante. Even though the glitter should have been some sort of clue, I had no idea what to expect. And with how excited the young crowd was already, they were really fun. A couple of the stands out tracks were “Special Services” and “Girl’s Name.” Again, it felt retro – not 70s retro like Motopony, but 90s dance pop retro. Just to express that further – the last song Sap’N played was “Pump Up the Jam.” As in Technotronic. I’m serious. After being told that they had two minutes left to play, Mitch said to the crowd of 17-year-olds, “This song might be a bit old for some of you.”

If you ever get the chance to see them – do it. You’ll be really sweaty at the end of it all. Because at this point, I was already sweaty. But we were about to pump up the jam even more when Brite Futures came out on stage. However, not before the owners of the Vera Project gave a little information about the benefit, as well as sending a couple empty jugs around the crowd for people to donate. You see, the Vera Project is Seattle’s only non-profit all-ages venue run by donations and volunteers, and this was their 10-year anniversary.

But at 11 p.m. sharp, the stage was littered with handmade paper cones covered with glitter, and one even designed like an ice cream cone. Brite Futures took the stage one by one – keyboardist David Price first, then drummer Liam Downey, bass keyboardist and bassist – heck I’m not even going to say what they play because they all shift around instruments. Then Claire England, Luke Smith and Shaun Libman took the stage all in matching white ensembles to a trippy intro that they listed as “Sister” on the set list. There were a handful of new songs on that set list, so I had a hard time deciphering which song was which.

The last time I saw Brite Futures…well they weren’t called Brite Futures, but they weren’t the headliners, so I’d never seen a truly loving crowd. All I have to say is: oh my god. I already loved this band so much, but being in a crowd of ridiculously excited and energetic teenagers made it all the more fun. The band started with their relatively mellow “Bedroom Costume” and “Slow Motion Tag Team” (and I stress ‘relatively,’ because in any other context, it wouldn’t be mellow). But after that, the dancing was full-throttle. “Holding Hands in the Shower” and “Me + Yr Daughter” came next, and since were two of my favorites I was overjoyed. I’m sure anyone walking down Pike would have been able to feel the heat radiating off the windows in Neumo’s, because it got sweaty in there. Like to the point where an the breeze from an open door never felt so good. I don’t know how they do it, but Brite Futures manages to bring sexiness to their music while still remaining youthful. And I love it. The band then led us all into a few of their new songs, including “My Funk” and “Dog Eared Summer” off the recently re-released Glistening Pleasure 2.0 (which they actually just released last Tuesday). England took the mic for “My Funk,” which she proclaimed was about ice cream. It had a bit more soul and polish than the older songs, so it was different, as was “Dog Eared Summer.” Actually when they started playing “Dog Eared Summer,” Smith grabbed an acoustic guitar for the first time.

“You guys are probably wondering, ‘what is this wooden instrument I’m holding?’ And if you checked our website recently, you know what’s coming.” He was referring to when they released “Dog Eared Summer” for free on their website back when they first changed their name. Even though it was considerably light and beachy, the crowd still danced their little behinds off, and we all swayed our hands back and forth to the beat.

In fact, all the new songs that night showed that along with the name change, the band has grown up a bit. It’s always nice to see progression without too much change.

After this point, I’m sure we’d all made Neumo’s into a sauna, and my camera battery had also died, so I put it away so I wouldn’t risk damaging it. My industrial camera bag protected it pretty well while I was constantly jumping for the next twenty minutes or so. My knees are still sore. The fast-paced “Hush Hush” was by far the craziest part of the night, besides the latter half of the encore, which included the heavy and sexy “Malibu Highlife.” But that’s probably because it crescendos into a much quicker speed and the repeated line “I’m not in love with you! I’m in love with what we do!” So naturally, we all sang along.

And as it was just after midnight, there was one song their set was clearly missing at this point – “Beard Lust,” possibly the only song ever written about facial hair grooming. Multiple people from the crowd shouted “Beard Lust” before they started their final song, and I’m not gonna lie – I was one of them. As soon as Price started the opening notes, everyone went nuts and just as Libman instructed people to throw their hands up and give – essentially – spirit fingers, we all obliged. Libman took all the handmade paper cones off the stage and threw them into the crowd and balloons and confetti filled the air while we all had a super sweaty fun dance party.

Afterwards, walking away from Neumo’s with my friends and the paper cone I managed to wrangle from the stage, it was just nice to be in the fresh air away from the body heat sauna. But as uncomfortable as I was by 12:30, I had an inexplicable amount of fun seeing Brite Futures for the first time in nine months.

Welcome back, guys. Welcome back.

Set list:

1. Sister
2. Bedroom Costume
3. Slow Motion Tag Team
4. Holding hands in the Shower
5. Me + Yr Daughter
6. My Funk
7. Dog Eared Summer
8. Pig Bag
9. Hush Hush
10. Sophisticated Side Ponytail
11. Baby Rain
12. Iceage Babeland

Encore

1. Tell It To Me
2. Malibu Highlife
3. Beard Lust