popwreckoning

Can a band be raw and polished? I had never really thought about it until I saw White Rabbits at their Kansas City stop. Their sound had such strong, uninhibited emotions that it came off with raw garage-rock-band sound. But at the same time everything from vocals to percussion, were precise and perfectly timed, giving the show an overall sheen of quality and talent.

The night jumped between selections from It’s Frightening and a new album (to hopefully be released soon). The older songs got the crowd on its feet, while the newbies kept the curiosity alive.

“The Salesman (Tramp Life)” with its light and airy notes, started a gentle groove in the audience. One wouldn’t think this song would translate well to the stage, due to the fact that in general it’s a rather simplistic song. But between the melodic repetitions and hints of harmonies, this ended up being a great energy build for the evening.

Stepping back a few decades to an 80s folk/rock flavor was “They Done Wrong / We Done Wrong”. Guitars managed to squeeze an acoustic sentiment out of an electric model and when combined with a slap-beat from the drums, made this one intriguing to watch and soothing to hear.

Mixed in between a few new songs, [which unfortunately came to us without titles] was “Lionesse”. If the Rabbits can combine raw and polish, then it’s a not a stretch for them to combine dance-y with eerie. The beginning of this song is set so low on the bass notes that when met with whispering lyrics, goosebumps start to form. However eventually, we were able to see one of the main elements that makes the White Rabbits who they are – percussion. The entire night there wer two drummers on stage, but there were those select songs where each drummer played a significant role. This was one of those songs.

While main rhythm was kept on the kit, a handful of marching drums were given quite a beating. So much was going on stage that you didn’t know whether to dance or just stand there in amazement.

“Percussion Gun” was the entire reason I started listening to the Rabbits and it was apparent that this was the same for most of the audience. When the opening drum beats came bursting off the stage, cheers erupted. Soft and polished lyrics were set on top of distorted guitar strums and beats so quick Matthew Clark seriously had to be crazy in order to keep up. Again we were back to a base of minimal frill music, but there’s something about this band that never lets their sound come off as anything but amazing.

A short encore indulged the crowd with a couple more songs. Ending everything off with “Rudie Fails” a sound similar to that of how they started the evening. There was just enough of an up-tempo to keep the heads nodding and sashaying hips moving. The white keys really stood out as a main player with their cleverly placed chords.

A smaller venue was the perfect setting for a White Rabbits set. The amount of things happening on one stage at one time requires a setting for complete concentration. Not to mention the fact that the intimate approach just made the evening that much more entertaining.  And to top it off, the introduction of new music was a fantastic Christmas present.

Now, Now made a gargantuan impression with their small hands at Kansas City’s Recordbar on Thursday, December 1.

Sliding in perfect unison along the bellowing bodies of their semi-hollow Telecasters, the trio (although absent in bass) did not let simplicity override intensity.  Accompanied by voluptuous percussion and seemingly coagulated samples, the dark indie pop outfit attacked the unsuspecting venue with enrapturing hooks and espoused harmonies.

The evening hosted a largely female crowd in support of the famed Sick of Sarah. I think it’s pretty safe to say that while I had listened to Now, Now‘s Neighbors EP, I had underestimated the ferocity of the girls as guitarists. To watch their fingers waltz across the fretboard was almost too distracting from the fluidity of the music itself. Despite the slight aggression of being relatively somber instrumentalists, their soft-sung lyrics cut through the reverb andfuzz of the classic DS-1 Distortion to produce an almost-cuteness in the vein of Gregory and the Hawk. To directly quote SOS: “Those girls in Now, Now can sing to me any night.”

Showcasing Bradley Hale on drums, the set induced a mechanical head-nodding that trended by the end of their second song all the way into a climax with “Neighbors.” His precision with each crack on the snare followed by a sequence of rim clicks proved mesmerizing, forcing the audience to donate their eyes equally.

As the introductory band of the tour, Now, Now kept the set very characteristic to the members themselves: short and sweet.

Sick of Sarah took the stage next, followed by Deas Vail with a series of Christmas covers in light of the season. While each band produced an exciting and diverse performance, the energy was none compared to the temperament and honesty of Now, Now‘s exhibition.

Now, Now is:
Cacie Dalager- vocals, guitar, keyboard
Jess Abbot- guitar, vocals
Bradley Hale- drums, backing vocals

Review by Stephanie Castor
Photos by Stefanie Petrozz 

Let’s just start by saying all three bands that played Sunday night, November 27, were terrific and finish with; why do bands request monotonous lighting? As much as I love a band, I get tainted when I’m robbed of capturing them at their best. I’m wrong, I am sure, but isn’t the whole idea to see said band in the throws of passion? Blah, blah, blah I’ll stop whining now.

During my sophomore year at college I was exposed to Bauhaus and Sisters of Mercy. That would have been 1987. Two years earlier I got hooked on Love and Rockets, albeit, through Ian Anderson’s flute solo on “No New Tale to Tell”. I was, um… am, a huge fan of Jethro Tull. I felt cheated to have come around so late. Why didn’t I grab hold of where L&R came from not just where they were going? It is pretty cool to be photographing and writing about music that has helped steer my path for 24 years though. I am grateful.

Peter Murphy and his band, Mark Gemini Thwaite (GT)/ guitars, Jeff Shartoff/ bass and violin and Nick Lucero/drums, took the stage and opened up with “All Night Long” from ’88′s Love Hysteria. Sweet start, a pretty song with all the ranges of Peter’s vocals and bright 12 string guitar from Mark GT.

Then a swing to the rocking glammy “Velocity Bird” from Ninth. Two more Ninth songs followed with the rest of the set swelling in and out of Deep, more Cascade and Ninth and four Bauhaus songs. The songs seemed to flow seamlessly, peaking in rocking numbers and leveling off to crooning selections that gave a little breather.

“Subway” from Cascade was played in the Dust style. Shartoff added beautifully effect laden violin. The trance continued on “Gaslit” from the EP of B-sides The Secret Bees of Ninth and was gently broken by “Deep Ocean Vast Sea.” The set closed out with the Mark’s severely compressed and gated guitars on “Uneven and Brittle” and the awesome Bauhaus song “In A Flat Field.”

Mark GT has been with Peter since at least 2008 when he played the Retrospective tour. His brand of guitar has shaped a lot of the feel of Ninth. It is a welcome marriage with Peter’s voice that brings a hardness back to the songs that is invigorating. After a brief dismount from the stage the band returned to a chanting audience. Picking up with the gentle “Marlene Dietrich’s Favorite Poem” and favorite “Cuts You Up” from “Deep.” I’m pretty sure that David Bowie’s “Ziggy Stardust” ended the show. By this time I was a little delirious. There were three encores on the set list but I think the show was shortened. I do remember that “Ziggy Stardust” rocked properly though! During the whole song Peter walked back and forth across the stage clasping hands of his devoted fans. Of note, there was no barrier. One had been set up and taken down on the band’s request. Pretty outstanding of Mr. Murphy to stay so close to everyone, especially since the last time he came through Kansas City a burly Mohawked fan jumped on stage, danced around and gave him a hug before being nicely removed!

She Wants Revenge started dead on time. I always appreciate the consideration this shows to everyone waiting patiently. It was a little weird though, ten minutes before the band arrived from the green room the background music was either too low to hear or just nonexistent. Awkward. Justin Warfield/ vocals & guitar, Adam Bravin (12)/ bass & keyboards, Thomas Froggatt/ guitar and, dang, I don’t think Scott Ellis (no trademark cigarette and a different drum setup)/ drums. Not “dang” bad, just “dang” I couldn’t find out who was playing drums on this tour anywhere!

So, the band came out strong with “Written In Blood” from This Is Forever and then dug into Valleyheart for three songs, “Up In Flames”, “Reasons” and “Little Stars.” All of which seemed to have more dimension and breathing room than SWR’s first two full lengths. A few of the things I like about their self-titled and This Is Forever are the drone, the ebbs in dynamics, the morose passion. I think Valleyheart keeps these elements while dropping some of the dancy bits; it sounds fresh and inspired.

With “What I Want” SWR reverts back to earlier music and then one last Valleyheart song, “Take The World” before staying with earlier numbers for the rest of the set. I would have liked to see some change in red the lighting during the performance. Occasionally a blue or green light would hit Justin but the rest of the band was in a dim red light all evening. Both Adam 12 and Justin entertained with gentle banter engaging their fans and pumping opener Hussle Club.

On that note, Hussle Club, on tour from New York City, started off the night. Prince Terrance, drummer from Santigold, Spank Rock, Hearts Revolution and Major Lazer, led the band on vocals in a mash up of new wave, post punk and goth. Though they don’t have much recorded music out there, they should, a limited 7″ was available at the show.

“High Expectations” led the set moving on to “Children Of The Underground” with a nod to Sisters of Mercy. They exuded a young high energy that was catchy. The guitar work was noisy and a blast. Even though I couldn’t get a good photo of the guitarist it sure was fun watching him! They were plagued with feedback but took it in stride without stumbling. Hussle Club had the best light of the night, well, at least until Terrance got shy and ask to have them turned down. After their set I talk with Terrance as the band was getting ready to load up the van. I mentioned I love seeing out of town bands lugging C&C drums around. Turns out it was Terrance’s kit.

The sound for both She Wants Revenge and Peter Murphy was overly brittle. Usually I am very tolerant of club acoustics but I’ve heard both bands have better mixes at the Beaumont. Especially disappointing was how far back Peter’s vocals were and the lack of definition between his vocals and the bass guitar. Even so I would come back and see them both in an instant!

The crowd was gracious as I weaseled in to photograph the first three songs of each band. I even had a reserved spot in front saved for me. In payment for this kind of treatment I always offer a HiRes image to the few people I impose upon, just a little “thank you” for being cool. It wasn’t a huge crowd, disappointing for such iconic music, it was a devoted group at least. Peter even mentioned that he appreciated the manners of the Kansas City fans compared to the rush of LA. The last time SWR played the Beaumont Justin gushed “you may be few, but you are MIGHTY” which brought a roar loader than five times what the numbers added up to. Nicely done Kansas City. This is a splendid place to live.

Photos and Review by Todd Zimmer

Setlist:
PETER MURPHY -
All Night Long
Velocity Bird
Peace To Earth
Memory Go
Strange Kind of Love
I’ll Fall On Your Knife
Silent Hedges
Too Much 21st Century
I Spit Roses
Subway
Gaslit
Deep Ocean Vast Sea
The Prince And Old Lady Shade
Uneven And Brittle
In The Flat Field
//
Marlene Dietrich’s Favorite Poem
Cuts You Up
Ziggy Stardust

SHE WANTS REVENGE -
Written In Blood
Up In Flames
Reasons
Little Stars
What I Want
Take The World
Sleep
This Is The End
Pretend the World Has Ended
Disconnect
These Things
Rachel
Out of Control

HUSSLE CLUB -
High Expectations
Children of The Underground
Loose Tights
Quaranteenagers
FCK SHT UP
Uptown Downtown

Beach-goers will be getting a taste of the Midwest this December as the indie pop boys in Someone Still Loves You Boris Yeltsin head out on the two-week second leg of their tour in support of recent release Tape Club. Missouri mates in Ha Ha Tonka will be contributing an alternative country set as co-headliners while the bands venture down the West Coast.

The kick-off was held on November 30 at the Hi Dive in Denver and will take the bands as far north as Vancouver, then all the way back to New Mexico.

The tour will feature performances off the 26-track album, Tape Club, compiled of rare and previously unreleased tracks from SSLYBY’s career thus far.

SSLYBY West Coast Tour Dates w/ Ha Ha Tonka
11/30 – Hi Dive, Denver, CO
12/1 – Urban Lounge, Salt Lake City, UT
12/2 – Neurolux, Boise, ID
12/3 – Tractor Tavern, Seattle, WA
12/4 – The Wild Buffalo, Bellingham, WA
12/5 – Biltmore Cabaret, Vancouver, Canada
12/6 – Mississippi Studios, Portland, OR
12/8 – Hotel Utah, San Francisco, CA
12/9 – Bootleg Theater, Los Angeles, CA
12/10 – Soda Bar, San Diego, CA
12/12 – Club Congress, Tucson, AZ
12/14 – Sol Santa Fe, Santa Fe, NM

SSLYBY | website | facebook

Post written by Stephanie Castor

Long Beach, Calif. band, The Fling is getting a taste of the Midwest during this chilly month with Yukon Blonde. Both bands will be playing this upcoming Friday, December 2 in Omaha at Slowdown Jr and the very next day in Kansas City at the Riot Room.

Being on the road since October with David Vandervelde and Floating Action, they’re finishing up the third leg of tour with Canadian rockers, Yukon Blonde.

The Fling are currently supporting their recent seven song EP released on Dangerbird Records, What I’ve Seen. Along with the EP, you can view a video from their single “Dogpile” here.

Yukon Blonde also has a new EP out, Fire//Water, released in September on Dine Alone Records. Watch the “Water” video here.

These are both two bands you won’t want to miss especially on the same bill together. Check out their tour dates below, websites, and other cool things.

Tour Dates:
Thu, Dec 1    Ames, IA  @  The Maintenance Shop
Fri, Dec 2    Omaha, NE @   Slowdown Jr
Sat, Dec 3    Kansas City, MO @   Riot Room
Sun,Dec 4    Oklahoma City, OK @ The Conservatory
Tue, Dec 6    Little Rock, AR  @  Juanita’s Cantina
Wed, Dec 7    Dallas, TX  @  Double Wide
Thu, Dec 8    Houston, TX  @  Fitz Downstairs
Fri, Dec 9      Austin, TX  @  Emo’s Inside
Sun, Dec 11    Denver, CO  @  Larimer Lounge
Tue, Dec 13    Salt Lake City, UT  @  Kilby Court
Wed, Dec 14    Boise, ID  @  Neurolox
Fri, Dec 16    Spokane, WA  @  A Club
Sat, Dec 17   Seattle, WA @ Crocodile Café
Sun, Dec 18  Portland, OR @ Doug Fir
Wed, Dec 21 San Francisco, CA @ Brick & Mortar
Thu, Dec 22  Los Angeles, CA @ Echo

The Fling | website | facebook | twitter
Yukon Blonde | website | facebook | twitter

X is for Love is the first vinyl release for Golden Sound Records and Baby Teardrops. To celebrate, Baby Teardrops played a show at the Brick on November 25. Below are photos from the event:

Missed the show and want to grab a record? Head over to Golden Sound Records to buy one.

Photos: 2011 Todd Zimmer

It was announced on November 21, 2011 that members of Thrice would be taking some time off after their upcoming tour. Front man, Dustin Kensrue, stated that the band is not breaking up, however after thirteen years of relentless touring and recording, it’s time for a bit of repose:

“Thrice is not breaking up.  If nothing has broken us up by now, I doubt anything ever could.

However, we will be taking a break from being a full-time band, and the upcoming tour in the Spring will be the last one for the foreseeable future.

Playing music for the past 13 years with Riley, Ed, and Teppei has been such a gift.  We have been able to see the world, share music with thousands and thousands of people, and make records with a variety of talented and inspiring people.  The four of us have been through many highs and lows and overcome them together…”

Click here for the full statement

Watch the video for “Promises” here.

Be sure to purchase Major/Minor in stores and on iTunes now, and catch Thrice on their upcoming tour. Check out their Official Site for more info on dates, releases, and details on their hiatus.

Written by Stephanie Castor

Some of the nations favorite frontmen embark on a national tour together starting January 19. After three years of short regional tours, this will be the first time WTB? sets out nationally.

Matt Pryor (of The Get Up Kids), Chris Conley (of Saves The Day), Anthony Raneri (of Bayside) and for the first time, Ace Enders (The Early November, I Can Make A Mess Like Nobody’s Business) and Evan Weiss (of Into It. Over It.) will be joining them.  Dustin Kensrue (of Thrice) will also be joining for three dates in Southern California. The tour features each of these frontmen performing solo acts and possible collaborative sets for 20 dates together across the country.

Pre-sale tickets are on sale now at wherestheband.ducatking.com and general public onsale will be available Wednesday, November 30 at noon local time.

This is definitely a tour you don’t want to miss.

Tour Dates:

Jan 19 — Stroudsburg PA — Sherman Theater
Jan 20 — Philadelphia PA — Theatre of Living Arts
Jan 21 — Brooklyn NY — Music Hall of Williamsburg
Jan 22 — Baltimore MD — Ottobar
Jan 24 — Carrboro NC — Cat’s Cradle
Jan 25 — West Columbia SC — New Brookland Tavern
Jan 26 — St. Augustine FL — Cafe 11
Jan 27 — Gainesville FL — Double Down
Jan 28 — Orlando FL — The Social
Jan 29 — Atlanta GA — The Masquerade – Hell Stage
Jan 31 — Dallas TX — Club Dada
Feb 1 — Austin TX — Antone’s
Feb 3 — Phoenix AZ — The Crescent Ballroom
Feb 4 — San Diego CA — House of Blues *
Feb 5 — West Hollywood CA — The Troubadour *
Feb 7 — Santa Ana CA — Yost Theater *
Feb 8 — San Luis Obispo CA — Downtown Brew
Feb 9 — San Francisco CA — Bottom of the Hill
Feb 10 — Portland OR — Doug Fir Lounge
Feb 11 — Seattle WA — Tractor Tavern

* includes Dustin Kensrue

Where’s The Band? | Facebook

The biggest surprise of my Tuesday night was showing up to recordBar to watch Mates Of State and being greeted by a “Sold Out” sign. On the other hand it was no surprise that Mates Of State killed it. A group of hopeful fans were being turned away as I made my way into the dark bar. They most likely thought the same thing I did, “It’s just our old, local band, Mates Of State. There is no way it will sell out.” Well, we were both wrong.

I wandered into the overly stuffed recordBar right at the beginning of a set from Generationals. This dancey pop group hailing from New Orleans brought a bright, happy atmosphere to the eager crowd. It was made apparent that the enthusiasm for the set was shared by the band itself when the frontman commented that he was “impressed by the crowd” and expressed his relief that it wasn’t a repeat of “two years ago at Riot Room.” Generationals’ set was brief and pleasant. It was music you would listen to if you had a happy childhood (or just a bad memory of your unhappy one.) Cute, retro, keyboard driven pop with plenty of “Ooos” and “Aaahs” to go around.

After a quick stage dressing it was time for Mates Of State. They had adorned the stage with elaborate, homemade decorations. A wall of flowers hung behind them, fall leaves were draped all over the keyboards and drums, even the ceiling was decorated with two puffy clouds. As the band took the stage I overheard a group of girls behind me begin to get rather excited about the prospect of dancing. Apparently this is what most of the crowd had been planning for, because the moment the music started the bar erupted into a dance off. Accompanied, most fittingly, by a girly singalong. This is what Mates Of State are made for.

I noticed a bit of a change in the lineup since the last time I had seen the band play (Bleeding Kansas 2006, I believe.) To the classic piano and drum duo they had added an electric guitar player and another keyboardist who occasionally chimed in with athematic trumpet parts.

The first thing that shines through when you listen to Mates Of State are their driving, catchy choruses. The melodies, though simple and poppy, will stick with you for days. This band is also very well seasoned. For over a decade they have been playing crowded venues and have the experience of shows. Mates really know how to entertain a crowd and keep the show flowing. Just a few songs into the set they played the fan favorite “Shake It Off” then jumped straight into a new song. The new track was even more dancey and upbeat than the rest of the set, showing that with age the couple hasn’t soured at all.

On this night Mates Of State seemed larger than life, with a giant tour bus and a sold out show. At one point I had forgotten that they were the same band that I had known and listened to for so many years. I had to be reminded of their Lawrence heritage when, mid-set, they yelled out to their fans, “It is great to be back in town.”

I left recordBar encouraged by the show. Though the crowd consisted of mostly fans in their mid 30’s (possibly old faithfuls from back in the Lawrence days.) There were small pockets of younger fans who will hopefully carry on the success of the band. I am assured that as long as Mates Of State continue to play they will have an eager audience to play to.

Review written by Mat Shoare

Sunday evening I witnessed short sets from two great bands, Active Child, and M83. It was a sold out show, the first of two the bands would play that night.

Up first were Active Child.  The lights went down, and three men came out, one sitting before a harp. I remember thinking: “OK,  a goddamn harp. This should be interesting.”  Then the guy opened his mouth, and the essence of pure beauty poured out.

Active Child is primarily the solo project of Los Angles’ Pat Grossi.  To a guy who has seen entirely too many god-awful opening acts in the last few months they might seem horrifying on paper: inspired by days as a choir boy, synths, drums, harps and… oh shit, another guy with a laptop.  Live it’s an entirely different story.

Active Child plays otherworldly music that dredges up the old cliché of being almost indescribable. Grossi knows what he’s doing, and he’s picked his sidemen well. The crowd around me seemed as impressed as I was. It was synth pop, in a way, but it was influenced by natural instruments as well, a lush, almost hallucination inducing blend of strings and machines.

If you get a chance to see Active Child, do so. They sound great on record, but to truly do them  justice they must be experienced in person.

Up next was the headliner, M83. I was a bit late to the party with this band, as I only came on board with their new album, Hurry Up We’re Dreaming. I was impressed however, because how many bands sell out two shows in one night?

The band opened  (not surprisingly) with “Intro” off the recent album.  They then tore through a set that was designed to get the crowd pumped. The highlight was “Midnight City,” which immediately turned the room into a dance floor.

The set was vibrant, exciting, and occasionally brilliant. It did seem like a bit of a cheat, though. It seemed more like a warm-up for the later gig, than an actual performance.  Though I enjoyed the set, I probably wouldn’t go see M83 again. Active Child, however… you’d have to fight to keep me away.