popwreckoning

The great thing about most debut albums? A band can go balls to the wall and give it everything they’ve got and want to give, because they have nothing to lose and everything to gain. This definitely describes the Static Jacks‘ first album length offering to the world, If You’re Young. Despite the fact that the band hails from New Jersey, they sound more like the Libertines than Bruce Springsteen. They mix anarchic punk, the angst of youth, and remarkably accomplished instrumentation to create a really engaging sound.

My first introduction to the quartet was their impressive opening set in support of one of my current English rock band favorites, the Futureheads, in June 2010. I remember hearing them let rip onstage at the Black Cat and thinking, yep, I know exactly why the Futureheads chose them for support. While they must certainly have had different musical upbringings (the Static Jacks are very young: when I saw them, they all had Xs on the backs of their hands), I imagine the two bands’ mindsets are pretty similar: make it loud, make it powerful, and make it fun.

If You’re Young is, from what I can tell, a pretty good distillation of the band’s frenetic energy in live performance. Some of the songs are as chaotic as beloved Ramones numbers from the ’70s that should appeal to people who think American guitar rock is dead. (It’s not. There are plenty of indie bands in America. They’re just not getting played on the radio. Thanks Kings of Leon.) Opening track “Defend Rosie” tells you straight out from the gate that you are not dealing with just any band. The Static Jacks are a force to be reckoned with. “Girl Parts,” another high octane track, features added vocals from Ceci Gomez from Brooklyn band Beast Make Bomb.

But there are more melodic numbers that show off the band’s songwriting and musical ability. “Into the Sun” is a great example of this, with great guitar work and lead singer Ian Devaney‘s powerful vocal delivery. Other contagious tunes include “My Parents Lied,” a song I immediately picked up on live because of the infectious handclapping and minor key melody, and “Mercy, Hallelujah” and “Relief,” which both remind me of, dare I say it, the Boss. (I know. To some of you out there, that’s flat-out heresy. But I’m saying it because I want you to give this album a chance.) “Blood Pressure,” with its great singalong of “I’m afraid of the future / I want to share it with you” is oddly touching: as Devaney said in a recent interview about the album, “It’s mostly saying ‘if you’re young – or if you ever were – you’ll know where we’re coming from with these songs.’ These are pretty universal experiences that most people experience from their late teens and early twenties. It’s such a transition period, figuring out what you want to do and where you want to go. Youthful anxiety, I suppose.”

There are some surprising moments on here as well. “Sonata (Maybe We Can Work It Out)” is the band’s attempt at a tender ballad, with Strokes-like guitars, but its “partner” song, “Walls (We Can’t Work It Out)”, brings things back up tempo with feverish intensity. Considering their relatively young age, the Static Jacks have managed to put together a nice collection of hard rocking, memorable songs that show off their talents, talents that are sure only to grow. Catch the band live this fall as alongside New Yorkers the Postelles, they open for English rockers the Wombats. Will I be there for the opening night of the tour? You bet.

The Static Jacks’ debut album, If You’re Young, will be released in North America on August 30 on Fenway Recordings.

Track Listing
01. Defend Rosie
02. Girl Parts
03. Into the Sun
04. My Parents Lied
05. Sonata (Maybe We Can Work Out)
06. Walls (We Can’t Work It Out)
07. Mercy, Hallelujah
08. Blood Pressure
09. This is Me Dancing
10. Relief
11. It’s Such a Shame
12. Drano-Ears

Tour Dates
Oct 21 – 9:30 Club / Washington, DC*
Oct 22 – Johnny Brenda’s / Philadelphia*
Oct 24 – Jefferson Theatre / Charlottesville, VA*
Oct 25 – Local 506 / Carrboro, NC*
Oct 26 – Loft / Atlanta*
Oct 29 – Fitzgeralds / Houston*
Oct 30 – Parish / Austin*
Nov 01 – Granada / Dallas*
Nov 02 – Record Bar / Kansas City*
Nov 04 – Outland / Columbus*
Nov 05 – Subterranean / Chicago*
Nov 07 – Varsity Theater / Minneapolis*
Nov 10 – Wonder Ballroom / Portland*
Nov 11 – Venue / Vancouver*
Nov 12 – Crocodile / Seattle*
*opening for the Wombats

The Static Jacks: website | myspace | @ Black Cat

Like Passion Pit, Hockey is an American band I was introduced to last winter not by American radio but by the lovely Nemone Metaxas, one of my favorite DJs on BBC 6music. I loved the exuberant “Too Fake” the first time I heard its electronic dance pop goodness through my computer speakers. My interest in the Portland band was further piqued when I learned they had toured in the UK in early 2009 as support for Friendly Fires. The problem was getting a chance to see the band stateside. The band has toured North America a couple times now, but had never played in D.C., so when I got the alert a while back that they would be playing the Rock ‘n’ Roll Hotel, I was chomping at the bit.

The opening act for the night were the Postelles, a New York City band that Rolling Stone has described as “channel[ing] Joe Jackson and Elvis Costello and – more recently – the Arctic Monkeys and the Strokes, building songs from brief guitar stabs and sounding like the wound-up early hours of what will be a long Saturday night on the town. There are elements of both mod and post-punk, but the Postelles have a sneering attitude all their own…” Interesting description. Frankly, they sound to me more similar to New York-based indie rockers Locksley and Sunderland, England’s Frankie and the Heartstrings, bands that have gone back in time to perfect the ‘60s pop / rock ‘n’ roll band model.

Make no mistake: the Postelles have a sound all their own and they sound great live, led by lead singer/guitarist Daniel Balk’s yearning vocals. Sometimes I wish I had the talent to come up with a good pop melody. The Postelles definitely can, as evidenced by the guitar-jangly “Sleep on the Dance Floor,” one of their set’s highlights. The title of the song “Hey Little Sister” sounds like it was written by Lennon/McCartney (do “Hello Little Girl” and “Little Child” ring any bells?), and I thought it was just amazing live, guitarist David Dargahi taking on lead vocals and mixing things up a bit. In a way, I was glad the Constellations canceled, because that meant we got a longer set from the Postelles than fans in other cities. The band’s debut EP White Nights was released the first week of March on Capitol Records / Astralwerks and is available now.

The Postelles Set List
Looking Glass
White Nights
She She
New song
Beat on the Brat (Ramones cover)
Stella
Hey Little Sister
Can’t Stand Still
Sleep on the Dance Floor
1, 2, 3 Stop

Hockey were supposed to go on at 10 (with the Postelles at 9) but they didn’t actually get on stage until 10:40, fortuitous for latecomers who crammed in at the front of the stage. When the band came on stage to tinker with their instruments, lead singer Ben Grubin flashed me a grin, so I knew I was in for a good show. Their debut album Mind Chaos is such a fun, fun record that I had way too high expectations, envisioning that they’d all appear dressed as colorfully as their record with hats and bandannas, and be jumping all over the stage. No such luck.

Instead, Grubin came on in a trademark hoodie but soon peeled it off to reveal a stripy white and orange tunic over black jeans. He was bopping around the stage excitedly and man-handling his microphone reminiscent of another of my favorite musicians, Londoner Patrick Wolf. Alternately between guitar, harmonica (for the folky “Four Holy Photos,” proving the band’s versatility), and a percussion set-up, he was clearly the star of the night. Seeing that Wednesday was St. Patrick’s Day and the crowd at the RnR was rowdier than normal for a weeknight, a new song that I think is called “DJ” seemed entirely appropriate, introduced by Grubin as “[Irish] jig and bluegrass music.”

“3 A.M. Spanish” was a high point of their set, the bass lines from Brian White and hot beats from touring keyboardist Ryan Dolliver just fabulous with Grubin’s hip hoppy vocal approach, punctuated by yelps for the chorus. They also didn’t disappoint with my absolute favorite song from Mind Chaos, “Song Away.” If there was ever a song that could lift your spirits, this is definitely it, with its refrain of “tomorrow’s just a song away.” And really, it is, isn’t it?

Check out this video of the song from their performance at Lollapalooza last summer. I hope this explains why I don’t have too many good photos of him, the man cannot keep still! Just thinking about it, I’m so eager to see the band again very soon.

Hockey Set List
Work
Learn to Lose
Rebels Marry Young (new song)
3 A.M. Spanish
Four Holy Photos
DJ (new song)
Curse This City
Song Away
Preacher
Wanna Be Black
Everyone’s the Same Age
Too Fake
Put the Game Down

Tour Dates
Mar 21 – Snug Harbor / Charlotte
Mar 23 – Mercy Lounge / Nashville*
Mar 24 – Drunken Unicorn / Atlanta*
Mar 25 – Cafe 11 / St. Augustine, FL*
Mar 26 – Club Downunder / Tallahassee, FL*
Mar 27 – Bottletree / Birmingham*
Mar 29 – Thirsty Hippo / Hattiesburg, MS*
Mar 30 – Spanish Moon / Baton Rouge*
Apr 01 – Warehouse Live / Houston*
Apr 02 – Emo’s / Austin*
Apr 03 – Loft / Dallas*
Apr 05 – Brewing Company / Santa Fe*
Apr 06 – Larimer Lounge / Denver*
Apr 07 – Kilby Court / Salt Lake City
Apr 08 – Neurolux / Boise*
Apr 10 – Wonder Ballroom / Portland*
Apr 16 – Coachella Music Festival / Indio, CA
* with the Postelles

Hockey: website | myspace | @ Lollapalooza 2009 | interview with | @ Midland
The Postelles: website | myspace

The Cribs, probably the most famous band to ever come out of Wakefield, England, stopped by Washington’s 9:30 Club Tuesday night for a blistering performance of new songs from their latest album Ignore the Ignorant, as well as old favorites. The English four-piece was joined by Adam Green and the Dead Trees.

I’m not familiar with Adam Green’s back catalogue, or even the Moldy Peaches I’m afraid. What I do know: Green is a close friend of ex-Libertines, ex-Dirty Pretty Things Carl Barat, so by association, many of my Libertines/DPT friends have also become fans of his style of indie rock / anti-folk. He appeared onstage at the 9:30 in a metal-studded leather jacket and extremely tight blue jeans. Based on his look, I was expecting songs done in an over the top, Ramones-style performance, and we got exactly that in spades. Fueled by Stella, Jack Daniels, and bottles of water, the New Yorker ran back and forth across the stage during several songs, posturing and posing, and wiggling his hips. Behind me I heard delighted, appreciative squeals from his devoted female fanbase. Green prefaced the song “Broadcast Beach” with the following droll comment: “let’s do something…intellectual!” More squeals.

Instead of having two separate opening acts as I presumed, the Dead Trees provided excellent backing to Green’s shenanigans. Maybe this happens at all of his shows, but I say “shenanigans” because I think for nearly every number he sang, he jumped on the barrier and tried to launch himself into the crowd. A couple times he was successful; other times, not so much much. At one point I almost got a mouthful of shoe as he crowd surfed over the people behind me. When he finally removed his jacket (to more female squealing) and exposed an Ace bandage around his left elbow, a concerned fan asked what had happened. “What happened to my elbow?” he said in a sing-song voice. “I delivered a baby!” He used that opportunity to launch into “Baby’s Gonna Die.” It should be noted that Green provided much hilarity on this night; at one point, he decided to announce to the 9:30 Club’s kitchen (which has had emblazoned on it a cartoony “Food Food” sign for as long I can remember), “Can we place an order at the Food Food? Five veggie burgers for the boys. Tonight I’ll be a boy.” Other highlights included “What Makes Him Act So Bad” and “Emily,” both of which reminded me so much of really good ’60s songwriting. His latest album Minor Love was released in America on January 16.

The Cribs‘s latest album Ignore the Ignorant was one of my top 5 releases of 2009. I’ve also been a big Smiths fan for a while now (and am much appreciative of Johnny Marr‘s contributions to popular music), so when news broke two years ago now that Marr had become a full-fledged member of the Cribs, this was very exciting news to me indeed. I had been anticipating this gig for weeks, playing and replaying their new album, enjoying the addition of Marr’s virtuoso guitar-playing to the Jarman brothers’ masterful songwriting. Standing outside in the cold a couple hours before the gig, a friend and I were able to hear the band sound check “We Share the Same Skies,” “Hari Kari,” “We Were Aborted” and “Be Safe”, all four sounding amazing then, so that just fueled our excitement.

Once inside, amusingly, we were surrounded by Smiths-style goths and several people from England complaining about the lack of their favorite beer (Boddingtons from Manchester) but talking loudly at length about their love for Johnny Marr. One overzealous English fan felt the need to shout “Johnny Marr, wooo!” every five minutes. Uh, yes, we all know that Johnny Marr is part of the Cribs now. No need to shout, love. Before launching into older song “I’ve Tried Everything,” obviously used to the affection being regularly foisted upon his new bandmate, Ryan Jarman quipped with a knowing grin, “Yes, we love Johnny too. So hands off!” But who could blame the fans for their adoration? Certainly not me. Right in front of my eyes, Johnny Marr was playing the guitar riffs and lines that I had only heard beforehand on record. And every note was sublime. The man’s still got it.

I loved “We Share the Same Skies” the first time I heard it on BBC Radio, and I loved it even more live, the crowd shouting back the chorus to the band. Gary Jarman took lead vocal duties for “Last Year’s Snow,” the kind of song I expect to spur on massive showings of hand-waving for the band at home in England, the guitars and vocals just perfect together. Simply gorgeous. Crashing in powerfully was “Cheat on Me,” the band’s first single from Ignore the Ignorant, filed with a lover’s’ vitriol. “Save Your Secrets,” a gentler number, was achingly beautiful, with lyrics like “Oh, doleful girl / alone in the world / where did her true love go?” and “You are far more likely / to be devoured than empowered / your sense of romance.” Before the show, drummer Ross Jarman revealed to me that he particularly liked playing this one in concert because of its mellowness. I can understand. The rest of the night must have been murder on his previously injured wrist, the band attacking songs with furious intensity and feeding off the excited crowd, energetically pogo-ing with Ryan.

While I was disappointed not to hear my favorite from the new album, the cheeky “Victim of Mass Production,” the nearly hour-and-a-half set couldn’t be beat. Make sure you catch the band’s energetic show next they come to your town. They are also scheduled to appear at Coachella on Friday, April 16.

The Cribs Set List:
We Were Aborted
Hey Scenesters!
We Share the Same Skies
Hari Kari
Last Year’s Snow
What About Me
Cheat On Me
I’ve Tried Everything
Save Your Secrets
Mirror Kissers
Another Number
Our Bovine Public
Ignore the Ignorant
Be Safe
I’m A Realist
Men’s Needs
City of Bugs

Tour Dates:
Jan 22 – Granada Theatre / Dallas*
Jan 23 – Parish / Austin*
Jan 26 – Glass House / Pomona
Jan 27 – Bimbo 365 / San Francisco
Jan 29 – Wonder Ballroom / Portland
Jan 30 – Showbox / Seattle
Jan 31 – Venue / Vancouver
Apr 16 – Coachella Music Festival / Indio, CA
* with Adam Green and the Dead Trees

The Cribs: website | myspace | Interview with: The Cribs – North Star Bar, Philadelphia | The Cribs Announce New Album Details | The Cribs Rush Release of “Cheat on Me” Single | The Cribs Announce January 2010 North American Tour
Adam Green: website | myspace | Lissy Trullie with Adam Green – “Just a Friend”
The Dead Trees: website | myspace | King of Rosa review

This past Friday the 13th, 96.5 the Buzz hosted the free Afentra’s Big Fat Morning Buzz Valentine’s Day (VD) concert at the Midland Theatre. There was, of course, lots of booze, lots of dirty games like spin the bottle and a cock ring toss, and lots of drunk people slobbering all over other drunk people. I left this concert not only with free condoms and pina colada lube given to me by a drag queen, but also with a new appreciation for modern rock n’ roll.

The first band of the night was Innerpartysystem. Now, I must insert a disclaimer here and say that I am not a huge fan of techno music in the first place. However, I can’t for the life of me think of a positive thing to say about this band’s performance. I was more interested and more impressed with the crazy rave lights and smoke than the band itself, which is not good. There was far too much pre-recorded noise and synth. There was very little live performance that I could make out, and the few singing and guitar parts that were live, left much to be desired.

“Don’t Stop”, the one popular song that I hear on the radio and somewhat enjoy, was barely recognizable when performed live. The audience did seem to enjoy the performance regardless of this, clapping and cheering happily. Maybe it was all the booze they ingested, but as one of the few completely sober people in the theater, I couldn’t help but find myself thinking, “What the hell is being applauded here? I have a Macbook too, I can play with and record noises on Garage Band. I can also go to an arcade and stand by any generic space invaders game and hear the same thing.” Thoroughly disappointing.

Girl in a Coma was a breath of fresh air. I won’t go as far to say that I was blown away, but they were charming and enjoyable to watch. Part of the problems laid within the sound system. The drums dominated the sound. Personally, I needed to hear more bass, guitar and vocals, but Girl in a Coma is hardly responsible for how the P.A. system was being run.

Watching Phanie Diaz on drums made me smile. She has this way of swinging her arms as she plays, a quirk I’ve never seen before. Anyone who doubts the abilities of chick drummers has obviously not seen Phanie play. Bassist Jenn Alva has a way of playing that was very soothing. She seems to just let herself be taken over by the music. She played into the amp like it was the love of her life.

Lead vocalist and guitarist, Nina Diaz, was nothing short of brilliantly adorable. Her guitar playing was consistently incredible and the energetic dancing, leg pumping and crowd interaction was just great. What really got me, was her intense facial expressions. Her eyes grew so large and full of expression I could make out her pupils from where I was standing in the audience. The only thing bigger and more animated than her eyes was her mouth, twice as wide as the mike she belted into. Her face is her hallmark.

Last to grace the stage was Living Things. I felt nostalgic for a time period that I, myself, have never actually experienced. I was taken back to 60s and 70s, where music meant something more. Back to where music was a cry and a voice for a generation. When music was a way to say “Fuck you!” to the establishment.

Lillian Berlin, lead vocals, lyrics and guitar, is an undeniable genius. With the lips and hip motions of Steven Tyler, the hand movements of Mick Jagger,  just a hint of the Ramones, and the attitude of John Lennon, Berlin is not hesitant to make bold political statements. “We are recession proof people!” He yelled as condom balloons hovered above the audience. “I have an idea… This is my economic stimulus plan, for you… Stop paying your FUCKING bills.”

Eve Berlin played the bass with incredible talent, as he puffed away one cigarette after another. Bosh Berlin, whose name alone tells you he was born to be a drummer, did an astounding job live. Guitarist Cory Becker was impossible not to watch. He made the guitar incredibly sexy. Never in my life have I felt so compelled to rip my clothes off and streak across the stage as I did at this concert. I completely forgot that I was at a free show and felt I was experiencing something on a much higher level. History in the making, the new rock n’ roll, for our generation. The Living Things is a band we desperately need right now. They have my complete and utter adoration and support in everything theydo.

Innerpartysystem: website | myspace
Girl in a Coma: website | myspace
Living Things: website | myspace