Cloud Nothings fill the EARL

Live Review: Cloud Nothings with Gold-Bears and A Classic Education at the EARL, 2/17/12

Kids these days. Just think they know everything. Well, Cloud Nothings' Dylan Baldi decided to give it a shot and put his money where his mouth allegedly was. Dropping out of college at 18 and stocking up on CD-Rs, he had an album. Since then, the Cleveland band has been signed to Carpark Records and last month released the critically acclaimed Attack on Memory. Although the first single, "No Future/No Past," is a broodingly dark track (accompanied by a wickedly creepy video), it does not have the same uptempo, indie rock sound as pretty much the remainder of the album.

Having said that, Baldi even cranked those tracks up to 11. As with most young people (it was not immediately clear if he was even allowed to attend this 21+ event), he gets excited on stage and the screaming Dylan Baldi took over for several songs. Gotta give it to him though, he gave 110% on every song.

Most of Memory was performed, along with a few earlier selections, including "Hey Cool Kid," "Forget You All The Time" and "Understand At All." It's the new stuff, though, that is garnering attention from fans and critics alike. A departure from the lo-fi beginnings, Memory is reaching out to a bigger audience. Whether channeling Nirvana or The Strokes, Cloud Nothings have that indie edge that keeps your foot a-tapping.

Opening the evening was Atlanta's Gold-Bears, a "crash pop" band that hit the ground running. The driving indie-pop songs were mostly fueled by the new drummer ("the old drummer sucked"), who burned a million calories that night. Promoting last year's Are You Falling in Love, the Bears have a clean sound that the crowd clearly appreciated.

The night's big surprise was Italy's A Classic Education. With a tight band, great musicians and a lead singer with a great voice and stage presence, there's no where to go but up for these guys. Playing several catchy tunes from their two full-lengths Call it Blazing and Hey There Stranger (both on Lefse Records), the band did a fine job keeping the energy going, after just flying in the day before from Europe.

They Might Be Giants rock the Variety

Live Review: They Might Be Giants and Jonathan Coulton at the Variety Playhouse in Atlanta, 2/10/12

In the first of a two-night sold out weekend at Atlanta's Variety Playhouse, They Might Be Giants took a well-deserved break from the "family" shows. Don't misunderstand, the typical family show takes place at 2:00PM on a Saturday afternoon, and is filled with gems from the TMBG kid-era No! and the Here Comes series (the ABCs, the 123s, Science). These back-to-normal regular shows are all rock and grown-up talk. Originally a duo with John Linnell and John Flansburgh gracing small stages in the mid- to late-eighties with a guitar, an accordian and a drum machine, the Two Johns now have a phenomenol backing band that really know how to rock.

The evening was filled with 25 years of TMBG hits, but especially songs from the latest 18-track release Join Us (Idlewild Records). From that, "Can't Keep Johnny Down," "You Probably Get That A Lot," "Old Pine Box," "Celebration" and "When Will You Die" were standouts. They have brought back some of that early sound that made them famous in the fist place (catchy, quirky, hooky and fun).

Interspersed between songs were the Avatars of They (John and John's alter-egos in puppet form). The two sock puppets are able to say inappropriate things and get all political but it's okay. They're only puppets. The crowd was also part of the show, as when they were divided down the middle by a spotlight from the stage to the balcony. Stage left was apes, while stage right was people. Each side competed by raising fists in the air and screaming. People won.

From the old stuff, fans heard "Subliminal," "Birdhouse In Your Soul," "Snowball In Hell," "Cowtown," "James K. Polk," "Particle Man," "The Guitar" and "Fingertips." Two encores included "Doctor Worm" and "Istanbul (Not Constantinople)" among others. The band is rounded out by Dan Miller, Danny Weinkauf and power drummer Marty Beller. These three guys complete TMBG. The Two Johns have come along way since the drum machine days. This is an excellent band.

The opening act was Jonathan Coulton ("and the Coultoneers"), a trio assembled not unlike the Giants (quirky, poppy melodies with smart and witty lyrics). Coulton played much of his recent release Artificial Heart (Jocoserious Records), plus fan favorites "Code Monkey" and "Still Alive." But it was "Re: Your Brains" that really got the crowd involved. The song is about a poor schlub who becomes a zombie and now wants to return to work. The audience quickly learned the chorus ("All we want to do is eat your brains") and Coulton filled in the rest of the song with hilarious lyrics ("We're not unreasonable, I mean no one's gonna eat your eyes"). It's an instant classic and possibly the most memorable song of the entire evening.

Look for both on tour and enjoy great music and videos at tmbg.com and/or jonathancoulton.com

Uncle Green or 3 lb. Thrill: Whatever you call them, they're back

Review: Rycopa by Uncle Green/3 lb. Thrill

It was the late-eighties and for Uncle Green, the dream was coming true. They were a well known college rock band that was successfully touring. Soon came the big label deal, exposure, chance of a lifetime. After a short stint on the label, it was back to the drawing board. Several attempts to regain label support failed and the four members continued on with their lives and the business of raising families.

After years of wondering, drummer Pete McDade decided to hunt down the "lost tapes" that were ready for release back in '97. Those songs were recorded in that now-famous rented house in Atlanta's Little 5 Points. After nearly two years of searching, the tapes were discovered buried deep in a Sony warehouse. Many emails, calls and sleepless nights later, he had them in his hands. Now what?

The members of the band, which formed in high school in the early '80s in New Jersey, were scattered about the country. McDade began the arduous task of reconnecting musically (see The Blues Brothers: "We're putting the band back together."). Remaining members of the band, Matt Brown (vocals, guitar), Jeff Jensen (guitar, vocals) and Bill Decker (bass) were all open to the idea of self-releasing the newfound tapes. A Kickstarter campaign ensued to fund the mastering and the fans came through - in a big way.

The massive Rycopa (a 32-song blast) hits you from all fronts. To list all the apparent influences would be tough. From "Standing Out In The Rain" (Ben Folds) to "St. Lazaro" (Squeeze - in fact, if that's not Difford and Tilbrook, I owe a man some money) to "Sunrise Lullaby" (Beatles) to "Super Kitty Uh Huh" (Monster-era R.E.M.), Rycopa is hitting on all cylinders. But to say that Rycopa is just an amalgam of all these apparent influences would be unfair. Like their previous life, Uncle Green/3 Lb Thrill have definitely created their own personality. From Brown's vocals to each members contributions, they are easily identifiable with a distinctive sound.

Rycopa kicks off with "Not In Range," a rolling rocker that is officially dubbed the first single, in this writer's humble opinion. Throughout several tracks, the boys keep their sense of humor ("Lucy In The Streets With Dimetapp," "It's A Red, Red, Red, Red, Redneck World"). But don't expect to hear that instant hit with addictive hooks. Rycopa takes a few listens - then you're hooked.

In honor of the foursome's belated release, a special one-off reunion show will take place Saturday, February 25 at Smith's Olde Bar in Atlanta. For all those fans of Uncle Green and 3 lb. Thrill, this is a gift from the heavens. It will showcase all the fantastic stuff from Rycopa, as well as a trip down memory lane, performing all those songs the fans know by heart from the nineties. To grab a copy of the new release, go to CD Baby. For ticket information, move quickly to Ticket Alternative. Tickets are only $12.

Openers for the show will be The Head and Pink Pompeii. Also, be sure to catch a very special in-store performance (family friendly!) at 3:30 the day of the show at Decatur CD.

Future Islands freak out a lot of people (in a good way)

Live Review: Future Islands at the EARL in Atlanta, 11/26/11

To call Baltimore’s Future Islands “interesting” would be a gross understatement. Lead singer/growler Samuel T. Herring takes the listener on a journey on par with the most disturbing David Lynch creations. He drifts seamlessly from a guttural grunt to a strong and stunning voice, sometimes flirting with a falsetto. And he’s funny. It’s as if Henry Rollins and Jack Black had a love child. A dark and brooding love child.

Imagine all this with a backdrop of synth-rock epicness and you’ll understand the essence of Future Islands. I can guarantee that this is like nothing you’ve ever seen or heard. And after most songs, Herring spit out a “Fuck right!” to somehow underscore how awesome that last song was. No reminder necessary. His passion and sweaty performance convinced the roomful of listeners at the EARL that this was a very special Thanksgiving weekend treat.

Herring’s scary demeanor aside, this was one hell of a rock show. The trio also includes the talented Gerrit Welmers (keyboards and programming) and William Cashion (guitars). No eye contact among the three was witnessed. Maybe Welmers and Cashion are afraid of Herring, too. They simply did their thing and kept their eyes averted for most of the evening.

Touring in support of their recent release On the Water (Thrill Jockey), the boys grooved into hints of vintage New Order and Cure. Some songs take you down three different roads at once, as if three genres have collided. Songs like “Balance” and “Before The Bridge,” from the new album, along with terrific selections from last year’s In Evening Air including “Vireo’s Eye,” “Walking Through That Door,” “Tin Man” and “An Apology” were a welcome change from the usual riff raff heard in local bars. This is a band to watch and you owe it to yourself to check them out now.

Self-proclaimed “stump rockers” Lonnie Walker opened the show and exceeded the crowd’s expectations being the first band in a three-band evening. The Raleigh natives played like headliners. Drawing comparisons with the dB’s and the Feelies, these 80s-college-rock-sounding dudes are for real. Such righteous songs as “Grape Juice” and “Teenage Poem” gained the audience’s attention immediately. The band is currently touring in support of These Times Old Times (Terpsikhore).

Ed Schrader's Music Beat stunned and amazed with reckless abandon. Two guys: one banging a single drum while singing, the other one (Devlin Rice) playing the bass and being ginormously intimidating. If these guys require a label for their music, it has not yet been invented.

Ranging from screaming anger (“Gas Station Attendant”) to low-key, funny hooks (“Rats”), Schrader’s songs thrilled and delighted virtually everyone in the room. He repeatedly echoed what one fan apparently stated, that he was reminiscent of Jim Morrison (the truth is, he sounded very much like the late Doors man). These two woke up the room (and everyone else within a ten-mile radius). Three one-of-a-kind acts on the same stage and the same night. The EARL hit a homerun with this one.

Holy Ghost! bring salvation to Hell

Live Review: Holy Ghost! on the Masquerade Hell Stage, 11/21/11

Brooklyn's Holy Ghost! have been on a steady incline this past year, getting a thrust from their Static on the Wire EP release last year and especially their self-titled release this past spring. The New York duo of Nick Millhiser and Alex Frankel have know each other since first grade, and been making music almost that long.

It all began with some bluesy covers, then the move into hip hop, and now they've created a sort of 21st century disco, for those who care to listen. Apparently, there are a lot who care to listen. Promoted on James Murphy's DFA Records, Holy Ghost! have received rave reviews and have been hitting the pavement hard this past year. Still, the band is not a household name in America. (And yes, it's that James Murphy, of the wonderful - and missed - LCD Soundsystem)

This was the third trip through Atlanta in 2011 for Holy Ghost! Back in March, they swept through, supporting the terrific Cut/Copy tour. Then in August, they were part of the electronic/DJ Identity Fest. Now, on a headlining tour, Millhiser and Frankel have proven to be ready for the challenge.

Playing nearly the entire album, as well as some tracks from 2010's Static on the Wire, Holy Ghost! pleased their fans with some excellent late 70s/early 80s sounds that do not seem dated. It's an update on that era, with a 2011 NYC spin. "Hold On," "Do It Again," "Wait & See" and "Hold My Breath" were just a few of the tunes performed.

Hold My Breath - Holy Ghost! from DFA Records on Vimeo.

Holding court on the Hell Stage of Atlanta's Masquerade is no small task when the metal/hardcore Thrash and Burn tour is pounding away on the Heaven Stage (upstairs). The boys laughed it off and actually seemed to be using the thumping from above as a sort of programmed drum machine. Somehow, it worked.

So, with a little more exposure and a lot more touring, American may just be ready for a little salvation with Holy Ghost!

Wilco enlighten Atlanta with The Whole Love

Live review: Wilco with Nick Lowe at the Cobb Energy Centre in Atlanta, 9/29/11

After initially being pegged as a "country rock" band, Wilco has shed that skin over the past few years. Critics hail the band as "The American Radiohead." With the release of The Whole Love (dBpm), it's clearly time to reconsider this and begin saying, "Radiohead is the English Wilco" (listen to the lead-off track "Art Of Almost" and you'll understand).

The Chicago group, headed up by Jeff Tweedy, has once again released a critically acclaimed and commercially successful album. The first single, "I Might," is more pop than usual, with a sixties organ keeping it happy. Wilco kicked off the Atlanta show with "One Sunday Morning," a beautiful song, despite it's twelve-minute length. As he played the Rickenbacker and sang those songs, Tweedy exceeded his annual quota on smiles. Dude was having a good time. And how could he not be? Looking at all that talent surrounding him: the indomitable Nels Cline shredding the guitar, bassist John Stirratt, drummer Glenn Kotchke and multi-instrumentalists Pat Sansone and Mikael Jorgenson. It was a master class on rock.

"We'd like to announce a special guest we've had on stage this evening. Nels is playing Duane Allman's guitar. He is borrowing it for the night," Tweedy announced. "This is like using Picasso's brush or Noah's hammer." One could argue that it's like Monet borrowing Picasso's brush. The band played most of the excellent new Whole Love, seamlessly weaving in these songs with classics from such albums as Sky Blue Sky, Yankee Hotel Foxtrot, Being There and Wilco (the Album).

More than once, Tweedy mentioned how much better this second night crowd was than the previous group. Of course, this is standard operating procedure for a band to announce and will always garner cheers and applause. However, it was somehow believable, especially when he said, "They were just weird." For sure the energy level was turned up to 11 during this second show, as several fans who attended both shows attested. At times, the crowd's voices far outblasted those of the band, which can be a blessing and a curse for an artist (It's reassuring that everyone knows our lyrics, but shut up and let me sing). It's a nice problem to have.

Wilco played for about 90 minutes before retiring backstage to wait for the inevitable encore. Then another seven songs and 30 minutes later, they called it a night. One downside was that Mr. Lowe had joined them in a couple songs during the previous night's encore. Not tonight. He was probably halfway back to England when the lights came up.

It was a phenomenal performance and the venue's superlative acoustics only added to the experience. Wilco continue on the Whole Love tour in the states, then jump over to Europe, than back to the U.S. They'll wrap up in Chicago in mid-December. If you see one concert this year, make sure it's Wilco.
Nick Lowe, a.k.a. "The Jesus of Cool," proved why he's the britpop/new wave god responsible for inspiring so many artists. His sound is at once folksy ballads and acoustic-style Clash. And a minimalist set it was from Mr. Lowe, accompanied only by his acoustic guitar and that voice. And that white head of hair held together with those black Buddy Holly glasses. But the songwriting is among the best. It was a treat hearing his 1979 hit "Cruel To Be Kind" in such a setting.

Lowe performed several cuts from his new release The Old Magic (Yep Roc Records). His songs continue to be an amalgam of witty storytelling and deep thinking. Always a winning combination. Lowe surely felt the love in the room as fans roared between songs. Though there was no "(What's So Funny 'Bout) Peace, Love and Understanding" or "I Knew The Bride (When She Used To Rock And Roll)" it was a moving performance and made this two-for-one bill priceless. "All Men Are Liars," "What's Shakin' On The Hill," "I Love The Sound Of Breaking Glass" and "The Beast In Me" more than satifsied hardcore Nick fans.

Wilco Set List

One Sunday Morning
Art Of Almost
I Might
Muzzle Of Bees
I Am Trying To Break Your Heart
One Wing
At Least That's What You Said
Capital City
Misunderstood
Jesus, Etc.
Born Alone
Box Full Of Letters
War On War
Standing O
Rising Red Lung
Impossible Germany
Dawned On Me
Shot In The Arm

Encore

Whole Love
California Stars
Hate It Here
Walken
Red-Eyed & Blue
I Got You
Outta Mind (Outta Sight)

Blondie and the Romantics enjoy the fruits of their labor

Live Review: Blondie with The Romantics at Verizon Wireless Amphitheatre in Atlanta, 9/23/11

The punk/post-punk/new wave movement has been littered with bodies since it changed the musical landscape in the late seventies and early eighties. There are few bands who have withstood the test of time and still remain relevant. Very few. Blondie appears to be one of the lucky ones. The relevance is underscored with the new release Panic of Girls this month, a near-return to Blondie's early eighties glory.

Sixty-something rock veteran Debbie Harry showed real vim and vigor and exhibited why she became famous in the first place. Many songs were off the new record and fell smoothly within the realm of Blondie's early work. Along with Harry, guitarist Chris Stein and drumming wonder Clem Burke remain from the original line up. Burke, who is clearly a Keith Moon devotee, tore through those drums like he was 20 again, CBGB shirt and all.

And Harry sang like her 20-year-old self. It's one thing to do reunion tours. It's a whole other thing to do these tours behind a new album of original material. Good material. All the old favorites were on the set list, including "Atomic," "Call Me" and "Rapture," which led seamlessly into a full-on cover of the Beastie Boys' "Fight For Your Right." This was a surprise to many in the audience and sounded incredible. The encore consisted of two of their biggest songs, "The Tide Is High" and "Heart Of Glass."

The Romantics proved yet again why they were MTV and Top 40 darlings in the early eighties. The sing-along hits were all played. "Talking In Your Sleep," "Rock You Up," "She's Got Everything" and the big one, "What I Like About You." Lead singer Wally Palmar tours with Ringo Starr's All Starr Band when on hiatus with The Romantics. Brad Elvis raised the bar for the Romantics hits with his precision drumming skills. Often referred to as the "four-handed drummer," Elvis entertained fans with his hijinks behind the kit. But the real draw is his efficient use of the space-time continuum on those skins. One must see it to believe it, but this dude's one of the best drummers in the country. Like Burke, Elvis is a dyed-in-the-wool Moonie (Keith, that is), and would fit right in on the next Who tour (listen up, Pete and Roger).

It was a night to reminisce and be nostalgic of an era that changed music. To see both bands still performing at the same level - or maybe higher - is reassuring.

Chromeo nearly brings down the house in Atlanta

Live Review: Chromeo at the Masquerade in Atlanta, 9/22/11

Please don't tell Dave-1 or P-Thugg that disco is dead. And if it was, Montreal's Chromeo have revived it bigger than the Frankenstein monster. The electro-funk duo got together in 2004 and has been filling dance floors and bursting eardrums ever since. Having been compared to a swath of such 80s icons as Klymaxx, Sylvester and even Hall & Oates, Chromeo play familiar sounds but with a cutting edge. Check out this amazing collaboration with Daryl Hall from Live from Daryl's House.

The duo is made up of Dave-1, the charismatic frontman who sings and plays guitar, looking like he just stepped off the set of Miami Vice. P-Thugg is the DJ synth master who looks like your plumber with shirt unbuttoned and belly hanging out (speaking and singing ONLY through the talkbox - think Frampton Comes Alive). It's an unlikely duo, both visually and musically. Maybe that's why it works. The fans believe it works. Before the duo even took the stage, the crowd was chanting "Chromeo, ohhhh-ohhh!" sounding like a 21st century remix of The Wizard of Oz munchkins.

Touring in support of their latest release, Business Casual, Chromeo have brought back 70s funk with an 80s synth feel and a 2011 attitude. Contemporaries Hot Chip, Holy Ghost!, Cut Copy and LCD Soundsystem would all concur. "Hot Mess," "Night By Night," "Fancy Footwork," "Bonafied Lovin" and "Momma's Boy" each brought down the house. This is not music you'll hear on your local Top 40 radio station because it does not fit within the constraints of that music. When someone says, "Think outside the box", they're talking about Chromeo.

The floor at the Heaven Stage (upstairs) of the Masquerade was giving several inches as hundreds of crazed Chromeo fans jumped up and down in unison. If the floor survived this show, it will be intact for eternity.

Opening the show was Sammy Bananas, who's DJ skills were only topped by his saxophone skills. That's right, he's working the turntables, filling the dancefloor, dropping some wicked beats - then out comes a saxophone. Not a saxophone file played from his Mac, but a REAL saxophone. It was a welcome surprise and the crowd went batty.

On deck were Mayer Hawthorne & The County, providing "blue-eyed R&B" to a happy throng of dancers. Imagine the best R&B/Soul music fronted by this young white dude who sounds like Smokey Robinson (but with more confidence). Hawthorne most definitely wanted all eyes on him as he is a first-class showman and wanted no fan to miss a second. "Okay Atlanta, let's put the phones away and act like the show is happening right now!" he said, with a touch of sarcasm. The band acted like they were the headliner, and got the love and respect as such from fans.

Elbow bring unapologetic optimism to Atlanta

Live review: Elbow at Centerstage Theater in Atlanta, 9/20/11

A band like Elbow only comes along once a decade, or so. This is a special thing, this band. Another one of those special things would be R.E.M. After hearing the news Wednesday that they were calling it quits, one cannot help but speculate that Michael Stipe was in that packed crowd at Centerstage the night before in Atlanta. Witnessing that special thing called Elbow. And he summized that yes, there is one greater than us. Why go on?

The irrepressible and eternally glass-is-half-full Guy Garvey brought his British quintet back to Atlanta last night. The fans were there. The love was there. It was a terrific evening of music. The unbelievable story here, is that Elbow is not yet a household name in America. Despite the sonic perfection that they have created on each of their five studio albums (and a hundredfold playing live), they haven't cracked the U.S. yet with that one career-defining song. But the rest of the world is a bit more musically evolved. "We used to be cool," said Garvey. Only a cool person would say such a thing. For their previous release, 2009's masterpiece The Seldom Seen Kid, Elbow won the prestigious Mercury Prize. Nominated again this year for Build a Rocket Boys!, they just missed.

Garvey had a chat with the fans, asking for a regional or traditional song he could sing. Someone yelled out "Freebird!" People booed. One young lady got Guy's attention and her recommendation was the "chop chant" from the Atlanta Braves. While chanting this, one must move the arm up and down, as if weilding a tomahawk. I'm sure the Cherokee and Creek were turning in their graves. Anyway, Guy ran with this, did a little call-and-response with the fans, and it morphed into the chant from "Grounds For Divorce." It was such a perfect transition that either this girl was a plant in the audience or Guy Garvey is a musical genius. It is definitely the latter. This was one of the more upbeat rockers played Tuesday night, and at times the crowd's voices overpowered Garvey's.

To make a short list of highlights would be unfair to the band and the fan. Let's just say there were no "low-lights." Garvey's magnificent voice paired with his wit and charisma made every song the best song. This year marks the 20th anniversary of Elbow's inception, and the audience sang to them as they indulged in a round of shots. Over the course of those twenty years, they have amassed a bit of a cult following. Suffice it to say, everyone knows the songs. Between fans singing/yelling the lyrics, and screaming song requests, Garvey politely shushed them once or twice. "We're taking no requests at this time, thank you." he quietly stated. But these songs make you happy. And each band member plays at an advanced level, making the songs - many orchestral in nature - that much better.

Towards the end of the evening, a fan shouted, "Play something unapologetically optimistic!" Garvey responded, "That's all we play! Everything we've ever done is unapologetically optimistic!" In fact, after returning for the encore, the band played "Starlings," "Station Approach" and possibly the most beautiful and uplifting song in Elbow's repertoire, "One Day Like This." The song begins after and alcohol-induced fight the night before. It goes on to discuss growing old together. Garvey sings, "Cause holy cow I love your eyes / And only now I see the light / Yeah, lying with you half awake / Oh anyway, it's looking like a beautiful day." With victory in his voice and the surge of violins, you are compelled to sing along, "So throw those curtains wide / One day like this a year would see me right." I challenge you to find a mightier song.
Opener Glasser showed off her minimal set and Bjorkian ways. Her set was clearly a complement to that of the headliner's, but a thankless job nonetheless (most openers are). Her voice, however, was rich and powerful, and when she let go, it soared. Garvey would later admit that having her on the tour makes them hip and cool.

Set List (thanks to Setlist.fm):

1.The Birds
2.The Bones of You
3.Mirrorball
4.Neat Little Rows
5.Grounds for Divorce
6.The Loneliness of a Tower Crane Driver
7.Great Expectations
8.The Night Will Always Win
9.Puncture Repair
10.The River
11.Lippy Kids
12.Weather to Fly
13.Open Arms

Encore:

1.Starlings
2.Station Approach
3.One Day Like This

Identity Fest steamrolls through Atlanta

Live review: Identity Festival at Aaron’s Lakewood Amphitheatre in Atlanta, 8/23/11

The shaking ground you felt and that thumping you heard last Tuesday was not a result of the earthquake. It was a special collection of electronic artists and DJs cranking it up to 11 on the volume dial. Lakewood Amphitheatre was host to the Identity Festival, a loud and raging affair sponsored by Skullcandy. It was also hot. For those not in the covered seat area for the main stage, it was even hotter. The Advent Stage was located in the parking lot. And with Atlanta temps hitting the mid-90s, it was a cooker.

One of the early acts to hit the stage was Afrobeta. Hailing from Miami, the avant-dance duo are Cuci Amador and Tony Smurphio. Sadly, their set was scheduled a bit before the students and workers of Atlanta stormed Lakewood, so a smattering of fans were present. Their energy and enthusiasm were there, as well as some very danceable music. But it was early. “Hey Atlanta,” Cuci yelled, “Do you guys party? Maybe? After the valium wears off?” This comment could have resulted from frustration, but it was fair. Later, Cuci told the Atlanta Music Examiner, “No, we weren’t upset! We’re new and not many people have even heard of us. It’s great to be on this tour. I just like messing with people.”

The Afrobeta set was a spirited one, featuring the new addictive single, “Play House” from the forthcoming Under the Streets (Aug. 30 on Do IT). A true highlight of the set was their electronic and excellent cover of Nirvana’s “Lithium.” They should put this one on a record.

The New York collective Hercules and Love Affair offered listeners some wonderfully wild songs. Again, playing to a small audience can be challenging, but they performed as if to a crowd of 20,000. Touring in support of their impressive new release Blue Songs (Moshi Moshi Records), the group inspired much dancing, sounding at times like a modern day version of Erasure (but with tremendous vocals).

Holy Ghost! brought there electronica-meets-eighties sound to the festival. While still playing to a somewhat thin crowd, these New Yorkers showed us why they’re one of the hottest bands out there today. The band – headed up by Nick Millhiser and Alex Frankel are out on the road with the Identity Fest playing terrific selections from their latest self-titled release (DFA Records) including “Do It Again,” “Static On The Wire,” “Hold On” and the terrific “Wait And See.”

They took the small crowd in stride and played through the oppressive heat. You can catch them later in the fall in Atlanta at the Masquerade, according to lead singer Alex Frankel.

The Crystal Method, headed up by birthday boy Scott Kirkland along with Ken Jordan are pretty much the granddaddies of this tour, having been around since the early nineties. But by contrast, these guys had more energy than many of the newer artists combined. By the time they took the stage, the largest crowd of the day had gathered and more approached in a zombie-like state once the Crystal Method started their noise.

This is when the festival became a full-on rave. It’s good to know that these fortysomethings can still cause high school heads to explode. It was a mad house, in a happy sort of way. One of the highlights had to be their very first single, “Keep Hope Alive” from 1994. Between inviting 20 people (mostly female) onto the stage to take part in a light saber battle and jamming while wearing a storm trooper mask, Kirkland definitely had a great birthday. “I wasn’t born in Atlanta, but I met my wife here,” Kirkland said, further bonding with his erratic fans. As far as they were concerned, he was a native.

Many more bands graced the stages of the first annual Identity Festival, including DJ Shadow, Steve Aoki and The Disco Biscuits. Hopefully, next time it’ll be on a weekend and the masses will come.

Dntel and friends jam at the EARL

Live review: Dntel, The One AM Radio, Geotic at the EARL in Atlanta, 8/21/11

Jimmy Tamborello is the one-man-band known as Dntel, now touring in support of his recent EPs, After Parties I & II (Sub Pop). Tamborello is not new to the indie electronic music scene. Maybe best known for his collaboration with Death Cab for Cutie’s Ben Gibbard on the Postal Service album Give Up, he has been a well-respected DJ/artist for nearly 20 years.

Packing little more than a Mac and a synth, Dntel brought heavy atmosphere to the EARL, performing many well-known songs from his repertoire, including “(This Is) The Dream Of Evan And Chan,” “Rock My Boat,” “Dumb Luck” and “Roll On.” During the show, Tamborello rarely looked up from his instruments, except to acknowledge applause with a glance and a finger wave. He seemed to be in the zone. Known for having guest stars sing on many recordings, he welcomed members of the opening acts to the stage to play guitar or sing at different points. All were talented and heightened the quality of his presentation.

On deck were fellow L.A.ers The One AM Radio, who brought their lush sounds to Atlanta. The trio, made up of Hrishikesh Hirway, Fontaine Cole and Scott Leahy, offered up a plate of delicious electronic indie pop (with one foot in the 80s). Musicianship, vocals and lyrics were all top-notch and most likely had many in the audience scratching their heads saying, “How have I not heard of these guys?” This was minimal gear night at the EARL, as The One AM Radio also created awesome sounds using next to nothing but raw talent. Hirway has singlehandedly made this group what it is since it's beginnings at Yale University back in 1999.

For some indie pop flavor, watch “Credible Threats”

Opening the show was the Will Wiesenfeld project Geotic. It’s actually a side project, because he has become associated with his main project, Baths. Wiesenfeld was alone on the stage with only a guitar and some pedals as the small room at the EARL slowly filled. Once in, though, listeners stood mesmerized at what this kid was doing. Ambient and atmospheric, the music was rich enough to fill the room and then some. On the self-released Mend from earlier this year Wiesenfeld must be asking himself, “Where are all the labels?” Or not. Whatever the case, this is some terrific sonic therapy for what ails you. For free downloads (donate, you slackers!), go to: Geotic.
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Death Cab for Cutie thrill Atlanta

Live review: Death Cab for Cutie w/Frightened Rabbit at the Verizon Wireless Amphitheatre in Alpharetta, GA 8/11/11

Ben Gibbard played like a man possessed Thursday night for Atlanta fans. Maybe that's why Death Cab for Cutie began the show with the eight-minute, stalker-inpsired "I Will Possess Your Heart." Gibbard sang, "You gotta spend some time, love / You gotta spend some time with me / And I know that you'll find, love / I will possess your heart" like it was the first time. Fresh and fantastic.

This night was also Gibbard's 35th birthday, would could account for his stratospheric level of energy. This, in turn, lifted the crowd's excitement level to almost similar heights. It's a beautiful thing to be witness to someone who is so in love with his career. The band is touring in support of their eighth studio album, Codes and Keys. The fans even interrupted the show to sing a loud "Happy Birthday" to the singer. He was happy. In between blistering versions of "Crooked Teeth" and "Long Division" was the new "Doors Unlocked And Open," which gets an easy vote for being great; a song that truly has all the ingredients of a hit. The quartet is rounded out with Chris Walla, the multi-instrumentalist/producer of many Death Cab creations. He took on the guitar, bass, keys and backing vocals. The rhythm section was a force, with the unassuming Jason McGerr on drums, who looks like the dude in the next cubicle until he gets those sticks in his hands (then he becomes cool). Nick Harmer is a monster on the bass and may be confused with a skinnier, more demonic version of Zach Galafianakis. And he plays that bass like a jackhammer.


"I Will Follow You Into The Dark" (Live in Atlanta)

While the highlights of the show are too numerous to list, "I Will Follow You Into The Dark" is surely close to the top. The Romeo and Juliet-like beauty was the sing-along of the night ("If heaven and hell decide that they both are satisfied / Illuminate the NOs on their vacancy signs / If there's no one beside you when your soul embarks / Then I'll follow you into the dark"). It's the ultimate love song.

With the new release, the band has evolved to new heights while maintaining some of the old magic, as heard in the title track, "Codes And Keys." Gibbard plays a beautifully choppy piano and sings his well-known insightful lyrics. This is a band that really has yet to be fully discovered by the average American radio listener. Soon, though. The set list pulled songs from nearly all Death Cab albums. During "We Looked Like Giants," Gibbard jumped on a hastily set up drum kit facing McGerr's kit. And the drum-off was on. Gibbard showed another musical skill and was not a slouch about it.

"A Movie Script Ending" (from 2002's The Photo Album) was another top choice for Death Cab fans. The band returned for a rousing encore ending with the gripping and beautiful "Transatlanticism." With it's haunting and repetitive chorus of "I need you so much closer," this was an apt ending to a special night.

Openers Frightened Rabbit earned their keep that night. Sadly, the band was totally unknown to most of the crowd, but surely gained some warm bodies for their fan club after that performance. Hailing from Glasgow, Scotland, they are doing that whole Brit/folk thing, with hints of Mumford & Sons (minus the banjo, plus some soul) and Arcade Fire (every once in a while).

Leader Scott Hutchison led the impassioned performance, supporting their latest release The Winter of Mixed Drinks. They were a grand complement to Death Cab and fans young and old realized that they just got a two-for-one concert.

Set List:

I Will Possess Your Heart
Crooked Teeth
We Laugh Indoors
Photobooth
Doors Unlocked And Open
Long Division
Grapevine Fires
Codes And Keys
What Sarah Said
I Will Follow You Into The Dark
Title Track
Little Bribes
You Are A Tourist
The New Year
Some Boys
Soul Meets Body
A Movie Script Ending
Cath…
We Looked Like Giants
Marching Bands Of Manhattan

Encore:

Stay Young, Go Dancing
Title And Registration
The Sound Of Settling
Transatlanticism

(Thanks to the bloggers at Death Cab for Cutie News for the set list)

The Wooden Birds in Atlanta

Live review: The Wooden Birds at the EARL in Atlanta, 7/17/11

Andrew Kenny and his Wooden Birds just wrapped their tour promoting the new release Two Matchsticks (Barsuk Records), a well-received and wonderful record. Upon their arrival in Atlanta, Kenny gushed over the EARL being one of their favorite rooms in which to play, even though it was barely half-full. Atlanta's loss. The Wooden Birds proceeded to put on a terrific show, with energized renditions of the album tracks from the new release.

Kenny has been around awhile and understands the ins and outs of playing clubs on Sunday nights and it apparently does not faze him. He was in the brightest of moods and carried on all evening with fans. Best known for his previous success with the American Analog Set, Kenny also recently worked with Broken Social Scene. Matchsticks is the follow-up to the Birds' 2009 release Magnolia, also on Barsuk.

The Wooden Birds began their set with "Folly Cub," then onto the single, "Two Matchsticks." The sound was rich and full - richer and fuller than the record, with Leslie Sisson and Matt Pond adding much to the mix. Many songs were treated to duet and/or harmonizing by Sisson and Pond, which beautifully resonated throughout the room. The band covered most of the new release and several from the first. Kenny also traveled back to the AmAnSet days more than once, as in the closing song, "Aaron And Maria" from 2001's Know By Heart. The bonus, here, is that the song transitioned into the Jackson Browne classic "Somebody's Baby" (Remember Fast Times at Ridgemont High?). It was a seemless transition and a great surprise.



To listen or buy music by The Wooden Birds, visit their website at www.thewoodenbirds.com.

The evening began with a short set from the "modern classical" Takenobu, an Atlanta trio playing violin, cello and drums. A superb lo-fi strings experience going on here which will surely get exposed when they get sufficient exposure.

Listen to "Fight To Make It Up"

Up next was the Atlanta outfit Lily and the Tigers, a self-proclaimed folk/gothic/indie band. The short and sweet "Goin" was performed first, an acapella, bluegrassy thing, which led into "Khatmandu." While the sounds were mellow, the group sounded smooth with singer Casey Hood exuding an Edie Brickell feel. This set provided a nice complement to the opener and headliner.

Listen or buy songs at amazon.com.

The Handcuffs: Worth the wait

Album Review

The Handcuffs: Waiting for the Robot, (OOFL Records) due 9/6/11

"Testing, testing / May I have your attention / We are The Handcuffs / This is a test" Chloe Orwell sings through her bullhorn on "This Is A Test." The good news is: they passed the test. Hell, they aced the test. The dynamic duo of Brad Elvis and Orwell are set to release record number three as The Handcuffs. The record is entitled Waiting For The Robot and is a thrill ride from the get go. Robot is the follow-up to Model for a Revolution (2006) and Electroluv (2008). Songs from both have been plastered all over TV and radio, some of which you may have heard. Influences are wide-ranging, with an iced blend of sixties, seventies and eighties sensibilities poured all over 2011 Chicago. It makes for a highly listenable concoction.

Elvis is a local legend, having been the drumming force behind The Screams, Big Hello, and The Elvis Brothers, before forming The Handcuffs with Orwell. He's been called a "four-handed drummer" due to his powerhouse skins skills that drive each song. Orwell's sultry and powerful voice is the perfect complement to that thumping. Describing the sound of The Handcuffs can be difficult, but to put it simply, they sound like The Handcuffs. That is, a glam-pop-rock inferno that dresses as loud as it sounds (and just as sharp). Having been compared to the likes of the Ting Tings, Sparks and T-Rex, the 'Cuffs offer so much more.

Mike Hagler (Wilco, Neko Case) has returned to produce alongside the Elvis/Orwell joint to create a terrific set of 13 songs that have the sheen, but doesn't ignore those dark and dangerous places. Ellis Clark (guitar), Alison Hinderliter (keyboards), and Emily Togni (bass), help to bring a full sound to those witty and intelligent lyrics, written mostly by Elvis.

"Dirty Glitter" kicks off Robot with a caffeinated shot of the Brad-Elvis-human-drum-machine and Orwell spouting seductive lyrics about being kissed "down to the floor." Good start. "Miss You On Tuesday" is a pop treat including every ingredient in the recipe for a hitmaker. The record flows with an energy that is fueled, again, by Orwell and Elvis. The full band feel is priceless here, though, with Clark, Hinderliter and Togni stepping up to complete a five-piece that should be touring the world right now. These three musicians are talented and seasoned and fit perfectly into the Handcuffs' scheme. And the guitar and bass on "Ooh Baby Baby" is as funky as it gets on Robot.

Listen: "Miss You On Tuesday"

"Eight Down" is a half-ballad that would sound wicked on a Cheap Trick album (listen up, Rick and Robin...maybe you should cover it some day). Elvis does a very rare and better-than-average singing stint with Orwell on "Baby I Love You" ("Put a gun in my hand, put a gun to my head / You've got to believe everything I've said is true / Baby I love you"). A clear standout is "Everybody Waves Hello," which amps up every aspect of the Handcuffs' talents and showcases that Brad Elvis humor by not stating the obvious ("Everybody took off their clothes / Then everybody put 'em back on / In between everybody had a good time / In between everybody had a great time"). Just think Waitresses squared and you'll get the vibe.

On the closing track, Orwell hits near-perfection with "The Scary Side Of Me." Discussions of love and hate and which one we should use radiate throughout this song. "I know the scary side of me," Orwell swoons, "A side I hope you'll never see." A beautiful song to learn, especially in today's America.

Overall, Waiting for the Robot is an outstanding offering from The Handcuffs, and any fan of glam or pop or rock or a combination of the three will find this thing irresistible. Listen to it twice through and you'll have more than one favorite new song. For more information on the new album and tour dates, go to: thehandcuffs.com.

Hospital Ships release stellar new album

Album Review

Hospital Ships: Lonely Twin (Graveface) 2011

Lawrence, Kansas-based Hospital Ships have set sail with a stellar new album. The band's second release, Lonely Twin (Graveface), finds Jordan Geiger exploring places he may never have been (and never thought he'd go). With this meloncholy and whispy release, Geiger sounds like a seasoned veteran, yet there is a freshness and beauty to most every song. Born and raised in the mid-Missouri river town of Boonville, Missouri, Geiger is a small town boy with indie rock aspirations.

Opening track "Love Or Death" is a psychedelic trip back to 1967 Beatles and sounds like an outtake from Sgt. Peppers. "Galaxies" offers up just enough sadness to make you take notice. The cello and keys add emotion to Geiger's excellent lyrical style on this wonderful song. His voice brings visions of Ben Gibbard (Death Cab For Cutie), and that's a good thing. It's not a difficult task to join Geiger in this "mood."



With "Carry On," the band emotes a near country feel, singing, "We will laugh til we cry and we'll drink til we're drunk." On "Anyone, Everyone," Geiger asks "Do you love, do you love anyone?" The songs evolves into a feedback jam before echoing out.

Fans of The Flaming Lips, Bon Iver and Fleet Foxes should dig the hell out of Lonely Twin. To call the Hospital Ships' sound chilled-out pop is not really a fair statement. In fact, Geiger has created a sound and a feeling of sonic ecstasy that pulls you in and keeps you warm for forty minutes.

For most of the album, the pace is consistent and measured. Then there's "Reprise," clocking in at just over two minutes. With it's high energy, fuzzed out guitar and punk-like repetetive lyrics, it will more than likely get your foot to tapping. Fast.

Jordan Geiger and the band have evolved since the first release Oh, Ramona from 2008. The band has reached a level of maturity that usually comes several albums into a musical career. Maybe he's gained that maturity from his lengthy resume of bands, inlcluding Minus Story, Shearwater, and The Appleseed Cast. He recently recorded a session for National Public Radio’s Tiny Desk Concert series which is set to air soon.

Hospital Ships are preparing to tour with fellow Lawrence band The Appleseed Cast. Catch them in a city near you:

July 29th: Austin TX @ Waterloo Records (instore)
July 29th: Austin TX @ Mohawk Inside w/Paper Hotel + White Hotel

With The Appleseed Cast:

Aug 18 - Norman, OK @ Opolis
Aug 19 - Dallas, TX @ The Loft
Aug 20 - Austin, TX @ Mohawk
Aug 21 - Houston, TX @ Fitz
Aug 22 - New Orleans, LA @ Republik
Aug 24 - Orlando, FL @ Social
Aug 25 - Miami, FL @ Boiler Room
Aug 26 - Tamoa, FL @ State Theater
Aug 27 - Atlanta, GA @ Masquerade
Aug 28 - Asheville, NC @ Grey Goose
Aug 29 - Nashville, TN @ End

Company of Thieves steal the show in Atlanta

Live review: Company of Thieves / Ben Deignan / Sleeper Agent at Smith's Olde Bar in Atlanta, June 18, 2011

Chicago's Company of Thieves know how to entertain. On the road with their
sophomore release Running from a Gamble, this outfit also knows how to rock. Leader and happiest-person-on-the-stage Genevieve Schatz puts the E in energy by immediately and excitedly conversing with the crowd. "It's been way too long since we were here last!" she yelled. The fans agreed. With a voice reminiscent of Bjork, Nina Diaz (Girl in a Coma), and a pinch of Edie Brickell, it succeeds as a powerful instrument.

Finally reaching the stage at around 11:40, the band roared through a loud and tight set, pausing frequently to check on the audience and discuss old times ("Who was at Vinyl the last time we were here?" was answered with several claps and yelps). Playing selections from Gamble as well as their 2009 debut Ordinary Riches (both on Wind-Up Records), crowd faves were clearly "Oscar Wilde," "Pressure," and the new and awesome "Death Of Communication."

Throughout many comings and goings of band members, Schatz is currently joined by bandmates Marc Walloch (guitar), Chris Faller (drums), Marcin Sulewski (bass), and Eitan Bernstein (keys). The five seem to get along famously and that comes out in their music, which is free and soaring. Company of Thieves are gaining attention with this release and have on their resume opening slots for OK Go and The Hold Steady, as well as appearances at Lollapalooza, Live From Daryl's House, and Last Call With Carson Daly.

Catch the band on the road through the end of August: tour dates.

Kicking off the evening was the Kentucky band Sleeper Agent. These youngsters woke up the crowd and primed them for a high energy show. This six-piece from Bowling Green just came off a performance at SXSW and an opening slot with Cage the Elephant and are showing their younger fans what punk was all about. The show was raw and intense and the kids had a blast. They will soon be the headliners.

The on-deck slot was reserved for Atlantan Ben Deignan, whose passion for his music was flowing over. The charismatic singer was on from start to finish and fans were dancing right along with him. With a powerfully melodic voice, he's an amalgam of Justin Timberlake, Rob Thomas, and Adam Levine. Furthermore, he displayed the moves and mannerisms of Prince and James Brown while going all Stevie Wonder vocally once in a while. Not bad for a white boy. Still waiting for that big record label break, Deignan has released a CD and a brand new DVD, Keep On Keeping On, which will surely promote his great talent.

Deignan covered Kanye West's "Stronger" and did not disappoint. Not to be shortchanged, his band is a force to be reckoned with. Nothing short of a powerhouse, these guys could give the Roots and run for their money.

The Rosebuds share custody of Atlanta fans

Live review: The Rosebuds and Other Lives at The EARL in Atlanta, June 16, 2011

Imagine working with your spouse 24/7/365. Never a break. But the product you make is in demand and made of high quality materials. This has been the situation for the Rosebuds' Kelly Crisp and Ivan Howard for about the past ten years. The North Carolina duo is on the road in support of their new release, Loud Planes Fly Low (Merge). Sadly, not all business ventures work out. The married Crisp and Howard called their union quits recently, but the Rosebuds continue churning out that great product. You can hear the heartache in "Worthwile" and "Come Visit Me," but there is also joyous abandon, as in the upbeat "Woods."

Not strangers to Atlanta, Crisp and Howard performed like locals playing a gig at a friend's house. Constantly chatting with fans, high-fiving, talking about old times, the band had a great time (and so did we). Throughout the evening, Crisp's birthday was discussed frequently (it was to hit at midnight), and as they wrapped a fine show, a small birthday cake with candles was brought to her on stage and "Happy Birthday" was sung with vigor by her fans.

The set included several exquisite selections off the new Loud Planes, sprinkled with old faves such as "Drunkards Worst Nightmare," and "Nice Fox" (with the crowd helping out, "And it don't mean nothin' at all"). The EARL was packed with happy fans who sang, danced, and reminisced with the group. Crisp and Howard both possess fine vocal talents, but it was the harmonizing that came off the strongest. They traveled effortlessly between folk and rock, hitting everything in between.

After all four consumed the birthday cake, Kelly Crisp announced, "Well, that's it. I guess we'll just hang out now." And she waded into the crowd of friends.

Opening band Other Lives gave the fans a two-for-one show with a fantastic set of something that sounded like a mix between My Morning Jacket and Radiohead, if you can imagine that. With the recent release of Tamer Animals (TBD), the folk/rock outfit from Stillwater, Oklahoma is making a name for itself with sweeping, fantastic songs that you wish would never end. Singer/guitarist Jesse Tabish possesses a strong voice which perfectly complements the band's orchestral sound (and vice-versa).

Originally an instrumental-only band known as Kunek, Tabish made the smart decision to beging singing and never looked back. The multi- multi-intrumentalists in the band worked double-time playing guitar, bass, drums, xylophone, trumpet, vibraphone, keyboards, a laptop, cello, a pair of deer antlers crafted into tamborines, and more. Fascinating just to watch, Other Lives provided a lush sound that easily trumped the visuals.

Find the Rosebuds (on tour this summer with Bon Iver) and Other Lives in a town near you and hear their sounds by clicking here: Rosebuds tour / Other Lives tour.

Mogwai redefine loud in Atlanta

This five-piece band from Glasgow, Scotland must be huge fans of Spinal Tap because they had it turned up to 11 all night. Mogwai is known for the quiet-loud-quiet pattern in many of their songs. But for Atlanta fans, it would be quiet-sonic boom-quiet, which only served their music better. On the road in support of their awesomely titled seventh studio album, Hardcore Will Never Die, But You Will (Sub Pop), the band is enjoying critical success and growing their fan base in every town. Last year's Vincent Moon-directed Burning was Mogwai's first concert film (accompanied by the Special Moves soundtrack) and brought the band to a new level of fame, showing them doing their thing live.

To clear things up, Mogwai means "evil spirit" in Chinese and was also the name of the creatures in the film Gremlins. It has been said that the band had always planned on choosing a better name, but never got around to it. Mogwai is one of the tightest instrumental rock outfits playing today (they've also been called post-rock). Mogwai's style was influenced by such bands as MC5, My Bloody Valentine, Sonic Youth, and Fugazi. Founder Stuart Braithwaite led the band through a stunning set at the Center Stage in Atlanta. Several tracks were heard from the new Hardcore, but they did mix in many from previously releases.



The fabulous "Mexican Grand Prix" exhibits a rare set of vocals for Mogwai on their usual all-instrumental landscape of sound. Although the listener may not be able to decipher what leader Stuart Braithwaite is actually saying, it's effective nonetheless. Other Mogwai selections you should know by heart were "You're Lionel Richie," "Take Me Somewhere Nice," and "Rock Action." Incidentally, Rock Action became the moniker for Mogwai's own record label featuring several diverse acts including Scotland's own Errors.

Errors are currently touring with Mogwai and opened the show on this night in Atlanta. A promising group known as "post-electro," they were the perfect fit for a Mogwai show. Errors have two fine LPs under their belt: 2008's Its Not Something But It Is Like Whatever and last year's Come Down With Me.

Catch both bands on tour now: www.mogwai.co.uk

The Cars resurface with new release and hit the road

After fans waited 24 years - assuming that the Cars would never reform - it has happened. Today marks the release of the first Cars record, Move Like This, since 1987's Door To Door. Sadly, singer and bassist Benjamin Orr passed away from cancer in 2000. The four remaining original members, Ric Ocasek (vocals, guitar), Elliott Easton (lead guitar), Greg Hawkes (keyboards), and David Robinson (drums), will hit the road tonight for a quick U.S. tour.

Fans are hopeful that if all goes well, the band will return to the road and visit those cities they missed in May. Move Like This finds the Cars right where they left off over two decades ago with punchy power pop, great guitar licks, and Ocasek's matter-of-fact vocals. These cuts could easily have been outtakes from any number of Cars LPs, yet their sound and attitude is all 2011.

Move is full of gems that - if you liked The Cars before - will surely please you. "Blue Tip" and "Sad Song" have been circulating the internet for a few months now, but there is so much more here. "Too Late" is a mid-tempo charmer that showcases some nice harmonies. "Soon" finds Ocasek in an effective slo-mo love song. "Sad Song" kicks off with hand claps sounding almost too similar to 1979's "Let's Go," but soon escalates into something bigger.

"Free" is surely on the release schedule as a single. Guitars. Harmonies. Cars. Overall, true fans will not be disappointed. This is as fresh as the Cars have ever been. When Ric sings, "Must this drag on forever?" we certainly hope so.

The band is hitting the road tonight in Seattle and will end up on the 26th in their hometown of Boston.

May
10 Seattle - Showbox SoDo
12 Los Angeles - Palladium
13 Oakland - Fox Theater
15 Denver - The Fillmore
17 Minneapolis - First Avenue
18 Chicago - Riviera Theatre
20 Toronto - Sound Academy
22 Philadelphia - Electric Factory
23 Washington, DC - 9:30 Club
25 New York, NY - Roseland
26 Boston - House of Blues

For more information, go to http://www.thecars.org/.

The Twilight Singers show Hell how it's done

Live Review: The Twilight Singers at The Masquerade in Atlanta, 5/5/11

Greg Dulli is the man. The man, that is, in charge of his band, his sound, and his life. That was not the case a few short years ago. After enjoying success with his grungy Afghan Whigs in the nineties, he joined the ranks of the lost with an alcohol and cocaine binge that is still talked about. But he has come through it wiser, more focused, and maybe a tad bit darker. The new Twilight Singers album, Dynamite Steps, is a fine set of songs that has brought Dulli once again to the forefront of respected musicians. And of course, there’s the voice. The gruff, sometimes scream of a voice exhibits emotion that few others only dream of putting on a record.

The first single from Dynamite Steps is “On The Corner,” a wonderful amalgam of a song that sounds like all the ingredients from his tumultuous life have been mixed in. It is, however, an excellent track which showcases his terrific band, his guitar skills, and again, that voice.

He also is a perfectionist. From his attire (all black), to his directions to the band, then to the audience (“Gotta turn those flashes off. Blinding me!”). And after that, not another camera flashed. Stories of Dulli jumping off stage to beat down some big mouth have been circulated quite frequently. He could be compared with Morrissey, who has the same personality, wears similar clothing, and sings about his inner demons, only with a British accent. He is also a fan of the covers. On at least four occasions, he gave the fans a mash up. When he began singing the Beatles’ “All You Need Is Love” then transitioned into Twilight’s “Love” from 2000, it worked wonderfully. Most people do not realize that Dulli provided the singing voice of John Lennon in the Hamburg-era Beatles movie Backbeat. Love Affair’s 1968 hit “Everlasting Love” was mixed with “Esta Noche,” and done quite well. During “The Killing,” Dulli sang a few bars of Echo and the Bunnymen’s “The Killing Moon.” Incidentally, Ian McCulloch and the Bunnymen were playing upstairs at the Masquerade (“Heaven”) this very evening. Dulli and the boys were content to play the smaller, more aptly-named downstairs club ("Hell”). And what would any rock show be without a snippet of Pink Floyd’s “The Wall.”

The evening was filled with a perfect balance of Twilight Singers and Afghan Whigs tunes. The fan base was strong and Dulli was on top of his game in all aspects. He started off the show by saying, "Good evening, Hell," and it only got better from that point. Other song highlights included "Gunshots," "Teenage Wristband," "Last Night In Town," and "Get Lucky."

Opening the show were Margot and the Nuclear So and So's touring in support of their lastest album Buzzard. The Indianapolis band provided a great rock intro to the night and it was apparent that their fans were in the house.

For more information and to catch this hot tour, go to www.thetwilightsingers.com.

Cut/Copy transport Atlanta fans back to the 80s

Live review: Cut/Copy, Holy Ghost! at The Masquerade in Atlanta, 3/28/11

Australia’s Cut/Copy brought the eighties back to Atlanta on the kick-off to their world tour Monday night. It was all synth and hooks as near-riotous fans jumped and jammed to Cut/Copy’s reinvention of the New Wave decade. Obvious influences include Depeche Mode, New Order, and several other synthpop/new wave/post-punk bands you may remember from back then. Strangely enough, it works.

Touring in support of their third studio album Zonoscope (Modular Records), Cut/Copy are just out to make you dance. While selections were performed from their first two releases, Bright Like Neon Love (2004) and In Ghost Colours (2008), the night belonged to Zonoscope. The first single, “Need You Now,” is a pop song that no one can deny, as witnessed by the fanatical jumpers at the Masquerade that evening. The video is a mish-mash of athletes – in full uniforms and pads – playing every sport but their own, as the band plays their instruments in the midst of it all.

Leader and chief songwriter Dan Whitford (vocals, keyboard, guitar) has fashioned some musical gems and evolved beautifully over three studio albums. Remaining band members include Tim Hoey (guitar, sampler), Ben Browning (bass), and Mitchell Scott (drums). While they have honed their dance pop sound towards a more middle of the road dance pop sound, there is still that déjà vu for the eighties. Some may argue that Cut/Copy have simply copied the awesome sounds of that era, but it’s more of a 21st century eighties sound. Which is better. Besides, imitation is the sincerest form of flattery, right?

After playing the Ultra Music Festival in Miami two nights earlier, Cut/Copy traveled to Atlanta to officially kick off their tour. “How do you all feel about Miami?” Whitford asked the crowd. The response was a mix of boos and cheers. “Well, we just played there and they seem like phoneys. You guys in Atlanta are real. Our kind of people.” This, of course, brought roars of approval from the fans. Talk about telling us what we wanted to hear.

“Take Me Over,” also a new track, was played with the gusto of any live song you’ve ever heard. The sold out Masquerade was under fire and the floor of the place somehow survived, as did all of us lucky humans inside that cavernous place (on the second floor ironically called Heaven). It was a good show.

Openers Holy Ghost! from Brooklyn stole the show before the headliners even got near the stage. With their highly danceable, new disco sound, Holy Ghost! brought down the house with such great songs as “Wait And See,” “Do It Again,” and “I Will Come Back,” which may be reminiscent of something off a Naked Eyes album from 1983, but way better.

Touring in support of their new self-titled record, Holy Ghost! appear to be hitting their stride as an in-demand band. Alex Frankel repeatedly thanked the heaving audience and passed along his appreciation for the “great fans” of Atlanta. Backed by James Murphy’s DFA Records, this band is in good hands and will undoubtedly gain more positive exposure as the tour continues.

“25 On” and The Rainmakers are going strong

Album review: The Rainmakers: 25 On (Bat Records), released 3/14/11

Hailing from Kansas City, Missouri, The Rainmakers have always lived up to the “Show Me State” motto (in a define-rock-and-roll-for-me kinda way). Forming as Steve, Bob & Rich in Kansas City in 1983, Steve Phillips (guitar, vocals), Bob Walkenhorst (drums, vocals), and Rich Ruth (bass, vocals) brought a raw energy to the local music scene. In 1986, the band released their first big-time, self-titled album on Polygram Records after adding Pat Tomek to drumming duties. It cracked Billboard’s Top 100 Albums and even made it into two of Stephen King’s novels (The Tommyknockers and Gerald’s Game).

Overseas fans loved them even more, with their debut single, “Let My People Go-Go,” making the UK Top 20. But Norway fans would take it to a higher level. That is the country in which The Rainmakers are still huge. In fact, the newly reformed band will embark on a two-week tour there beginning next week. Unfortunately, Steve Phillips is busy recording and touring with The Elders, a premiere Celtic band which has itself enjoyed great national success. Multi-instrumentalist Jeff Porter will fill in for Phillips on guitar, vocals, and an additional piano for the new release.

This year marks the 25th anniversary of that debut album, and the boys decided it would be a great time to put out something new. After a fourteen-year break, they have released what could be their most mature and soulful work to date. Timing is also ideal with their induction into the Kansas Music Hall of Fame earlier this month. The new album is entitled 25 On and it consists of twelve songs that run the gamut from a first class melodic rocker (“Given Time”) to a story of life on the road and the joy of finally getting back home (“My Own Bed”) to a wicked political stomper that begs Americans to work together (“Half A Horse Apiece”).

The second track finds Walkenhorst rhyming “ceiling” and “Vermillion” possibly achieved for the first time in music recording history (do the research). On “Turpentine,” the band grooves to a jazzy piano intro and a soulful wonder of a song as Walkenhorst sings, “Got the rollin’ bass, got the baritone / Got a ringin’ high tenor reachin’ Jesus on the phone / And a smooth lead singer got the women cryin’ / Sweatin’ salvation, turpentine.” This song is a prime example of Walkenhorst’s superb songwriting ability as well as showcasing the entire band’s superior musicianship and harmonies. It sounds like a gospel choir straight off the bayou. I dare you not to listen to this one five times in a row. But 25 On has it’s soft spots as well, as in “Baby Grand,” which will touch the heart of any father of a daughter.

The album closes with “Go Down Swinging,” a raucous tribute to life itself, if not simply a musical career. Walkenhorst channels his best gritty-voiced good ole boy blowing away that harmonica and professing, “If I go down, I’m gonna go down swingin’ / If I grow old, It won’t be gracefully / I’m gonna trip and fall, and pass it off as dancin’ / I’m gonna croak and moan, say it’s a new kinda singin’ / I’m gonna go down swingin’” as the rest of the band tries to keep up.

It sounds like the greatest of parties, but it also witnesses a singer and a band looking at what’s left of their lives. The Rainmakers have a multitude of fans around the world who will likely be transported back in time for a joyous musical experience with a band that has been there and back.

Dum Dum Girls take Atlanta

Live review: Dum Dum Girls, Reading Rainbow, Dirty Beaches at the EARL in Atlanta, 3/10/11

Influences on the musical tastes of Dum Dum Girls come from a long list of artists. Dropped names have included The Ramones, Patti Smith, and Iggy Pop. For the new EP, He Gets Me High (Sub Pop), Richard Gottehrer took the production reigns and created an exciting and fresh record. Gottehrer, who has produced the likes of The Go-Gos, Blondie, and The Raveonettes, has taken DDG a step further. Combining indie rock with sixties lo-fi, The Go-Gos these gals are not. With a darker and edgier sound than girl group predecessors, DDG are aiming at a whole new audience.

Taking the stage a bit after 11:00, DDG appeared at first to be walking straight out of the Robert Palmer video “Addicted To Love.” All four ladies were wearing black with serious glares shooting straight through the crowd. However, that image was quickly erased when the music started. Leader Dee Dee (vocals, guitar) has perfectly described the DDG sound as “blissed-out buzz saw.” That about sums it up. The remainder of the group includes Jules (guitar, vocals), Bambi (bass), and Sandi (drums, vocals).

The four-song EP was covered, which includes the songs “Wrong Feels Right,” “He Gets Me High,” “Take Care Of My Baby,” and the final song of the evening – and the most anticipated – “There Is A Light That Never Goes Out.” This cover of the Smiths classic has been covered many times, but never so well. Coming up on the 25th anniversary of the release of that album, The Queen Is Dead, the Girls have timed this one well. With their near flawless arrangement, terrific musicianship (Johnny Marr is blushing at the guitar work, here), and wonderful harmonies, the Girls succinctly capture the teen angst which was Morrissey’s intent with this track.

As the Girls wind down their tour next weekend at SXSW in Austin, they gear up for the European leg with the opportunity to gather new fans around the world. For tour information and song streaming, go to Sub Pop.

Opener Dirty Beaches brought his minimalist rockabilly performance. Basically a guy and a guitar, much looping was on the menu for the evening. His version of the Johnny Cash song “The Singer” was both entertaining and haunting. This set could be described as Twin Peaks weird. The only thing missing was the backward talking dwarf (I’m pretty sure he was in the back room). David Lynch, by now, is surely a fan. That being said, this set was hugely original and complemented the entire evening in a special way.

On deck were Philadelphia’s Reading Rainbow. The duo consisted of Robbie (guitar, vocals) and Sarah (drums, vocals) and at first glance appears to be a White Stripes wannabe band. A closer comparison might be with Mates of State. During some of their great harmonizing, a little X may pop into your mind, with memories of Exene Cervenka and John Doe sharing the mic.

Setting Sun’s Fantasurreal: Comfort food for the ears

New York’s Setting Sun have brought us a beautiful sound that combines several genres. Chief architect of songs Gary Levitt merges indie rock, folk, and maybe a dash of chamber pop in his creations. At times, listeners may think they're hearing Crosby, Stills, and Nash outtakes. Levitt’s layered vocals offer up wonderful harmonies that are complemented by lush instrumentation and sharp lyrics.

Setting Sun's fourth studio album, Fantasurreal, was released last summer (on Levitt's own Young Love Records) and is worth revisiting for those who enjoy discovering good music. The first single, “Make You Feel,” is a superb example of smooth harmonies, this time with partner Erica Quitzow (see Quitzow). When the pair sing, “No one’s gonna make you feel as good as you do,” you should feel that all is right with the world. The addition of the trumpet to this record makes it a true original.

“Into The Wire” picks up the beat with drumming and guitar readymade for a radio hit. This one may cause you to experience a little déjà vu and be reminded of America’s “Lonely People.” Although the seventies seems to have inspired Levitt, his creations are fresh and relevant.

All the songs on Fantasurreal flow like a well told story that draws you in and ends too soon. The album includes many gems, including "The Sympathetic CEO" (a.k.a. five minutes of heaven) and "The Tree," with Levitt and Quitzow chanting, "Don't get carried away / Don't get carried away," which may very well be a warning to the unprepared listener. Fantasurreal will carry you away if you allow that to happen.

Setting Sun is set to tour Europe from late April through late May this year, but should return to our neck of the woods soon after. Catch them if you can. In the meantime, buy this record at Young Love Records today.

Jonathan Richman's still got it

Live Review: Jonathan Richman at The Highland Inn Ballroom in Atlanta, 2/18/11

At 59, Jonathan Richman can still bring the youthful exuberance to every performance. In his first night of a two-night stand at Atlanta's Highland Inn Ballroom, fans stood in awe of Richman's songwriting genius and lightning finger work on his acoustic guitar. Accompanied by longtime drumming partner - 18 years, to be exact - Tommy Larkins, Richman put on the most minimalist of rock shows. The due exhibited polar opposite personalities, with the introverted Larkins, sitting behind the drum kit never emoting, to the wildly extroverted Richman, even walking out in front of the mic to shake his hips and dance with audience members. It was as if an old college pal was in town to party. You may remember him as the guitar wielding singer popping in and out of the film There's Something About Mary, in which he also wrote the theme song. And Tommy was by his side then, too.

His quirky storytelling-into-song style has evolved since his days with the punkish Modern Lovers of the seventies. In that "supergroup" were bassist Ernie Brooks, drummer David Robinson (who later joined The Cars), and Jerry Harrison (who later joined Talking Heads). Richman had been highly influenced by the Velvet Underground while still in high school, and went on to open for them a short time after forming Modern Lovers.

At the Highland Inn Ballroom, fans enjoyed many Richman classics, such as "I Was Dancing In The Lesbian Bar" and "Pablo Picasso" ("Some people try to pick up girls and they get called an asshole / This never happened to Pablo Picasso"). Whether he's singing in English (make that a heavily-accented Massachussetts English) or Italian, Richman always seems to give the audience a fantastic show.

Partly touring in support of his new album, O Moon (Vapor Records), Richman continues to release thinking-outside-the-box tunes that always tell a story and are usually very witty. To find him on tour, visit www.vaporrecords.com.

10 shows you should have seen in 2010

The 2010 musical year in review was a rich one. It seemed to witness a huge leap for the indie music world, with more and more bands getting their sound out there via the Internet. No more fishing for big record label contracts. The 21st century technology has been kind to up-and-coming bands. Following are ten shows that you should have seen with a snippit from each review. Most of these acts are not considered radio staples, but probably should be. Go to the links for each concert to read my full review (shows are listed chronologically).

SPOON at the Tabernacle in Atlanta, 3/20/10 - "While Spoon has had their ups and downs, it seems as if they’re in for a future of 'ups.' On this night, Spoon was the tightest four-piece on the planet. Even with two encores, the band left fans wanting more." http://http://www.examiner.com/music-in-atlanta/spoon-rock-the-tabernacle

THE RUBY SUNS at the Drunken Unicorn in Atlanta, 3/22/10 - "Touring in support of their third studio album, Fight Softly (Sub Pop), the Ruby Suns spun some foot-tapping songs combining indie rock with world beats. At times, all three members were banging on drums. But usually, the tunes were made up of two synths and a drummer. With danceable beats and McPhun’s smooth voice, it frequently seemed as if all these people were enjoying an 80s new wave performance…in Hawaii." http://http://www.examiner.com/music-in-atlanta/ruby-suns-bring-the-tropics-to-atlanta

WILCO at the Fox Theatre in Atlanta, 3/26/10 - "As the evening progressed, the fans remained standing. The lush padding of the Fabulous Fox Theatre’s comfy seats was never utilized. The crowd stood the entire show (even much of the balcony). Tweedy recognized this and was impressed." http://http://www.examiner.com/music-in-atlanta/wilco-the-experience

VAMPIRE WEEKEND at the Tabernacle in Atlanta, 4/8/10 - "The band opened the show with the heavily-Paul Simon-influenced 'White Sky' from Contra. Next up was the ultra-manic 'Holiday.' The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end." http://http://www.examiner.com/music-in-atlanta/vampire-weekend-live-atlanta

ARCADE FIRE at Verizon Wireless Amphitheatre in Alpharetta, 8/11/10 - "Audience participation was mind-blowing and that only made for a better show. Win Butler and company have made a fantastic new record, and fortunately for us, know how to play it live. The show ended with Arcade Fire's signature song from their first album. 'Wake Up' is one of those anthems that is instantly hummable and never forgettable. What a way to end the night." http://http://www.examiner.com/music-in-atlanta/arcade-fire-and-spoon-burn-up-alpharetta

ORYX + CRAKE at the EARL in Atlanta, 8/28/10 - "If you've heard the CD by now (and you should have heard it by now), you'll know that these are nine of the most talented musicians around. And live versions of the nine songs performed came out a bit edgier than those recorded. It was clear that the members of Oryx + Crake were pumped. Audience fervor is the only thing that overshadowed the band members' enthusiam. It was a full house of an appreciative and supportive crowd." http://http://www.examiner.com/music-in-atlanta/oryx-crake-have-arrived

CROWDED HOUSE at the House of Blues in Chicago, 9/5/10 - "The second song was 'Mean To Me,' from their 1986 debut album. This rocked even harder, with Finn's voice as perfect - if not better - than it ever was. And he is one of the most underrated and superbly skilled guitar players out there. Of course, his songwriting is the only thing that surpasses his voice and guitar work. He is frequently compared to Lennon and McCartney for a very good reason." http://http://www.examiner.com/music-in-atlanta/genius-of-crowded-house-proven-yet-again

JAMES at the Variety Playhouse in Atlanta, 9/22/10 - "During 'Say Something,' Booth traversed his way through the audience, shaking hands and walking down a row of seats across the armrests. At song's end, he was quite a distance from the stage, yelling to bandmates, 'What's the next song? What's the next song!' Then, the opening chords of 'Laid' began to a roaring crowd. He hastily made his way back to the stage and brought the house down with this excellent song." http://http://www.examiner.com/music-in-atlanta/james-return-to-atlanta-and-feel-the-love

PAVEMENT at the Tabernacle in Atlanta, 9/26/10 - "While Pavement never had a #1 hit, 'Cut Your Hair' and 'Gold Soundz' may have been close, as far as fans are concerned. Malkmus comes across reminiscent of a Stop Making Sense era David Byrne, with his quirky mannerisms and jumpy moves. He does, however, put everything he's got into his performance." http://http://www.examiner.com/music-in-atlanta/pavement-burn-through-atlanta-on-reunion-tour

LCD SOUNDSYSTEM at the Tabernacle in Atlanta, 10/4/10 - "One more decibal plus one more jumping fan would have seen the crowd plummet to the basement. Murphy, with all his youthful exuberance (he's a very young 40) and high octane energy, was exhausted at song's end, doubling over with hands on knees and huffing like a chain smoker. The fans felt the same way. And the show was off to a smashing start." http://http://www.examiner.com/music-in-atlanta/lcd-soundsystem-show-everyone-else-how-a-live-show-is-done

The new year of 2011 has some big shoes to fill. Better get started.

Was this Wolf Parade's final show in Atlanta?

Live review: Wolf Parade at the Variety Playhouse in Atlanta, 11/12/10

The Montreal band Wolf Parade has announced an indefinite hiatus just days after ending their tour promoting the new release Expo 86 (Sub Pop). The reason for this is somewhat mysterious, as this show was a resounding success, according to the fanatics present on that evening in Atlanta. But then again, what better time to go on hiatus than after a grueling tour? Wolf Parade has been in existance since 2003 and grown its fan base steadily over the past seven years. Expo 86 is their third studio album, each one subsequently reaching more fans.

Wolf Parade is a unique group, in that there are two lead singers. They trade off on leads or do a bit of harmonizing. Any way you slice it, the vocals are quite dandy. Spencer Krug's vocal stylings have an eerie resemblance to that of Isaak Brock of Modest Mouse (especially on the excellent "What Did My Lover Say?"), while Dan Boeckner has a striking visual similarity to Nick Cave. Arlen Thompson and Dante DeCaro round out the quartet's rhythm section, although all four members pass around keyboards and guitars like a virus. In a good way.

The band ripped through an energized set at the Variety Playhouse and kept the crowd on its feet for most of the evening. Several songs from Expo were performed including "Palm Road," "Cave-O-Sapiens," and the synth goodness of "Ghost Pressure."

While Wolf Parade take well-deserved time off, music fans everywhere are hoping for a brief hiatus. For more information and to hear songs and watch videos, go to www.myspace.com/wolfparade

Set List:
1. Cloud Shadow On The Mountain
2. Soldier's Grin
3. What Did My Lover Say? (It Always Had To Go This Way)
4. Ghost Pressure
5. Dear Sons And Daughters Of Hungry Ghosts
6. This Heart's On Fire
7. I'll Believe In Anything
8. Fine Young Cannibals
9. Cave-O-Sapien
10. Palm Road
11. California Dreamer

Encore:
12. You Are A Runner And I Am My Father's Son
13. Shine A Light
14. Kissing The Beehive

Openers OYA (Ogre You Asshole) hail from Japan and apparently got their name from the movie Revenge of the Nerds. That's all they got from the movie because their tunes were cool. The heavy guitar-driven pop/rock was infectious and had the crowd jumping from song one. Nevermind that every once in a while, the listener may hear a little Yoko. Just an aftertaste. With broken English, the lead singer thanked the audience, announcing, "This is our first time playing in America." The land of promise, it is.