Live Review: Free Energy, Jukebox the Ghost, & Miniature Tigers at the Star Bar in Atlanta, 6/3/10
As drummer Nick Shuminsky took the stage in his vintage Styx t-shirt, the room was transported to the 1970s with little chance of returning. Free Energy, the Philadelphia rock band (transplanted from Minnesota and transformed from the band Hockey Night), have enjoyed a rush of critical success since their March debut entitled Stuck on Nothing (DFA Records).
The first the fans heard out of the band was that cowbell. Then lead singer Paul Sprangers kicked in with the band’s namesake, “Free Energy” (“We're breakin out this time / Makin’ out with the wind / And I'm so disconnected / I'm never gonna check back in”). It’s an infectious song that got the small crowd going quick.
Lauded by Spin as an “excellent” band to watch for 2010" and a Rolling Stone "Best New band of 2010" (“It totally fu@%ing rules. Lighters up!”), and enjoying a slot on Letterman in March, Free Energy has definitely received the press.
Members of the band have based their reputations on the nostalgia of seventies music. On paper, this sounds like a ludicrous idea, especially given the fact that so much new music has become popular and “classic rock” has really not experienced any sort of resurgence. These songs have breathed new life into a genre of music once thought dead.
Wells is the typical rock singer, with his frequent “sweeeet” references and constant Mick-Jagger-finger-pointing. Other highlights included “Dream City,” “Hope Child,” and the latest single “Bang Pop.” The music was fresh, loud, and for the few people at the Star Bar that night, very danceable. The only negative was that is was not a packed house. Should have been.
Opening the show was the obviously caffeinated Miniature Tigers, who pretty much set the place ablaze (not a usual thing for a band opening for two other bands). Singer Charlie Brand reminded the crowd that he was doing ‘shrooms when writing most of these songs. Observing their stage antics, this was not hard to believe. Overall a very fun (and talented) group of musicians. They’ll set off on a headlining tour soon.
Stuck in the middle were Jukebox the Ghost. After seeing an “I Love Ben Folds” t-shirt in the crowd, the reason was evident. From the first notes from JTB, an obvious connection to Ben Folds was realized (they even opened for Folds in 2009). Folds made piano rock cool again (after the likes of Billy Joel and Elton John lost steam the past couple decades) and a connection to him is not necessarily a bad thing.
Oddly, the singer and pianist of JTB is also Ben (Thornewill), and has the chops to keep up with the best of them. “Under My Skin,” “Good Day,” and the catchy “Hold It In” were three selections played by the band.
This was a fantastic evening of three bands with refreshingly different sounds. As the night progressed, band members from all three groups jumped on and off the stage, singing along and playing various instruments (including a rain stick!), culminating with a musical-orgy-of-sorts when nearly every member of every band (plus a few fans) filled the tiny stage near the show’s end. It was fun and actually sounded good. Catch all three bands on the road this summer.
Tuesday, June 15, 2010
Atlanta discovers ambient magic with One eskimO
Live review: One eskimO at Smith’s Olde Bar, 5/26/10
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Free Energy travel to the 70s for debut
New release: Free Energy, Stuck on Nothing (DFA Records)
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
Wednesday, June 2, 2010
New release for Solex Vs. Cristina Martinez and Jon Spencer
NEW RELEASE: Solex Vs. Cristina Martinez + Jon Spencer Amsterdam Throwdown, King Street Showdown! (Bronze Rat Records)
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Shelby Lynne & Findlay Brown bring soul to Atlanta
Live Review: Shelby Lynne & Findlay Brown at the Variety Playhouse in Atlanta, 5/15/10
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
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