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