All posts by G. Gordon Gritty

TOP BOSTON LIVE ROCK N ROLL GROUPS OF 2016

The headline is total bullshit, what is this Spin magazine? Well, naw. This is KLYAM – KIDS LIKE YOU and ME – and if you’re just joining in now, welcome. See we’ve been kicking for coming up on 7 years. Ya true we started as teens around the whole garage revolution, sure. We’ve gotten flak for it. But the story of going from the big stuff – we’re talking Middle East Downstairs, Paradise, kind of stuff – to Grandma’s House and still having fun, maybe even more fun, that’s just life. Being a bit outsider to what may have manifested itself as the Boston underground, we’ve played by our own rules. Seeing NOBUNNY in 2009 for the first time open for Jay Reatard, writing on here about that mighty inspirational show, and then five short years later co-presenting an easily sold out NOBUNNY show. This is what we do. Not for local fame cred hype, no just to have fun, have a good time, enjoy the music. The turning point for the site came around 2011/2012 when we started venturing to basement shows. The thing is when we were seeing our heroes for the first time – Black Lips, King Khan & BBQ Show, Jay – we were going to shows that we could take for granted in terms of the production itself. I didn’t realize these bands came from the underground, the basement / DIY spaces , of their own homegrown communities – Atlanta, Montreal, Memphis. Artistically inclined people binding themselves together on the basis of playing music for one another, hanging out, having a good time. Realistically some other, more damaging aspects might come out of the whole thing, but what looks like what happened with the bands I just mentioned is they started touring, probably with somewhat narrow, initial national fanfare, captured people’s attention with their wild and loose, early rock ‘n roll colliding at punk speed style endeavors.

For me, the primitiveness of it all, the real shun of modern technicality, this is what I like, what I connect with. The fact that there are plenty a ways and takes on the stuff. Anyone can do it, anyone can write about it. No one reads this, nice, punk. I think we dissected a lot of shit a couple years ago with our reviews – damn, you see that Nice Guy, he went into a hallway IN a basement. And it can be real fun, writing about music. Oh it is definitely nerdy, weird, and give offs a sense of wanting to be heard about something nobody cares to read about online. But there you are, maybe you aren’t there. You’re watching Front Row Poster YouTube videos. It’s 2016. You can do whatever, whatever does you. Making amends with the time you have. Maybe you used to have more. You have more now.

There’s plenty out there and it is not only raw rock ‘n roll. Still our favorite of course, but with unifying forces, there’s going to be some more noisier stuff in the mix, maybe some gentler stuff. We’re trying to contribute – throw the shows we want to throw, release the records we want to release, write about whatever is interesting to us. With how much we appreciate everything we are fortunate to orchestrate events and releases… us KLYAM like to pass along what we can, when we can. If you’re checking this out, cool and thanks, we want to have a good time, and we want you to have a good time. Nothing real fancy about that.

OLDER STUFF I’M GONNA REVISIT IN 2016 – ”A”

Adam Green – In 2016, how does one recommend to somebody where to begin? Didn’t have this problem in 2010. I think I first heard a full Adam Green album with his 2010 Minor Love LP. No, I didn’t “get it” at that time, six years ago. I reviewed it like it was Let It Bloom or something. But Minor Love can’t be thought of as a boozy garage album. There’s a lot more fuzz to go around on Minor than his cleaner sounding previous records, but this one is just as witty as it is raw. One could spend an entire article or small history on how Adam beats everyone at the fun game of random.

Almighty Defenders – Why 2009 was seven years ago. It’s officially a long time ago. Think about it. If you were even the hippest 12 year old listening to The Almighty Defenders, you are 19 years old now. There’s no way around it. Their album and their existence is forever special and will not be forgotten. It is laughable that there was any kind of seriousness associated with Almighty Defenders. I mean that in the best way. Black Lips & The King Khan & BBQ Show getting together, on a whim, given some bizarre circumstances. They did it.

Angry Angles – I was going to assume everybody knows this band, but I bet reality is not as convincing. This is Jay Reatard and Alix Brown’s band. They broke up, so did the band, and then Jay made Blood Visions. But from what I understand, a lot of those songs were already being performed by Angry Angles. Whatever – I am familiar with the three 7″s – Apparent-TransparentCrowds, and Things Are Moving. Of course they were from Memphis. I would say contemporary bands from there must think fondly of the Angles.

Animal Collective – Say what you will about these guys, but they meant a lot to me from about 2007 to 2009. Their weirdness and noisiness more often than not IS rock ‘n roll to me, at least in its primitiveness and expanding creativity. I can hear the Beach Boys and Pavement influence as much as any of the avant-garde. I would like to revisit all of it. It will be okay to be weird. Yeah, I’ll check out the new one. Why not?

Atlas Sound – There is only one Bradford Cox. I admire him for his insane stretches of bedroom recordings. He has released some official albums and as well as many self-released Databank Volumes. By himself, Bradford touts absolute freedom, but in a very nostalgic and chill way. He is a sucker for the old fashioned ’50s/’60s pop format maybe more than the sound collage, but he liberally incorporates whatever he wants, however, he wants it. And that is something I admire and really learn a lot from with each thoughtful listen.

Ausmuteants – As far as synth ‘n roll is concerned, at least for the past couple years, these guys are the top. Comfortably. The Aussie DEVO I never grew up with, but with more of the Goner spunk. There’s a live video on YouTube where they played for well over 30 minutes on a bill with The Gories and Thee Oh Sees. And I had the funnest time watching them. Tells ya how excited I am about AUSMUTEANTS. Hope for another US tour this year!

 

 

Band Recommendation: Listening Woman

PERHAPS they are more prevalent than I THOUGHT. Truly bizarre groups. I love ’em so much (usually) – those possessing that anything-is-possible vibe. Out there, out here, there’s a whole lot of rock ‘n roll, hey experimental, whatever, where you can just close your eyes and that’s it. You got it.

But no see, a band like Listening Woman who I first caught at Hassle Fest a few weeks ago, there’s a complete package involved. Eyes, ears, sense of space. If you have anxiety of like needing to know what’s happening at any given moment or you want some degree of control in your entertainment experience…this is when you pack your bags, and Netflix and chill. Go back to the Cabin. See, at a Listening Woman performance, and I’m no expert, I’ve seen ’em just once, there’s unpredictability and a spectrum of performance style that purposely teases and messes with the spectator. There are conventional components – not your parent’s conventions, unless they live a No Wave life – musicality I’d call it, and a feeling that this eight member (vocalist, guitarist, bassist, keyboardist, percussionist, drummer, saxophonist, and effects?player?)  crew got together and previously ran through these numbers more than a time or two.

They keep a straight face too while playing. Being the outsider that I am, I don’t know any of the folks in the band. Probably should , they seem like a nice bunch. The other thing, well actually a few other things. The songs can change in like 5 seconds to something new. This is awesome! Another observation is that watching Listening Woman is watching a film or musical. A moving fantasy world. A world you are trapped in. In this way, I can’t help but think back to Memphis circa 2006 to 2011, with Girls of the Gravitron, The Barbaras (like this), and Magic Kids. Pop Dungeons and shit. Might just be my imagination and I’m missing the point entirely. In that case. GOOD.

Video below by Ethan Long:

New Whip Appeal Video EP – “Silk & Velvet & Woven Gold”

Whip Appeal – "Silk & Velvet & Woven Gold" from Dann Lawrence on Vimeo.

Let me admit it, ok. Music videos are dead. What’s bustling with life and creativity is the no budget / voyeuristic / parental accompaniment advised home video, or compilation of fun times and jerking around. The rock ‘n hop trio originally from Newton, MASS teased us with this medium in their “Face In” video and glad to see it show again. What do you call it when you go to court quickly?

NOISY NEW PRIMITIVALIA FROM THE CAVEMEN & >>>>>>>>>>>>>>>>>>>>>>>

Everyone has a deep urging, a seated, notpatient, and ever intense longing for what I am terming PRIMITIVALIA – this stuff is a step back from modern man, from rightnow pop capabilities and sensibilities, but lemme tell you this is the realest of deals. Oh yes, very noisy, but heartfelt in the most uncontrived ways – just listen. You’ll get it I hope.

TheCavemen

First, the debut recording from THE CAVEMEN – Banned Before Time. This is what it’s all about folks. Now full disclosure if anyone’s connecting dots here – I didn’t play on this recording and I am glad I didn’t – I’m just unbelievably grateful these guys let me react to their music from time to time LIVE. So if you want to know what complete freedom and just whatever goes, goes feels and sounds like, come on out to Harvard University this Friday, October 30, and see what Crypt Smarts (TM) looks like. The Cavemen. On this recording, Kurt and Couch nail the brute root elements of old timey frat rockers but of course that gets deconstructed in Bits and Spurts into metallic-y Lightning Bolt – so loosy Grey goosey you have to wonder if this is happily the best doomed equivalent of a Jam band. Thank you God this is a thing.

rightrightright

Now for the true sickos and sickettes. I present to you the mind of >>>>>>>>>>>>>>>>>>>>>>> and his sophomore release >>>>>>>>>>. Some might be familiar with his work in the live G. Gordon Gritty band on noise guitar – so if you ever wanted to hear what that dude is like on his own, left completely to his own devices, with a wooden or half broken guitar, homemade pedals, and a light switch, this is your chance. His straight to tape competency on this recording is quite literally the embodiment of rock ‘n roll and DO IT YOURSELF. Despite its minimalism, it might be his most accessible work. I can’t recommend the debut album enough though, there’s a lot more going on. It’s poetic. Happy to play with dude every chance I can. It’s special!

MY TWO FAVORITE CURRENT BANDS – NOTS & URSULA – ARE PLAYING FRIDAY NIGHT @ CLUB BOHEMIA

Flyer by Sonam
Flyer by Sonam

As everyone knows there are great shows, great potential shows, and then there are some times where the line-up is just insane. Then there are times where there are several fine ass shows going on the same night. This has been happening a lot lately in Boston and I take that as a strong sign that a variety of people are getting involved and putting their stake in local rock ‘n roll music.

But the show that we here at KLYAM are going to on Friday night is NOTS, URSULA, NEW ENGLAND PATRIOTS, and GERM HOUSE at Club Bohemia in Cambridge, presented by Illegally Blind.

I’m still giddy from my first time seeing NOTS perform, which was a month ago at Gonerfest 12 in Memphis. I’d been looking forward to seeing them ever since last summer when I picked up their second 7″, Fix / Modern. Even more so upon hearing their We Are Nots LP from last year. Pretty sure that was my favorite release of the year and cemented in my brain their status as my favorite band. Noisy chaotic slashing guitar, shouty vocals, and alien synths make ’em REAL OUT THERE while the bass and drum ground things slightly. “Reactor” and “Strange Rage” from the first album do it in particular for me – all winners though – and their new single Virgin Mary shows there’s no slowing down in sight. A MUST SEE BAND.

I’ve been acquainted with URSULA for almost exactly one year! I saw the duo play at Black Lodge on October 21, 2014, and was so intrigued I wrote about them the day after. I had never seen any band play like them – explicitly confrontational, raw, and yes there’s not many other ways to put it, punk. Several shows later, I still can’t get enough! Their performance goes to show that the most exciting live music is that which strays further and further away from formulas and conventional playing toward something very very real and meaningful. Not in a yay lets all relate to each other way. Something far more sinister than that. Not something I can write “when Caity stares at you, you feel _________”. I’m not going to speak on your behalf. You get from it – something different. I’d say if they don’t become your new favorite Boston band, you done something wrong.

Also playing are The (New England) Patriots – who’ve played their way to being local noise punk legends. Persistently under the radar, I’d say, they seem to evade most online merchants of cool. Well not here. They also weird as fuck, a truly unpredictable three piece. Instead of synths they got I don’t even know, some combination of devices inside of an old voting booth. Like URSULA there’s a chance the singer be bumping into you or falling on the ground nearby. An amazing sight and sound.

Finally is a band I’ve never heard of – Germ House. Now if it was 1979, I wouldn’t have the means of looking them up beforehand. Let alone do I even want to? For fear of misrepresentation or pigeonholing which I guess is innately a part of this post anyway, I’ll simply say I’m excited. I did the looking and I did the listening. Excellent.

GO TO THIS SHOW

Just Wrote About: HIEROPHANTS – “Parallax Error” (GONER/AARGHT)

Kickin off Parallax Error with some ole ’50s, ’60s Bo Diddley guitaring but that ain’t half of it. If it’s from Australia and it’s on AARGHT and GONER it’s gonna be pretty off and it’s gonna be pretty much the best shit you’ve listened to all year. Happened last year with me and the Ausmuteants. Great thing too is you can jump in after the fact, you know after their first few singles and/or album, and still feel OG because what they doing never loses its realness quotient. So with the Hierophants, I see ma boy Jake is in the band, in fact this was recorded behind his old house. Sounds pretty legitimate to me, but I’m the last to know about production.

For all I know these Australians could be fly by nighters, forming and disbanding just to confuse us Americans, right more than a few of us try too hard to sound ‘right’ or something like that. This Hierophants album, mostly, is that fine mesh of synth and vocal kinkiness – music to anyone’s ears who knows what I’m talking about – and bass/drum groove funkiness. I kinda fell off the new wave old wave synth wave black wave thing somewhere between Devo and the Lost Sounds (fucked up, didn’t I?, but place this down with a soft cushion in between those eras. Those epochs.

And I can’t tell the difference between guitar and synth. Everything is so mechanical, but unpredictable and doesn’t that vibe with rock ‘n roll legends in bands previously mentioned? I’ve realized it’s dumb to comment on songs versus provocation and why things are exciting while I listen and type. Cause it’s weird. But the music is fairly nerdy too. This is the dance music of somewhere. If the Hierophants are a top spin in a modern DJ’s collection, damn, come on please transport me there and allow me to spend some vacation days. They don’t let things get too f’ed and they intelligent too.

Review: House of the Rising Fuzz – Boston Rock & Roll Comp (2015)


This is Boston’s House of the Rising Fuzz compilation. Who, what, when, where, and why. Well let’s see, read on! It’s a physical artifact, a tangible, audible documentary. It’s a beauty and it’s so mid-2010s, underground garage and punk and noise and dirty pop. A full effort coordinated by the inspiring bands on here and also 456 Records, Primordial Sounds, Theives Grotto, Boston Hassle, and Ben Semeta. It took a while to get here, but honestly is there a better time than now? Just days away (August 6th through 8th) is the Boston Fuzzstival – curated by the one and only Jason Treft’s Illegally Blind – and featuring most of the bands included on this compilation. Both the Fuzzstival and the release of House of the Rising Fuzz are dream come true events not only for the people directly taking part, but those slimers, those fanatics, like us, like You and Me, who can’t get enough of that F word.

From my perspective, I’ve seen all of these bands perform – some maybe just a couple of time, others a dozen or more – and a few (Barbazons, Nice Guys, and Miami Doritos) we are grateful to have released records and tapes for on our own label. We share a similar fondness for rock ‘n roll music that’s nicely being built up through the abovementioned proponents of underground culture here in Boston. There’s no reason why House of the Rising Fuzz can’t be our Casual Victim Pile. For those unfamiliar, that was a compilation of Austin TX rock ‘n roll bands released in 2010 by Boston area native Gerard Cosloy and his Matador Records. Where that album definitely had more innate spotlight given Austin’s reputation for live music and the big independent label distribution, House of the Rising Fuzz is a decentralized group effort that is very indicative of the spirit and community vibes in Boston. It’s one of those situations where the people that are fortunate to live here or tour through here can literally feel this energy, however, the larger, national music media sources don’t cover our bands anywhere near as much as groups from San Francisco, Los Angeles, or Memphis.

I can say for certain that House of the Rising Fuzz captures all the bands at their highest moments. I agree with Ben in his interview with Allston Pudding where he’s like for every band it’s “their best song yet”. In fact, his band Black Beach’s contribution “Kreep” is in the early lead for my favorite thing on this compilation. It is crunchy, punchy, slippery – an exhilarating blender of spacey garage punk tropes and odes. Bless its soul. I could get real nerdy and boring with descriptions and stuff, but the main thing I note is that I can toss this thing on and be like oh yeah That’s New Highway Hymnal. “Isolation” yup – I recognize Hadden’s vocals, Amelia’s bass, and Travis’ drumming style. They groovy. With The Monsieurs
“Shadow,” there’s also no mistaking. Except, they work over there in the blown out bubblegum punk department. There’s a reason why that group is universally revered around these parts. They make ya crazy with their memorable ramble and stampeding swagger.

The bands that I am least familiar with – Midriffs and Dinoczar – do a helluva job saying HI THERE… Midriffs offering “White Washed” is the longest journey at 5 minutes and 37 seconds, but one would be damned to call this a psych slowburner. It’s more comparable to what we know and love from NHH and The Televibes, the ole penchant for intoxicating instrumental freakouts. And speaking of which, the North Shore’s own Televibes “DMT” takes this style to every ticklish cavity of what has been revealed to us as psychedelic rock and roll music. Dinoczar might be the sludgiest and rawest talent on the compilation – their “Cream” unlocks the doors to the Slaughterhouse, if ya catch my drift.

It’d be a shame for me to not mention Miami Doritos and Nice Guys together. Subconscious and literal promotion and testimony to the greatness of their Splifft 7″ aside – they’ve lived together, toured together, and what not. I’ll tell you briefly the sonic difference. Miami Doritos is a guitar and drums duo but they make for a brutally concise, maximalist use of that nice fuzz, that nice noise. It’s intimidating, lovely on “Cut the Rope”. Now as for the “Chips” boys, the four Nice Guys. Their contribution is the previously UNreleased “Chips in the Moonlight” (though, if you’re keeping track – and you should be – they released an EP with this name. If you’ve never heard Nice Guys, you might want to start with this tune and work forwards, backwards, etc. At the heart, these fellas write catchy riffs. Also at the heart, they breakaway from these winner choruses and verses to what amounts to best-in-class dueling guitar breakdowns like in “Chips.”

This leaves us with Barbazons and Creaturos. Both have been around for some time now (Barbazons since 2010, formerly as Fagettes, and Creaturos since 2011) causing a racket but mainly making a name for themselves because they perform lush garage pop. Who am I to say, but if I’m trying to show someone whose only experience with Fuzz is the police what’s up, I might first direct them to Barbazons “Jake” which is surely many bits chaotic, but it is sunny and breezy and shiny. If they respond positively and I know they will, I’ll send them over to Creaturos “Bleeding Like A Stone,” which plays out as a psyched up slap to the best of good times ‘classic’ rock. I believe I’ve always felt this way with Creaturos and it is a compliment owed to their distinct playing.

Listen to these bands, support them at shows, book them. It might sound cheesy and everyone says it about everything, but seriously this is special. It’s super fun and rewarding for those who know and love these bands and the same for those who might be all ‘why should I care about Boston rock & roll in the year 2015’? I hope this reaches far beyond a local scope — it would not be nice for the thousands of appreciators of this kind of music to miss hearing this compilation!

Recommendation: The Hunches “Exit Dreams”

This write-up is a necessity because I’ve just listened to a life-changing record. It’s The Hunches final album Exit Dreams released in 2009 on, here goes, my favorite label: In The Red Records. I ordered the CD a few weeks ago (no mo’ vinyl, at least not through the label) and it arrived last week. My previous experience listening to The Hunches was sort of here and there and I’m thinking Pandora had something to do with that. I’ve heard of their reputation as the greatest band, not really sure from where. That is pretty accurate though. Listening to this comes at a perfect time ’cause I’ve been absorbing plenty of bizarre noisy pop. I’ll credit this recent spell to finding the band Eat Skull and buying their record.

The situation with Eat Skull, The Hunches, and Girls of the Gravitron (can’t name drop this no-more Memphis group enough, one of my very very favorites) is that the music and the instrumentation is mad expansive and not ya average rock ‘n roll or garage. These crews make even the greatest of the greatest that we KLYAMers champion seem a bit dull. And yes, that sentence creeps me out as much as you’re probably thinking. The Hunches and the other bands I just mentioned have some slow movers in their catalog with overt pop elements – these usually are standouts and favorites. But the harder to digest distorted multi-layer guitar and feedback explosions sound like perfect accidents to me. Exit Dreams is filled to the brim with these moments where I’m like yo this could be Pixies, Pavement, Velvet Underground and I love all three of those so that’s great. BUT there’s much more subversive playing and truly unexpected change-ups with The Hunches here. There’s no sympathy to any style and ‘garage’ is a tag that probably does this a bunch of disservice given the terrain this disc covers. I also can’t really identify a lot of unity in how this was recorded; some tracks are really brutal and upfront (this is a way positive comment), others sound comparatively immaculate. So, major props to how this was mixed and mastered.

If you want to listen to a record that is the opposite of stale and safe, this here Exit Dreams is choice. I’m not saying it’s the most experimental record, but I really love it for its playfulness. It’s not happy or optimistic really, sort of the opposite. It fits where the band was at its time, for whatever reason, on the brink of collapse with not a care in the world. I listen to this and get that feeling that ya, we can move beyond present or past uncertainties and situations. the noise and clutter are haunting and personal, but the catchy and familiar vibes win out and save the day. All is well, but it’s a trip for sure.

TeleVibes New Album “High Or Die” / Release Show MAY 24

tellies
Flyer By Kayla Savage

It is another TeleVibes release show at the Middle East Upstairs and we KLYAMers of course remember just how nice these occasions are. The last one was over a year ago in celebration of Washed Up, but tonight it’s all about High Or Die, seven songs of sheer guitar psychedelia and Pete Coldpack inspired freak-outs. They’ve been playing some of these numbers for a while, ya basically feel at home in Boston’s finest green beer guzziln basements listening to the Tellies. YET, bro, these are arena sized jams and I don’t usually say that in a good way. The grooves are bustling too hard and Out There for something like “Acyd” to not be loved by any kind person who fancies rock ‘n roll shoved to its spaciest noisiest outer boundaries.

Well then listen below or hop over to their BANDCAMP (where you can listen to High Or Die) and do your part in supporting our No Sho pals – come through to see them tonight MAY 24th 8 PM Middle East Upstairs with a very musically linkminded crew – Holy Wave on tour from Austin, Texas, and two local psych shimmies Soft Eyes and Fedavees.