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Art, concert review, Local Music, Mikal Cronin, Music, pictures, Punk, reviews, Shannon and The Clams, The Migs

Review: Mikal Cronin, Shannon and The Clams, Roomrunner, The Migs @ Great Scott (6/17/13)

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Bands: Mikal Cronin, Shannon and the Clams, Roomrunner, The Migs
Date: Monday, June 17, 2013
Venue: Great Scott (Allston, MA)

The Migs – HOLY SHIT, IT’S THE MIGS!!! Man oh man, it’s a huge pleasure of ours to see New Hampshire’s finest up on stage once again, it’s been way too long. Wayyyy too long. Vintage Migs Keven, Lukas, and Craig are joined by a new drummer by the name of Alex (well new to us, but apparently he’s been rockin’ with the fellas for several months). What up Alex?!

The Migs are one of the greatest live bands I’ve seen. The songs are solid, if a little bit rough around the edges, but in a live setting the songs simply hit you with a greater force. In addition to The Migs’ undeniable grasp on 60’s garage rock, R& B, soul, blues, and a pinch of doo wop, they provide pure entertainment.  It’s the little things that separate them from most other garage/rock ‘n’ roll groups. Their coy, innocent dancing and sudden bursts of laughter effectively match the joyful, tension free style of music they embody.  It’s fun. It’s joy, like the Black Lips taught me, joy could be an aesthetic – could be meaningful. And The Migs do their best to make sure everyone has  a fun time.

The band’s unhesitating interaction with their audience is a feature of The Migs that I have admired since day one (4/20/12 for me). I remember back then, fanatically telling people about  a band I saw the other night (which is what usually happens after I experience a special band). I extensively proselytized my love for The Migs, “you have to see this band, they play in the crowd, they play with the people!” It was like something out of Fugazi or Lightning Bolt or something crazy like that, something I had only seen in videos. Tonight, The Migs don’t play in the crowd or on the floor, but it’s not a big deal because it’s not quite the same unless it’s a grimy, crowded basement. Nonetheless, the enthusiasm and entertainment is still very much intact.

Up until now, I have suffered through endless months of Migs withdrawal, but this performance brings me back to the good old times. The quartet concludes with a cover of The Rolling Stones’ classic, “The Last Time.” I certainly hope it’s not the last time.  Go see em’ live! http://themigs.bandcamp.com/

Roomrunner – Naturally, going into a show like this I’m biased. I’ve been a longtime fan of Shannon and the Clams, seen Mikal Cronin in the Ty Segall Band (not to mention liking and enjoying some of his music) and of course I hold The Migs near and dear – taking in several of their shows in the previous year. Roomrunner, on the other hand, is foreign to me. For the first few songs, I can nod along to this Baltimore based band, but after a while I’ve had enough. It’s certainly not as upbeat as The Migs, but Roomrunner do have some power in them and they definitely write some decent songs, but they’re simply too sad for me or not sad enough haha. I did find their in between song banter to be quite amusing though. The vocalist/guitarist even introduces the classic “we have one/two more songs left” ( a line that practically every band utters at one point in their lives) as a phrase that everyone loves to hear; in this instance I concur. That being said, I do appreciate Roomrunner’s sense of humor, even if their sound is not exactly my bag. Apparently, they are also on a string of tour dates with Shannon and the Clams and Mikal Cronin. Kudos gentlemen. Check them out here: http://roomrunner.bandcamp.com/

Shannon and the Clams – I’ve been waiting two years to see this band! I love Shannon and the Clams and tonight I can finally cross them off of my “top 5 bands to see live” list. The trio, which includes vocalist/guitarist Cody Blanchard (King Lolipop), vocalist/bassist Shannon Shaw (Hunx and His Punx), and new drummer Nate are known for creating a raw, analog flavored, bizarre take on 60’s  pop music, implementing elements of garage and doo wop – not to mention 70’s punk, making the band a sheer bestial force.

So, with these elements in mind, one can understand why weird, off kilterish pop/rock ‘n’ roll,  garage punk rock fans such as myself would simply adore the music of Shannon and the Clams. Their recordings are near flawless, but seeing them up on stage is incredible. They open tonight’s show with 2011’s “Sleep Talk” off the album of the same name and what appears to be the main source of  this evening’s set. A solid opener and a favorite of mine at that, they continue with other Sleep Talk tunes such as the soft, doo wop morphed fast punker “You Will Always Bring Me Flowers” to the straight up slower, ballady gems in “Oh, Louie” and “Done With You.”

The finest cut from Sleep Talk/my all time favorite Shannon and the Clams song and the one that seems to generate the greatest crowd response is “The Cult Song.” This number showcases what is  fantastic and utterly strange about Shannon and the Clams. The song builds with a fast, pulsing drum beat backed by Cody’s  bizarro vocals and Shannon’s seemingly endless chants “one of us! one of us! one of us!” as made infamous by 1932 cult horror classic, Freaks.  The band attempts to persuade their audience that they are sane in the lines “WE ARE NOT UNDER MIND CONTROL” but by the end of the song I think most of us would happily join the Shannon and the Clams cult! This song in particular reminds me of why I admire a band like this what with all of their little idiosyncrasies and good old fashioned weirdness. Maybe, it’s not even weirdness. Just taste.

I’ve gone on and on about my love for Sleep Talk, but the band has actually just released their debut for Hardly Art entitled Dreams in the Rat House. I have to admit I am not overly familiar with the songs on this album, having only heard it once or twice now. With that being said, I do recognize them playing the song “Rip Van Winkle” tonight and as expected they kill it.

As I have noted thus far, the vocals are one of the hallmarks of Shannon and the Clams’ music. With this in mind, a rather distinguished moment in the set is when Shannon and Cody both see how loud they can sing with each Clam trying to top the other. This is entertaining, but also shows us just how phenomenal their voices are.

Point is, go see Shannon and the Clams live if you get a chance or better yet pick up one or all of their amazing records.

Mikal Cronin – For starters, I am only vaguely familiar with a couple of Mikal Cronin songs, but Co-KLYAMER Glen is a huge fan. He’s shown me some sweet Mikal Cronin tunes in the past and I agree that it is solid psychedelic pop/garage rock.

I mentioned earlier that we have seen Mikal Cronin before in The Ty Segall Band, well Mikal is joined by fellow Ty Segall band mate Emily Rose Epstein on drums. Mikal and Emily are just as talented as they were with Ty; the whole band is exceptional actually. If you like Ty Segall, then I’d recommend you check out Mikal Cronin, as you will most likely enjoy the similar style. Mikal and crew seem to perform more solos however, which isn’t necessarily a bad thing, but typically not my thing.

I mainly came to see Shannon and The Clams (and The Migs!), but Mikal Cronin and his band are also impressive. The crowd appears to be a bit of a mixture of Clams and Cronin fans with some natural overlap. Considering he is the headliner, more people probably came to see him, but I am positive that all four bands tonight left the sold out crowd with a lasting impression.

Art, concert review, Fat Creeps, Honorary KLAYMERS, Kids Like You and Me, KLYAM Records, Local Music, Music, Nice Guys, pictures, Punk, Quotes, reviews

Review: Fat Creeps, Headband, Nice Guys @ Discovery Zone (6/8/13)

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Bands: Fat Creeps, Headband, Nice Guys
Date: Saturday, June 8, 2013
Venue: Discovery Zone (Allston, MA)

As soon as Glen and I enter the Discovery Zone, Allston’s Nice Guys are already kicking out the jams, just inches away from us. The nice dudes are decked out in their beach garb: short shorts and pasty whites and what have ya.

Nice Guys are a truly fun group and they provide some comical on stage (floor) back to back banter. This aspect of the group brings to mind early Smith Westerns (1st album) and early Black Lips, not to mention their garage punk tendencies. There’s something charming about them, like young male bonding or some shit like that, I don’t know anymore, I’ve been doing this for too long (says the twenty something). I have notes, I came prepared I swear, they just never seem to make it to the reviews. ANYWAY…

They appear to be at  home in the Discovery Zone space, after all they have played several shows here before. It’s best to see this foursome in an underground setting such as this as opposed to a club, and this has to be the best set I have seen from the guys. It’s loud, fast, and fuzzy, reminding me to invest in some serious ear plugs in the not so distant future.

Nice Guys certainly have a sharp sound that rattles my bones and mangles my teeth, uh huh, but I feel like the songs could be stronger. They are fun for sure, but they could use more character/personality to fully bring those pizzas, boners, and bongs to life as if they were being placed in my lap. With that being said, “Cop Walk” is a juicy beast and I never get sick of it’s factory like guitar riffage at the beginning and how it just bursts into heavy, spastic jolts of primal rock ‘n’ roll. Up close and personal (I wouldn’t have it any other way), I can feel Jake Gilbertson’s hollering vocals vibrate down my spine, a feature of the band I had overlooked in the past. Dude can scream.

I should also mention that drummer Cam Smithers hops on the mic (mike?)  for what is apparently a cover of an Andy Kaufman song. I didn’t know that Andy Kaufman made music…

Towards the end of the set, Jake and Alex shake things up a bit,  rushing into the crowd with their guitars, even breaking a fan in the process. Just to clarify, when I say fan I mean the kind that provides cool air for all of us, not a human body. After all, these are Nice Guys.

And Matt Garlick is also the man. I just realized that he was the only Nice Guy (and Fagette!) I haven’t mentioned yet. I don’t want him to feel left out, because  he is a pimp, and pimpin’ ain’t easy.
http://niceguys666.bandcamp.com/

Set List:
“(I Trusted You)”
“Herb Chambers”
“Street Surfer”
“Draggins”
“Molten Donut”
“Unholy Snack”
“Cop Walk”
“HD Snobs”
“Finale Dead”

The rockin’ and rollin’ grande times ramble on with Headband – a Boston mainstay. To quote one, Jake Gilbertson, “There was a Headband before I could even spell Headband.” Jake isn’t letting his mind run wild; Headband has existed since 1996, damn that’s quite a feat! Most bands don’t last more than a mentos, let alone two decades. Beyond being impressed with their longevity, I am genuinely impressed with some of their music. At times it reminds me of the strange, cave pop of the Box Elders and then at other times, I feel like the music drags or never takes off. They have a wealth of material on their bandcamp. Knock yourself out. http://buzzardrock.bandcamp.com/

Fat Creeps are the last band to play tonight and their performance is nothing short of thrilling. Twenty one Creeps shows deep, I can safely say this is one of their best yet, and that appears to be a popular sentiment among tonight’s attendees. Straight up, being one half of the people that put out the band’s 10″ EP on KLYAM Records, naturally I am an ecstatic fan of the trio, but I don’t bullshit when I write about bands, even ones on my label, so when I say this is one of their best, I mean it. Oddly enough, it’s kind of hard to articulate exactly why this show is finer than most I have experienced in the past. I am going to attribute the high quality of this gig to two features: set and setting. Much like a psychedelic experience, the Fat Creeps evoke an altered state of consciousness in me, one that I feel is shared with everyone in the room.

The set, that is the mindset, as one Dr. Leary labeled it, is a young band performing in front of a sea of familiar faces – a collective group of friends and fans alike, an audience that has grown to know and love the songs that the band has mastered over the past couple of years.

The setting is an intimate, cozy living room space and when combined with the aforementioned set, it creates a serene feeling, an aura if you will. It’s as if everyone is simultaneously appreciating the music of the Fat Creeps all as one consciousness. From the first chords of “Horoscope” the crowd is hooked and the Creeps never let go. Besides playing an outstanding set, part of my joy is simply observing the reactions of others in attendance; seeing kids’ faces light up in anticipation for the do do do doos in “Nancy Drew” or getting pumped for Mariam’s belting line “COME CLOSER I CAN’T HEAR YOU!” in “Secrets.”

The  Discovery Zone setting itself is an impressionable one. I always get a kick out of the ubiquitous, random barrage of bizarre films being projected behind the bands while they play. During the Creeps set however, the video material is familiar, but equally enticing. There is an outburst of cheers as a clip of Beavis and Butthead comes on. This is followed by a Wendy’s commercial during the haunting ballad “700 Parts.” That’s trippy.

Get totally tripped out by the Fat Creeps here: http://fatcreeps.bandcamp.com/

Even better order the Fat Creeps 10″ EP (VINYL) on Coke Bottle Clear and/or White from KLYAM Records!  http://klyam.bigcartel.com/ ORRR pick up a copy at one of the following Boston area record stores:

Deep Thoughts (Jamaica Plain, MA)
http://www.deepthoughtsjp.com/

Weirdo Records (Cambridge, MA)
http://www.weirdorecords.com/

Armageddon Records (Cambridge, MA)
http://www.armageddonshopboston.com/index_boston.php

Brothers and sisters, don’t stop there! Fat Creeps are currently on a big ass tour with Bleeding Rainbow (http://bleedingrainbow.bandcamp.com/) and they may just be hitting your town any day now. Here are the remaining dates. Boston peeps, they’re hitting up Great Scott on Tuesday July 2!

Fri – June 28: Toronto, ON The Drake Hotel
Sat – June 29: Montreal, QC il motore
Mon – July 1: Winooski, VT The Monkey House
Tue – July 2: Boston, MA Great Scott
Wed – July 3: New Haven, CT BAR 254 Crown St.
Fri – July 5: NEW YORK Mercury Lounge
https://www.facebook.com/events/121765888020343/

In the immortal words of The Doors “The time to hesitate is through.”

Art, Big Mess, concert review, Local Music, Music, New Highway Hymnal, pictures, Punk, reviews, The Fagettes

Review: The New Highway Hymnal, CreaturoS, Fagettes, Big Mess @ Mid East Up (5/16/13)

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Bands: The New Highway Hymnal, CreaturoS, Fagettes, Big Mess
Date: Thursday, May 16, 2013
Venue: Middle East Upstairs (Cambridge, MA)

Big Mess – Big Mess are one of my favorite Boston/New England bands and it’s always fun to see them live.  It’s been a few months since I’ve had the pleasure and in that time the Lowell based trio has played a shit ton of shows including a gigantic tour with Allston rockers, Kal Marks (https://klyam.com/2013/02/21/big-mess-kal-marks-march-tour/). My friend Justin Cole, who has seen the band more times than I have (which is a lot), claims the band has gotten even better since the tour. I am going to go and agree with Mr. Cole on this account.

As always, Big Mess creates a colossal assault on the ears with massive, noisy guitar hooks and piledriver drums. Indeed, Justin Cole is correct, Big Mess appear to be more diabolical than ever before. Heavy songs like “The Hook” and “Side A” (on their Split w/ S’eance) truly come alive when the band is on stage and at the Middle East they sound better than ever. The latter is a slow, lingering menace that like most Big Mess songs is easy to head bang to, but it’s the song’s quietest moments that are the most menacing. Just listen to the song here: http://bigmessma.bandcamp.com/album/split-w-seance. If you listen at 2:29-2:54 then you’ll know what I mean. It hits you pretty hard on bandcamp, but live is even crazier. I am especially fond of the sound system at Middle East and it is cool to see Big Mess in this setting as opposed to a crowded basement in Lowell,  which is my usual preference. Either way, see these guys any way you can and they play a lot! http://bigmessma.bandcamp.com/album/big-mess

Fagettes – Big Mess is a tough act to follow, but Fagettes are sound competitors and as far as I am concerned they take the cake. Also like Big Mess, Fagettes are one of my favorite local bands and just a favorite overall. Much of this admiration stems from the fact that Fagettes play a dirty, loose style of  rock ‘n’ roll that we at KLYAM  repeatedly gush over, over and over and over again. It fits in the lineage of flabbergasting, modern day garage punk (particularly on the West Coast a la Nobunny, Hunx and His Punx, and Shannon and the Clams).

I’ve seen Fagettes five times now and by far this is the best show. It’s not only the best show, it’s also the sloppiest and when it comes to garage/punk slime/beer guzzlin’, finger poppin’, good times music, whatever you like to call it, I like it sloppy, rough around the edges – as long as the songs are still intact and everyone is having fun. Otherwise, what’s the point? These guys and gal look like they are having a fun, drunken, wild time on stage; Vocalist/guitarist, harmonica guy, Ryan Fagette looks like he can barely stand up at times, yet he still keeps his cool as always. No one else in Boston makes this kind of music like Fagettes! Providence’s Atlantic Thrills and New Hampshire’s Migs are on the same level, but in beantown it’s Fagettes turf. They just get it. They have the sound and style down pat, they have the songs to back it up, and they put on a sweet show.

Speaking of the songs, the usual intoxicant themed favorites are on display: “The AA Took My Baby Away,” “Water, Tea, And Alcohol,” and the pointedly titled “On Drugs,” among other notable gems like “My Girl Looks Like Johnny Thunders,” which is dedicated to Cam Smithers of Nice Guys.

The set closes with an extended (or I am just really fucked and it seems longer than usual), extra rowdy version of “Water, Tea, and Alcohol,” culminating  with vocalist/drummer, Melanie Bernier kicking a monitor into my face, sending  some tingles down my wee body.

Set List:
“Street Queens”
“The AA Took My Baby Away”
“On Drugs”
“Tsunami”
“Stems”
“My Girl Looks Like Johnny Thunders”
“Gonna Die Out Here”
“Water, Tea, and Alcohol”

http://thefagettes.bandcamp.com/

CreaturoS – Unfortunately, we miss a portion of CreaturoS set, but upon our arrival back into the mighty Middle East, we see CreaturoS up on stage and they are accompanied by the colorful, psychedelic mind fuck that is the Lysergic Factory Light Show, a perfect visual for a freshly lit concertgoer.

During this set, I spot Domenic (SKIMASK, Viva Via) on drums, which is new to me. In my previous two CreaturoS experiences they had a different drummer. Well, he is a solid fit for the band.

CreaturoS are a fine band and they have elements of psych and garage that I can surely get behind. On the other hand, I feel like they drone on for longer than I would have liked. Still, I can recommend their music and I advise you to give it some ear time: http://creaturos.bandcamp.com/

The New Highway Hymnal – Here’s a trio that I never get tired of seeing. If you take a gander at the KLYAM Concert Calendar (Do iT!) you will see that we have attended and adored many a hip shakin’, gut bustin’, saliva drippin’ New Highway set. Though, we have never seen them at the Middle East before, tis a pleasure. The PA is terrific, further accentuating the group’s furious sonic attack.

The Lysergic Factory Light Show can make pretty much any band look cool with all of their swirling, acid trippy visuals, but the light show fits best with The New Highway Hymnal, at least in my experience. Their music is already trippy, so when you toss those fancy lights on them it’s a striking presentation.

Tonight’s performance is riveting per usual, though the crowd is a bit mellower than most audiences at a NHH show. Nonetheless, the place is packed (if not sold out) and kids seem to dig the onslaught of psych grit that NHH has to offer. Most, if not all, of the songs are from last year’s Whispers, a record I cannot recommend enough.

Listen: http://thenewhighwayhymnal.bandcamp.com/

Art, concert review, Local Music, Music, New Highway Hymnal, pictures, Punk, reviews

Review: The New Highway Hymnal, Empty Phrases, The Lonely Machines, Spooky Future @ The Tip (5/3/13)

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Bands: The New Highway Hymnal, Empty Phrases, The Lonely Machines, Spooky Future
Date: Friday, May 3, 2013
Venue: The Tip (Lowell, MA)

Spooky Future – Spooky Future is a first for me and I don’t know anything about them. Luckily, by the end of their performance, my interest is piqued. I am not the easiest guy to impress either; I tend to be more of a fan of the straight forward, loose rock ‘n’ roll style and it’s infinite number of imitators. Yet, the sophisticated musicians in Spooky Future don’t bore me at all like most sophistsos do, instead they provide a fairly entertaining set. They are “tight” for lack of a better term. I hate using that description because it sounds like I’m reviewing a bunch of pre-pubescent girls, but the sharp connotations it has does a better job of articulating how the band sounds to me than the wacky characterizations I typically implant in these write ups.

All of Spooky Future’s songs are instrumental and they remind me of another all instrumental band from Lowell: Big Mess. Like Big Mess,  they are heavy, sludgey, and have a fierce, take no prisoners attitude. Whatever that means. I also hear a lot of Melvins and Primus in this band. So, if you dig those bands, keep your eyes peeled for Spooky Future.

The Lonely Machines –  I’m not as into this group as the first band, but the crowd appears to enjoy them. Their set consists of grundgey, emo fused songs with perhaps a leaning towards metal and/or post-hardcore. They definitely have a lot of passion, especially in the vocals (though at times they are difficult to hear). Not the style of  music I dig, but maybe you do, give them a shot: http://thelonelymachines.bandcamp.com/

Empty Phrases – The Empties are back and packing the basements with their dreamy post-punk. Like the last Empty Phrases show I caught, kids are moshing, headbanging, and just having an overall good time. These past couple of shows have had quite the positive feedback, unlike any other I’ve seen at previous Empty Phrases hootenannies. It’s a testament to the hard work and dedication the band has put forth over the years, making themselves a familiar face in the Lowell music scene.

Tonight, I particularly note that Ben Raymond’s vocals sound better than ever, he sure has some sweet pipes. Get a taste of Empty Phrases here: http://emptyphrases1.bandcamp.com/ and then go see them live!

The New Highway Hymnal – Speaking of familiar faces in the Lowell music scene, The New Highway Hymnal are some of the most recognizable and celebrated figures; along with Big Mess they are my favorite Lowell based band. Though, they have expanded far beyond the Lowell community playing a big role in the Boston underground and even touring the nation a few times including two trips to SXSW.

Indeed (yes, I feel this is “indeed” worthy), this trio has dazzled many a doe eyed college student in both the crowded clubs and crowded basements, and tonight is no different. The band plays a solid, psychedelic fueled set and the crowd responds with typical moshing, though it’s a little bit more reserved on this evening. Still, a fun time, hopefully had by all. I know I enjoy this set and with it being my last night in college, I can’t think of a better way to say good bye to Lowell.

Until I return for another kick ass show! In any case,  The New Highway Hymnal play a shit ton of shows around Boston and beyond, do yourself a favor and listen to them here: http://thenewhighwayhymnal.bandcamp.com/

Music, Ravi Shavi, reviews

Review: Ravi Shavi – “Ravi Shavi”

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Band: Ravi Shavi
Release: 2013

1. Indecisions
2. Bloody Opus
3. Hobbies
4. Accidental
5. Local News
6. Amphetamine
7. Old Man
8. Problems
9. Critters
10. Vacation Holiday

Comments: The first time I saw Ravi Shavi (Firehouse 13, November 10, 2012) , I was blown away by the Providence band’s energy and pop sensibility. It wasn’t really ‘garage,’ not quite ‘punk’ or traditional ‘power-pop’; just poppy rock ‘n roll. Well after seeing them a couple of times more, I was thoroughly convinced of their talent. Rafay Rashid, the group’s main vocalist and guitarist, is like a King Khan kind of figure, very infectious and engaging. His vocal assault varies as much as Ravi Shavi’s rock ‘n roll stylings. Some times like on “Bloody Opus” and “Hobbies,” there is some Brit in him…at least it seems. “Hobbies” particularly shimmers with some oldies charm until transitioning into an unexpected Lovely Feathers sorta charge. That’s one of my favorite specific moments of the album definitely, but there’s that kind of fun running all throughout. When there’s the familiar repetition of verses and choruses as on “Accidental,” the listen never ends up tiring or monotonous even as there are more sticky transitions and repetitions. Getting back to vocals again – “Local News” is a tidy example of a long list of dynamics. After the what you’d expect from a song called AMPHETAMINE, the crash sets in and no no I don’t mean a bad crash or anything. Just a slower, Hamilton Leithauser just stole your mic and Matt Barrick conveniently got behind the kit, deal. That sorta early ’00s NYC reverby guitars and (all time period) hollering continues on through “Problems,” and “Critters” has some instrumentation/technique not previously as apparent…until now. Closing tune “Vacation Holiday” is pure pop dynamite. This one takes its time and sends me off reminiscing of everything Ravi Shavi did right in the making of this record. Good work.

klyamrecommended

Art, concert review, Local Music, Music, pictures, reviews, Yankee Power

Review: Yankee Power @ Rosebud (5/11/13)

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Bands: The Stampede, Yankee Power, Dave Crespo’s After Party
Date: Saturday, May 11, 2013
Venue: Rosebud (Somerville, MA)

The Stampede – I hardly feel it. The Stampede are loud and they do their rock thang, but it’s rock, not rock ‘n’ roll, that ‘n’/and makes a key difference. You ever hear anyone describe Nobunny as “rock?” I haven’t. It ain’t rock high school either, it’s Rock ‘n’ Roll High School. Alas, The Stampede are a “rock” band playing typical, generic rock music you hear on modern, mainstream radio. To quote a pal of mine also in attendance, they have their Sublime song, their White Stripes song, their Chilli Peppers song. Now, to be fair, that very well may be the way you swang and in that case, The Stampede might be your thang. For what it’s worth, a large chunk of the crowd dance their asses off, so they must enjoy it.  Not the worst band I’ve seen, but I’ve seen so much better. For the first couple songs, I can give them a chance and nod along, hey the singer/guitarist looks like Jared Swilley, but after a little while all I can think is “damn, this is too normal!  Give me some punk slime, give me The Electric Street Queens! I’ll even take a whacked out Gangbang Gordon Karaoke session over this, please just make it stop, it’s been too long!”  Thank God,  my boys, Yankee Power are up next.

Yankee Power – I felt a kinship with vocalist/guitarist Jeff Gallagher the moment I met him at keyboardist Ben Tan’s party last August. He seemed like a gentleman, a Beatles man’s kind of guy, like a 21st century Beatle. I finally had the opportunity to see Yankee Power, which also includes Thomas Calvert (vocals/guitar), Mark Fallon (vocals/bass), and CJ Kanouff (drums) on December 29, 2012 at the Middle East Upstairs and that show was fantastic, featuring a cover of my favorite Beatles song “Hey Bulldog.” I told you Jeff was a Beatles man’s kind of guy. Well, nearly five months later, that charm is still intact and they are showing off some new songs to boot.

The Yanks, as I like to call them, are a fun live band and they play several of their classics from last year’s magnum opus Zoo Traffic. “Swing” is a slick, 50’s styled rockabilly number and one of the best from the aforementioned LP. “Real Folk” is also on display tonight and features some sweet vocals from Thomas Calvert. The band also play some new cuts from their latest release, Patriot Act [EP] including my favorite, “Hot Honey Jazz.” I can recall the band performing this song at the Middle East show, though up until this evening I haven’t listened to the tune since that show – nonetheless the song is so catchy, when they start playing it I recognize it immediately. “Hot Honey Jazz” has a smooth, 80’s vibe to it and could arguably be Yankee Power’s catchiest/finest song to date.

Yankee Power live is a pleasant experience and I can’t recommend the band enough, on stage and on record, but this performance is a bit sloppy, which is unusual for the band. Often sloppiness is an intoxicating ingredient in the rock ‘n’ roll dish, but in this case, The Yanks are fairly clean folk, so the sloppiness doesn’t really help. With that being said, it doesn’t overly hinder their performance either and all of their great qualities emerge beyond some troubling, technical difficulties. Besides having exquisite songs, this quartet has a lighthearted, fun loving sense of humor, which can be quite entertaining for the audience. I always get a kick out of Jeff Gallagher’s dance moves, whether it be his smug booty shaking or the way he awkwardly positions himself up against his band mates. In either case, it’s a subtle, silly characteristic that I thoroughly enjoy about this band.

Listen to Yankee Power, so you can know, love, and sing along to all of the songs at the next show. http://theyankeepower.bandcamp.com/

Goddamn, I’m trying so hard not to make my reviews so flowery, but some of you cats are just too damn GOOD!

Dave Crespo’s After Party – Dave Crespo and his After Party have a lot of enthusiasm and attempt to make the Rosebud feel like a party for sure; Dave Crespo even pats my head, for whatever reason people like to do that. I say attempt because like the first band tonight, this is not the kind of music that sets my rocks off. “Generic Rock” is what I call it, it’s like the FM Rock music on the radio. No thanks.

I heard that this is the last show at the Rosebud. Is that true??? If it is, then RIP. I saw some of my favorite bands here: Fat Creeps, Fagettes, and now Yankee Power. I hardly knew ye, but so long. Twas great while it lasted.

Kazalok, Music, reviews

Classic Album Review: “Chandrasekar Limit” – Kazalok [2006]

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Band: Kazalok
Label: Shake Your Ass Records
Year: 2006

Comments: What was going on in the Memphis, Tennessee area in 2006? Aside from lots of ‘cuin (nah, I’ve never been there), ‘ckin, and whatever else, a group of dudes in their early 20s were making some odd rock ‘n roll. And most likely doing the same kinds of social activities that their peers had long engaged in. Memphis legend (in the eyes of the music types that matter) Jay Reatard was probably touring his ass off and likewise making a great deal of music. Now whether or not Tard and the dudes in Kazalok – Cole Weintraub, Bennett Foster, Billy Hayes, and Alex Gates – were bros at this point is unknown to me, but by the sound of Chandrasekar Limit, it seems not. Opening tune “Eolian Process”  is a bit like Animal Collective, a campfire kind of song. “Cia”, however, is a complete rocker, almost calling to mind bands like Interpol and Tapes ‘n Tapes – heavy, but accessible (in the ‘indie’ sense of the word). On the last song of the A Side, “Caspian Sea,” we hear “the Caspian Sea ain’t what it used to be, in fact I think I’ll stay at home” – this is the cheeky early rock ‘n roll ballad that later associated bands like Girls of the Gravitron, even more so Barbaras, and Magic Kids a touch would take a gamble (and very much succeed) on creating. Is that the auto-harp I hear?  It’s bizarre music, but not really for dudes like me who are fond of it.

The happy-go-lucky yet sinister thing continues on “White Devils” in its chirpy guitar lead, and ultra smooth rhythm. Sounds like the guys are having a bunch of fun jamming around and enthusiastically adding their $.02 to a demented vision of pop music. I like the vision. “Summertime Worksong” might be the least off-kilter of the bunch. I’m really feeling The Loon vibes on there. The quintessential Memphis finale as I call it is “Ping Pong With The Stars”  which is not easy “’cause it’s light years away” is like Barbaras closer “Annual Botanical” – led by acoustic guitar strums; a final story that documents friendly ole times… that one summer. This kind of – everyone join in – joy, isn’t something you get very often. The Lovely Feathers did it right on Hind Hind Legs. It’s a loss to music that this isn’t some kind of widespread, noteworthy EP. Of course, I love it more because I’ve been following this family tree for some time now. If you haven’t really been tracking these guys closely or if you don’t even know what I am talking about, I wouldn’t really start with Chandrasekar and work your way up. Especially not if you are expecting a clean, straightforward sound throughout. In that case, I’m not sure. The production on this is decidedly scrappy – a better audio experience than Let It Bloom and Smith Westerns and laughable compared to say Blood Visions. Stephen Pope (formerly of  Boston Chinks, Barbaras, Jay Reatard, currently in Wavves) recorded it. He did very well. This EP is also outside the realm of a lot of the garage stuff, which might be why some have overlooked it. Whatever though — this is something that might be hard to get your hands on (check Florida’s Dying), but go on, get a hold of Kazalok somehow. You can write your own review.

klyamrecommended

Art, Colleen Green, concert review, Fat Creeps, Honorary KLAYMERS, Local Music, Music, pictures, Punk, reviews, Video

Review: Colleen Green, Fat Creeps, Fedavees, Ronnie Nordac @ Radio (4/25/13)

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Fat Creeps Colleen
Bands: Colleen Green, Fat Creeps, Fedavees, Ronnie Nordac
Date: Thursday, April 25, 2013
Venue: Radio (Somerville, MA)

Ronnie Nordac – The infamous Ronnie Nordac. I don’t know much about Ronnie, but I have seen his name appear in Boston Compasses for the last year and a half or so (give or take). He’s the dude that makes those rad drawings.  Ronnie Nordac. His name sure sounds funny and it’s fun to say. Ronnie Nordac. Sounds like a comic book super hero. If a super hero looked and sound like Joey Ramone – tall, long black hair, black shades. Ronnie is hard to miss.

Ronnie Nordac sings and plays guitar and he usually plays solo, but tonight he is accompanied by a bassist, a drummer, and another singer named Kara. From what I hear, this is a recent development and apparently this the first time the band has played together, having only practiced for a week. Despite (or because of) their novice status, I admire practically every song they play. I hear teeny bits of outsider rock, particularly in Ronnie’s clanky, amateurish, but ever so sweet and hooky guitar riffs. It’s eccentric garage surf pop.

Definitely memorable  songs; sadly I cannot find them anywhere! One song I love is called “Rock ‘N’ Roll USA,” I especially love Kara’s vocals and her adorable dancing. Her vocals are my favorite part of the set. When she sings, it reminds me of The Pixies/Kim Deal. I can still hear it in my dreams.

Word around the campfire is that Ronnie is playing a show on August 1 at Club Bohemia (Cambridge) with rampant twat diddler Gangbang Gordon and Lowell superstar, Durt Dog the Band. That’s going to be a fine ass show, but hopefully I’ll see him and all of those dudes before then.
http://ronnienordac.bandcamp.com/

Fedavees – I’ve seen these guys a couple times before and they didn’t blow my mind the way they have blown other people’s minds. They are a decent band, but this droney, laid back style of music just doesn’t do it for me. It’s like getting on a roller coaster that never takes off. I’m more of a Black Lips guy, listen to “MIA” and “Sea of Blasphemy,” and see what I mean. I won’t babble or rant anymore, because what’s the point of a “negative” review? If a positive review is to get people turned on to what’s turning you on, then is a negative review supposed to make people ignore the bands you don’t like. That is ridiculous. Don’t listen to any music blog swine, you heard it here from a music blog, no swine. Think for yourself and question authority.
http://thefedavees.bandcamp.com/

Fat Creeps – Ohh dear, I have written about this band way more than I ever anticipated writing about any band, except for maybe the Black Lips.  I’ve sucked so much Black Lips and Fat Creeps dick, I’m putting some serious sluts to shame. It must be kind of strange for the Fat Creeps, having some weird music nerd (and by weird I mean incredibly awesome) writing about nearly every one of their shows. As a fan it’s cool because I get to document one of my favorite bands and see how they change overtime. Around this same time last year, they were just starting to hone their craft with the arrival of drummer, Jim Leonard. Now, a year later, it’s hard to imagine the band without him (I never saw the trio pre-Jim anyway). Through writing about many of these shows, I’ve seen the group introduce several Creeps standards such as “Secrets,” “Daydreaming,” and “Going to the Party,” all of which are played tonight. Some of the more recent (though not brand spankin’ new) Creeps numbers include “Blue” and “I’ve Got.” I’m still getting into these new tunes, I can’t say I love them, but I have a feeling my opinion will change if they are fleshed out more. “700 Parts” is my favorite Fat Creeps song; it’s morbid and it doesn’t sound like any other band, which is pretty much what I look for in every artist I hear. Distinct, enticing songs. Watch “700 Parts” and all of the great Avi Paul Weistein videos from this show right here: http://www.youtube.com/watch?v=CLtjuBLOutc

Colleen Green – Colleen Green is the coolest to quote one Ronnie Nordac. Damn straight Ronnie. Like Mr. Nordac, Ms. Green rocks the black shades and she also rocks out on her happy birthday Jeff! guitar, but unlike the last time we saw her, she isn’t backed by a full band. This time, the Massachusetts native turned Cali garage punk brings back her beloved drum machine and a friend named Marissa, also rocking shades (and bass).

Tonight, Colleen and Marissa deliver a fun, mellow set featuring both old and new Colleen Green songs. The Ramonesian “I Wanna Be Degraded” and “Nice Boy (I Want A)” are among the older classics that I have come to love in the past couple years.  I swear the latter was written for me ;) haha jk.

Colleen and Marissa also play a steady batch of hits from the latest Colleen Green record, Sock It To Me (Hardly Art). Check out that album, if you haven’t, for it may be the greatest 2013 has to offer. The audience at the Radio has the pleasure of hearing new songs such as “Only One,” “Darkest Eyes,” and “You’re So Cool.” I love hearing all of these new tunes and this performance is even better than the last time I saw Colleen, way back in September.

For some of the songs later in the set, Colleen plays solo and Marissa sits back, watching her friend play like everyone else. Then, for the encore, Marissa joins her pal again in a cover of  The Queers “Number One.”

So, happy to see Colleen Green again, always a blast, one of my favorites! http://colleengreen.bandcamp.com/ Also, read this sweet article about Colleen: http://www.cannabisculture.com/content/2013/04/03/Meet-Stoner-Girl-Spring-2013-Colleen-Green

Art, concert review, Local Music, Music, New Highway Hymnal, pictures, Punk, reviews

Review: The New Highway Hymnal, Empty Phrases, Boogie Boy Metal Mouth, The Real Tom Hanks, Sam Sawyer @ Wilder Zangcraft (4/20/13)

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Artists: The New Highway Hymnal, Empty Phrases, Boogie Boy Metal Mouth, The Real Tom Hanks, Sam Sawyer
Date: Saturday, April 20, 2013
Venue: Wilder Zangcraft (Lowell, MA)

420 is here again! In addition to April 20th’s  weed themed holiday and record store day,  this date also marks the one year anniversary of the Wilder Zangcraft. At least as far as basement shows go. Since then,  I have seen some Zick shows here including, but certainly not limited to, Fat Creeps, The Migs, The New Highway Hymnal, Big Mess, Nice Guys, Kal Marks, and Atlantic Thrills. Last year I attended and “reviewed” the first Zang basement show and it was a blast. (https://klyam.com/2012/05/15/concert-review-new-highway-hymnal-wilder-zangcraft-42012/). That was the first time I saw Lowell’s Friendship and New Hampshire’s scruffy, garage ragamuffins, The Migs! The New Highway Hymnal and Empty Phrases were also on that bill and they reprise their roles tonight along with Boogie Boy Metal Mouth and The Real Tom Hanks. Sweet, to the show!

“Ever dance with the devil in the pale moon light?”

No, but I”m sure Sam Sawyer has. Sam kicks things off in the living room with his harsh brand of stand up comedy. Sam is an angry, funny dude. Everyone sits on the floor around him as he rages through a ten minute (or more) series of rants about feces, organized religion, and fat guys. I do not recall any of the specific jokes, but I laugh my ass off and so does everyone else. More stand up or sit down or sideways comedians should play at house shows. They are funny and they need our support.

The Real Tom Hanks is the first band to play and they live up to my expectations as one of the best bands I have seen as of late. I was a fan before I even heard them. On one hazy afternoon in September 2012, at the UMass Lowell South Campus Dining Hall, drummer, Kevin Dacey told me he was starting (or had already started) a surf rock band named The Real Tom Hanks. I was sold, it doesn’t get more real than Tom Hanks. Months went by in agonizing anticipation until I finally saw Tom Hanks at Wilder Zangcraft with the Atlantic Thrills, The New Highway Hymnal, and Polaroids. That was a joyous occasion   (https://klyam.com/2013/03/08/concert-review-the-new-highway-hymnal-atlantic-thrills-polaroids-the-real-tom-hanks-wilder-zangcraft-22313/), but I wanted mo’ Tom Hanks…

And so on 4/20/13 the great glam goddess of rock ‘n’ roll came before me and said, “Your wish is my command, honey.” The realest of Tom Hanks, play a fun set chock full of surfy, Dick Dale/Ventures odes and probably other surf dudes I am not familiar with, but rest assured, I am positive a surf sicko would dig Tom Hanks and appreciate their surfness. I don’t know anyone that wouldn’t like this kind of music, if they exist, bring them to me and I will castrate them with a big fucking smile on my face. Perhaps, a bit harsh, maybe just a few words will do,

Any fun loving guy or gal can get down with the tom hanks, these four gents (Alex Sargent – guitar, Ben Dickinson – guitar, Johnny Gelsomini – bass, and Kevin Dacey – drums) are fantastic musicians and they create a series of insanely impressionable and danceable instrumental surf jams that bear a never ending quality. I mean that in the greatest of senses, like the movie, Dazed and Confused – I wish that movie never ended. I pray for the lad that listens to these fellas on Ecstasy or Special K or one of those club drugs that my boy from Queens constantly extols. I seriously hope he doesn’t catch a Tom Hanks set whilst tripping, tripping so far that he traps himself in a K hole of surf punk noise for the rest of his days. That’s the power of Tom Hanks, these kids aren’t fooling when they say this shit is real.

Songs like “Monkey Man,”  with its hip shakin’  60’s – Adam West era Batman and Robin finesse and self-tilted chant and “Aunts on the Beach,” are among my favorites. The latter of which makes me want to go to the beach this summer and ask some girl to dance. Too bad, most people at the beach listen to shitty music.

The Real Tom Hanks – I can’t wait for the next show! http://therealtomhanks.bandcamp.com/ and like their page: https://www.facebook.com/TheRealTomHanks?fref=ts and then go and like Kids Like You & Me: https://www.facebook.com/pages/Kids-Like-You-Me-KLYAM/184682771542274 – if you know what’s good for you.

Boogie Boy Metal Mouth continue the fun spirit of The Real Tom Hanks and they are the first hip hop/rap group I have ever seen live. Though, they are  unlike most rap groups, their style and presentation is more akin to that of a punk rock/hardcore group. The performance begins as the fiery vocalist/rapper, J. Ring tells everyone to grab a hold of something, and like that the crowd starts moving to J. Ring’s words.

J. Ring is in a frenzy while he jumps around the zancraft, making use out of all the space around him and often making his way into the enthusiastic, moshing crowd. While J. Ring spits, Emoh Betta  stands behind him, taking care of the turntables and sound manipulation.

I can’t say I am overwhelmed or blown away by Boogie Boy Metal Mouth, but it’s definitely worth checking out and I’m glad they are the first hip hop/rap oriented group I have experienced. Check them out here: http://boogieboymetalmouth.bandcamp.com/

J Cole, J Cole, J Cole. No matter how many times you say it, it never gets old. J Cole is here and he’s ready to party. He bashes away on the drums with Thee Empties aka the Empty Phrases – Lowell stalwarts – Andrew Dennis (bass), Evan Walters (guitar), and Ben Raymond (vocals/guitar). Tonight, they are fresh off a set of 420 shows including one at Somerville’s Deep Heaven Now. They are also introducing their latest single, “Sleeping Army” and it displays the band’s knack for mellow, dreamy, Deerhunter esque rock.

This performance is far from mellow, however, and the crowd moshes more than I have ever seen before at an Empty Phrases show.  Overall, one of the finer sets I’ve seen from the guys. You can hear their “Sleeping Army” single and all of their songs here: http://emptyphrases1.bandcamp.com/

The New Highway Hymnal are one of the best bands in Boston, and I am sure I have said that a million times before and I know I will say it again. They are a ubiquitous presence in New England rock music (the best of it anyway) and they have played at most of the major  bars/clubs around Boston. I’ve seen them at P.A.’s Lounge and Great Scott, but nothing beats seeing them in a packed, sweaty basement, therefore the Wilder Zangcraft is typically the best place to take in a NHH show.

It’s packed to the gills by the time Hadden Stemp (vocals/guitar), Amelia Gormley (bass), and Travis Hagan (drums) begin their set. As usual the Lowell crowd goes bonkers to the primal, droney, psychedelic rock this threesome is known to unleash.

The band plays many of the songs off of their Vanya Records LP Whispers including personal favorites “More,” “Out With The Lights,” and “Hey Kid (Gotta Run).” All of which spark a skull cracking raucous  and feature some of  Hadden Stemp’s best vocals. My mom thinks it sounds like he is being stabbed to death. Moms are funny like that.

The band as a whole  has a very explosive sound to their music that is hard not to move to and it doesn’t hurt having Hadden’s body crash into you at any given moment. Always a thrill of mine.

Listen to Whispers here:  http://thenewhighwayhymnal.bandcamp.com/

Art, CD Review, Classic CD Review, Goner, Honorary KLAYMERS, Jay Reatard, Music, pictures, Punk, reviews

Classic Album Review: The Reatards – Teenage Hate (1998)

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Band: The Reatards
Label: Goner
Year: 1998 (original release), 2011 (reissue with Fuck Elvis We’re The Reatards)

On January 13, 2010 rock and roll lost one of its most prolific practitioners, Jimmy Lee Lindsey Jr. aka Jay Reatard. Jay was only 29, but in his short time on this planet he had built up an intimidating discography comprising of at least 75 vinyl releases, all of which he recorded by himself, typically in his living room, giving Jay’s recordings a raw, intimate, lo-fi aesthetic. I have always been a fervent admirer of his solo work, but it wasn’t until recently that I truly appreciated his first band, The Reatards and their debut LP Teenage Hate released in 1998 when Jay was only seventeen years old. It is now being re-released by Memphis garage label, Goner – the same label that initially released it in 1998 – to celebrate the short life of its creator.

Teenage Hate is honestly unlike anything else I have ever heard. There’s an authenticity to it that is almost unreal. In eighteen songs, seventeen year old Jay creates a soundtrack for youth rebellion. Jay sings about the very issues that affect him on a daily basis. In opener, “I’m So Gone,” Jay laments, “I’m so gone, I got no home.” It’s songs such as this where the teenage hate in the title comes through. Having dropped out of school after 8th grade and moved out of his parent’s house soon after, Jay lived in some of the tiniest, cheapest houses Memphis had to offer; hardly a place to call home.

Jay shrieks and curses with the fervor and unabashed vulgarity of scum punk legends GG Allin and Darby Crash. Teenage Hate’s sound is as brutal as the lead singer himself. The record’s rackety, lo-fi production is simply dirty and will turn off most listeners, but charm those of us that love gritty garage. Sonically and musically, The Reatards owe a large debt to fellow Memphis garage punkers, The Oblivians, who served as mentors for the young Jay. Like The Oblivians, The Reatards create simple, sloppy and straight to the point punk rock songs, taking heavy influence from the blues, 60s garage and its imitators, as well as Memphis’s own Sun Records (Elvis Presley, Johnny Cash, and Roy Orbison) The Reatards, however, put a much deeper emphasis on immediate pop hooks.

Most songs have clear hooks and lyrics that are easy to sing along to. “When I Get Mad” could be an anthem for drunk, incoherent, pissed off boys across America: “When I get mad I don’t think/said I don’t give a shit about anything/when I get mad I’ll break anything/cause I don’t give a fuck about anything.” It’s not poetry, but that’s what is great about it. A poet would add metaphors and other pretty things to articulate the frustration of being seventeen. But, Jay is a real teenage punk in the midst of all the bedlam a poverty stricken, teenage, rock ‘n’ roll musician must endure. On this track, Jay sounds like Elvis on robitussin singing out of a garbage can. Truly beneath the noise, his vocals have a touch of traditional country, blues, and 50s- early 60s rock ‘n’ roll. Jay is simply telling his story with these songs.
Songs like “When I Get Mad” highlight the authenticity I spoke of earlier. Jay didn’t bullshit. When he said he’ll break anything, he meant it, as it was not uncommon for Reatards shows to culminate in broken beer bottles and blood. Often singers are far removed from the words that come out of their mouths, but with Jay everything is very direct and painfully real.

Jay’s presence on this record is undeniable, but his bandmates also play a big role in Teenage Hate’s overall sound quality. Steve Albundy Reatard plays the bass and Elvis Wong Reatard bashes away on the drums, both serving as the driving force behind these songs. Jay is the main songwriter and he created the hooks, but the songs wouldn’t sound nearly as catchy without the other Reatards. All three together are a juggernaut, like a burnt out 97’ Buick going 110 mph, they are relentless. Each song is extremely fast, averaging about a minute and half. In fact, they fly by so quickly that you have to listen to them at least a few times to truly appreciate the songwriting and pick up on some of the subtle influences.

As much as I love The Reatards, I will say that eighteen songs can be a handful. Eighteen songs of grimy guitars, muttered vocals, and lyrics about “teenage whores” can wear you down after a while. I wouldn’t say that by the end of the record, The Reatards are a one trick pony, but you feel like you get the idea long before it has reached its conclusion. The strongest songs are at the beginning, “I’m So Gone,” “Stacye,” “When I Get Mad,” “Outta Of My Head, Into My Bed,” but there are solid tunes throughout the whole album. I feel like some of the later tracks would stand out to me more if I heard them on their own, somewhere else, but after hearing so many other, somewhat similar songs they just feel weaker. The album’s closer “I Can Live Without You,” (the longest track at a whopping 3:06) lacks the excitement of an earlier song like “Stacye,” (misspelled for whatever reason) which is much more immediate with its Bay City Rollers styled chants “S T A C Y E.”

At its heart, Teenage Hate is a collection of classic themed pop songs buried beneath a slimy ramshackle production. It’s harsh, it’s filthy, it’s honest, but above all it’s fun. As visceral and volatile as this record is, it’s ultimately a fun rock ‘n’ roll record in the traditions of Chuck Berry, The Rolling Stones, and The Ramones. This record is just the beginning of Jay’s career, foreshadowing what he would later master in his synth punk band the Lost Sounds and with even wider success as a solo artist, earning him a place on Matador Records. Alas, Jay’s life and career ended shortly, but this re-release is a testament to Jay’s legacy, with it now garnering far more attention than it ever received in its initial run. Web sites such as Pitchfork now seem to be writing about every new posthumous Jay release, helping to popularize not only his garage music, but the often ignored punk sub-genre as a whole. Garage rock and Jay Reatard are like the anti-indie hero, the anti-Conor Oberst, if you will. This music isn’t a joke in any way, but it’s all about having fun and not taking yourself too seriously. Just look at the band’s name.