Artist: Yankee Power Release Date: August 21, 2012 Track list :
1) Adopted Love Doll
2) Swing
3) Wrong Kind
4) Given Into Contrary
5) Dr. Daisy
6) Fuzz Minisery
7) Because It’s Hard
8) Stray
9) Real Folk
10) Modern Change
11) Shiver Of Sharks
12) Dear Old Friend
13) Two Quarters
14) Open Breast
Comments: I met half of Yankee Power in the year Two Thousand and Six. Mr. Tom Calvert (guitar/vocals) and Mr. CJ Kanouff (drums) were WHSTV production icons, legends. So, when I heard that these dudes were unleashing some jams, I had to see what all the fuss was about. Now, we are in the year Two Thousand and Twelve, and just recently I had the pleasure of meeting Mr. Jeff Gallagher (guitar/vocals), who is nothing but a straight shooter, a real charming man. I have yet to meet Mr. Mark Fallon (Bass/Vocals), but I am confident he is an upstanding gentlemen.
Okay now, I listen to a lot of music, way too much music. In fact, as I am writing this, my ears are splitting because I have been blasting tunes on my ipod and from my computer all day. I can’t live without it, and with this I have come to accept that I will be deaf before I’m fifty (hopefully, hopefully not thirty), but I’m optimistic that by that time technology will bring all sorts of fun gadgets to keep my musical intake flowin’. Working on this site, I certainly come across TONS of bands, but few are as diverse as Yankee Power. That’s not a stock line, that’s the truth. Zoo Traffic is a colorful album filled with all sorts of styles, it constantly switches up its sound, yet maintains an overall distinct character, unique to Yankee Power.
The opener, “Adopted Love Doll,” (which is accompanied by a hilarious video that can be seen below) is a savage, powerhouse, quasi-heavy metal pop song that brings to mind everyone from Andrew W.K. to Alice In Chains (especially in some of the vocals) to many of the garage/party rock bands we champion on this site. Point being, ‘Love Doll’ is a fast rocker, guaranteed to get you headbanging and fist pumping or else you’ve sniffed too much glue and should perhaps stay at home next Saturday night. Definitely a contender for my new alarm clock; the song just has that let’s get up and go! motivational quality to it. I also can’t forget to mention the outstanding drum work of CJ Kanouff – simple, but the song’s driving force for sure.
The next number, “Swing,” is a dramatic change of pace in which the band slows things down a bit. On “Swing,” we hear a much more folk/country oriented sound for the band, which appears frequently throughout this album. I truly appreciate the vocals of Jeff Gallagher, the dude has an amazing voice, but what I really dig is his range. Just like the band’s overall sound, Jeff’s vocals are never quite the same – track by track. He is able to scream and shout, like on the album opener, and yet on other songs, such as “Dear Old Friend,” his voice is soothing and soft, drawing comparisons to John Lennon and Paul Simon, at least to me.
But, Jeff isn’t the only top notch singer here. Often fellow guitarist Tom Calvert delivers some fantastic vocals as well. My favorite song with Tom’s lead vocals is the country fueled ballad, “Real Folk,” which I find equally humorous and sincere, and I mean that in the best possible way. It reminds me of Ween in this manner, which is awesome because Ween is incredible. Two great moments on Zoo Traffic include dual vocals from Jeff and Tom on “Wrong Kind” and “Stray.” In a sane world, the latter would be a top 40 hit. But, that’s whatever… music charts are silly and irrelevant. “Stray” is a beautiful pop song and one of the catchiest I’ve heard all year. Just further evidence of how powerful these songs really are. I must have listened to “Stray” at least forty or fifty times by now, maybe more (time I could have spent selecting the president and other political scum, completing homework assignments, wacking off [well, moreso anyway], among other wholesome activities.) But, NO! this song just hooked me in and won’t let me go.
Another cut that runs deep, so deep, so deep, puts her ass to sleep, is “Because It’s Hard,” sung by bassist Mark Fallon. This ditty is a total stand out and is the unofficial Amish Anthem. Whenever I hear this, folksy, Celtic Poguesian tune, I picture images of Amish men and women, and children smiling, laughing, working, and reflecting the light they have come to know. This year, I am blasting this song on repeat during Thanksgiving Dinner, just for the Amish. Amish Rock. Amish Core 2015, get on that bro.
I can’t recommend Yankee Power’s Zoo Traffic enough; I have had a real pleasure excessively listening to and reviewing this puppy. I can truly say this album opened up my tastebuds, which is a rare feat as some miscreants have noted in the past. This LP is definitely a twenty twelve gem and continues the trend I’ve noticed with other twenty twelve favorites of mine (Fat Creeps, The Barbaras, etc.) which is basically creating such strong songs that when you listen to the music it feels more like a greatest hits compilation than simply one album. My next mission in life is to see all the Yankee Power hits on the live stage! To quote the Sneaky Pinks, I can’t wait.
Artist: The Barbaras Release Date: October 30, 2012 Label: Goner Track List:
1) Day At the Shrine
2) Heaven Hangs
3) Grief Touches Everyone
4) Topsy Turvy Magic
5) Superball
6) Only One
7) Breathing Underwater
8) Devour the Jungle Deer
9) Grey Eggs
10) Flow
11) Why Should I Love You?
12) Bluebirds
13) How Many Times
14) Summertime Road
15) Annual Botanical
Comments: Two years ago my ears had the pleasure of hearing both The Barbaras and The Magic Kids for the first time. The latter gained national attention/critical acclaim with the release of their debut LP Memphis, but sadly few have ever heard of the former. Which is a shame because the Magic Kids are basically the product of the Barbaras, at least that’s one way to look at it. In the time since then, I have often YouTube’d Barbaras songs and viddied thee old live clip or two. I fell in love with these songs, the few of them that were available, but I wanted more. Now in 2012, the Barbaras album I and so many other weirdo Memphis pop creeps have been anticipating has finally arrived. I honestly never thought I would see the day.
Okay, let’s get to the record itself. It’s beefed up that’s for sure. In my mind, I envision members Billy Hayes, Stephen Pope, Will McElroy, Bennett Foster, and Alex Gates hopping on stage with tremendous, roid induced muscles- like pro wrestlers. That’s what this LP is- Barbaras beefed up. Anything you’ve heard before, it’s bigger – with the help of producers Jay Reatard and Alicja Trout, I must add. And you can definitely see where Jay’s production style plays a role in this record. Songs like “Day At The Shrine,” “Grief Touches Everyone,” and “Devour the Jungle Deer” possess that fast paced, hard hitting drum quality. It’s honestly like hearing another Jay record at some moments. Oh and I should mention, for you sad folks that are unaware, Billy is the former drummer for Jay Reatard’s live backing band and former drummer for Wavves; Stephen is the former bassist for Jay live and current bassist for Wavves. These aren’t mere accomplishments for the resume, oh no, they are all intertwined.
On this record, you can hear the similarities in all three bands. In particular, in the eccentric songwriting of Billy Hayes. Tracks like “Grey Eggs” and “Why Should I Love You?” are reminiscent (for me as a listener) of Billy’s main songwriting contributions on Wavves’ King of the Beach (2010) – “Convertible Balloon” and “Baby Say Goodbye.” Billy creates his own world with these songs, and I’m constantly reminded of old school Nintendo video games, just lying around with a Nintendo in my room. In general, Billy’s vocals play a big role here, but he is certainly not the only one. Pretty much all the guys lay down some nasty vocals, and the singing is probably the highlight for me. This is where I best hear the Beach Boys/Phil Spector references everyone makes. Of course, you really can’t not listen to this and not walk away with those feelings. Specifically, some of my favorite moments are when the band unabashedly mimics a 60’s favorite. The very Beach Boys esque “buh bub bub buh” in “Topsy Turvy Magic,” the girl group stylings of “Breathing Underwater,” the doo woppy vocals in “How Many Times,” or the epic, insanely layered, psychedelic Beatles 1967 ode “Annual Botanical” that closes the album.
So yeah, Barbaras are obviously heavily influenced by the music of the 60s, but they take this music and subvert it with their own bizarre, demented personalities, which is a key factor in why this band outshines most of their contemporaries. They are derivative, yet they carve out their own distinct character and in that way no one can say they sound like anyone else, past or present.
Bands: Sic Alps, Fat Creeps, Bent Shapes, The Migs Date: Thursday, October 25, 2012 Venue: Radio (Somerville, MA)
This is a Bodies of Water (B.O.W.) Show- http://bowaac.blogspot.com/
Way to go Dan and Sam, you fine, heavenly gentlemen.
Act I: The Migs– Performance wise, this is easily the best Migs show I have seen and Glen concurs. Five Migs shows deep, you know what to expect, but it never gets old. Migs Keven, Lukas, Craig (and special guest Travis Hagan on drums!) have a real solid presence on (and more appropriately off) stage. It’s nice to watch Keven, Lukas, and Craig playfully fight for control of the stage, practically knocking one another off- they appear to be having more fun than everyone else, which is awesome. Like, I said a real presence every rock ‘n’ roll fan should see; if these guys expand their cross country voyages they could take America by storm! I don’t know, maybe I’m crazy, maybe I’m not. What I do know is that this band has that classic, soul/blues psych/garage yeah, yeah, yeah (even I get sick of using these words to describe music, seriously if you counted up the amount of times we have said the words “rock ‘n’ roll,” “punk,” “garage,” in this year alone you could fill up a fucking dictionary, but let it be known here, exclusively, for the record that I mean it from the bottom of my heart and I/we don’t use those words lightly) – they got that whole damn sound, we’ve all come to know and love, down pat. They got it. But, what is more significant about The Migs is that they take that lovely, orgasmic sound and turn it up to eleven. Like every great band, The Migs possess an infectious personality- these are dudes you could shotgun a beer or six with and/or take home to mom and dad. I know my dad would love The Migs. Hell, “You and Me,” one of the band’s finest offerings and a personal highlight tonight, is such a sweet ballad that it could make my dad’s limp dick plop right up and pace around the room. YEESH. On that horrifying note, I think the sound system definitely amplifies the group’s rocking performance, fleshing out the tunes even more. All in all, another show for the books. Not as fun as my preferred Migs setting: a dirty, beer reeking basement, but equally impressive.
P.S. Keven remember to wear a shirt (not a sweat shirt) when you play on stage, it gets hot up there. And if it’s chilly, wear a sweater. I don’t want you to catch a cold son. I want my Migs happy and healthy.
The Migs may or may not have played the following songs, well they certainly played some of them, but I’m not sure on a few.
“Cosmonauts 1/2”
“We’re The Migs” written as ” “We Dah Migs” and “We’re The Pigs”
“666’s Request”
“You & Me”
“Rock N Roll Stole”
“When She Says My Name”
“Fuzzy Sun”
“Follow Me Home” also written as “Follow Me Dome”
“Gravestone”
“Take 3”
New Song?!#$
Act II: Bent Shapes– If some tourist yahoo asked me to name the best bands around Boston, the three opening acts on this bill (The Migs, Fat Creeps, and Bent Shapes) would definitely appear on that list. In fact, Bent Shapes were probably the first local band I really got into, about a few years back now. It’s not hard to see why this trio sticks out- they are able to blend Weezer/Blink 182 esque pop punk with garage rock. The thinking man’s garage perhaps. Haha, actually that reminds me of something Glen said earlier in the evening, that Bent Shape have this “college” quality to them. I agree with him on this point, and that’s funny because their music to me shares a similarity to another jangely pop, “college” band: The Pains of Being Pure At Heart. Both bands unleash simple, catchy songs with strong pop hooks. Personally, what I love about bands like Bent Shapes is that a lot of the music they seem to reference (pop punk) is not particularly to my liking, yet I seriously dig these guys. I kind of like it that way, I almost have a greater appreciation for them. Regardless of tastes, all three members are exceptional. If you’re reading this and haven’t heard of this band, click the link here, Do iT! http://bentshapes.bandcamp.com/
Set List:
“Boys to Men”
“Public”
“Leave It Till You Need It”
“Bites”
“Brat Poison”
“Wut?”
“Behead”
“Big Machines”
Act III: Fat Creeps– Fat Creeps rock right into “Blitzkrieg Bop,” which I totally don’t expect. The leather jackets should have given it away. A couple of weeks ago, the Creeps delivered a killer set of Ramones covers at a Rosebud Halloween show, here’s a review, if you missed it: https://klyam.com/2012/10/16/concert-review-halloween-show-featuring-fat-creeps-earthquake-party-fedavees-fagettes-rosebud-101312/ and tonight they are reprising their roles again as the seminal punk band aka greatest band of all time. Admittedly, I am craving some original numbers, but with that being said, the band is still captivating with their Ramones set as they were before. My favorite cover is definitely “I Don’t Want to Walk Around With You,” I especially love Gracie’s vocal parts in this tune. Overall, a fun set per usual.
Set List (not sure of the exact order):
“Blitzkrieg Bop”
“Beat On The Brat”
“Judy Is A Punk”
“I Wanna Be Your Boyfriend”
“Havana Affair”
“Loudmouth”
“I Don’t Want To Walk Around With You”
“53rd and 3rd”
“Today Your Love, Tomorrow The World”
Act IV: Sic Alps– San Francisco’s Sic Alps are garage/psych legends and it is a pleasure to finally get to see them on this wonderful evening. You can tell, these dudes are veterans when they play. Despite the wacked out, chaotic nature of their brand of rock ‘n’ roll, they have an undeniable finesse to their craft that only a seasoned pro could produce. I’m sure this is said all of the time, but it is worthy to note that the Sic Alps have lineage with Mr. Ty Segall or Ty Segall has lineage with Sic Alps. I mention this for two reasons. Firstly, if you regularly visit this site, then you know how much we love Ty Segall, he is one of our top guys. So, seeing his musical kin in a live setting is an extra treat. Secondly, you can see a lot of Ty’s music in the Sic Alps’s performance, leaning more towards the extensive jam quality of his sound and less concerned with pop influence. At times, this is not always my bag, but I can still dig it. Also, I need to be more familiar with their songs, so I can truly appreciate their set in the future. In any case, I recommend you give em’ a listen here: http://www.sicalps.com/
Bands: Fat Creeps, Earthquake Party, Fedavees, Fagettes Date: Saturday, October 13, 2012 Venue: Rosebud (Somerville, MA) Comments: Act I: Fagettes as Nancy Sinatra and Lee Hazlewood– The Fagettes are one of the hottest bands in Boston right now, so naturally I am more than excited to see them live for the very first time! Tonight, however, they are not the Fagettes… instead we are taken back a few decades to a simpler or perhaps weirder time when the music you heard on commercial radio didn’t just flat out reek like a steaming pile of feces. Oh no, one could flip the dial to the soulful, sexy voice of Nancy Sinatra and my main man Lee Hazlewood. Well, those good times haven’t ended and the band recreates at least some of that good old pop magic of yesteryear. Furthermore, I appreciate the way they inject their own modern day aesthetics into the mix, adding some deviant flavor to an otherwise innocent set. By the way, I can’t forget to mention that while the band (and each band this evening) plays a creepy Horror flick is projected in the background complementing their freakiness. For Fagettes, I believe Night of the Living Dead is playing, but I might be wrong on this one? Overall, I dig this performance and I really love their set up too, which includes saxophones and two (standing!) drummers. Yeah, fuck all those lazy drummers that remain seated whilst performing! Dave Goldberg would be proud… Anywho, I’m getting off topic, but I can now testify that The Fagettes are one helluva a live band and I hope to see them playing original material in the near future. http://thefagettes.bandcamp.com/ Yo, check out this badass video and all its badass brothers and sisters on You Tube: http://www.youtube.com/watch?v=m9-Q7g44-fA
Act II: Fedavees as The Wipers- I have to admit I am not too familiar with either Fedavees or The Wipers, but I have known of the latter since I was a young fella, thanks to Mr. Kurt Cobain, whose band will be making an appearance later. My ignorance aside, Fedavees are nasty and deliver a kickass set that evokes passionate singing in at least a few of the Rosebud’s attendees, so they must be doing something right. For their performance, I believe it is Blade that has the honor of being backdrop # 2 tonight. I’d rather not see Blade again, but I would enjoy attending another Fedavees show. Check out their Bandcamp page here: http://thefedavees.bandcamp.com/
Act III: Earthquake Party! as Nirvana– As soon as I see Earthquake Party hit the stage, it brings me back to August 2011, the first and last time I saw Earthquake Party, until now. I remember these dudes and their sheer, abrasive batch of noise pop tunes. To make things even spookier Evil Dead is playing in the background! EP is definitely a solid band to be covering Nirvana, my early teenage wet dream band. And while I don’t climax on this evening, I am truly invested in their performance, particularly enjoying the various heavier, more aggressive Nirvana cuts such as “Scentless Apprentice,” “Radio Friendly Unit Shifter,” and my favorite Nirvana song “Drain You.” Earthquake Party dish out all the screeching vocals, endless feedback, and lack of concern for the well being of one’s own equipment necessary to fulfill a proper Nirvana set. Personally, I would have liked to have seen a bit more of the band’s own personality shine through the covers, but nonetheless a fun and riveting performance that thankfully forces the crowd into a frenzy. Just check out this video here, in fact the whole set can be seen on You Tube: http://www.youtube.com/watch?v=yS18SeNZlA0 Boy, if I just had five minutes alone with that Where’s Waldo motherfucker…. In the meantime, I’ll have to listen to this: http://earthquakeparty.bandcamp.com/
Act IV: Fat Creeps as The Ramones– It’s always beautiful when two great bands come together, like a marriage made in Heaven. Essentially two of my favorite bands have merged on this evening when the Fat Creeps perform as The Ramones! Not to mention one of my all time favorite films, The Shining, is playing in the background. The creepiness begins when the trio blast right into Ramones signature “Blitzkrieg Bop,” and indeed the kids are losing their minds as Joey Mariam gleefully shouts- moshing and bopping and plopping along to the mile a minute classics. “Beat On the Brat” is next and in fact – with the exception of a few tunes – they play most of the Ramones’ debut album. Arguably, The Ramones are the greatest rock ‘n’ roll band of all time and certainly a long time favorite of mine, so hearing all these songs executed in a nearly flawless fashion hits real close to home. It’s easy to get caught up in Ramones hysteria (and I do), but in many ways this is still a classic Creeps performance; I especially love their harmonies in songs such as “Judy Is A Punk” and “I Wanna Be Your Boyfriend.” With this in mind and just the overall joyful, positive response from the crowd, I think their set is the finest of all tonight. Admittedly, I am excessively biased in my position, but biases aside I am glad everyone is having fun, cause isn’t that what it’s all about anyway? Ahh, I’m starting to sound like a Little League coach now. Seriously though, sickest Fat Creeps show I have ever experienced!
P.S. I dig Jim Leonard’s exclamation: “God Bless George Bush!” I’m sure Johnny would be proud of ya! http://fatcreeps.bandcamp.com/
Bands: Nice Guys, The Migs, The Leamers, Creaturos, The New Highway Hymnal Date: Saturday, October 6, 2012 Venue: Big Stink (Allston, MA) Comments: Preliminary Activities (For Terri!)- It’s about 8:30 or so when Glen and I reach our desired location. In classic Glen fashion he intentionally adds some wordplay when he inquires, “Is this the Big Pink?” “Big Stink,” replies Mig Keven Lareau. Awesome! Tis our first time entering the Big Stink and I am more than excited to experience an evening filled with five diverse, fun, and entertaining garage bands. The basement here is pretty sick, larger than most I’d say. Per usual, we arrive relatively early, before any of the bands have begun to play. Fortunately, there are plenty of charming characters roaming around this place. The first people we meet are Beef, Sam, and Ethan. Cool dudes! We then run into Matt from the Canadian band Leamers, whom we will witness in action in just a few short hours! I am glad we have the chance to meet this fine young man, for he stands as a constant reassurance that the music I love is being made for the right reasons- FUN!!! We then have the pleasure of meeting Matt’s co-Canadian conspirators- twins, Rob and Peter of the noise band Shahman (http://shahman.bandcamp.com). Also great, fun loving dudes! As the night grows on we discuss everything from tour experiences to the astonishingly lower price of liquor in the states to the life and times of G.G. Allin and his mother, and probably a bunch of other stuff I can’t remember.
Act I: Nice Guys– Nice guys finish last… not anymore sucka! These Nice Guys go on first and they are ever so nice. When I hear the first few chords I think of Minor Threat. They certainly have the energy; loud, fast, and straight to the point- don’t give a fuck. It is as if Minor Threat walked in on it’s girlfriend in bed with the first few Black Lips albums. If you are reading this that probably doesn’t make any sense. So, go out and see the band live OR better yet lay back on your worthless, lazy ass and click here on their bandcamp page: http://niceguys666.bandcamp.com/. Do iT! or else. Why am I so angry?! Fuck if I know.
Act II: The Migs– Been listening to your Summer Tour Tapes kids? Why, I can’t think of anything better to do. Ahh Migs, would have been the perfect band for a high school prom circa 1965. The kids would dance their asses off and then trash the school, burn it to the ground. That’s the music of The Migs. In fact, would love to see The Migs play in front of a bunch of sixteen year olds and see how they react. Like a controlled experiment. Take away all of their little gadgets and just have The Migs play for them. The kids need an alternative or at least have options… Anyway, at least they are driving (much older) kids crazy tonight and as soon as they play the crowd goes nuts. As with all Migs performances, it is interactive, physical, sweaty, and chock full of early to mid 60s garage/doo wop/soul flavored punk tunes. Tonight Migs members Keven (decked out in the red , white and blue,) Lukas, and Craig scream their hearts out and frolic and fuck about with the help of New Highway Hymnal’s Travis Hagan on drums- always great to see that guy bash away behind the kit! The Migs are definitely making some of the best music I have heard as of late, but seeing them live is a MUST. These gentlemen truly are classic entertainers, fixated on making sure each and every person in the house is having a gay olde time. Perhaps my favorite moment of bedlam is when one of the basement’s pillars nearly collapses, leaving me with a fresh taste of wood dust in my mouth. Taste the rainbow with The Migs here: http://themigs.bandcamp.com/
Act III: Leamers– Our neighbors to the North, Leamers are up and ready to go, and after chatting with the band members earlier in the evening, I can’t wait to hear them play. Leamers are just as enthusiastic as the first two bands, if not more. The band consists of Matt on vocals and guitar; his singing reminds me of Lou Barlow’s vocals, and in general the band has a terrific knack for producing powerful garage-pop hooks. Oh and I can’t forget mon ami Martin on bass and Emily-Jayne on drums- both are outstanding. The crowd response is positive and I’m having a blast. Matt and crew are quite appreciative, and he thanks the audience for bouncing around and into each other! I’m still bouncing around now, rocking out to Year Of The Rabbit, check it out! http://leamers.bandcamp.com/album/year-of-the-rabbit Hope you guys (and Shahman too!) continue to have a fun and gratifying tour!
Act IV: Creaturos– Creaturos, Green Churros, ahh why must you confuse me?! I’m already perplexed as is. Ehh well, confusion aside this band shares the same garage sensibilities as the first few acts and they are able to get the crowd moshing and dancing as well. Creaturos is a band I have heard about a number of times over the past few months or so, glad to finally see them in the flesh. Creaturos deliver a harsh brand of psychedelic pop that I’d wager appeals to the punk slimer in me that needs an extra ummph in his daily punk slime intake. Sort of akin to early, off the wall Ty Segall. Part noise, part garage, semi-hardcore, all fun. At least that’s what I hear. What do you hear? http://creaturos.bandcamp.com/
Act V: The New Highway Hymnal– Damn, it’s been too long since I have seen these cats, what is even sadder is that we are only able to catch a few songs tonight, because we have to make the train home :(. A damn shame indeed. At least what we do see is solid as I expected. Next time, we will experience a full NHH set, until then we will have to rely on this little ditty: http://thenewhighwayhymnal.bandcamp.com/
P.S. GO TO NEW HIGHWAY HYMNAL’S ALBUM RELEASE SHOW FOR WHISPERS ON OCTOBER 18 WITH EARTHQUAKE PARTY, INFINITY GIRL, AND RIBS!
Comments: There are a few ways to examine Twins, which amounts to be Ty Segall’s sixth solo album. One approach would be to first make note that this is the third musical project of 2012 that has the Ty Segall name slapped on it in some form. The other approach would ignore those releases and treat this as the follow-up to 2011’s Goodbye Bread. The former approach seems to work best with Twins. Without having Ty Segall Band’s Slaughterhouse in mind, I am pretty sure several people (whose last Ty listening experience is Goodbye Bread) would be confused with Twins – whoa, Ty became 90% incapacitating guitar riffs? Sure, Goodbye Bread featured some real jams – “You Make The Sun Fry,” “My Head Explodes,” to name two, and 2010’s Melted is full o’ fuzz, but the difference is that Twins does a significantly more noticeable attempt at getting to the heart of the song – fast and with little left to spare. Slaughterhouse did this exceptionally well and it does seem like Ty had some similar ideas in mind in the crafting of Twins. There’s that fuzz pedal and that guitar solo – which we heard about well before this release.
“Thank God For Sinners” is an an affirmation that Ty is going full throttle again. Then there’s the fastest song on the record, “You’re The Doctor,” with increasingly dynamite fuzz, layers of solo, and some drumming that must have reminded Ty of his old days pounding on the “Skin” recording. Fans of older Ty (which is weird to say given the man’s youth) might be even more receptive to “Inside Your Heart,” which has some piano, but some mid-song jamming that is just three words away from Slaughterhouse “Tell Me What’s Inside Your Heart.” The thing that I love about Ty is that he is not quite recycling old riffs and song structures – he is innovative. Like having Brigid Dawson sing on “The Hill” while a rampage is going on in the background. Twins poppiest moments at this point come on “Would You Be My Love.” The bass-line is killer and the general sludge that probably doesn’t only have me thinking Nirvana. Only on “Ghost” does Ty restrain himself from the kind of electric indulgence that is apparent on the previous five tracks. The result is mixed, but that is hardly a knock. “They Told Me Too” is the opposite sounding – Ty feasts himself on his effects pedals. “Love Fuzz” is another pop oriented tune – it would not be out of place before or after a Black Keys number on the radio. The fuzz comes in the form of a repetitive rhythm section, bolstering the onslaught of the lead near the end. I got to give a shout out to “Handglams” for going the extra distance. Ty had done a similar thing vocally/stylistically with “I Am With You” from Goodbye, but here he really cranks things up and departs from that nicey nicey entrance, adding some good stuff in there that we just haven’t really heard from the man. Acoustic guitar and no drums make up “Gold On The Shore” before Ty finishes things with “There Is No Tomorrow,” a mid-tempo closer.
With Twins, there is not as much cohesion in sound here as on Hair, Slaughterhouse, or maybe even any Ty release post-Lemons. Ty has reached new levels of sonic exploration, though, and it is abundantly clear that he can really do the heavy almost pseudo-metal stuff just as well as the slower tempo output. There are several tunes on Twins that are the most ‘this’ or the most ‘that’ in the grand scheme of Ty Segall. As I have expected on more than one occasion this year, I expect a broader crowd to be turned onto Ty. It’s not like the stuff he did before 2012 did not lend itself to more ears, but his music is proving he is not a mere ‘garage wunderkind’ – which seems to be a pretty damn awesome thing to be in itself! It seems fairly fitting that NME [9 out of 10] and the like are giving their high praise – maybe they have not seen a dude like this since Alex Turner (who has name dropped Ty as someone whose stuff he is really into). But Turner can’t say he has released three fantastic albums in a seven month span. Nor can too many musicians at all.
Full Title: We Fun: Atlanta, GA Inside/Out Director: Matthew Robison Year: 2009 (shot between October 31, 2007 and September 27, 2008) Comments: Kids Like You & Me (KLYAM) has and will always be about rock ‘n’ roll. A few years ago the kids were introduced to a handful of bands that changed their outlook on rock ‘n’ roll forever. Chief amongst these crusaders is the infinite Black Lips from Atlanta, GA. Black Lips showed us the light and whilst we hopped on the righteous path we came across countless other sage voices in the form of The King Khan & BBQ Show, Deerhunter, Jay Reatard and many more. For us, these aforementioned characters were already “indie” (fucking disdain that term) darlings; it was 2008-2009. Through creating this site our knowledge and passion for rock ‘n’ roll of this raw, aggressive, punk slime variety grew stronger and stronger to the point that we became scholars, detectives almost. It became our mission to trace back the steps of these legends and become fully aware of their roots. So, in the case of Black Lips and Deerhunter- we looked to Atlanta.
For years Atlanta was a punk rock town, storing a crazy, vibrant music scene filled with miscreants and mad men galore. With this in mind, WE FUN is the ideal flick for a KLYAMER. Going into this to movie I hoped to find out a vast amount of information on the place that fostered some of my favorite artists. The film opens with a mini manifesto from a true rock ‘n’ roller, King Khan. Ironically, not an Atlanta dude per se, but Atlanta in just about every other sense of the word. King Khan is aesthetically part of this scene and is the perfect dude to deliver a speech summarizing what happened in Atlanta and abroad in the mid-late 2000s amongst this small group of garage rockers and inadvertently revealing my own feelings about this music and the people that create it. Khan, looking quite stoned, stares straight into the camera and prophetically utters these words: “It was the first time in my life that I heard albums that made my mouth drop and made me so glad that I play music now. Because for a long time I wish I had been born in the 60s or 70s and doing my thing back then, but then I am so proud to live today because today I’ve heard the greatest music I’ve ever experienced… And finally the kids are tapping into it. We created our own myth. We created out own legend, and domination is just a step away.” This goes back to what I mentioned earlier about this specific group of people, the death cult as they are known to some folk: Khan, BBQ, Black Lips, Deerhunter, and certainly Jay Reatard is a must on that list. These are men that came from the underground for years and made enough noise to reach the masses .. well maybe not the masses. Now, one of the questions emerges. Why now? Why in Atlanta especially? Why these bands? How did it happen? And how has this changed the Atlanta punk scene? Just some of the questions I have in mind going into this film, and of course I hope that they are answered.
The documentary constantly makes a huge point of the fact that Atlanta has a tremendous party atmosphere or as Black Lips bassist Jared Swilley puts it in one of the film’s interviews, “First and foremost people just want to have fun.” And most of the bands seem to adhere to Jared’s words – partying and alcohol consumption is frequent and celebrated, on and off stage. Surely, this is part of any music scene (minus straight edge!), but clearly it is important enough to further note this about Atlanta and how the scene’s fast, primitive, pop music reflects this let loose, rowdy, and joyful attitude. With that being said, before the film even hits the ten minute mark the filmmakers are quick to note that this is not all of what Atlanta is. Queue the music for Deerhunter. While bands like the Black Lips and The Carbonas play party hardy punk/garage music, Deerhunter slimes its way into the darker realms of the pop landscape, while keeping in touch with the same rock ‘n’ roll spirit.
Bradford tells the audience, “When a lot of people think of Atlanta they think of the party element… I mean there is that element, I definitely had a lot of fun in the past eight years hanging out with all these people, but I was never afraid to be a little bit boring.” Boring is too harsh! But, I see what Bradford means and I acknowledge the stark difference between a band like Deerhunter and say an Atlanta band like Gentlemen Jesse and his Men, that has more of a power pop sensibility. What I really love however is the fact that all these bands can exist together and be apart of the same scene without being rivals simply because they play different styles of music. It’s not that case at all; while Deerhunter may be more far out then their “garage” comrades, it’s still rock ‘n’ roll, it’s still coming from the same place in every sense of the word.
Throughout the documentary, we get the sense that this is a close knit community and that is much of the reason why this scene survived over the years. Although, it seems like at times some of the interviewees are uncertain why they are even being interviewed or confused that someone is making a film about Atlanta. During The Carbonas interview they jokingly state that “Atlanta is lame” and that “it’s not worth making a movie over.” I’m not sure if these are just passing jokes or if they truly are questioning the motives for making this film. Of course, they love their music and their home, and the whole scene they have created, but they seem hesitant to display the same feeling of conquest shared by that of King Khan earlier in the film. In that same interview, one of the Carbonas says “They do it better in other cities,” but this is never elaborated. This interview also helps viewers understand the nature of this underground rock band lifestyle. The Carbonas humorously discuss their time on tours, sleeping and shitting in vans, and how it is far from glamorous. Touring is a theme that comes up often in WE FUN and it becomes clear that this is crucial to the existence of these bands. Their story, their legend, their survival.
We start to see how touring aka “getting out of Atlanta” is the name of the game. Of all the Atlanta bands featured in this documentary, Black Lips are most often cited as an example of a band that built its following from aggressive and incessant touring. In one of the film’s interviews Jared Swilley even goes so far as to say that “I don’t know if anyone would have known us if we hadn’t left this city.” Cole Alexander chimes in “Yeah we probably didn’t get much respect in Atlanta till we got respect in other places.” This is an interesting point to say the least. Is this unique to Atlanta? Or is this the truth for most cities? I tend to think this can be seen as a message to young bands to TOUR!!! and perhaps not get too caught up in trying to make it huge locally because at the end of the day the world needs to experience your band not just your local scene. And to the bands that are not as big in their hometown, don’t worry none of these bands never got too much attention until they blossomed outside of their own city.
One thing I really LOVE LOVE LOVE about this documentary is hearing stories from the past. Stories about some of these folks that later went on to become pivotal figures in this Atlanta music scene and current music in general. A few of my favorites include a teenage Cole Alexander handing Creative Loafing Atlanta (a weekly Atlanta music magazine) editor/writer, Chad Radford a beat up 7-inch of what is presumably the Black Lips first release, “Ain’t Comin’ Back” (2001/2002). OR hearing a story of Bradford Cox inadvertently seeing the Black Lips for the first time, expecting them to be a shitty bar band and instead being blown away. Stuff like that makes We Fun neat. Maybe not the most factual, historical or critically poignant pieces of information to be dispensed, but they help the viewer gain a better understanding of who these people are and where they came from.
This film does a nice job of capturing some of the city’s characters. Focal people that were/are crucial to this Atlanta music scene. You have the likes of Dry Ink Mag’s Tom Chesire, Chunklet Magazine’s Henry Owings, and best of all the late, great B Jay Wommack aka Bobby Ubangi, a man that truly put the FUN in WE FUN. BJ represented the scene in many ways and we see him play an active role as a musician in his own right (motherfucker played in some kick ass bands: The Lids, Gaye Blades, Carbonas, Bobby and The Soft Spots, and his solo work) and simply as a fun loving friend to many of the other Atlanta musicians, always keeping the party going.
We also start to see the importance of local independent labels, specifically Mark Nauman’s Die Slaughterhaus Records and Trey Lindsy’s and Travis Flagel’s Rob’s House Records. The latter articulate the point that none of these bands were ever in it to “make it.” Even going as far as to say that if you told them a few years ago that they would be where they are today, they wouldn’t believe you. This gives the story of these bands and the Atlanta scene as a whole a humbling quality that I admire. But, how did this transformation happen?
Okay, I clearly like this film, no I love it. But, it is certainly not without its flaws. Firstly, there is not enough clarity for people that do not know anything about this music or these individuals. I understand that if you are not into this style of music, this scene, or these bands then why would you watch this documentary? But, that can not be used as an excuse. If you are making a documentary you should not automatically assume the audience already knows about your subject matter. For example, I think this film could use a clear definition of what this music is, more biographical information on these bands, how they formed, how they evolved, how they got their sound, how it changed- if it did, and how some of these bands extended their audience and/or how they garnered wider exposure. There could be a mention of this transition and how it affected the bands. I could see why the filmmakers would decide not to focus too much on this aspect because these bands have always been great, not just 2007 onward. But, it seems like the documentary constantly makes it a point to say that these bands and Atlanta are bigger now specifically because of the commercial successes of some of these musicians. Overall, it just seems random and lacks cohesion. I would like to just see a bit more focus and explanation. I think the best documentaries are the ones that are able to appeal to both insiders and new comers. I am not sure if this would appeal to new folks, who knows? Maybe it would, but I think they would feel awfully lost, and I doubt they would comprehend just how big of a difference this transition was and how pivotal it was for these bands in their careers and how it affected Atlanta.
Now, being a 22 year old Bostonian, I was nowhere near Atlanta (never been!), but I love several of these bands and have over the years. Point being, I don’t know too much about music in Atlanta overall, but I have read of complaints from others in Atlanta, claiming that this film is elitist, exclusive, etc. I’m curious to anyone that can fill me in on this. What are your thoughts? Perspectives? In any situation, I know what happened in Atlanta and what is documented here is legendary and you can’t take anything away from that. I highly recommend this film and maybe this a cool way to get into these bands. I could (and do) watch this film over and over again, and now you can too! Check it out on You Tube below!
Band: Fat History Month Full Title: Fucking Despair Year: 2011 Label: Sophomore Lounge
Allston duo Fat History Month have a knack for crafting minimal, yet catchy, lo-fi jams best enjoyed in a sweaty, crowded basement. The ten songs on their LP Fucking Despair, ranging in length from just over one minute to just under twelve, capture the same stripped down sound utilized in their live sets: sparse, mumbled vocals with loose drum grooves and busy clean guitar riffs filling the space. Singer/ Guitarist Seanhistorymonth perfectly channels the nonchalant attitude and nonsensical lyrics of Pavement vocalist Stephen Malkmus. In the album opener “Free as a Cat”, he softly contemplates the life of a roaming feline, and on “Things I Enjoy” he provides commentary on a carefree existence. While his lyrics and delivery are plenty playful, Sean’s intricate guitar work brings about a contemplative, slightly somber mood reminiscent of early Modest Mouse or sometimes even American Football. Songs like “You Can Pick Your Nose, You Can Pick Your Friend’s Nose, But You Can’t Escape Your Horrible Family” feature longer instrumental passages where his occasionally melancholic melodies are supported by the noodling percussive sounds provided by Markhistorymonth on the drums. On this, their first full length offering, Fat History Month successfully mix moody down tempo basement rock with catchy, sometimes bizarre lyrics that beg for a crowd of broke college students to sing along.
Artists: Nobunny, Bad Sports, Xray Eyeballs, Liquor Store Date: Friday, September 21, 2012 Venue: The Living Bread Deli (Brooklyn, NY) Comments:
Preliminary Activities: We wandered the desert for forty years and somehow we wound up in Brooklyn, destined to see Nobunny. “There it is, the Living Bread Deli!” That’s right Glen my boy, we have arrived and we are hungry for some rock ‘n’ roll, well actually we are just plain hungry. Alas, the Living Bread will not open its doors for another two hours :( As foreigners, we wander some more, careening through the streets of Bushwick with our stomachs rumblin’ and tumblin’, fortunately stumblin’ upon Darrel the “Tour Guide,” as he is known to no one. “Darrel, my main man, where is a good place to sit down and eat and grab a few drinks?” Darell looks at us as if we have five heads, and proceed to exchange our heads, playing a game of musical decapitation. According to Darrel, you can either eat at one of the delis or drink at the bar, but you can’t do both. You can, however, bring your grub into the bar and chow down while you drink. In fact, Darrel’s next mission in life at this moment was that very act itself. Deeming this as suitable behavior, we follow in Darrel’s footsteps, but the menu is not to our liking. We are nomads once again, starving nomads. Walking down the street, I notice a big ass chicken wearing boxing gloves, and I point this out to Glen and Papa KLYAM. When we reach the chicken, a young woman standing next to him asks us if we would like to witness a chicken death match. Sure, why not? As long as we can sit down and eat, and we do! More importantly, the man behind the mask is Dylan, bassist for Robot Death Kites- a band I have never heard until now- catch them if you can son- a band that has shared a bill with the likes of Boston behemoths Guerilla Toss. We discuss both the Boston and Brooklyn music scenes and both Glen and I can say it is of great pleasure to have made your acquaintance Dylan. Rock on brother! Alright, let’s get to the show….
Act I: Liquor Store– Since the Living Bread is a deli, it is a small space, and tonight the place is packed. Liquor Store kicks off the show and they do it with incredible finesse. They blast away with loud, roaring guitars. I dig how they epically strum their guitars with almost this windmill like force a la Pete Townshend. Similarly, I find some classic rock elements in their sound, but it does not seem generic in any way. This is my first time seeing these Jersey boys, but Glen saw them a couple of months ago at the Great Scott opening for Natural Child. Lucky bastard. But, now I too have experienced Liquor Store, YEAH BUDDY!!!
Act II: Xray Eyeballs– Last time KLYAM ventured out to New York we caught Xray Eyeballs opening for Black Lips and Davila 666 at last year’s Hell At the Hall Halloween show. Good times! Once again, Xray Eyeballs are one of the more visually memorable bands I have come across. Tonight their stage show features various bright lights, giving their psych garage sound some extra flavor. Alas, I miss some of their set because there is one helluva line for the bathroom! Fortunately, whilst waiting in this monstrosity of a line, I bump into “teacher’s pet” the drummer for Hector’s Pets, a Brooklyn band I saw open for King Khan & The Shrines at the Brighton Music Hall a couple months back. It is awesome to see you again dude! Anyway, check out Xray Eyeballs, if you have not yet. http://xrayeyeballs.bandcamp.com/
Set List:
Dejaw
Die Little Love
My Strange
Sundae
Gator
Derailed
NY Strip
Four
Crystal
Pill Riders
Act III: Bad Sports – Bad Sports is a name I have seen pop up every now and then, but I honestly have never sat down and listened to their music, so I came into this performance with an open mind, curious to see what will happen next. Bad Sports certainly earned their privilege to be on a tour with Nobunny. These guys don’t fuck around, they create chaotic noises in the midst of power pop. The crowd seems to get more pumped up during Bad Sports’ set with few outbursts here and there. Safe to say, Bad Sports will be kicking it for a while as they have for the past few years. http://badsports.bandcamp.com/
Act IV: NOBUNNY!!! -Nobunny=rock’n’roll. It’s as simple as that. Surely, Nobunny is not rock ‘n’ roll unto himself, but he represents what is amazing about all great rock ‘n’ roll: building a connection between the performer and the fan and everyone having fun together. On this tour, Bad Sports serve as Nobunny’s backing band, and I must admit I miss the Nobunny regulars but at the same time, Bad Sports are fantastic, providing the bunnyman with a killer sound. Tonight the name Nobunny is to be taken literally, for our hero in disguise is seriously not wearing his typical bunny mask. Instead, he is decked out in a black tape robber’s mask with some branches at the top. Well this transformation from bunny to branchman must have done the trick because No No is on top of his game more than ever (5th KLYAM show), moving and shaking like a maniac, as if he doesn’t have even two seconds to spare. As soon as the band hits the stage, our hero and gang burst right into “Hippy Witch” and as soon as that ends they immediately thrash right through to “Mess Me Up,” sending all the horny bunnies in the room into a frenzy. This set features so many classics: “I Am A Girlfriend,” “Chuck Berry Holiday,” “Boneyard,” “It’s True,” “Tina Goes To Work,” (which I have never heard live before) “Blow Dumb,” “Live It Up,” “Motorhead With Me,” and there’s even a brief rendition of the Sex Pistols’ “Pretty Vacant,” putting a strong emphasis on the CUNT! My favorite moment is without a doubt “I Can’t Wait” (a Sneaky Pinks cover). Nobunny says “this is an all ages show” before kicking into the classic tune, with everyone screaming “EIGHTEEN YEARS IS A LONG LONG TIME!” That’s the greatest thing about Nobunny, it’s an interactive event, as all great shows should be. But, Nobunny has it down pat, he’s a quality performer, in many ways unlike anyone else in the game today. As I said earlier, the greatest aspect of Nobunny live is how he communicates with his audience. He is just as much apart of this show as you are, a Nobunny show relies heavily on how much energy the audience gives, it’s back and forth. It’s terrific to see kids bashing around and shouting out all the words to their favorite Nobunny tunes, and Nobunny knows this, so he holds out the microphone at the most opportune moments, allowing fans to join in. Naturally, this is commonplace in rock, but with Nobunny it’s a recurrent feature amongst other bunny antics that amount to pure entertainment making everyone feel included in the show. Nobunny is part punk, part bubblegum- sweet, sweet, sugary fucking bubble gum pop, part dirty, grimy garage rock, and simply part circus, pro wrestling actually. The set closes oddly enough with Love Visions opener, “Nobunny Loves You,” which simply makes you want more and more! Final thoughts? Nobunny is one of the best live shows around; him and his band put their balls into it and transcend conventional, boring rock band behavior. If your just sitting at home listening to the records alone, playing with your dong, then you are not getting the full experience! Why would you do such a thing to yourself?! In short, GO SEE NOBUNNY!
Artists: Fat Creeps, Radio Control, Wet Nurse, Vacation, ExPlanets Date: Friday, September 14, 2012 Venue: Starlab (Somerville, MA) Comments: Act I: ExPlanets– Let me start off by saying, how nice it is to be back in the Starlab! This is KLYAM’s second time here, with our last venture being wayyy back in April 2011- seeing The White Wires from Ottawa, Canada. Great show! I love the look of the Starlab- arcades, couches, and Boston Counter Cultural Compasses hanging around to boot! Check out the KLYAM plug in this month’s compass btw, thanks again guys! http://www.bostoncccompass.com/ The basement itself has to be one of the nicest looking basements I have ever seen. So when the ExPlanets start their set I am feeling pretty good, remembering the fun times I had hear about a year and half ago. For the first few minutes of the band’s set the lights are on, which seems kind of odd, because I have never seen a band perform in a fully lit basement, an intriguing sight, I suppose. The lights begin to dim and everything is back to normal, so to speak. ExPlanets are fun to watch and their sound (at least tonight) reminds me of the aforementioned White Wires as well as the legendary garage rock band The Spaceshits. And no I am not just name dropping Canadian bands I know! They share similar pop sensibilities as these bands, but with a louder, faster delivery. In any case, I plan on further exploring the work of the ExPlanets. http://explanets.bandcamp.com/
Set List:
Can’t Wait (3 Count)
All You Want
Punch Line
Don’t You
Close The Door
Gutter Blind
Not Going Away
Mary
Free To Go
Wrapped Up
Catching Up
Talk About It
Act II: Vacation– Vacation voyaged all the way from Ohio and I am applauding them for making the trek to Boston for this evening’s show. They are a solid band, a lot of fun actually. The spirits amongst the attendees seems to increase during their set as people pogo and chant along to their catchy pop drenched punk tunes. Everyone is having a gay olde time and then suddenly the lights go out and the room is pitch black. I can’t see anything. Next, I hear the words “HAPPY BIRTHDAY TO YOU!!!” The lights flicker on and one of the Vacation’s guitarists is plastered with a nice l’il birthday cake. Happy Birthday! Fun set! http://vacation.bandcamp.com/
Act III: Wet Nurse– Florida’s Wet Nurse is the perfect band to follow Vacation and ExPlanets, for they share their predecessors’ taste for balls out, rock ‘n’ roll fun! Their songs are short and catchy; straight to the point, no filler, the way it should be. They definitely appeal to the garage side of me, which is a large chunk of my musical tastes as if this web site could not be further evidence of that. As I am writing this now I am listening to Wet Nurse’s latest offering, Daily Whatever and I am totally digging it! Check it out here: http://wet-nurse.bandcamp.com/
Set List:
Peace
Cig
Ill
Girl
Sassy
Stranger
Nature
Wasted
Whatevs
Personal
Backwards
Act IV: Fat Creeps– The one and only Fat Creeps, one of my favorite bands. NO WAY REALLY?!! I can only imagine someone that visits this site frequently must be thinking that. SHUTTT UP! Anyway, before I drift, it is cool to see these Creeps in a basement again, since I usually see them perform at clubs/bars, I appreciate the change of setting, it’s good to switch things up. Tonight, the trio opens with “Horoscope,” a fine tune from the Fat Creeps EP released last month and a fan favorite at that. Most of the set contains various Creeps classics like “Secrets,” “Nancy Drew,” and my personal fave “700 Parts.” In addition to these vintage tunes, the band unleashes some fresh material in the form of the relatively new “Dad Weed” and a totally new song I am not familiar with at all. Then, the group starts to play a song that seriously fucking rocks and I think to myself “damn, this new Creeps song sounds like The Stooges.” As soon as I recognize the lyrics I realize it is in fact a cover of The Stooges’ “I Wanna Be Your Dog.” Impressive cover to say the least. Speaking of old school punk, my favorite moment in their set is the mini trivia session held in between songs. Vocalist/Bassist Mariam Saleh announces that they are giving away a free beer to anyone that can name Joey Ramone’s real name. Without any hesitation I holler “Jeffery Hyman!” Naturally for providing the correct answer Mariam prestents me with a delicious Narragansett. Thanks again! Moral of the story, go see (and listen) to the Fat Creeps and you can one day be a winner just like me. http://fatcreeps.bandcamp.com/
Act V: Radio Control– This fun filled evening of no bullshit punk rock and roll is capped off by one of Somerville’s sweetest bands, Radio Control. Radio Control is Matt (vocals/guitar) and Kristina (vocals/drums) and together the two create a mish mash of garage, post-punk, and undeniable pop hooks. I hear a lot of The Replacements, especially in Matt’s vocals. In many ways their music feels like it’s a full band, at least to my ears. This is the second time I have seen these cats, with the first being an epic show at the Great Scott on April 2 of twenty twelve, opening for Hunx and His Punx and Heavy Cream. Great show! I dug the pair that time, but this show is even better. An excellent way to close tonight’s festivities.
P.S. RC are super cool people and it is a pleasure to have made their acquaintance, hope to see y’all in the near future! Keep on rockin! http://weareradiocontrol.com/
Kids Like You & Me (KLYAM) 