Marchelle had dropped a bit of her murder ballad attitude, but she was still super hot, with her impeccable blonde brushing, black leather fringe jacket and high heels western boots, and her so-called ‘Junkyard country’ turned to be a bit more hopeful and less dark than last time, with gospelic back-up vocals
So it turns out that Cold War Kids’ Nathan Willett and Matt Maust have a side project with We Barbarians’ Nathan Warketin! They even have a debut LP ‘Is Exotic Bait’ out soon, on July 8th via Frenchkiss Records, and a free residency at the Satellite this month. I got the chance to see them and totally enjoyed a high-energy show with trumpet, sax and multicolor-hair back-up singers.
They built a crashing monster sound with super loud and pounding drumming and brought enough distortion to burry the tips of their melodies. I don’t know how old they were, but they played as if they were some reincarnations from the 90s, bringing anger
Was it yesterday that I thought that classic rock was totally dead according to Google play users or whatever it was? Apparently the band Ivory Deville didn’t get the message and its members are bringing back some real good old time of rock’ n’ roll with great dynamism and a modern twist
So can a guy best known for writing music reviews become credible as a songwriter and musician? I guess, since, on Friday night, Gowing was totally convincing, showing a great sense for melody and varied music arrangements.
I rightly showed up at the club at 9 pm, and entered when they had just started their set. Since when bands start right on time?
Let’s just say that the sense of drama in their music kept me interested till the end.
She sounded like Amy Winehouse singing a Gogol Bordello song backed up by a Motown keyboard and New Orleans/Jungle Book’s trumpets
Man, was she bold and acting like a wild animal released from its cage, screaming and spitting in your face during the whole set!
Matt Gangi and Eric Chramosta were building layers and layers of vocal samplings, loops and distortion with their electronic machinery, without forgetting the melodies and the untouched human voice
He had obviously listened to the classics, ‘I Know Why’ had a sort of 80s Elton John meets Phil Collins vibe going on, ‘The Victim’ was a total let’s-be-serious-with-our-dance-floor-number with a Prince falsetto and a real nice dance-y groove
They continued to build the same darkness and paint the same foreign and mysterious soundscape
You could hardly call this blues, if it wasn’t for Nathaneal “Lefty” Maynard’s slide guitar, most of the time it was messy, it meandered in dissonance and distortion, it stretched into passionate jams and it wandered in many directions
Harper Simon seems to be the opposite of someone running after limelight or fame, at 40, he is taking his time, writing the music he wants, playing it with the musicians he admires, and I am not sure it is as easy as everyone thinks when you are son of music royalty.
The Brooklyn band had plenty of it and didn’t let anybody breathe a second during the release party for their new EP ‘Future Rock’, playing song after song with the same passion and fire in the belly. This is a group of people who live through what they believe, the revolution through music.
By his relaxed attitude and blond-hair-beard-hippie physique, the singer/frontman reminded me a little bit about a figure such as Alex Ebert from Edward Sharpe and the Magnetic Zeros, he had this charismatic side minus the Woodstock-guru approach
Not only their sound was bigger than the room, but Hayes was all arms-in-the-air, mimicking the music with all kinds of dramatic and over-the-top gestures, while singing along their strong rocking numbers with a powerful voice ranging from a melodramatic tone to operatic howls
They are from Venice, California, and images of the famous beach were accompanying their performance on a screen, however I had more southern-rock than beach-surf-rock visions when listening to them. From Venice, they probably had that sort of free spirit and laid back attitude
The red-light and fog-machine ambiance was just increasing a certain idea of danger which was escaping from their music, going from a car-chase soundtrack to a spacey-shoegaze-psychedelic rock to a new-wave-techno dance for a dark nightclub after midnight hours
It’s true that the San Francisco quintet has some damn catchy foot-tapping sunny songs, like ‘California Feeling’ which would make any east-coaster move in a flash to the sunshine state.
With layered voices and sweet harmonies, their breezy and folkish tunes were actually more poppy than country or folk despite the use of a banjo and a tambourine on some songs
They played their set effortlessly, very tightly with a big sound for only three people, going to a catchy-melodious sound to a sort of captivating dissonance in the same song
their crushing-skull wall of noise filled right away the room, building, distortion over distortion, a wild monster, that was hardly letting the poppy and calm melodies escape from this thunderous madness.
bomb-rave-party, with epic and ultra repetitive songs
dynamic toe-tapping dance-floor.
the sort of songs you wish you could hear on a bright afternoon cruising the streets
The Street And Babe Shadow is in fact Hot Hot Heat guitarist Luke Paquin’s side project
a creepier Bowie, quite monochord but interestingly deep tone
