"Don't be jealous of my boogie / don't be jealous of my boogie/you can say that you are not/but I always see you looking," goes the chorus of the song most often sung in my house lately.
Introduced by RuPaul on her latest album, Champion, and on her screamadelic TV series, RuPaul's Drag Race, the song manages to be that rare club song that interrupts the steady stream of bearded folk, jagged post-punk or spicy salsa that resonates most strongly with me.
What distinguishes "Jealous of My Boogie" should be obvious from its very title — the knowing humor that indicates a personality at work, as opposed to the more generic "bangers" produced primarily to increase sales of Red Bull. It's the kind of dance music that Pee-Wee Herman might write.
It makes me feel fabulous that there is now a much wider variety of expression available to all of us. My misspent childhood was full of pop music made by gay folks who were too afraid to admit their truth (George Michael Stipe). Remember those are-they-or-aren't-they Teletubbies and Spongebob Squarepants scandals of last century? Prop 8 or not, we've come a long way.
It's rarely me singing "Jealous of My Boogie." It's usually my wife, altering the lyrics to indicate what our cats are doing, or how much she is enjoying her Snuggie. This is the same wife who has introduced me to some other pop culture that would be clearly identified by the average man on the street as having lots and lots of gayness going on.
I don't especially need her help. Some favorite recent records include those that are somewhat subtle — Grizzly Bear, Mirah — and those that are a bit more obvious — Antony and the Johnsons, The Gossip. (And where do we start with my love for Kelly Clarkson?)
It was I who suggested that we watch Beautiful People, a new series reminiscent of The Wonder Years had Kevin Arnold been an openly gay Spice Girls fan. Both series are broadcast on Logo, a cable channel established by people at MTV who felt that the home of The Hills and The Real World wasn't gay-friendly enough already.
The most recent movie I've seen was Bruno, although said wife declined to join me and my, uh, unmarried male friend at the screening. As much as we enjoyed the movie, what we enjoyed even more was watching a gang of college-aged jocks groaning, shouting and hiding their eyes at all the, uh, action on-screen.
That's not the sort of shock humor that entertains my wife. Where I enjoy, say, Chris Rock and Ricky Gervais, she prefers Chelsea Handler and Kathy Griffin. (Which one of us is from Mars? I forget.) In fact, it's due to her that I've traveled hundreds of miles to see not only Kathy Griffin, but also skinny-jeans-pop lesbian sisters Tegan & Sara in concert. (I doubt that I will ever get her to go see Slayer with me).
What makes RuPaul's Drag Race so highly enjoyable is how it exists on multiple levels. First, as a reality competition, full of fighting and melodrama; second, as a parody of that genre; third, as both simultaneously.
Where peers such as Project Runway or So You Think You Can Dance also function on those levels, what elevates Drag Race is the honest, messy and uncloseted way it shares its reality. (The next best, on a sheer camp level, is Animal Planet's Groomer Has It, the dog grooming competition hosted by a “Queer Eye” guy.) Unlike Bruno, its gayness exists as a simple matter of fact, while being as carefree as the other TV hit hosted by an African-American man who comes across, from an adult perspective, as being very gay: Yo! Gabba Gabba, the Nickelodeon favorite of preschoolers. Those kids don't know, or care, what DJ Lance does after he puts away his toys, but they'll figure it out when they're older.
c. 2009 Velocity Weekly
Wednesday, July 29, 2009
Wednesday, July 08, 2009
Forecastle Band Lineup
It's summer again, time to spend hundreds of dollars to get sunburned among thousands of others trying to hear that new band from Brooklyn that you read about on a blog. That's right, it's festival season!
The Forecastle Festival, now in its eighth year, is the most jambitious festival in Kentucky. While it has not yet achieved the fame, respect or success of festivals such as Bonnaroo, Lollapalooza or Coachella, founder J.K. McKnight has single-mindedly attempted to make a great thing happen in Louisville.
While his intentions are to be praised, nothing in life is perfect, and we are happy to help those attending this year's festival by indicating how to best spend your time – what bands shouldn't be missed, what bands might make you happy while annoying your boyfriend, and what bands will send you running for the nearest beer stand.
Friday
WEST STAGE
Cage The Elephant – All the way from Bowling Green, these fellows have made waves at bigger festivals than this, probably because they sound like nice college boys having fun — imitating Weezer, The Strokes, The Pixies, etc. — and people are easily entertained.
The Whigs – From Athens, Ga., these earnest rockers are a tight, disciplined trio, unfurling new wave melodies with raw power. This is the band Kings of Leon think that they are.
Zappa Plays Zappa – A collection of Frank Zappa alums, this band is led by his famous-because-he-shares-the-same-last-name son, Dweezil, presumably because it's the easiest way they can all make money. It's the kind of jazz-rock fusion you'd hear on a cruise ship, lacking Frank's iconoclastic individuality and purpose.
Pretty Lights – “At a time when music lovers from almost all subcultures, and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want; electro organic cutting-edge party rocking beats that fill venues with energy and emotion, and send dance floors into frenzies.” From their own bio; I think they're being serious.
The Black Keys – A rock 'n' roll duo from Akron, Ohio, they are better than most at imitating the British Invasion bands who imitated old American bluesmen. Though often classified as “blues-punk,” they really have little to do with either genre, though they do utilize both's concepts of simplicity over flash.
EAST STAGE
Erin Hill and Her Psychedelic Harp with The Space Rats – Though this sounds like a trippy “Muppet Show” sketch, it's really just another kooky lady in the Tori Amos/Fiona Apple mold. This New Yorker plays a harp and might be diverting for a couple of songs.
The Young Republic – From Nashville, these youthful rockers have a lot of energy and a good string section, if not a lot of focus — they can't decide which '90s alt-rock band they want to be: Cake or Cracker or Matchbox 20?
The Lions Rampant – A Cincinnati trio that's at least honest about its influences — Blues Explosion, The Black Keys, etc. — with nary a mention of John Lee Hooker or Muddy Waters on its MySpace page. Fun if you like garage rock bands who sing lyrics like “Give it to me/Give it to me.”
Bad Veins – Another Strokes-ish new wave band, this one from Cincinnati. Decent but uninspired. Their first record's not even out yet, so check back in three years.
Hackensaw Boys – These Charlottesville bluegrass boys do a fine job of infusing their old-timey ideas with modern energy.
The Elmwood Band – Dave Matthews-esque jam rock from Nashville. So… yeah.
Jason Isbell & The 400 Unit – From Muscle Shoals, Ala., the ex-Drive By Trucker is working hard out there to be Wilco and not Son Volt. Credit is due to a man who tries to make music based not just in rock, but soul and country as well, aware of history but living in the present.
Saturday
WEST STAGE
The Detroit Cobras – John Waters' waking dream, this band of mostly women is a ferocious, fun group that tears up obscure soul songs with wit and skill. A highlight for music lovers of all ages.
The New Mastersounds - I don't get how none of the faux-freaks who love so-called jam bands listen to actual jazz, yet somehow can appreciate a well-done approximation of the real thing like this. These Brits have played with Lou Donaldson and Idris Muhammed, names which will mean nothing to fans of Umphrey's McGee.
Dead Confederate – From Athens, Ga., these intense, emotional guys make big, soaring anthems that are very serious. Fans of local favorites Elliott and Workers will enjoy them, though drunk people looking to party might want to check out the Southern Comfort tent instead.
The Black Crowes – They're no Rolling Stones — or Led Zeppelin, or Aerosmith, or ZZ Top, or AC/DC — but they sure do try. Honestly, though, it seems like we hear more these days about their love of weed than their records.
Widespread Panic – Fans are called “Spreadheads.” You might be surprised to know that they recorded a cover of “And It Stoned Me” for a compilation called “Hempilation.” They will play on two nights, though each performance will already feel like two.
EAST STAGE
Paper Airplane – Retro '70s pop meets modern indie rock from southern Ohio. Their melodies are cute and poppy and occasionally off-key, fit for a band who describe themselves as “a Wes Anderson movie come to life,” if that's still anyone's idea of Heaven.
Madi Diaz – Her bio declares that she has “a staggering voice and a gift for poignant melodies and innovative arrangements.” Yes, you'll love this ambitious Nashvillian, if you love childlike melodies and shouty vocals.
Arnett Hollow – Wow, an actual local band getting exposure? That's nice! These bluegrass revivalists, who include Bonnie Prince Billy collaborator Cheyenne Mize on fiddle, are promoting a new album and are always worth hearing.
The Broderick – Bloomington boys who play peppy modern rock a'la The Shins or Weezer. Popular sound these days, eh?
The Afromotive – The notion of middle-class Americans dancing to other middle-class Americans imitating the music of 1970s Nigeria is a bit much to take, but this 8-piece Afrobeat band from Asheville manages to do a decent job of imitating the music of Fela, or at least Antibalas.
The Deep Vibration – This Nashville group's Neil Young-in-Memphis rock 'n' soul is ragged but purposeful, and will surely keep their audience captivated. Don't get too high and miss this late afternoon highlight.
US Royalty – Remember that dance-punk thing that was all the rage, like, seven years ago? These D.C. guys sound like they're trying to get all the girls to dance, and then to hook up with them in the bathroom.
AutoVaughn – Yet another non-country act from Nashville, their energetic '80s rock will certainly delight fans of Duran Duran.
Trevor Hall – This young fellow has flowers tattooed on his chest and sings in what I can only assume is supposed to be a reggae patois. Peter Tosh's nightmare fuses his unique attack on reggae with a very shiny corporate rock sound that will delight anyone who thinks that John Mayer is a great poet.
The Royal Bangs – An energetic, driving pop-rock band from Knoxville that has made a name for itself on the festival circuit.
Annuals - A much-blogged about group of youngsters from Raleigh whose melodic, intricate pop-rock has earned them tour spots with the Flaming Lips and Bloc Party. (Hey, wouldn't those be great bands to see at a local festival?)
Man Man – A definite highlight of the weekend is this inventive, wild group from Philadelphia who can't help but be compared to Tom Waits, Mr. Bungle and carnies at a strip club. Or, instead, you could see Widespread Panic play 20-minute keyboard solos.
Sunday
WEST STAGE
Outformation – Jazz-Southern rock fusion from Atlanta. Though they are a skilled group of musicians, the vocals are so tuneless that it's hard to enjoy them. This Marshall Tucker Band/Outlaws style was briefly popular during the “WKRP in Cincinnati” '70s, but might not appeal to listeners today under 50.
Umphrey's McGee – Their bio says that they are “Midwestern monsters of improvised rock.” But wait — isn't Umphrey's a jam band? Not these days. “We trimmed a lot of the fat,” guitarist Jake Cinninger says on the band website. Sounds like they feel guilty that this stuff goes on for way too long and melodies remain undeveloped.
Yonder Mountain String Band – From that hippie haven Colorado comes a bluegrass/folk group that takes the time to write lovely songs then play them with style. A talented, surprising group well worth your time.
The Avett Brothers –Another fine bluegrass-ish band that doesn't pretend to have arrived from 1948, they spent years playing, improving and winning fans all over. Their upcoming Sony record should make them this fall's kings of NPR.
Widespread Panic – Is this a new set, or is the one from Saturday still going on?
EAST STAGE
Chemic – Wow, a second local band? Crazy! Their Death Cab-style indie/folk rock is charming and thoughtful, and loaded with potential.
Almira Fawn – Okay, so she's from Lexington. Anything else interesting about her? Oh, right — she's 11-years old. And has a song called “Chillax.” Yet, somehow, she's a lot more soulful than Taylor Swift or Sheryl Crow. Give her a chance!
Rosi Golan – This Israeli pianist's sensitive songs have been used on TV's “One Tree Hill” and “Private Practice.”
Pokey LaFarge & S. City Three – LaFarge, an occasional Louisvillian, is a modern Leon Redbone, enjoyably reviving the jazzy blues of the 1920s (he calls it “riverboat soul”) in a manner that will also attract fans of Devendra Banhart.
Jonathan Tyler & Northern Lights – These leather pants rockers from Dallas, now on tour with Lynyrd Skynyrd, sound like a cross between Kings of Leon, The Black Crowes and the Doobie Brothers.
Gringo Star – This Atlanta band is much better than their “hilarious” name indicates. Their version of BritPop stretches all the way from the mod Kinks to the stadium riffs of Oasis, and is a pleasant throwback.
Adam Franklin – A solo set from the guy from Swervedriver, a band that was the British version of Smashing Pumpkins back when MTV showed videos. Shoegazing optional.
The Instruction –The third of three Louisville bands, these heavy rockers have a Glenn Danzig-meets-Jim Morrison vibe goin' on that makes them an atypical favorite of 91.9 FM.
Seabird – Modern rock from Cincinnati youth, the type oft-used on “One Tree Hill” or “Private Practice” to drive home the melodrama.
These United States –A little bit country, a little bit rock 'n' roll and a little bit indie, these D.C-via-Lexington guys have a literate, rollicking sound that suggests a Southern Bright Eyes, or any other decent Bob Dylan disciple.
Maps and Atlases – Seasick art rock a'la Vampire Weekend, TV On The Radio and The Sea and Cake. To be fair, they're much better at it than Vampire Weekend, who are probably too expensive to bring to a local festival, anyway.
Backyard Tire Fire – Amiable, solidly Midwestern schizophrenics who can't decide if they prefer '70s classic rock, '80s hair metal or today's quirky indie. The bio includes blurbs from members of Cracker and Los Lobos, so those under 40 may as well head out to the inevitable trichomoniasis-infested after-party with DJ WhoCares.
c. 2009 Velocity Weekly
The Forecastle Festival, now in its eighth year, is the most jambitious festival in Kentucky. While it has not yet achieved the fame, respect or success of festivals such as Bonnaroo, Lollapalooza or Coachella, founder J.K. McKnight has single-mindedly attempted to make a great thing happen in Louisville.
While his intentions are to be praised, nothing in life is perfect, and we are happy to help those attending this year's festival by indicating how to best spend your time – what bands shouldn't be missed, what bands might make you happy while annoying your boyfriend, and what bands will send you running for the nearest beer stand.
Friday
WEST STAGE
Cage The Elephant – All the way from Bowling Green, these fellows have made waves at bigger festivals than this, probably because they sound like nice college boys having fun — imitating Weezer, The Strokes, The Pixies, etc. — and people are easily entertained.
The Whigs – From Athens, Ga., these earnest rockers are a tight, disciplined trio, unfurling new wave melodies with raw power. This is the band Kings of Leon think that they are.
Zappa Plays Zappa – A collection of Frank Zappa alums, this band is led by his famous-because-he-shares-the-same-last-name son, Dweezil, presumably because it's the easiest way they can all make money. It's the kind of jazz-rock fusion you'd hear on a cruise ship, lacking Frank's iconoclastic individuality and purpose.
Pretty Lights – “At a time when music lovers from almost all subcultures, and genres are finding common ground in the basic form of bangin' beats, Pretty Lights is giving the people what they want; electro organic cutting-edge party rocking beats that fill venues with energy and emotion, and send dance floors into frenzies.” From their own bio; I think they're being serious.
The Black Keys – A rock 'n' roll duo from Akron, Ohio, they are better than most at imitating the British Invasion bands who imitated old American bluesmen. Though often classified as “blues-punk,” they really have little to do with either genre, though they do utilize both's concepts of simplicity over flash.
EAST STAGE
Erin Hill and Her Psychedelic Harp with The Space Rats – Though this sounds like a trippy “Muppet Show” sketch, it's really just another kooky lady in the Tori Amos/Fiona Apple mold. This New Yorker plays a harp and might be diverting for a couple of songs.
The Young Republic – From Nashville, these youthful rockers have a lot of energy and a good string section, if not a lot of focus — they can't decide which '90s alt-rock band they want to be: Cake or Cracker or Matchbox 20?
The Lions Rampant – A Cincinnati trio that's at least honest about its influences — Blues Explosion, The Black Keys, etc. — with nary a mention of John Lee Hooker or Muddy Waters on its MySpace page. Fun if you like garage rock bands who sing lyrics like “Give it to me/Give it to me.”
Bad Veins – Another Strokes-ish new wave band, this one from Cincinnati. Decent but uninspired. Their first record's not even out yet, so check back in three years.
Hackensaw Boys – These Charlottesville bluegrass boys do a fine job of infusing their old-timey ideas with modern energy.
The Elmwood Band – Dave Matthews-esque jam rock from Nashville. So… yeah.
Jason Isbell & The 400 Unit – From Muscle Shoals, Ala., the ex-Drive By Trucker is working hard out there to be Wilco and not Son Volt. Credit is due to a man who tries to make music based not just in rock, but soul and country as well, aware of history but living in the present.
Saturday
WEST STAGE
The Detroit Cobras – John Waters' waking dream, this band of mostly women is a ferocious, fun group that tears up obscure soul songs with wit and skill. A highlight for music lovers of all ages.
The New Mastersounds - I don't get how none of the faux-freaks who love so-called jam bands listen to actual jazz, yet somehow can appreciate a well-done approximation of the real thing like this. These Brits have played with Lou Donaldson and Idris Muhammed, names which will mean nothing to fans of Umphrey's McGee.
Dead Confederate – From Athens, Ga., these intense, emotional guys make big, soaring anthems that are very serious. Fans of local favorites Elliott and Workers will enjoy them, though drunk people looking to party might want to check out the Southern Comfort tent instead.
The Black Crowes – They're no Rolling Stones — or Led Zeppelin, or Aerosmith, or ZZ Top, or AC/DC — but they sure do try. Honestly, though, it seems like we hear more these days about their love of weed than their records.
Widespread Panic – Fans are called “Spreadheads.” You might be surprised to know that they recorded a cover of “And It Stoned Me” for a compilation called “Hempilation.” They will play on two nights, though each performance will already feel like two.
EAST STAGE
Paper Airplane – Retro '70s pop meets modern indie rock from southern Ohio. Their melodies are cute and poppy and occasionally off-key, fit for a band who describe themselves as “a Wes Anderson movie come to life,” if that's still anyone's idea of Heaven.
Madi Diaz – Her bio declares that she has “a staggering voice and a gift for poignant melodies and innovative arrangements.” Yes, you'll love this ambitious Nashvillian, if you love childlike melodies and shouty vocals.
Arnett Hollow – Wow, an actual local band getting exposure? That's nice! These bluegrass revivalists, who include Bonnie Prince Billy collaborator Cheyenne Mize on fiddle, are promoting a new album and are always worth hearing.
The Broderick – Bloomington boys who play peppy modern rock a'la The Shins or Weezer. Popular sound these days, eh?
The Afromotive – The notion of middle-class Americans dancing to other middle-class Americans imitating the music of 1970s Nigeria is a bit much to take, but this 8-piece Afrobeat band from Asheville manages to do a decent job of imitating the music of Fela, or at least Antibalas.
The Deep Vibration – This Nashville group's Neil Young-in-Memphis rock 'n' soul is ragged but purposeful, and will surely keep their audience captivated. Don't get too high and miss this late afternoon highlight.
US Royalty – Remember that dance-punk thing that was all the rage, like, seven years ago? These D.C. guys sound like they're trying to get all the girls to dance, and then to hook up with them in the bathroom.
AutoVaughn – Yet another non-country act from Nashville, their energetic '80s rock will certainly delight fans of Duran Duran.
Trevor Hall – This young fellow has flowers tattooed on his chest and sings in what I can only assume is supposed to be a reggae patois. Peter Tosh's nightmare fuses his unique attack on reggae with a very shiny corporate rock sound that will delight anyone who thinks that John Mayer is a great poet.
The Royal Bangs – An energetic, driving pop-rock band from Knoxville that has made a name for itself on the festival circuit.
Annuals - A much-blogged about group of youngsters from Raleigh whose melodic, intricate pop-rock has earned them tour spots with the Flaming Lips and Bloc Party. (Hey, wouldn't those be great bands to see at a local festival?)
Man Man – A definite highlight of the weekend is this inventive, wild group from Philadelphia who can't help but be compared to Tom Waits, Mr. Bungle and carnies at a strip club. Or, instead, you could see Widespread Panic play 20-minute keyboard solos.
Sunday
WEST STAGE
Outformation – Jazz-Southern rock fusion from Atlanta. Though they are a skilled group of musicians, the vocals are so tuneless that it's hard to enjoy them. This Marshall Tucker Band/Outlaws style was briefly popular during the “WKRP in Cincinnati” '70s, but might not appeal to listeners today under 50.
Umphrey's McGee – Their bio says that they are “Midwestern monsters of improvised rock.” But wait — isn't Umphrey's a jam band? Not these days. “We trimmed a lot of the fat,” guitarist Jake Cinninger says on the band website. Sounds like they feel guilty that this stuff goes on for way too long and melodies remain undeveloped.
Yonder Mountain String Band – From that hippie haven Colorado comes a bluegrass/folk group that takes the time to write lovely songs then play them with style. A talented, surprising group well worth your time.
The Avett Brothers –Another fine bluegrass-ish band that doesn't pretend to have arrived from 1948, they spent years playing, improving and winning fans all over. Their upcoming Sony record should make them this fall's kings of NPR.
Widespread Panic – Is this a new set, or is the one from Saturday still going on?
EAST STAGE
Chemic – Wow, a second local band? Crazy! Their Death Cab-style indie/folk rock is charming and thoughtful, and loaded with potential.
Almira Fawn – Okay, so she's from Lexington. Anything else interesting about her? Oh, right — she's 11-years old. And has a song called “Chillax.” Yet, somehow, she's a lot more soulful than Taylor Swift or Sheryl Crow. Give her a chance!
Rosi Golan – This Israeli pianist's sensitive songs have been used on TV's “One Tree Hill” and “Private Practice.”
Pokey LaFarge & S. City Three – LaFarge, an occasional Louisvillian, is a modern Leon Redbone, enjoyably reviving the jazzy blues of the 1920s (he calls it “riverboat soul”) in a manner that will also attract fans of Devendra Banhart.
Jonathan Tyler & Northern Lights – These leather pants rockers from Dallas, now on tour with Lynyrd Skynyrd, sound like a cross between Kings of Leon, The Black Crowes and the Doobie Brothers.
Gringo Star – This Atlanta band is much better than their “hilarious” name indicates. Their version of BritPop stretches all the way from the mod Kinks to the stadium riffs of Oasis, and is a pleasant throwback.
Adam Franklin – A solo set from the guy from Swervedriver, a band that was the British version of Smashing Pumpkins back when MTV showed videos. Shoegazing optional.
The Instruction –The third of three Louisville bands, these heavy rockers have a Glenn Danzig-meets-Jim Morrison vibe goin' on that makes them an atypical favorite of 91.9 FM.
Seabird – Modern rock from Cincinnati youth, the type oft-used on “One Tree Hill” or “Private Practice” to drive home the melodrama.
These United States –A little bit country, a little bit rock 'n' roll and a little bit indie, these D.C-via-Lexington guys have a literate, rollicking sound that suggests a Southern Bright Eyes, or any other decent Bob Dylan disciple.
Maps and Atlases – Seasick art rock a'la Vampire Weekend, TV On The Radio and The Sea and Cake. To be fair, they're much better at it than Vampire Weekend, who are probably too expensive to bring to a local festival, anyway.
Backyard Tire Fire – Amiable, solidly Midwestern schizophrenics who can't decide if they prefer '70s classic rock, '80s hair metal or today's quirky indie. The bio includes blurbs from members of Cracker and Los Lobos, so those under 40 may as well head out to the inevitable trichomoniasis-infested after-party with DJ WhoCares.
c. 2009 Velocity Weekly
Tuesday, July 07, 2009
Some of the best local discs, 2009, so far
Arnett Hollow
Night After Night
After a bluegrass-infused debut, AH has returned with a second disc that is more slick, more NPR-friendly, but also more distinct and original. Now known to inquiring out-of-towners as the home band of Bonnie Prince Billy fiddler/vocalist Cheyenne Mize, AH has become more like Nickel Creek and less like Del McCoury. Though their new style has its downsides (such as a less tight, more jammy rhythm section) the vocal interplay between Mize and songwriter/guitarist Chris Rodahaffer is lovely, and might sweep you away.
Bad Blood
EP
This brief follow-up to their self-titled first record doesn't improve on the album titles, but is another raw, amped-up collection of garage rock thrillers. Fans of the MC5 and the Bell Rays should already know about them, one of the absolute best live bands in town.
Invaders
Floating
The new band led by Joe Meredith, formerly of the Beatles-esque Merediths, is surprising not just because of Meredith's more poppy pedigree, but also because there are few bands left making sounds like this. The Invaders live near rock music but probably won't be understood by the AC/DC fan next door. Fans of the Sun City Girls and early Butthole Surfers will be pleased, however, to find a new psychedelic, grainy mindblast of a band. Meredith's vocals are mixed lower than most singers, taking his vocals away from the spotlight and melding them into the rest of the instruments. A band like this can't be found at just any club, so listen to Second Story Man's Carrie Neumayer, who "thinks the Invaders CD is the best local album I've heard in a long time."
The Mack
Lazy Bones
One of the weirdest - and I mean that as high praise - singer/songwriters you'll get to hear, this fellow comes up with names, ideas and melodies that you'd never expect (he formerly led a band called The I'll Beat Your Back Out Band). Once you enter his world - a little David Lynch, a little Will Oldham, a little Flannery O'Connor - you'll want a front row seat. If you can't hum gems like "Prisoner's Lake" or "Monongahela" to your puppy at night, you probably have a cold heart.
Sandpaper Dolls
Live at 21C
These 3 women sing from a place so deep down that you can practically see their intestines. An a capella Nina Simone would be the closest legit comparison, though "The Andrews Sisters on angel dust" has probably been tossed around. This live recording documents just how surely they can quiet down a room of otherwise excited devotees.
Night After Night
After a bluegrass-infused debut, AH has returned with a second disc that is more slick, more NPR-friendly, but also more distinct and original. Now known to inquiring out-of-towners as the home band of Bonnie Prince Billy fiddler/vocalist Cheyenne Mize, AH has become more like Nickel Creek and less like Del McCoury. Though their new style has its downsides (such as a less tight, more jammy rhythm section) the vocal interplay between Mize and songwriter/guitarist Chris Rodahaffer is lovely, and might sweep you away.
Bad Blood
EP
This brief follow-up to their self-titled first record doesn't improve on the album titles, but is another raw, amped-up collection of garage rock thrillers. Fans of the MC5 and the Bell Rays should already know about them, one of the absolute best live bands in town.
Invaders
Floating
The new band led by Joe Meredith, formerly of the Beatles-esque Merediths, is surprising not just because of Meredith's more poppy pedigree, but also because there are few bands left making sounds like this. The Invaders live near rock music but probably won't be understood by the AC/DC fan next door. Fans of the Sun City Girls and early Butthole Surfers will be pleased, however, to find a new psychedelic, grainy mindblast of a band. Meredith's vocals are mixed lower than most singers, taking his vocals away from the spotlight and melding them into the rest of the instruments. A band like this can't be found at just any club, so listen to Second Story Man's Carrie Neumayer, who "thinks the Invaders CD is the best local album I've heard in a long time."
The Mack
Lazy Bones
One of the weirdest - and I mean that as high praise - singer/songwriters you'll get to hear, this fellow comes up with names, ideas and melodies that you'd never expect (he formerly led a band called The I'll Beat Your Back Out Band). Once you enter his world - a little David Lynch, a little Will Oldham, a little Flannery O'Connor - you'll want a front row seat. If you can't hum gems like "Prisoner's Lake" or "Monongahela" to your puppy at night, you probably have a cold heart.
Sandpaper Dolls
Live at 21C
These 3 women sing from a place so deep down that you can practically see their intestines. An a capella Nina Simone would be the closest legit comparison, though "The Andrews Sisters on angel dust" has probably been tossed around. This live recording documents just how surely they can quiet down a room of otherwise excited devotees.
Monday, July 06, 2009
Heartless Bastards interview
I recently had a chance to ask Heartless Bastards leader Erika Wennerstrom a few important questions. Her band plays tonight at 8 p.m., before Jenny Lewis, at Headliners.
You're from Cincinnati, originally, but recently moved to Austin. You know that Louisville's an even better city, right? Why Austin and not Louisville? And please praise Louisville and/or insult Cincinnati in your response!
Ha!
Your band has gone through a complete overhaul, and you are the last original member left. Did you consider going out under your own name, or did you think that Wennerstrom sounded too much like a totally awesome metal band?
Ha! again. I don't think Wennerstrom works well as a name. I like having a band name. Even though members have changed, I've always written the songs. This has always been my project, so there's no need to change the name if a member has left.
Can you settle this downloading business once and for all? Is it stealing, or does it help you?
I guess it's a little of both. People always say record companies are evil, which I guess they can be in some ways, but a lot of the bands you hear of are because the record company paid a publicist to get bands in magazines and papers, and they paid a radio person to get you heard on the radio. They also probably paid for the recording of the artist you've been listening to, also. If record companies fall, then it's going to be so much harder for the artist to get their music out to people. The average artist can't pay for things like publicists themselves. The internet helps, but everything is so saturated that there can be too much bad music to sift through to find good stuff.
Your band exists in what some call the "indie" world, because your records aren't distributed by one of the 4 major labels left. Do you find this limiting or misleading?
Right now I think bands are better off on an indie label, personally.
Jenny Lewis is a li'l bit country and a li'l bit indie rock. Are you worried that your raw power might blow her away every night?
Jenny Lewis is a great songwriter and performer. She's a powerhouse in her own right. We are different, but have a lot of similarities, too. I think both her fans and our fans are perfectly capable of liking more than one kind of sound.
NPR said that your "sprawling voice... echoes the influence of Neil Young, Otis Redding and MC5." How is it possible to sound like all of those at once?
Well, I try to sound like those 3, and about 100 other artists as well, so I think I end up finding my own voice in the process of mimicking them all.
Are you looking forward to the upcoming movie about the Runaways, in which the girl from Twilight plays Joan Jett?
Well, this question is the first time I've even heard there was a movie about that. I'm not sure if I'm looking forward to it or not. It depends on how well it's done. There are so many good ideas executed in horrible ways.
You're playing here on a Monday night. That sounds like it's probably not as fun for you as a Friday or Saturday. Am I wrong?
Well, I'm in a venue every night. It's all the same day to me. I don't think there is a no fun Monday rule or anything.
c. 2009 Velocity Weekly
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