Concern/Parenthetical Girls/Casiotone For The Painfully Alone - Portland, OR - 01/09/08

Another rainy Portland night. I had heard Parenthetical Girls off the social music network last.fm and fell in love upon first listen. I was delighted to see that they were playing the following week at a little dig called The Artistery for only $6. I didn't figure there'd be much of a turnout, especially with the rainy mist drenching the city but sure enough as I approached the door, other gloomy figures followed from around every corner. Little did I know they were all coming for a completely different band. Regardless, I was there to see Parenthetical Girls and delighted at that; this was the first show I had been to in nearly 6 months......very unhealthy.

The Artistery is perfect. Tucked 43 streets inland on SE Division, it's definitely a modest joint that doesn't take pride in itself. A white house with a huge A printed on the side, I had a helluva time finding it. I walked in and it seemed almost like it was set to be a houseshow, but the music vibrating through the walls of the entire house begged to differ. The bundled folks crept downstairs to reveal a vast basement sporting a tea cafe and a carpeted stage on the opposite end. I'm still not sure about the management or how it all got started but they definitely had the right idea. The 5 foot speakers to left and right of the stage assured everyone it'd be a gloriously loud evening.

I grabbed some free tea from the cafe (yeah, they're pretty courteous), met with the band leader of Parenthetical Girls, bought two of their albums and proceeded to sit down cross legged amongst the crowd sipping my warm tea and waiting for the show to start.

CONCERN

The first act was a single man whom goes by the moniker of Concern. I didn't even know he was one of the artists until about 10 minutes into his noise display. He just sat hunched over his equipment tinkering with controls while a strange haze of voice and noise grew louder and louder. So loud in fact, that it became almost unbearable. I could see some other folks cringe a bit at the shrieks of noise, others plugging their ears. Once the intro died down a bit, he broke out some other equipment and gave us some ethereal spacey ambience tinged with odd feedback here and there. I wish I had a strong vocabulary for instruments because at one point he broke out an interesting accordion-like instrument which excited me based on the trippy noise he had already unleashed upon us, lord knows what this would bring. To my disappointment, all it seemed to do was send an unbearable hiss and crackling through the huge speakers, almost as if there was a glaring problem with the sound. He didn't budge. Was it supposed to be unbearable? If not, he sure as hell didn't care.

I tried to look past the hissing and scratches here and there and really, he brought some strange ambient sound to the table. For a long while, time seemed to disappear. Folks around me just closed their eyes; I did the same for a while, but at the same time I wanted to observe this guy, figure out what he was up to and if he was worth looking into. Maybe he was just a beginning performer and needed to work the kinks out. Who knows, but regardless, once he picked up the guitar, I was captivated. Amid the space noise, he sat down for the first time this entire 40 minutes or so and strummed this simple acoustic guitar, bringing the earthiest guitar notes I've ever heard through the speakers and straight to my ears. My eyes just rolled back. BEAUTIFUL! A crackle of thunder roared through the basement, and with it a sweet desert rain to accompany these notes. I knew something was up, judging from his display so far, he was going somewhere with this. His foot tapped a pedal and suddenly each guitar note was like crunching glass. Over and over, crunch crunch, crunch, crunch, crunch. Everyone jerked awake and looked straight ahead as if they wanted to lynch someone. Was his entire act a play on our emotions? It seemed like he thrived on the manipulation of our deepest concentration and to that effect I'd say he was victorious.

As he finished, the crowd clapped. He didn't so much as look at us. Humiliated? Modest? Maybe he can't look into the eyes of a crowd that was just witness to his manipulation for fear of rejection or criticism. Who knows. It was interesting. If nothing else, I appreciated his ability to transcend time and grab hold of my concentration so completely with his unpredictable shenanigans. It gave me a thirst for more ambience that I may have to satiate soonish.

PARENTHETICAL GIRLS

One of the far more interesting bands I've stumbled across in a while. Parenthetical Girls have this psychotic youthful innocence about them. It's almost like stepping into the mind of a troubled innocent and confused 16 year old girl as the world swarms around her and beats her blindly with harsh and beautiful realities alike. Zac Pennington, the lead singer and guitarist, is a very unique individual, he almost seems to have an identity crisis on record, just look at the cover art for Safe as Houses. Two naked versions of himself lying on a bare and peaceful bed. One lays eyes closed, curled comfortably and content with his partner, whom is another of himself, lying on his back looking straight up as if to wonder "what the fuck am i doing here!" He displays this same strange uncertainty onstage.

As Zac grabbed the microphone for a quieting audience, the band starts with a gentle lullaby. Drumstick in hand, he tapped it against every surface around him persistantly as he sang. Eye lids closed, I could see his eyes moving beneath, swirling about as if he could see the music dancing in front of him with the cosmos, he would grab at thin air, twist, move invisible matter along with his hands and words. He's an artist, he can do that, just don't ask questions. He stepped off stage, kneeled among the audience tapping the floor with his drumstick, eyes closed, singing. He approached, literally stood over me, tapping the ceiling as his voice careened painfully with words of love and anguish. The band adding their signature touches that make this music so unique. Rachael Jensen on the keyboard and violin; her presence is essential to the innocence and vitality of their music, each key longing for simpler days. Zac would pass between the audience and the stage throughout the entire set, wherever he felt most inclined by his words. They're a very modest band, I can see they don't mind attention but they don't crave it either. Their approach is incredibly non-traditional, sporadic and impulsive. I like that. Eddy Crichton, the percussionist's energy was incredible, going from a steady march on the Toms to a bombastic explosion in the kick drum on Here's To Forgetting, he gives their music just the drive they need to elevate themselves from tiresome indie-pop dreck. Matt Carlson is the drive behind the electronica aspect and gives them an incredibly experimental advantage. I'd like to see him perform solo, he's got an ear for little audio bugs that crawl into your ear and stick around with you, laying their eggs and frying your brain.

All in all, I loved these guys and would have loved to hear more. Near the end they professed to the crowd that they really don't know how to play the songs on their new record yet. They do things a little backward. They record, piece together, THEN learn it all. Whatever works for them. They were only able to play one song off this new set and for it they had to rely soley on the piano, "Ben Folds style" as Zac put it. This definitely isn't how the song will sound on record but watching Zac lie across the top of the piano kicking his feet, twirling the microphone as he bobbed to the piano tune and sang was a sight, just something that can only be appreciated by seeing it then and there. They finished their set with a cover, I'm not quite sure what song it was but it was very good nevertheless. It ended with each member of the band silencing their respective instruments slowly and gathering around the drumset, delivering beats that had a good portion of the crowd dancing in center. Then....silence. Huge applause. T'was a fantastic show.

CASIOTONE FOR THE PAINFULLY ALONE

The main attraction of the night was Casiotone For The Painfully Alone. I was set to go to be completely honest. The bus only runs so late after all. But the hype in this basement kept me around, I had to see what all the fuss was about and after all, Mary was pretty stoked about Casiotone herself so I couldn't just abandon ship. Buried by a crowd, I submitted to squatting against the wall and simply listening to what musican Owen Ashworth had to offer. I pulled out my notebook and noted ideas and images his music evoked as I listened, it was a very nice contemplative place I found myself in. I shall have to try it more often, too often so much energy and hype is built up with shows, I found it very rewarding to flee from the energy and find my own place amongst his music performed right before me.

His sound is quite largely his own. Completely electronic, his beats range from long, sweet and heart warming to fast, deep, doom laden and earth shattering and then to sweeping movements that just forced me to sway back and forth with a smile on my face. His words are deep, frank, introspective. I really liked it a lot. The strength in his voice amid the emotion in his words is actually pretty inspiring, so much so that I bought his album etiquette during his set. He had a story for nearly every song. One in particular I found pretty great. A song called Old Panda Days, simply about a small and humorous japanese goth scene that came and went rather quickly. He joked about how hard it was to research and write the song properly because so many of the subjects would rather have forgotten about their part in the scene completely than dwell on it enough to write a song. Good stage presence, very humble and kind. The crowd shouted numerous requests and he couldn't have been happier to oblige them. His songs were short and sweet, not too long and over indulgant, just about right. I was glad to have stuck around. The crowd was just about satisfied when it was all said and done.

About the time the show ended, I had forgotten about my urgent need to get outside and catch the last bus completely, stretched out on the ground digesting the evening. It was pretty fantastic. My first show in nearly half a year, my mind was racing with ideas, words, emotions. I resigned to my notebook. After a couple pages, I filed out with the crowd, another warm cup of tea in hand and into the rainy cold of Portland, having enriched my life just a bit with three bands, three visions of the world.

-Hunter

Black Rebel Motorcycle Club - American X: Baby 81 Sessions EP

Black Rebel Motorcycle Club
American X: Baby 81 Sessions EP
Released 12/18/2007

The boys in black leather return once more. With them they bring a small collection of songs that didn't make the final cut of their latest release, Baby 81 which was their most accessible album to date. What does a return to form mean for them? Non-conformity. While Baby 81 was a very good dose of rock and roll at its sharpest, it didn't showcase the best of their abilities, but merely hinted at them. Their post-apocalyptic doom laden guitar static was sacrificed for innovative bluesy hooks and their writing took a more tongue-in-cheek play-on-word approach with songs like Took Out A Loan and Lien on Your Dreams. They're all very good, especially live, but it all leaves you somewhat unfulfilled near the end, longing for something more organic and oh so much more deadly.
Well lo and behold, the boys haven't lost their rebel spirit, they've just kept it on the downlow. Right from the beginning we're introduced to an earth shattering drum groove similar to something you'd hear on a chaotic dance floor and definitely off base with anything they've put out before. The song consists of just three solid lines; "I ain't ever seen the likes of you before, I'll be your ever-loving cure," and "You're my ever-loving cure." The sole purpose is to inspire you to move, find that lover of yours. Make good on the guitar's sludgy groove and grind together; heal one another. It's the end-all of love songs and it doesn't need an insurmountable amount of verses to convey that. Just a notion.
Coming off that high we're placed in a subtle soundscape, one which would seem impossible to find on a driven album like Baby 81. But it's familiar and trusted territory when considering their first two albums. Vision, 20 Hours and Last Chance for Love (the latter being a contemplative instrumental that brings the album to a close) are all songs that brings back their atmospheric tendencies and it's good to hear, you can almost sense their sigh of relief and tension easing up as they let their instruments elude sonic restraints and speak to us in wonderful foreign tongues while Robert frees us from our own minds with this unplugged lyrical ability.
"This life is pure fiction, no more reality! Your body's your affliction, your soul cannot release!" he bellows with a wild conviction I've never heard Robert touch upon in any previous song. The Show Is About To Begin is one of two centerpieces on this collection. An iron clad titan thundering into the arena with guitar riffage I'd have to say wouldn't be possible without Josh Hommes' contribution to the genre of rock and roll. Pure sonic doom colored blood red. As NME put it, "It's music to slaughter Highway 69 hitchhikers to." It's a damn shame this piece wasn't included on the initial release of Baby 81, it might have given songs such as 666 Conducer some much needed company and catapulted the album into the position of greatness it deserved. Oh well.
Along with this heavyweight comes another song I'm wild about. Whenever You're Ready. Starting with a murky gutter wading guitar line and the repeated mantra "I'm ready for you, all ready for you. Come and get me darlin', you know I'm gonna getcha darlin'" it marches along with a military drum beat that's like a punch in the neck of inaction. With this comes Peter Hayes, overt fan of the beat poetry movement of the 50's and 60's, opening up to us with a piece of spoken word that plays like an ode to determination and patience and god damn it's exciting to hear such creativity and innovation flow so freely in music like this. "Although he had no "need" he had great want and could not. His mouth frozen from grief, he saw his breath climb out eager to carry on without him. He knew he'd have to wait and he knew what for." His words so plainly spoken evoke images of a journeyman climbing a sun burnt mountain of impossible scale, ever reaching for this love, ideal; something to transcend his existence, one step closer to completion. And yet, it slips his grasp. Another day. He'll be ready.
As the song draws to a whisper, it's plain to hear that these guys have a vision to offer and want nothing more than for us to share it. I'd say they were partially immersed into the wrong generation, yet another part of me likes to think they're saving us from the mediocrity we've been cursed with in today's music conglomerate. They're on a journey of realization like everybody else in this world and I encourage them to expand their vision outward, as far as it can possibly reach because they've generated quite the fanbase to hold it upward in ways the business absolutely cannot and will not.

-Hunter

Mike Conley - My Little Secret

Mike Conley’s sound is a palatable acoustic rock which most any music fan would be open to. Conley’s voice (which sounds a bit like Pearl Jam’s Stone Gossard) ranges from confident and knowing to sweet to hurt, always keeping a subtle strength. On Conley’s debut album “My Little Secret,” the tracks play out like a couple of years in the life of a songwriter, with personal moments highlighted by great harmonies and memorable lyrics.

Some tracks, such as “Chillin’ Out” have that “second-listen quiet genius” quality a la’ Wilco, with uniquely crafted pretty melodies that get better with each listen. His presence (on the album and in person) is warm and so honest and intimate you feel as though he’s sitting next to you and that he’s a friend. Conley also uses speed (such as slowing down a happier harmony to great effect) and accompanying instruments to add a substantial richness to his songs.

In “Let Her Go,” a song about a fading love and the realization of it, Conley strikingly captures poignant moments with use of delicate momentum. The violins and hushed vocals in the song paint a stunning portrait of such an aching moment of realization. “Why” is a polite telling-off with instrumentation similar to Dave Matthews Band, a little more of a musical escape than tongue-in-cheek intent, yet certainly both ideas prevail in lyrics such as “Is there any room for me in this conversation?”

I’m impressed that “My Little Secret” has an almost universally appreciable sound without carrying the saccharine qualities found in more mainstream music offerings. Conley has a beautiful way of showcasing his confidence and warmth while keeping a little mystery and playfulness to his character. This catchy, endearing, and well-crafted album makes for a memorable soundtrack and reveals that the Fort Wayne music scene has some unique, beautiful-sounding artists.

-Mary

Romans - King Fisher

Romans are accessible, hip, magnetic; a melodious indie rock band with a distortive edge. The Romans’ Myspace website offers that the band has a “slightly dark brand of indie rock-influenced pop” song structure. Romans’ recently released album, King Fisher, delivers this darker and more bitter version of a sweet and catchy conventional indie rock offering. Members of Romans are Allison Demaree (vocals/synth/keys,) Adam Bodnar (bass,) Jason Bohan (guitar,) Grant Smith (drums,) and Mike Skeeters (vocals/viola/guitar.) Band members’ combined musical innovation and laid-back persona have generated intrigue and a good local following in the Fort Wayne music scene.

Romans utilize the vocal talents of the mysterious Skeeters and ingénue Demaree to create a salient combination of dissonance and charm in their sound and aura. Skeeters’ voice recalls Pixies singer Frank Black. The dynamic created by male-female harmonics amidst distortion and uncanny instrumentation are also reminiscent of the full sound and chill presence of the Pixies. This comparison rings true most in regards to overall feel and song structure rather than sound, as Romans has a unique neuvo-indie edge to their melodies.

The stage presence of Romans serves to build anticipation for eclipses of songs and brief stronger releases of emotion. Every Romans show I’ve attended has made me feel anxious yet fulfilled by the end of the show. Skeeters and Demaree in particular seem to be full of pent-up emotion to be let out in controlled doses. They come across as cool and private yet teasingly inviting- translating the emotions in their songs succinctly and strikingly.

The use of ancient Roman themes throughout the King Fisher album could be interpreted either literally or figuratively. Other lyrical content proves more personal and pensive. King Fisher begins with “S.S. Notaship,” a haunting yet driving song which flows into the stunning “Eyes Dyed Purple.” “Eyes Dyed Purple” is a vibrant, enigmatic anthem urging listeners to “join our legions.” The album-closer, “Thinking is Hard,” is distortion-laden and well-orchestrated.

Catchy and full of distinct instrumentation, King Fisher is an album that gets better with each listen. Try and see this band live if you can, for the shows are always intimate and atmospheric.

-Mary

Vigilantes - Howard City

We had the pleasure of checking out Vigilantes a while back when they were kind enough to drive down from Grand Rapids for a show in Huntington. We picked up their cd, Howard City, so the boys could (hopefully) afford some burritos for the trip home, and of course because cds are fun to listen to sometimes. When attempting to describe a band I like to try to think of what a band is trying to be, and in the case of the Vigilante, the answer is very plainly stated on their Myspace page (http://www.myspace.com/vigilantes):

Vigilantes strive to play no-nonsense rock and roll with contagious choruses while avoiding the pressure of throw-back garage fads. To them, straight rock and roll doesn’t need reinvention, it needs resurrection. Bassist Luke Shoemaker puts this goal in very simple terms. “We don’t want to be just a scene band, we don’t want to be just a bar rock band either. We want to make good music.” Taking cues from early rock and roll pioneers, Vigilantes wrote, recorded, and released “Howard City” within months of becoming a band.

‘Straight rock’ is apparently some bastard child of 70's rock and alternative. Unfortunately, or fortunately depending on your whim, there are a lot of bands out there trying to resurrect straight rock and many are straight boring. But rest assured, this old dawg has seen enough run of the mill bands to know that Vigilantes aren’t one. They are supremely devoted to writing catchy, hooky songs with biting lyrics and plenty of rock/punk attitude. I think this is what Luke is getting at (in the above quote) when he says, "We want to make good music." However, Vigilantes are more than just a Beatles-melody borrowing wanna-be band with a garage rock facade. They have an arresting stage presence, a 70's rock schtick that will have your tight ass jeans swishing and your asymmetrical haircut bouncing in tune.

Howard City opens appropriately with a short sound bite of footsteps walking across a room and a guitar being plugged into an amp...then comes the rock as the drums kick in on the appropriately named first tack, Vigilante Burnout. The album literally sounds as if the band was just rocking out in a basement and someone happened to be there to hit the record button. The ‘live’ sound is certainly appropriate for this type of music, but it can have its nuances. At low volumes the drums are overbearing and the guitar sounds thin. However, with the volume cranked up a bit, the sound begins to fill the room. The guitar sounds warmer and begins to overcome some of the more dispersed drum echo making a very energetic, pleasing and believable ‘live’ sound.

There is more to great songwriting than the right musical packaging, catchy riffs and a good sound. Howard City carries its real weight in the form of poetic and direct social commentary that breaks the mold of a genre that is typically naïve and hypocritical. Vigilantes don’t mess around with cheesy drawn out rock ballads either, instead deliver 10 short and to the point rockers that total less than 30 minutes of playing time. A couple standouts include the second track, “Hey You”, a catchy sing-a-long with a great little guitar hook and ends not so subtly with the repetition of “there’s got to be a deeper meaning, a reason I’m still breathing, an answer to the aching in my soul”...absolutely beautiful. Another favorite of mine is the anti-materialist “When I Grow Old” with the chorus “When I am old, assuming I will be one day, and all my bones and flesh are withering away, I hope that I can stand and lift my head up high, to say I lived for more than what possessions give”.

The bottom line is that Howard City stands alone on lyrics and songwriting. The listener gets a great bonus in that Vigilantes managed to pack a great deal of the energy and fun of their impeccable live shows into the album, Howard City. Recommended for cocktail parties and drives to the supermarket.

-drew

(yes, I quoted a review in my review)