The Campaign For Real-Time / Read Yellow / Mad Man Films / Tiny Amps / Faces On Film / Shore Leave / Tiny Whales / Before Lazers / Movers & Shakers / Blanks. / The Main Drag

Middle East Downstairs

Cambridge, MA

February 2, 2007

A Friday night show Downstairs at the Middle East is certainly news to someone, but it's not often that Channel 7 sends a crew into the subterranean rock shelter to cover the festivities. Then again, it's not often that eleven high-quality local bands take the stage in one night. Far from any "normal" Friday night, Groundhog Day marked the release of Knocks from the Underground, a fully-loaded compilation disc from Endless Recordings featuring a good smattering of numerous Boston-and-beyond bands. Naturally, this was special, and even Channel 7 knew it, stalking around interviewing members of Mad Man Films and The Main Drag before the show even began.

Opening up the night was The Main Drag (the one-man act of Adam Arrigo, Northeast Performer's regional editor) backed up by Blanks. In a bizarre fit of irony, Arrigo remained the one man on stage not in drag, instead opting for a sensible blazer. The Main Drag's set was a short one, and Arrigo turned over the reigns to Blanks. after a quick series of super-melodic escapades, highlighted by "What's Your Favorite Dinosaur?" which featured a strong-pulsed verse that segued into the chorus hook, a play on John Williams' Jurassic Park theme. Left to their own devices, Blanks. picked up the steam with their own high-energy set. If the first half of the set operated on the melodic level, Blanks' full set thrived on an almost unhinged-sounding energy - quite a shift from the opening act.

Given the sheer number of bands playing this evening, the first set ended a few minutes before the doors to the Downstairs usually open, yet the beginnings of a strong crowd had already gathered for the early sets. For the most part, the set changes were quick and smooth, and Movers & Shakers was onstage before too long, delivering on the promise made by their name with a punchy set of deconstructed anthems.

Zak Longo, the evening's two-set iron-man, took the stage next for his first go-round with Before Lazers. The group's performance was the first turning point of the night, a move away from the "standard" rock band sound into a land punctuated by hard beats, fuzzy bass, and a whole lot of onstage energy. The band seemed to solidly connect on each song, causing more than a few heads to whip around at this wholly new, wholly exciting sound.

After their set, Tiny Whales took the stage to a fully energized crowd that had grown exponentially with every set. Tiny Whales threw a little chaos into the mix with their sizzling electronics-punctuated-by-shouts sound, which sent the room spinning slightly with searing leads and gut-shot percussion that transfixed and dance-fixed the crowd.

Shore Leave was next up, marking an interesting turn in the on-stage mix tape as the group explored the "jam" section at the supermarket, offering up a 20-minute selection of their finest preserves. Shore Leave is more of a "band's band," and some of the more casual listeners in the audience seemed a little emotionally spent by the rhythmic maelstrom of the previous set. Shore Leave brought a different presence to the stage, and proved to be a musically conscientious group that was still able to get the people up and moving.

If the evening was to be experienced like a mix tape, then Faces On Film was without a doubt the perfect end to Side A. They took the stage with confidence, displaying extreme style in their short set. The quartet was possibly the sleeper hit of the evening, and like all sleeper hits-of-the-anything, they came on slow and strong. Their stage presence and sound called to mind echoes of Modest Mouse, but Faces On Film transcended almost any possible comparison on this evening, with their breathtaking final song creating a near-rapture through the crowd.

While Faces On Film left the room buzzing, next act Tiny Amps provided further buzz with a swaggering set of guitar-led slam-alongs. The room, which was almost full at this point, seemed to fall right into the wide swath of groove cut by Tiny Amps.

Until this point, Mad Man Films had been pretty busy, getting interviewed on Channel 7 and practicing their vocal harmonies in the men's room.

George Lewis worked the stage like a wild-eyed director, gesturing with his guitar, crooning, wailing and bellowing into the microphone. Naturally, the crowd went berserk. Lewis, Longo, and drummer Joe Ciampini hit with favorites from their original demo, as well as unreleased tracks from their mysterious new record. Their set was another high point of the night.

Read Yellow, as the penultimate band in a long, loud night of rock music, could have easily mailed in their performance and faded into obscure cracks between Mad Man Films and headliner The Campaign for Real-Time. They didn't. Evan Kelley's performance was more a fit of energy as he basically turned himself inside out for the performance, at one point literally leaping out of his shoes during a song-ending acrobatic display. On the other hand, poker-faced bassist Michelle Key Freivald stood to the side of the stage, sneering down at her bass and winning the hearts of possibly every male bassist (and maybe non-bassist) in the room with a stunning combination of four-string style and arched eyebrows. The set ended with the members of the band surrendering their instruments not to each other but to the crowd, as one young man "played" the entire final song like a living Guitar Hero gamer. This stunt left drummer Paul Koelle to perform the song-ending finale with a band of audience members who, admirably, all seemed to come down on the same beat. Sort of.

By now, the room was packed and The Campaign for Real-Time was ready to make Friday Saturday. The five time travelers took their places onstage and kicked into a mix of "old" C4RT favorites, as well as selections from their new record. The face and stage presence of the band has changed slightly. Elton Steel (nee Falconer Model-7) showed up freshly shaven in an all-white suit while Felix Coyote dazzled the crowd with a combination of moustache and pinstripes. The group seemed to be concentrating more on the music and less on the time-travel this evening, keeping the interstitial banter down, perhaps in deference to the evening's shortened sets. The band did display some of their trademark panache in response to some technical difficulties suffered by Rory Stark's guitar rig. "20th century technology," grumbled Stark. The group hit hardest in their new selections, including the sexy "Rachel Says" and the driving "Song for New Amsterdam." Coyote and Steel captained the keyboards while bassist Dr. Hemnsesphere performed his usual "best-bass-in-Boston" routine despite his buttoned-down appearance. Dick Dreyfus, as expected, powered the entire affair from the drum riser and Stark ripped away on a newly-borrowed guitar. The literal Underground show was an unmitigated success, an eleven-band tilt through the best the area has to offer.

-Review by C.D. Di Guardia; photos by Marianne Bolduc

Ezra Furman & the Harpoons / Daisy's Little Secret / Hopeful Monsters / Redshift (CD Release)

T.T. The Bear's

Cambridge, MA

February 7, 2007

Redshift, playing their Boston CD release, opened the show on this particular Wednesday night. Their mellow breed of power pop songs were well suited to their low-key performance, and the crowd already gathered at T.T.'s loved it.

Next came Hopeful Monsters, whose dreamy acoustic/electric pairing provided the perfect background for the band's expressive, story-like vocals.

They were followed by Daisy's Little Secret, a local four-piece showcasing straight-up rock 'n' roll. The mix was spot on, and the addition of a Hammond organ smoothed out the venue's rough sonic edges, producing an extremely full-bodied sound.

Finally, headliners Ezra Furman & the Harpoons took the stage for their first home appearance since recording their latest album with label Minty Fresh. Each of the four members (five if you count the plastic goose that accompanies them to every show) looked like they had been drawn from a completely disparate band: drummer Adam Abrutyn seemed primed for DMB backing, guitarist Jahn Sood could have easily toured with Phish, bassist Job Makkada was apparently taking cues from Interpol, and lead singer/guitarist Ezra Furman wore Blues Brothers-esque Ray Bans. But the band erased any doubts when they launched into "The Moon," an upbeat and very cohesive rock song. The song's subject matter, however - an ode to '50s doo-wop band The Ronettes - reinforced the Harpoons' unique brand of genre-blending eclecticism. The odd conglomerations of rock, folk and blues made comparisons difficult, although Furman's expressive, wavering vocals definitely brought to mind Clap Your Hands Say Yeah's Alec Ounsworth.

Halfway through the set, Furman explained, "I never take off my sunglasses." After a dramatic pause, he earnestly removed the wayfarers from his face to play the stomping blues-filled ballad, "She's All I Got Left," only to replace the sunglasses for the rest of the night. While stage antics such as these could potentially cause a diva-esque divide between band and audience, Furman's over-the-top quirkiness, combined with the entire band's bounding enthusiasm, easily spilled over into the audience as the main floor of T.T.'s was transformed into a well-attended dance party for the entirety of the set.

Furman closed the night by explaining that he names each show, and then christened this evening "Beauty in Your Pocket for Later." It was a fitting title, as fans left the show still dancing and already recounting to each other memories of the night.

-Review by Kate Cole; photo by Steve McFarland

Frank Smith / Keys to the Streets of Fear / The Beat Awfuls

P.A.'s Lounge

Somerville, MA

February 9, 2007

Notorious hipster hangout P.A.'s Lounge hosted The Beat Awfuls/Keys To The Streets Of Fear residency in early February. The Beat Awfuls features members from The Lot Six, Viva Viva, Drug Rug, Headband and others. Basically, the band is comprised of a bunch of musicians who wanted to get together and try something different. And to be quite honest, "different" is an understatement - try indie-punk with a dark sense of humor and an occasionally mellow twist. Regardless, The Beat Awfuls gathered up Frank Smith, Keys to the Streets of Fear, and Chris Brokaw to join them on their sixth night at P.A.'s.

Frank Smith kicked off the evening and played an impressive, yet slightly drunken set. The sound and performance were utterly fantastic, as Frank Smith's blend of mournful country and blues pacing with darker acoustic-based indie-rock produced a weird, captivating aura. During the set, the band exuded great energy while showcasing obvious talent. Even their quirky personality stood up to their amazing music. Singer Aaron Sinclair frequently berated the audience, telling them to "take off their scarves." Indeed.

Keys to the Streets of Fear knew they had a tough act to follow. "[Frank Smith] made us look like chumps," lead vocalist Pasquale complained. Unfortunately, Keys' set felt slow and the drums were particularly heavy. Overall, the sound was well-balanced, but Pasquale's voice didn't stand up to the bluesy, dragging rock of his backing band; it felt like he was shouting to be heard.

Solo artist Chris Brokaw managed to captivate the audience. His performance was honest, atmospheric and beautiful. Transitions from lighter indie-rock guitar grooves to more distorted sounds were barely perceptible - his instrumentation was seamless. At points it was hard to believe that Brokaw was playing along, as he was truly brilliant; his stage presence and musical skill transcended his solitary performance.

Finally, The Beat Awfuls took the stage. Considering the band played every night this week, they put on a strong performance. The bizarre, energetic group worked well together, producing one hell of a loud set. Their upbeat stage presence provided for some excellent entertainment, and the band was able to close out the evening on a positive note. Yet, they didn't steal the show. Frank Smith was this night's standout, with their impressive set and incredible sound.

-Review and photo by Miriam Lamey

Mel Lederman / Dave Cave / Tucker Mayer

ZuZu

Cambridge, MA

February 19, 2007

Three solo artists playing at Zuzu on a Monday night rarely stands out amidst the overwhelming list of popular bands and musicians encompassing the Middle East's monthly schedule. Perhaps if one looked very closely at the schedule, a couple of weeknight shows would have caught the eye. But still, even for the hippest of hip Bostonians, it's difficult to find the motivation to make it out on a frigid Monday night to Zuzu when simply stepping outside makes your face hurt. So why was Zuzu packed to the brim on this night? The answer: Mel Lederman ("of Victory at Sea in his first solo show in six years"), Dave Cave, former front man of The Lot Six and current front man of Viva Viva, and Tucker Mayer, an up-and-coming progressive folk rocker. There couldn't have been a more wonderfully depressing line-up anywhere, on a weekend or weeknight.

Zuzu, with its dim but lively atmosphere, was full of indie youngsters who all seemed connected in some way, whether as coworkers, friends, or simply fellow fans anticipating a never-before-seen show. Tucker Mayer, a shaggy-haired 20-something with a reputation of singing beautifully sad songs in a beautifully sad voice, opened the night, unusually accompanied by Dave Norton, from Victory at Sea, on drums. Mayer, who often performs shows with only previously recorded material as accompaniment, benefited from the addition of a kit. Norton's style enhanced quieter songs without overpowering Mayer's smooth and poetic singing style, but then added a needed edge to the heavier rock songs. The two let it all out in Mayer's final song, which captivated the audience to the point where feet were stomping and heads were swaying.

As the place filled up, Lederman took his seat at the piano stool and introduced himself by requesting that the audience go easy on him, as he hadn't performed in a while. He and Norton, who clearly have a deeply rooted musical connection, began playing a jazz-influenced-but-still-rock number, full of minor chords and melancholy piano passages played with almost tangible intensity. The song began with a long instrumental passage, but then Lederman, without giving any signal, started singing in his gravely, Tom Waits-esque voice. As Norton rang the cymbals, Lederman wailed "I miss her" with such sadness that his listeners missed her probably too. But the pained expressions on their faces turned into smiles and shouts when Lederman dropped his fingers from the keys and, as if he had forgotten people were there, looked up, smiled sheepishly and thanked them.

Not all the songs were so sad and heavy, proving Lederman's talent as a versatile musician. The surprising addition of a fiddle on two songs, played by Joe from The Larkin Brigade, added an upbeat, Irish feel to the night. The more Lederman settled into his stool, and the more the whiskey settled into his stomach, the more comical and chatty he became. Halfway through the set, he played a bluesy song full of tongue-in-cheek conversation with the audience about drunkenly dialing an ex and then later regretting it. The audience couldn't help but laugh, whistle and shout back in full agreement. "I'm not trying to be funny," Lederman said afterwards, while laughing. "I'm totally fucking serious."

Other songs were more pop influenced, at times resembling some of Ben Folds' heavier material. But the amount of pop included in the songs was perfectly contrasted with dark lyrics, aggressively played chords, and pained shouts that, despite the rock/pop/folk feel of the music, rang deeply with echoes of Kurt Cobain's honest, edgy style. Lyrics like, "I had a dream that I was eating glass / People say, 'Mel, what's wrong with you?'" followed by, "Now I drink myself to sleep...[Lederman laughing] Wait, I did that before," kept the audience locked in a constant cycle of emotions. Lederman's technique as a pianist and a singer taps into a part of being human that most musicians just simply can't tap into.

After his set, everyone in the room was left with a sense of having been through something great.

Though it was a hard act to follow, Dave Cave, his vintage voice and excellently written guitar riffs topped off the night with a sweet cherry. His charisma as a performer never fails him, nor does his skill as a musician.

Though it is easy to overlook a Monday show, it's impossible to overlook these names. All three men are musicians Boston will be proud to lay claim to when they travel the world, leaving trails of happily broken hearts behind them.

-Review and photo by Becky Firesheets

Spiritual Rez featuring Bernie Worrell

The Paradise Rock Club

Boston, MA

February 10, 2007

Spiritual Rez dove into an intense set of funked-out reggae rhythms when they took the stage at the Paradise Rock Club, accompanied by non-other than Parliament Funkadelic co-founder, Bernie Worrell, on keyboard.

The group of Berklee alumni started the night's festivities off sans Worrell with a song called "More Than I Am," which showcased their ability to fuse reggae, ska, and old school funk in a context that forced the audience to immediately start moving. After wrapping up the night's opener, Spiritual Rez tore into "Baby's Mama" as everyone in the house welcomed Worrell to the stage. At 62 years old, Worrell was easily twice the age of any member on stage. But when asked how on-stage communication differed with Spiritual Rez from his work with artists like Talking Heads, Worrell laid down three simple rules: "Listen, feel, hit it." For the members of the 20-something reggae outfit, the old-school synth-master's age did nothing more than underline the musical vocabulary he brought to their musical discussion.

As the performance progressed, Spiritual Rez continued to keep the audience grooving while they tore into a cover of Parliament Funkadelic's "Cosmic Slop." The group then transformed into a balls-to-the-walls percussion ensemble, banging on whatever they could get their hands on. As Spiritual Rez's percussive efforts ran on, the groups frontman, Toft Willingham, skanked around the stage in a manner reminiscent to James Brown.

After Spiritual Rez wrapped the formal portion of their set with a song called "Vex," they returned to the stage for a lengthy encore which showcased members of the group's horn section performing in the crowd as a good chunk of the audience's female population danced on stage. The night's performance was met with immense crowd participation in the form of cheering, dancing, and eager call-and-response.

-Review by Andrew Bruss; photo by Scott Fleishman

Midlake / St. Vincent / Dylan In The Movies

Middle East Upstairs

Cambridge, MA

February 10, 2007

Dylan In The Movies, carrying the moniker of a Belle & Sebastian song, set the tone for a solid, well-rounded show. The band's performance carried a sizable audience as they evoked slow, nostalgic moods from song to song with a violin, piano and acoustic guitar. Brian Sullivan, the satellite around which Dylan In The Movies' line-up revolves, threaded beautiful vocals while strumming his acoustic guitar. In "Better Days," he created an air of familiarity, but more in a romantic than commonplace sense. The group's electric guitarist joined the line-up halfway through the set, adding a different sonic dimension to their sound and taking the music a step further.

A quirky girl in a baby doll dress, tights and big glasses took everyone by surprise when she seized the stage with her adolescent-like awkward charm. St. Vincent is the solo project of Emerson College grad Annie Clark, who is now based in Texas. With either a guitar in hand or piano at her fingertips, Clark's voice crooned haunting and sweet melodies, slip-sliding up and down the spectrum. A stomp box was at her right foot, adding a driving quality to the songs. The audience flirted with the starlet, who bashfully turned down requests for her phone number and led the show onward. In the break between sets, many audience members could be heard loudly exclaiming how "incredible" St. Vincent was, and many people rushed over to buy merchandise.

By the end of the night, the Middle East Upstairs was packed to its full capacity for the night's headliner, Midlake. The Texas band stood before its huge and enthusiastic Boston following, plucking songs from both their old record and their newer The Trials of Van Occupanther.

-Review and photo by Molly Lorenzo