SHOW OF THE MONTH

Guillermo Sexo / 28 Degrees Taurus / Seven Sunless Days / Druids
Great Scott
Allston, MA
May 16, 2007

When opener Druids took the stage at Great Scott, the three cryptic performers, safely concealed by druid cloaks, droned through an intriguing set of sparse beats, lethargic synth melodies, and pitch-bent samples. A few audience members lurked in the damp shadows of Great Scott, swaying slowly, entranced by the dark vibes emanating from the stage. Others retreated to the bar to drink and wait for the more accessible acts of the night. Druids played on, impervious to the audience; in fact, the band didn’t even look at or talk to the audience. In any case, the sound was good, and the sparse arrangements filled up Great Scott with disarming collages of sound, thanks in part to the understated, often-atonal melodies coming from Jess Barnet’s Alesis Micron.

With the rain not showing signs of letting up, the second band seemed like a perfect fit to the night’s bill, especially considering their name. Seven Sunless Days sounded a lot like a female-fronted Depeche Mode — sparse guitar arpeggios, anthemic drumming, and tortured, delicate vocals. While the band occasionally bordered on the melodramatic, Kimberly Burk’s virtuosic, operatic range proved more than capable of standing up to the overstated, synth- and bass-heavy arrangements. The three-piece performed with evident resolve, although their lack of an onstage bassist (the bass was relegated to a sequencer) made their visual performance a tad awkward.
By the time 28 Degrees Taurus took the stage, the venue had in a flash become much busier, and it was clear most of the night’s concertgoers were there to see these guys. It was well deserved, too, as the band’s fun, psychedelic take on basement rock perfectly exuded a carefree aura. As the room took on the air of a party — the audience perpetually feeding the band Jager shots — 28 Degrees got progressively drunker, and in turn, progressively better. Guitarist Jinsen’s reverb-soaked guitar work complimented the band’s large, boisterous sound, and the vocal interplay between him and vocalist Karina Dacosta was playful and effective. Highlights of the set included a guest horn performance from Bryan Murphy of The Shills and drummer Kyle Courcy taking off his shirt onstage, apparently, for the first time.

Guillermo Sexo were a perfect end to the night; their sound was a more focused take on psych-rock, and the crowd loved it. For a band that recently went through a line-up change, it didn’t show, as Guillermo Sexo hammered through their 40-minute set confidently. The performance was loud and passionate, and the sound was great. Noell Dorsey’s vocals were mixed perfectly and delivered with just the right amount of gusto to send the audience into manifest fits of pleasure.

-Review by Adam Arrigo; photos by Kris Ireland

The Shills / Mike Fiore / The Rising Son

Paradise Lounge
Boston, MA
May 6, 2007

Two decidedly non-lounge bands, The Shills and The Rising Sons, rocked out at the Paradise Lounge alongside ex-Faces on Film vocalist Mike Fiore on this particular Sunday night. Despite the relaxed venue, all artists put on great performances, generating an enthusiastic response from the crowd.

The Rising Sons looked young, but their set was mature and exciting. Initial technical problems (an abundance of feedback) luckily failed to affect the band’s performance. The guys sounded reminiscent of The New York Dolls, The Clash and The Ramones, but clearly had their own style; their breed of moody, angst-fuelled rock smashed through the venue and shook the audience considerably. Their big, punky sound echoed throughout the room, and the singer’s forceful vocals demanded the audience’s attention. The Rising Sons are certainly a band that is “on the rise;” their catchy songs and excellent cover of The New York Dolls’ “Personality Crisis” showcased their talent and devotion to celebrating their influences.

Mike Fiore followed with a quieter, yet utterly beautiful set. Accompanied only by a slide guitarist, Fiore presented original tunes with intriguing lyrics. His Modest Mouse-infused indie ballads struck poignant chords, accented by the well-utilized slide guitar, and the audience loved it.

The Shills completed the evening with an upbeat set of multi-layered indie-rock tracks. They opened with “Pigeonholed,” a fast-paced song that highlighted singer Brian Murphy’s impressively wide vocal range. The band’s evocative pieces maintained a fun, light-hearted air — even when the songs descended into noisy, guitar- and bass-driven clamor. The Shills were all very comfortable onstage, often chatting with the audience and playing each song smoothly and with evident confidence. One standout track of the evening was “Say What You Will,” a bouncy number, thick with power chords and infectious vocal hooks. The Shills also played some new material like “But Beware,” a roots-fuelled, swingy track. Musically, the song teetered on the edge of becoming something darker, yet managed to maintain an airy, casual feel due to the thin, tuneful vocals. “All Ears,” a power-poppy piece, sounded vaguely similar to Muse. All in all, it was a great set. One gets the impression that The Shills might be soon moving to bigger and better venues than the Paradise Lounge.

-Miriam Lamey

Session Americana
The Lizard Lounge
Cambridge, MA
May 8, 2007

“There’s something to be said about people who come out on a Tuesday night,” Ry Cavanaugh laughingly announced over the sharp call of Sean Staples’ mandolin, winding up the usual crowd of true-to-heart regulars, newcomers and local musicians. Session Americana took their places around the tiny round table, with studio microphones wired into the center, and performed as though they were only playing for themselves. They smiled and laughed, grabbed beers at the bar, and ultimately filled the whole room with warmth as they took turns playing the mandocello, guitar, bass, clarinet, accordion, harmonica, field organ, piano and a bass drum created out of an old suitcase.

The band played most of the tracks off their most recent album, Beer Town, including “Something Heavy,” a bountifully soulful plea loaded with blues-rock flourishes. The song also featured harmonica extraordinaire Jim Fitting on vocals. At one point in the evening, the band was also called upon by a fan to play “Theresa,” a gentle ballad with lyrics of pure heartache sung by Cavanaugh. Audience participation is not uncommon at Session Americana shows, as the band has established an impressive, built-in audience, especially at The Lizard Lounge.

The title track of the album included Dinty Child’s account of the long, traveling life of a beer. Infamous for brilliant, eccentric covers of pop artists, blues heroes and folk gods, Session Americana treated the audience on this particular evening to renditions of Gram Parsons, Jimmy Cliff, and Prince.

The band also had special guests whom they referred to as “very good friends.” Tom Fitting sat in and dueled the blues with his brother, Jim, from across the table. Contributing her virtuosic vocal abilities to the equation, jazz temptress Miss Tess showed off her vocal range — a pleasing addition to the varied music. Ending the show as always with the song “John Brown,” Session Americana tuned into the majestic sadness of this beautiful folk requiem. Kimon Kirk (bass) performed with his eyes closed, Billy Beard (suitcase) smiled contently, and at the climax, Child picked up his accordion and played it like he was creating a soft breeze to accompany the melody.

-Review by Meghan Marie Chiampa; photo by Erin Yunes

Hot Rod Circuit / Limbeck / The Forecast / Baker
Middle East Downstairs
Cambridge, MA
May 12, 2007

Hot Rod Circuit, Limbeck, and The Forecast — three very different bands hailing from all over the country — finished up their six-week tour at the Middle East Downstairs on Saturday, May 12. Boston-based Baker was a stellar opener for the successful show, and all the bands were both jubilant and sentimental about ending the tour. In between each set, a pitcher of Southern Comfort was raised into the air, inviting all the band members on stage to take a celebratory shot.

Without introduction, Baker jumped on stage with all the fervor and energy of a great rock act. Showing off their musical talent, they played a variety of rock songs reminiscent of Modest Mouse, Ozma and ‘70s underground rock. Baker flaunted their gorgeous, ear-tickling harmonies over steady, hard-hitting beats, leaving the crowd wanting more.

The Forecast took the stage for the second set. Although every musician appeared to be playing in their own world, the synchronism of the high-pitched wailing of the female bass player and heavy, loaded vocals of the lead guitarist elicited a nostalgic feeling of early Pixies.

After more shots of Southern Comfort, Limbeck came on, no holds barred. Giving the audience a spectacular show, their Southwestern-inspired sound was enough to make one want to start a bonfire and dance around. Complete with an excellent slide guitar player who had a penchant for sneaking onto the stage to play with the other bands, the whole performance was a spicy addition of Southern soul.

Finally, classic emo rockers Hot Rod Circuit took the stage. With a new album out, entitled The Underground is a Dying Breed, they were the band everyone was there to see. Their dense, electric songs dripped with the sounds of pure emo rock and drove the audience wild. Overall, this show was the pinnacle of a long and fun-filled tour, headlined by a classic New England band.

-Review by Meghan Marie Chiampa, photos by Kris Ireland

Loverless
The Pier
Old Orchard Beach, ME
May 11, 2007

There is nothing really subversive about Loverless. Sure, their genre is rock ‘n’ roll, their fans express their approval by head banging, and they market themselves as “a psychedelic swirl of sex and danger.” But if they are pushing sex, they are doing it with a heart of gold and a sound entrenched in tradition.

The Portland-based band’s performance at The Pier was fraught with all the typical exploits, including a predilection for drawn-out solos and a firm directive to the crowd to “Drink up!” But Loverless isn’t just another rock band. Their lyrics have the stripped-down simplicity of folk tunes, and their songs, rather than rebelling against the past, grab its hand and bring it into the present. The dark anthem “You Never Drive Aggressively,” which climaxed with an impressive, almost fluttering drum interlude, succeeded in marrying the blues tradition of call-and-response with a flat-out rock song. “A Dark, Dark Place” nearly resembled a jazz song, albeit peppered with some space-age guitar distortions. Thus, it is not really surprising that the group cites John Coltrane, Miles Davis and Muddy Waters among its influences.

Almost every song was structured around a blues rhythm, played to the hilt by bassist Danny MacLeod. In fact, MacLeod and drummer Michael C. Anderson comprised a rhythm section of a vice-envying tightness: the backbone of this band was firm. Frontman Elijah Ocean’s passionate and powerful voice gave the lyrics their due. In songs like “How to Undress In Front Of Your Husband,” which threw the crowd into an ecstatic frenzy, all these elements came together to produce a succinct, soulful, and powerful sound. Those who weren’t dancing were tapping or swaying, proving that Loverless has the power to take the entire room into its grasp.

Unfortunately, the band wasn’t able to maintain that grasp throughout the entire evening. Too often, a truly energetic build-up to a song lost the audience before the pay-off — not because the build-up stopped being exciting, but because it got so exciting it ultimately left the song behind. Overall, Loverless is a rock band that acknowledges (and embraces) its roots in such a subtle way that, hell, they are still just plain fun.

-Review and photo by Rosaleen Torrey

Edie Carey / Steven Bacon
North Star Café
Portland ME
May 5, 2007

“As soon as I find my pick, I’ll start,” indie-folk musician Steven Bacon said as he took the stage at the North Star Café on Munjoy Hill. Donning a graphic tee, an oversized sport coat and jeans, the singer/songwriter began his set a little timidly. His technical proficiency carried him through the first few songs smoothly. Occasionally, his fingers flew into bluegrass-inspired riffs. The audience clapped approvingly, but still, there was something missing.

Soon though, Bacon started taking risks, and the gambling paid off. His voice lilted and soared through an “Irish Gospel song,” and when he belted, “Send an epiphany around to those of us still on the ground,” well, that is precisely what happened as the crowd burst into applause. During “Desperate,” a song dedicated to homeless youth, Bacon forwent melodic chords for staccato, angry plucking. By far, the biggest (and most richly rewarded) risk was the last song of the evening: a sing-along spiritual. At first the audience was politely resistant to joining along with the words, “O Lord, set me free.” But when some spontaneous harmonies drifted back from the front row, the down-home rhythm won over the crowd. Bacon’s fingers effortlessly ran up and down his guitar, creating a staircase of blues notes. And even those who didn’t participate in the song joined in the thunderous applause at the end.

Boston pop-folk singer/songwriter Edie Carey was up next. After a powerful rendition of “The Night,” she exclaimed that the North Star Café was her “new home in Portland.” And Carey certainly seemed at home. Belting out pitch-perfect melodies and turning background noises into stage props, Carey’s performance was a joy. So much so, in fact, that it felt less like a performance and more like a conversation with a good and (at times) hilarious friend. Her songs hit home — not because they were grand-scale masterpieces, but because she was singing them. The deceptively simple lyrics were charged by not just the power of her voice, but also her sheer presence. No one in the room could look away. And no one wanted to.

Her last song of the evening, “Violently,” encapsulated her appeal. Its sweet melody was broken over a jarring guitar thump and belied by the sadistic (but tame) visual imagery. This contradiction was at the heart of her performance — her command over the audience was such that this female singer/songwriter could have taken the room and broken it if she wanted to — but instead she chose to lift it up.

-Review by Rosaleen Torrey; photo by Reuben Torrey

The Cribs / The Luxury / Ra Ra Riot / White Rabbits
Middle East Downstairs
Cambridge, MA
May 4, 2007

“I hadn’t heard any of these bands before tonight,” announced The Luxury’s lead singer, Jason Dunn, mid-set, “and it’s great to be blown away.” Indeed, the British Accents’ Anniversary event at the Middle East Downstairs definitely blew away the audience as well. Hipsters and anglophiles alike were treated to four stellar bands: Boston-based The Luxury, White Rabbits and Ra Ra Riot (both from New York), and The Cribs from England.

White Rabbits kicked off the evening. While they had great energy, their stage presence was unfortunately lacking. The band’s bluesy, Strokes-like set was a touch forced and unimpassioned. Regardless, their outstanding song “Tourist Trap” gave a taste of the band’s hidden talent. Layering gorgeous harmonies over soulful piano, “Tourist Trap” made one eager to hear more of their less-frenzied material.

Ra Ra Riot picked up next and got the crowd jumping. The band exploded into their fast-paced set and was definitely entertaining to watch: all band members gyrated about the stage, confidently immersed in their playing. Singer Wesley Miles delivered Robert Smith-like vocals over songs that were reminiscent of both Devo and Clap Your Hands Say Yeah.

With Oasis-like confidence and a Britpop-inspired sound, The Luxury blasted their tunes through the packed venue. The lads brought raw, honest energy to the stage, rocking out while maintaining an even pace and tight sound. Their strong presence supported the upbeat tunes and huge sound, ultimately delivering an engaging performance that had the crowd whooping and dancing. Dunn’s spot-on vocals soared through The Middle East during the high-impact “Seven Stories” from the band’s latest album, This Is Why We Can’t Have Nice Things. Demonstrating their impressive musical range, The Luxury seamlessly shifted into their anthem, “Rockets and Wrecking Balls,” channeling The Verve via heartfelt vocal melodies and masterful guitar, bass and drums.

Headliners The Cribs delivered a harsh, thundering set, heavily accented by punk rock. The band thrilled fans, who were treated to both old and new material, with a good selection taken from their latest album, Men’s Needs, Women’s Needs, Whatever. The raucous lads even kept it together while drummer Ross Jarman leapt all over the place maniacally. Overall, The Cribs gave a stadium-worthy set to a great bunch of devoted fans who loved the entire performance.

-Review by Miriam Lamey

The December Sound / Me & Joan Collins / Energy / The Worst Kid
P.A.'s Lounge
Somerville, MA
May 4, 2007

Usually blasts of rocked-out guitars signify the beginning of an evening at P.A.’s Lounge, but this Friday it was drum beats and rhymes that first permeated the thin walls between “bar” and “lounge.” Inside the lounge section a lone man took the stage. In favor of a guitar, he had a cartoonishly large Mercedes hood ornament slung around his neck that dangled and caught the light as he bumped up and down the stage. This was The Worst Kid, a solo MC with a beat machine, which he spent a good portion of the time adjusting as he entertainingly cursed the machine out loud.
Following The Worst Kid, Energy took the stage — at least partially. The band actually has 10 members, two of which the small stage could not accommodate. The group featured four guitarists (one playing a 12-string), a bassist, drummer, vocalist, saxophonist, trumpeter and a keyboardist. The 10 members of Energy seemed to sway a lot, but didn’t have a commanding stage presence, perhaps due to the fact they had somehow squeezed four more people onto the tiny P.A.’s stage than is normally considered “comfortable.” The veritable army of instrumentation was a little overwrought, as things got seriously loud and feedback-y on more than a couple of occasions.

The evening had officially started off awkwardly, but the effervescent Me and Joan Collins switched on the juice: the members of the five-piece band looked so sharp they could have gotten by on style alone. The jaunty set fully displayed their raunchy pop sensibilities, from vocalist/keyboardist Jess Barnett’s tempered “la-la-la-la” background vocals to frontman Bo Barringer’s personality. M and JC gave the entire room a shot in the arm with their energetic performance. Whereas the previous acts seemed to confound the audience, Me and Joan Collins came right up center with a weird performance. The set even included a strip show when Barringer overheated and removed his pants, finishing the final song with a dramatic, backwards fall onto the floor in front of the stage, his Marty McFly-style underwear shining under the lights.
It’s tough to follow up an act in which someone takes off his pants, but headliners The December Sound had the small lounge excited even during their setup. Humming to life with a gradual heartbeat, their set created a strange new atmosphere: the sound fed off the darkness in the sweltering room. Although the entire band had a calm-yet-fierce demeanor in the face of their booming sound, there was an excessive amount of reverb on the vocals, which was slightly off-putting in the mix. A light somewhere to the rear of the club cast a dramatic sea of shadow-heads on the band as they finished out the evening strongly.

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