Major Stars (CD Release) / Chris Brokaw / Turpentine Brothers / Ganja

Middle East Upstairs
Cambridge, MA
December 15, 2007

Dark, psychedelic trance by the name of Ganja started at a Saturday night at The Middle East Upstairs. Two guitars, a bass strummed by a bow and drums were all Ganja needed to create that distinctly gloomy sound, but the trance part of their performance relied on their movements, not their instruments. The foursome from Maine glided slowly to the music in voluptuously lazy ways and got completely lost in their music, creating the perfect mood. A couple people in the audience creepily chanted “Ganjaaa” in between songs.

Boston band The Turpentine Brothers snapped the audience out of their trance with their raucous garage pop — a sound they created with a furious guitar, sloppy drums, fast keyboard melodies and shouting vocals. Comparable to Cato Salsa Experience, their music is less poppy, more energetic and raw, but live they didn’t really let loose with any of that extra energy. The drummer and keyboardist both seemed too calm and composed, while the guitarist just barely ever let loose.
Afterwards, a bit out of place, Cambridge resident Chris Brokaw put on a solo folk rock set. Granted, Brokaw was more experimental and loud than your average solo folk artist since he used a ton of feedback in most of his songs, but he still brought the audience to a mellow hush. Brokaw accompanied his abstract guitar work with a voice similar to Rocky Votolato’s.

Major Stars came out to cheers and whistles. Saturday’s show was to celebrate their first release on Drag City Records, Mirror/Messenger, and they celebrated by rocking their brains out. Sandra Barrett sang in a low, husky voice, while three guitarists, a bassist and a drummer rocked accordingly. Major Stars’ brand of psychedelic rock sports an unlimited amount of enthusiasm and energy that’s most apparent live. Two of the guitarists, Wayne Rogers and Kate Village, were the source of most of that energy — Rogers ran around the stage with an ecstatic, contorted “O” face while Village shook and stammered to every jagged beat. A row of dedicated young fans lined the front of the stage, periodically raising their hands and wiggling their fingers to help conjure the mojo, as if they didn’t feel it enough already. Village usually quenched their thirst by holding up her guitar just barely out of their reach and the fans moshed in deference. Assuming Major Stars never burn out, there’s no telling how far their uncontainable psychedelic rock will go.

-Review by Roman Lojko; photo by Matt Scott

Jesse Dee, Jesse Ciarmataro and Further from Zen

The Lizard Lounge
Cambridge, MA.
December 21, 2007

Anyone who has never seen Jesse Dee perform before, either solo or with his band, probably has no idea what they’re in for. Tonight, with his band, he was able to silence a room full of chatty bar-goers more interested in the beers on tap than the music the room. Some people have soul, but Jesse Dee is soul; his music and vocal delivery are undeniable. A recent winner of the Lizard Lounge open mic showdown, Jesse has literally exploded onto the local music scene over the last year, scattering infectious bits all over Boston.

The lineup he performs with is not complicated — Dee on amplified acoustic guitar, Matthew Joy on electric guitar, Jim Larkin on bass and the elusive “Pie” on drums. His set alternates between slow, mournful ballads and high-energy R&B ditties, transporting the crowd to melancholy places with haunting memories of past lovers, only to be relocated to sunny afternoons with triumphant anthems about not rushing through life and enjoying the beauty of the ordinary. He can belt so loud that he often steps off the mic and sings into the room, and the difference is minimal. The Dee clan is all in attendance at this show and his sister Maggie, a Berklee grad now living in Los Angeles with a music career of her own, sits in on the last tune, and the familial wailing of “baby baby baby” resonates just as much when it comes from Jesse’s kin.

After a very short break, another firecracker Jesse took the stage: Jesse Ciarmataro and his band Further From Zen. An intuitive pairing, these musicians both pay considerable homage to R&B/Soul music of years past, however Ciarmataro’s twist includes a Wurlitzer, sub-bass lines, tenor sax and percussion. His mind is split in three places, with his left hand providing basslines on a microsynth, his right hand providing chordal accompaniment on the Wurli, and singing. Each element, when isolated, would be quite impressive, however the combination of all three simultaneously is a true feat. He uses silence effectively as another instrument, as the dense arrangements will recede without notice, leaving room for an equally soulful vocal performance, only to jump back in with more energy than before. Further From Zen create new textures, with the polyrhythmic interplay of drums and percussion, the cascading saxophone dancing around the vocal, and the physical impact of the sub-bass foundation. Heavily groove-based, Jesse Ciarmataro’s music is like a soul/R&B spouse with multiple mistresses of latin beats, modern jazz, and trance/drum and bass. Whether performing together or separately, these Jesses are something to see for sure. And then see again.

-Photo and review by Dan Cardinal

We Are Wolves, Jordan Dare, Red Foxx, Amoroso

The Middle East Upstairs

Cambridge, MA
December 14, 2007

The bands that comprised this unusual Middle East Upstairs bill — We Are Wolves, Jordan Dare, Redfoxx and Amoroso — proved that passion spans genres. Now pared down to just guitarist George Welch and drummer Bill Sullivan, Boston locals Amoroso jump-started the evening. It is an understatement to say that Amoroso is persuasive live. They are a phenomenon to behold and a force to be reckoned with. And while one may be wary of bands without vocals, this missing element is irrelevant, as Amoroso is a prime example of how instrumental music can speak for itself. The compelling chemistry between Welch and Sullivan clearly translated throughout their gripping, dynamic performance.

The momentum provided by Amoroso’s set was not lost as DJ Red Foxx took the stage; the sands merely shifted from electrified rock into driving electronic beats. Red Foxx’s thickly layered sound, which smashed together samples from the best dance music of the ‘70s and ‘80s, current hip-hop hits and indie rock with ease and even a kind of grace, sparkled from beginning to end, pleasing the small but attentive crowd.

While back-to-back DJ performances — particularly at a rock show — could potentially result in a seemingly muddied sound, Jordan Dare’s set was distinctly different from that of his predecessor’s. He retained individuality, conveying a sound much more laptop-focused and industrial than Red Foxx’s. While Dare’s set did not seem to move as dynamically, it was still able to transport listeners through trance-inducing beats. And though his DJ skills were pronounced, they probably would have been more effective displayed in a dance club than at The Middle East.

Canadian three-piece We Are Wolves capped off the evening with a set of dance-punk edification. Their set seemed to capture and meticulously slay the genre — the only setback being the argument that it already died years back (the end of Q and Not U, par example). Yet why should this matter if We Are Wolves can deliver a power-packed, tight set that rouses many staunch Bostonians to their feet? Their set consisted primarily of passionate vocals reminiscent of early Liars, quick and simple drum hits (the drummer stands, mind you), and unbearably catchy analog synth rhythms. Hopefully We Are Wolves can avoid being categorized as a one-trick-pony as a result of their recognizable dance-punk set and sound.

-Review and photo by Taylor Bratches

JOR-EL / Hooray For Earth / Age Rings

Great Scott
Boston, MA
December 16, 2007

Right around mid-December, as daylight continues to dwindle and the weather takes a turn for the slushy, classic venues such as Allston’s Great Scott open their doors for eclectic holiday shows and with them, a host of gratuitous eggnog jokes and Christmas covers. Great Scott’s December 16 holiday show featured three bands from all over the map, from the mainstays of power pop and alternative rock to the more acquired tastes of narrative electronica and mock Yoko Ono vocals.
Age Rings took the stage just after 10, pulling a small crowd from the cozy bar area to the back of the venue. For the next half hour, the band wove and bashed about the cramped stage to their bass-heavy, piano-driven indie rock. The band’s set showcased a tight and together rhythm section, as well as seamless backing vocal arrangements, which laid the foundation for lead singer Ted Billings’ expressive vocals and retro tambourine stylings and some inspired head bobbing throughout the audience.

Local favorites Hooray For Earth started with guitarist and lead singer Noel Heroux on a fuzzed-out bass, blazing through several songs with drummer Seth Kasper, whose furious cross sticking and kick drumming made apparent the need for the large cinder block in front of the drum kit. Heroux soon switched to guitar as the rest of the band climbed onstage to launch into their repertoire of heavy, melodic alternative rock laced with pop-rock synths. Despite a kind of apology by Heroux stating that the band was “very loose,” Hooray For Earth played a commanding set, during which Heroux and second guitarist Gary Benacquista traded and harmonized searing lead riffs over bassist Chris Principe’s massively distorted, gut-busting bass runs. The band finished off their set with a cover of John Lennon’s “Happy Xmas (War is Over),” during which members of Age Rings appeared onstage to recreate the familiar tones of Yoko Ono leading a chorus of children through the contemporary holiday gem.

Allston residents JOR-EL rounded out the night with their unique presentation of dramatic electronica and involved showmanship, taking the stage in hooded white jumpsuits alongside a six-foot aluminum foil robot while harmonizing the line “Stand up to the robot invasion.” JOR-EL kept up a lively atmosphere with songs about unicorns, lasers, and of course, robots, sung over catchy ambient beats. While sneaking laughs at each other between lyrics, the members of JOR-EL painted a rather humorous, club-friendly picture of a robot-ruled future, and declared to the slowly dissipating crowd that, for both robots and humans alike, “This might be the best Christmas ever.”

-Review and photo by Sarah McFadden

Danke / Dearborn Valley / Hawkins Rise

T.T. the Bear’s
Cambridge, MA
December 19, 2007

Despite rain and an audience below a baker’s dozen, the show went on for bands Hawkins Rise, Dearborn Valley and Danke. Providence-based Hawkins Rise started off the night, performing for the first time at T.T. the Bear’s. With their guitars tuned to the key of Keith Richards, vocalist/guitarist Dan Simpson summoned his inner Jeff Tweedy to treat those in attendance to one hell of a rock show.
Following Hawkins Rise was the Somerville five-piece Dearborn Valley, who brought a ferocious honky-tonk sound to the venue, despite consisting of members looking like a group of dads that started up a band for kicks. With a finely tuned ramshackle sound, it would not have seemed out of place to see chicken wire strung around the stage, but that would have obstructed lead guitarist Matt Davies while he laid out blistering guitar solos throughout the set, as the band raged on behind. Mixing elements of The Replacements and The Jayhawks, Dearborn Valley’s music had twang with a pop heart, and the fact that playing to a near deserted club didn’t dim the group’s resolve showed that they are seasoned hands on the music scene.

On the opposite end of the spectrum was Danke, a Washington D.C.-based hardcore group that rounded out the night. The group seemed a little flustered by the low turnout. With underlying hints of shoegaze, Danke get most of their influences from the well-established D.C hardcore scene. On record, the group is full of invigorating spit and vinegar, but the night’s turnout seemed to get to them and they could only conjure a lackluster performance of that night diminished any spirit that Hawkins Rise and Dearborn Valley had built up during their respective sets by looking beyond the immediate circumstances. Here’s hoping Danke gets another chance in town soon.

-Review and photo by Nick Stefanovich

Hallelujah the Hills / Faces on Film / Reports

The Middle East Upstairs
Cambridge, MA
January 4, 2008

Having finally procured a stable drummer, Reports opened this incredible bill with a stand-out set of indie-rock. Occasionally lapsing into raw, guitar-driven Velvet Underground jams, Reports performed energetically, amps blaring and feeding back until the end. The new line-up gelled well, especially on tracks from 2007’s exceedingly good Mosquito Nets. Martin Pavlonic’s vocals sat nicely in the mix, meshing perfectly with his seedy guitar tone.

Also showcasing a new line-up, Faces On Film were up next. About a year ago this band had a ton of momentum on the local scene, and then broke up. FoF’s main songwriter, Mike Fiore, is back with a new line-up including Elio from Hallelujah the Hills. And honestly, thank God Fiore didn’t retire some of these songs, because this band is one of the best Boston has to offer. Opening the set with the unwavering charge of “Friends With Both Arms,” FoF pretty much stole the show before the headliner even went on. Fiore’s emotive vocals, run through an actual space echo unit, soared above the mix, inhibiting their own space sonically. You could probably pin Fiore’s vocal delivery down as a Dylan/Isaac Brock hybrid. His style is at once effortlessly melodic and jaggedly shouty. One highlight was “Archers,” whose meandering guitar harkened back to the best days of Built to Spill — proving that all you need to make a good song is a really loud major guitar hook, preferably played on a Fender guitar through a tube amp. A slower track, “Natalie’s Numbers,” ached with the type of elegant sadness that Bright Eyes wishes he were deft enough to achieve consistently.

By the time Hallelujah the Hills went on, the Upstairs was at capacity — an auspicious sign for Boston, since these guys totally deserve it. After completing two respectable tours in support of 2007’s Collective Psychosis Begone, HtH band put on a great show, charging through their set with the unmistaken air of a band that has hit its stride in the live realm. The band totally awed the crowd with some new songs plus their seminal rock anthem “Hallelujah the Hills,” or “The Fight Song,” which is apparently being used to “help sell lube in Japan.” So it goes.

-Review and photo by Adam Arrigo

Kelsey Bennett w/Sue Bell

Toad
Cambridge, MA
January 5, 2008

Kelsey Bennett set up on Toad’s small stage with naught but an acoustic guitar, a Wurlitzer 200A and a few candles (which were a nice touch while they lasted — Toad ordered the waxy little fire hazards extinguished before Bennet had doused the match).

“Just pretend they’re lit or something,” said Bennett.
A flame burned in her eyes nonetheless as she worked through her highly personal catalog of original songs and a peppering of well-chosen covers such as the Beatles’ “Cry Baby Cry.”

Bennett has a vocal technique in which she totally wraps her voice around available foothold in a song. She enjoys some syllables like old friends, and relishes each sung note as if nursing a glass of expensive scotch. Her voice rumbled out the lower notes and shined clear as a bell on the higher ones; she is equally capable of playing the parts of both the savage as well as the cherub.
The radiant Bennett sat alone onstage for the first set, the elbow of her guitar-strumming right arm poking through a hole in her sweater as if she had played right through it. The nature of her performance, holes and all, only drew the crowd in further, as she chuckled at herself onstage, false-started one song and directly addressed the audience more as equals than an “audience.”

The semi-precocious Sue Bell played an “intermission” set. She played the part of everyone’s little sister to perfection, pushing out her tiny yet strong voice for the entire club to hear. Bell’s fragile sound brought a sort of hush over the club, as if someone was afraid to break her with a harsh voice or sound.
Bennett returned to close out the night in style, including a turn behind the Wurlitzer as well as a moving cover of “Goodnight Irene” that all but lulled the audience to a pleasant sleep. One feels close to Bennett simply after a few songs thanks to her remarkable camaraderie with the audience. Her affable stage presence, sense of self and unmistakeable vocal talents made the night feel complete for all well before 9 p.m.

-Review and photo by C.D. Di Guardia

Carrie Okie Band

The Plough and Stars
Cambridge, MA
December 13, 2007

While most shows were cancelled on this blizzard of a December night in Boston, those brave enough to make the treacherous journey to Plough and Stars were rewarded with a kickass set from Cambridge-based Carrie Okie Band. Despite their name, this quartet of MIT students does play original music — the singer’s name is Carrie and the drummer’s is Okie, get it? — and really fun indie rock at that.
The floor was wet with snow tracks and a new ice age was materializing outside, but a decent audience of fans and friends packed into the cozy venue, crowding the tiny corner where there’s a DIY PA system and a few microphones. Both the atmosphere and music were sharply reminiscent of a basement show. Without much room to rock out, Carrie Okie band tore through a set of slimy rock firmly rooted in the Boston tradition of the Pixies, but with some newer indie influences like Cat Power and Mogwai. One of the set’s more unique numbers, a waltz charmingly titled “STD,” featured guitarist Harold Cooper on accordion. “He learned accordion for this song,” frontwoman Carrie McDonough mused into the mic, while Cooper sat on the club’s tiny stage monitor churning out Decemberists-style Old-World melodies on his mini accordion.

The rhythm section served as the perfectly raucous backdrop to McDonough’s vocal pyrotechnics — especially on crowd favorite “Mouse Song,” a catchy song with the same two-chord major jam DNA as Build To Spill’s epic “Carry the Zero.” McDonough opened the song flinging effortless spurts of melody left and right like Chan Marshall, building up to the shouty, stabbing refrain of “I am unattractive!” Sometimes dipping into an androgynous lower register and sometimes soaring to staticky wails of exuberance, McDonough’s voice is the band’s dynamic centerpiece. This isn’t to say the rest of the band is lacking in musical skills, though — Katherine Dalis’ melodic basslines serve as a steady counterpoint to Okie Jon Williams’ explosive, yet restrained percussive thrashing — all leveled off by Cooper’s lean electric guitar work.

Watching this band live really makes you want to call up those asshole ex-band members, get your practice room back, and really try to make it work this time. Their performance at Plough and Stars encompassed everything that’s rewarding about being in a band: making music with your friends, trying new things, and rocking out. But with songs as tight as these, it shouldn’t be long before more people catch on.

-Review by Adam Arrigo