SHOW OF THE MONTH

Deer Tick

Middle East Upstairs

Cambridge, MA

June 23, 2008

Deer Tick’s John McCauley opened the WERS-sponsored night to a packed

Middle East crowd. Once on stage, McCauley started playing, fiddled with the knobs and then went into a song ... for about a minute. McCauley then stopped and squinted beneath the stage light at a young girl in the crowd to make out what she was saying. Replying to her at the mic, he said, “No, no, sorry. This is just the sound check. They do things a little differently in Lil’ Rhody.”

McCauley is from Rhode Island and Deer Tick is his game. His influences are more than clear; Ritchie Valens, Nirvana and Dylan to name a few. Yet, he has the stage presence of Don Rickles and all the Menudo boys. Accordingly, he’s sharp, funny as hell, and he’s got the ladies swooning. McCauley opened the set with “Art Isn’t Real (AKA City of Sin).” This is one of those songs everyone wants to write or not write - the kind of song that could either carry a musician through the remainder of their career or hover over and torment them. So one would imagine that opening with such a song would be killing the anticipation, but this wasn’t the case. As ridiculous as it seems, he clearly knows how to set up his playlist. McCauley hurled right into “Live Fast, Love Hard, Die Young”,

a Faron Young cover, while winking at girls in the front row. If McCauley died while beefing it on a mean hog tomorrow at dusk, he might actually “leave a beautiful memory” (in the great words of Young).

In the middle of “Mexican Home,” a John Prine cover, it became clear that McCauley appreciates and can bring the room down for a moment for songwriters. He shares the soft nuances of finger picking on guitar and breath

over such taut lyrics. It’s inspiring what he aspires to do ... and what he already does well. Boys and girls alike want to receive Valentine’s Day cards from Deer Tick - not pre-made Hallmark crap but arts and crafts time, red and pink construction paper with just a touch of his cologne. Spread it on.

-Review by Tom Janovitz; photos by Paul Janovitz

Sir Q, the Imposter, Bacchus King, The Honors

Church of Boston

Boston, MA

July 17, 2008

Sir Q, Bacchus King and The Honors rocked out at Church, arestaurant and bar hidden in the shadows of Fenway Park.Though it was a Thursday evening, the crowd was sparse enoughfor The Honors’ singer to jokingly say, “Back off the stage! Get out of my bubble.”

The show openers were Sir Q, the Imposter, a Haverhill, MA band with a hard, loud sound. Layering guitar over guitar over bass, they produced some unique alternative rock. Whether the fault of the sound system or the mic volume, the vocals were a bit indistinct, but the sound produced by Gene Fontaine and Co. was melodic and anguished. The songs alternated between slower, brooding, wailing numbers and more aggressive songs with screaming guitars and clashing drums, producing a sonic assault on the ears that might have been exactly what the audience wanted.

Following Sir Q, Bacchus King took the stage, dancing and flailing and nearly toppling each other with their enthusiasm.The three-piece Allston band (guitar, bass, drums) brought lots of energy and volume to the stage, undeterred by the small audience. With a diverse sound, they touched on different genres

branching out from their rock roots, sampling some blues, some ska and a lot of grunge.

The Honors may be a new Boston band (formed in January 2008), but they have a mature, distinctive sound. They’re more comfortable on the stage than a new band ought to be, bursting out with indie, Brit rock inspired songs. Lead vocalist

Brandon Heisler has a clear, strong voice that carried the show well, sharing the stage properly with the instruments of JayTrikakis (drums), Andrew Bayardi (electric guitar) and Roland Nicol (bass). Their live show was very polished, with one song transitioning into another seamlessly, or with Heisler making poker-faced quips about the audience, the weather, etc. The unusual melodic combinations and unexpected changes in pitch distinguished each song and hinted at influences like British bands Muse and Maxïmo Park and American indie rock bands like The Bravery and Interpol. In fact, they played a very competent cover of The Bravery’s “Public Service Announcement.” Their

strength is their own compositions with catchy hooks, complex melodies and a strong stage presence. This is a band to watch for their style and originality.

-Review and photo by Priyanka Boghani

Thief Thief, Gambolling Lamb, The Diamond Mines, Archelon

PA’s Lounge

Somerville, MA

May 29, 2008

P.A.’s Lounge in Somerville is a much more intimate show situation than the Middle East or even TT the Bear’s Place in neighboring Cambridge. The “stage” is nothing more than an elevated platform, and Thief Thief’s Jeff Johnson wasted no time in deciding that he was not going to be constrained by the

boundary between “stage” and “audience.”

Thief Thief is a two-man instrumental unit, with Johnson on guitar and Colin Snyder seated behind the slightly sideways turned drum kit. Johnson doesn’t use the classic “pick and fret” guitar style too much, rather, he favors an eight-fingered attack of tapping, holding and plucking up and down the neck.

Johnson’s percussive guitar style matches up well with the lyrical and incendiary drumming of Snyder. The sight of a two-man instrumental group can cause the listener to fret with worries of endless, nonsensical jamming, but Thief Thief instead shapeswordless songs; stories and situations created via the wordless

bond between Snyder and Johnson. Each piece ratcheted up the interest of the crowd, who seemed to enjoy the exercise on not merely a technical level but a listening level as well.

Second act Gambolling Lamb was more of the classic “rock band,” with vocals, multiple guitars and a bassist. Not even a heavy cinderblock could contain the drumming attack of Sam Archer, as his bass drum constantly wandered around the stage. Matt Ozelius’ vocals were rendered largely incoherent by the PA

system of P.A.’s, but his point seemed to come across nonetheless. Ozelius and brand-spanking-new guitarist Dan Sensale played well together despite the fact that Sensale spent the entire set staring at his fretboard. For his apparent lack of confidence, Sensale held down his part of the bargain nicely, starting songs with nary a click or dropped plectrum. Gambolling Lamb buries hooks in the midst of their multi-pronged attack. They were joined later in the set by a horn player, the addition of which seemed to be shoehorned into the band’s sound. The result was a semi-uncomfortable sound that fought with the content of the song itself. The Lamb’s strong songcraft prevailed and pleased the crowd in the end.

The Diamond Mines came on third as the main “established” band for the evening. Ben Weiser and company kicked and delivered their trademark smooth, energetic delivery. Their horn player seemed to fit into the sound better than the previous sets’, a la the E Street Band. This is also aided by Weiser’s everpresent cheap sunglasses that he must stockpile somewhere in his headquarters. The Diamond Mines showed the highest level of polish in their live act; seamlessly cycling through song after song with a minimum of onstage futzing around.

Ending this night was the wild juggernaut that is Archelon. The final band of the evening was largely driven by the explosive drumming of Brian Rusnica, normally seen pounding the drum kit of The New Dumb. Rusnica tirelessly bashes his drums into near-submission; but it is a joyful, happy beating. Like a house that matches the lines of its original foundation, bandmates Trever Smith and Jesse Goyette hitched on to Rusnica’s waves of energy and followed suit, unable to deviate from Rusnica’s powerful groundwork yet quite able to augment the sound. Smith retained an almost refined amount of poise onstage, despite the crowd-thinning effect of the late hour.

The close camaraderie of the bands made this seem almost like a house show brought public; the good noise coming from the stage made it seem like a house you might like to hunt down again.

-Review and photo by C.D Di Guardia

The Cush

Parima Lounge

Burlington, VT

June 27, 2008

Burlington’s The Cush enchanted listeners at Parima Lounge with musical vignettes that sounded like they were composed in a psychedelic space station. The smoker’s den-like Parima, adorned with red candles and golden mirrors,

was a perfect venue to absorb the starry songs of The Cush.

Although the show was listed as a “special acoustic show,” the band used minimal electricity and no recordings which would seem vital to their videogame jazz sound. Husband and wife team Gabrielle and Burette Douglas kept perfect harmony with each other throughout the entire show, switching back and forth from bass, guitar, mouth and electric piano. They seemed to communicate solely by a nod of the head or a smile. Cody Lee’s drum playing added a modern, poppy tempo to the liquid melodies which acted as a reality anchor for the intergalactic crooning and strumming of the Douglases.

The first set started out heavy and sedate with some of their better-known songs. Most of their music carried the influence of other space-rock bands such as Air, Sigur Ros and Portishead, but were much more condensed time-wise.

To much of the rooms delight, The Cush played “You’re Free,” a waltzy 1950s prom rhythm reminiscent of a jazzier version of Modest Mouse’s “Sleepwalking.” Gabrielle’s sunshine-soft, Beth Gibbons-esque voice added an essential eerie beauty to the song.

“Searching For The Sun” was a little more on the folk-rock side of the spectrum with outstanding electric piano features and changes that sounded like the kind of music a satellite sings to itself. The guitar added a folky, earthy element. The guitar’s sharp and no-nonsense melodies and the space bells of the piano

complemented each other amazingly and created a wonderful moment in the show.

Solo acts by Gabrielle and Burette were featured in the second set of the show. Gabrielle’s songs seemed to hold alt-rock memories of the Pixies and Hole, carrying lots of energy and built upon the foundation of her femininely strong but careful voice. Burette surprised the room with his indie songwriter/country

tunes, making musical connections to the band’s hometown in Texas. He even played a Bruce Springsteen cover. Burette’s words were extremely poetic and perfect and there is no doubt he is a talented songwriter. Gabrielle and Lee joined Burette for a few final songs. The Cush ended the night with the same energy they started with. Although the room seemed to have some technical issues like speakers not used to so much sound mutilating equipment and

interplanetary reverb, The Cush managed to make it work.

-Review and photos by Meghan Chiampa

Zullo, Domino Saints, Elemental Zazen, E.B.B. & F.L.O.W.

The Middle East Downstairs

Cambridge, MA

June 28, 2008

The Middle East came up with an ambitiously long lineup of artists, apparently trying to squeeze all the hip-hop groups in one night in order to attract more people. Though the ploy for getting a bigger audience didn’t work, the extensive list made for an eclectic night of music.

Evalast Productions, one of four opening acts, belted out songs as the disco ball spun over an empty floor and an Apple laptop played cliché R&B beats behind him. Following him was the hip-hop duo E.B.B. & F.L.O.W., whose self-proclaimed purpose is to revitalize hip-hop by infusing elements of early styles while remaining commercially relevant. E.B.B. & F.L.O.W. stayed true to this, with a traditional sound that could easily fit in with what’s on the radio today.

Next on the mic was angst-driven rapper Elemental Zazen. The performance featured guest artist Lisa Bello, whose whiny, belty “Oh oh ohs” and “Yeahs” were unnecessary and seemingly unrehearsed. Elemental Zazen’s forceful and introspective songs were nonetheless able to flourish despite this distraction. Though his lyrics are intense, covering everything from anti-establishment

beliefs to his bad childhood to heartbreak, Elemental Zazen is surprisingly a nice, honest, regular guy. Acknowledging the small audience, he joked, “Are you guys having fun? All sixty of us?” Zazen is proof that there still are rappers out there who actually say something, who can have thoughtful and meaningful lyrics that address personal and global issues.

The Caribbean and Latino-influenced band Domino Saints (an odd fit in the otherwise all hip-hop show) put on an extremely entertaining cross-cultural performance. Vocalist Gisele Ojeda knew how to work a small crowd, calling us up to the front and getting everyone to dance. The eight-piece group had an awesome stage presence, constantly bopping along to the reggae beats. The slow groove “Step Up” featured a particularly sultry guitar and keyboard jam session, while the infectious “Buenos Dias San Juan” allowed the trombonists to show off their chops. The challenge of keeping a tired audience entertained after a long show can be a daunting one, but Zullo was ready to accept it. Zullo introduced a guest trombonist of their own, who added his swanky old school licks throughout the show. “Old school” is a good way to describe Zullo; the group brings us back to the days of A Tribe Called Quest and the Beastie Boys when hip-hop was fun and clever, but, like Elemental Zazen, still said omething. Their song “Technology” puts down consumerism, lamenting “We cling like barnacles to products so they market it/We listen and watch the world but we’re far from it.” Later they played a funky version of “Get Up Stand Up,” while the crowd sang along brandishing the Zullo hand signal. Minus a pair ofoverenthusiastic girls declaring their love for the drummer in a fit of shrieks and giggles, the audience slipped into the vacuumlike atmosphere created by these guys. Though not quite as popular, a night of hip-hop was a welcome change from the rock at the Middle East.

-Review and photo by Sara DeForest

3 Men on Bass, featuring Tom Bianchi, Seth Horan, and Gonzalo Silva

Club Passim

Cambridge, MA

July 2, 2008

The Steinberger. The metal god custom. The pawnshop special. The Latin picker. The hammerer. The strummer. The artiste. The bass player’s bass player. The comedian. The goatee. The close-cropped hair. Both. For their 7th annual 4-string convention, bass masters Tom Bianchi, Seth Horan, and Gonzalo Silva returned to Club Passim to show off their latest creations and to demonstrate the many moods and sounds of the bass guitar.

Opening with a take on “So Lonely” that gave new meaning to the creator’s title of “Power Trio,” the 3 Men loaded it up before splitting up for three distinct and impressive solo sets that showcased Horan’s George Michael-esque pop vocal sensibilities and his metal-savvy, pedal-supported fretboard onslaughts (which, for the most part, stayed impressively clean despite the speaker-crowding layers), Silva’s artistic openness and Bianci’s bluesy bounce. Among the highlights of this low-end bonanza were Horan’s emotive and devoted (but perhaps mistitled) wedding song, “Trial Run,” Silva’s always reliable crowd pleaser “Two Steps” and a provocative love song called ”The Rage,” and Bianchi’s emotional bookends – the bouncy “Smile On the Inside” and the clearly difficult “Don’t Go.”

Sharing tales of the road, stories behind the songs, and even the necessary chord changes, the 3 Men kept the crowd involved, reeling them in time and again so by the time Bianchi snuck a subliminal solo of Pink Floyd’s “Money” in under the mention of CDs in the lobby, there was no doubt as to whether or not there would be a line! Before that could happen, though, the three reunited for a deep extended groove through Bill Wither’s “Use Me” that left them almost as spent as the guy in the song. In short, 3 Men on Bass scored!

-Review and photos by Matt Robinson

The Singhs’ CD Release

Umbria

Boston, MA

July 16, 2008

Amidst bellinis, balls of crabmeat and Boston’s music journalism A-listers, The Singhs (formerly Dragonfly) put on a short but eclectic show at Umbria on the outskirts of Boston’s Financial District. Fronted by titular songwriter Miki Singh, the band presented songs from their latest release, Supersaturated, which was produced by local legend Ducky Carlisle. From the heavy title track that pulsed along with help from drummer Steve Scully and bassist Marc Hicox to the gentle and spacious “Obliged” (which was colored by guitarist Peter Parcek’s bluesy splashes) to the rhythmic slink and shattered harmonies of “Invisible” and wahwah-washed funk of “Jealous,” the set ranged widely, especially considering its brevity, and demonstrated the band’s command of multiple vibes. The only thing missing was keyboardist/DJ Brother Cleve, who was represented by a full-size cardboard cutout. Unfortunately, nothing can compare to the real Cleve,

but he will hopefully be back soon, completing the musical circle this band of local stars have constellated.Stay tuned …

-Review by Matt Robinson; photos by Eric Antoniou