The Long Winters / The Broken West
The Showbox
Seattle, WA
April 14, 2007

On this Saturday night, The Showbox in Seattle had all the feel of a high school reunion, as local stars The Long Winters played the final show of their lengthy national tour with L.A.’s The Broken West. It was a night The Long Winters had been looking forward to since the beginning of their tour, and they exhibited their excitement and appreciation by treating the near sold-out venue to a lengthy set of old favorites, special guests and most importantly, good old fashioned rock ‘n’ roll.

The Broken West, who have just started to make a name for themselves with their strong debut album, I Can’t Go On, I’ll Go On, took the stage in a flurry of nervous excitement. Lead singer Ross Flourney was quivering through most of the set of no-frills, straightforward, bar rock. Yet he still managed to deliver a strong performance, despite — or perhaps because of — his nerves. The Broken West played ten or so songs before yielding the stage to the hometown boys.

John Roderick led his group onstage with a flourish of horns and the Seattle favorite, “Scared Straight,” and then proceeded to play almost every song off 2006’s Putting the Days to Bed over the course of the night. Roderick was extremely affable and excited to be back in Seattle and played over 20 songs, inviting such guests as Anna Lange and Ben Gibbard to the stage.

While the songs in general didn’t exhibit much variety, Roderick’s distinctive voice led the band through ballads and up-tempo rockers alike. They even found time to cover Chicago’s “Feelin’ Stronger Everyday,” with Roderick explaining, “If you have a horn section, you gotta cover Chicago.” Rather than indulge in the practice of stoking the audience with multiple encores, The Long Winters played straight through and ended the evening with the aforementioned cover.

The biggest gaffe of the evening was the sound at The Showbox, which was not up to its usual crisp standards. Many of the songs for both acts had muddied vocals, and the pounding drums seemed too far forward in the mix. However, neither band appeared impacted by this.

It was a night to celebrate, remember and look forward to in the future. Both of these groups have many good years ahead of them, and will likely play many homecoming shows.

-Review by Rob Bergquist; photo by Kyle Larson

The New Trust / Ambulette / Whispertown2000 / Maria Taylor
The Echo
Los Angeles, CA
March 31, 2007

Electric was theme of this early evening concert at The Echo in Los Angeles. Northern California natives The New Trust rattled an unsuspecting 5:30 p.m. crowd as sunlight shone brightly through the club’s doors. Lead singer/bassist Josh Staples sang aggressive songs of lust and an ominous future while his wife, Sara Sanger, echoed harping cries with both vocals and guitar. Julia Lancer and Matthew Izen filled out the band’s quick musical snippets with swift flying drum taps and bashing guitar movements, respectively.

While The New Trust were wild animals on their instruments, Ambulette guitarist Matt Clark was the perfect gentleman, politely dancing and dipping his guitar to Maura Davis’ overwhelming, ambient vocals. Coming off her run as lead singer for the now defunct band Denali, Davis has put together a group of eclectic musicians. They nicely complimented the dark and gritty melodies springing from her guitar and piano, most notably in songs like “If You Go Away” and “Into the Sea.”

As Whispertown2000’s Morgan Nagler plugged in her guitar, she announced, “I totally went electric.” The Los Angeles band, once resting on the heels of folk, transformed after a year of touring to promote their first album, Livin’ In a Dream. Their traditionally acoustic, drumless set has since been re-shaped into a tighter rock format. With the recent addition of fifth-member Casey Wisenbaker, the band has room to try out new songs like the bluesy, ‘60s-inspired rock anthems “Mountain” and “Shamrock.” Casey and his brother Tod Wisenbaker, the usual lead guitarist, matched wails with Nagler. Other songs forced the band to play musical chairs with one another. Bassist Colt Maloney took lead guitar while wispy backup singer Vanesa Corbala played drums on the ever-soulful “Ebb & Flow.” Yet, amidst the scrambling on stage, Nagler held together that old Whispertown warmness with favorites “Lean Back” and opener “Hello Whishin’ Well.”

Taking the stage after sundown allowed for a more concert-like atmosphere for Maria Taylor. Promoting her second solo album, Lynn Teeter Flower, Taylor’s five-person backing band expanded what could have been a simple singer/songwriter set. Playing an even amount from both her albums, Taylor alternated between fuller songs like “Xanax” and more intimate tunes like “Clean Getaway.” At one point she dismissed all but her siblings Macey and Kate Taylor in order to play a quieter cover of “At Last.” The night was still young as Taylor ended the four and a half hour concert with a group sing-along of “Song Beneath the Song.” It was electric.

-Review by Megan Clinard; photo by Julia Alty

Small Change Romeos / Th’Moonlight Sexy / Ra Ra Rabbit / Low Red Land
Elbo Room
San Francisco, CA
April 11, 2007

On a Wednesday night, the Mission District’s Elbo Room hosted an evening of good old rock ‘n’ roll, the proceeds of which went to benefit the fight against AIDS. Small Change Romeos took the stage first. Blending a little bit of folk, alt-country and funk, frontmen Chris James and Mike Ruy belted out harmonies over guitar-heavy melodies, breaking out every once and a while to just jam and let the music flow. Though lacking a high-spirited stage presence, Small Change Romeos offered a pleasant set, providing a mellow start to the evening.

Next up was Th’Moonlight Sexy (f.k.a. Springfield). Originally from the suburbs of North Carolina, this animated pop/punk band really turned up the heat. Aside from starting with a few technical setbacks (TMS had to sound check just moments before playing), the band’s passionate performance left a strong impression from the get-go. Their catchy and upbeat tunes were accompanied by insightful and intelligent lyrics. “There’s one hell of a chance I will never have a dollar to my name / I wander slow into self-inflicted shit so not a goddamn thing will change,” frontman Josh Merry sang on “Bohemian Apathy.” These four packed the Elbo Room with a lot of punch, introducing keyboards and Southern soul to the stage. At one point Merry was banging on drummer Cassidy Price’s set with a pair of maracas, and in his fervor broke his shakers. Now that’s rock ‘n’ roll!

Ra Ra Rabbit took the stage next, bringing the mood down from goofy and satirical to more sullen and serious. There was something dark and beautiful about their music. Lead singer Sylvia Kay was striking with her distinctive voice, which was somewhat of a cross between Poly Styrene of the ‘70s punk band X-Ray Spex and Bjork. But this edgy group had more going for it than just femme appeal. Ra Ra Rabbit showcased excellent chemistry on stage and were able to pull off both hard, fast punk tunes and haunting, melodic ballads.

The last act of the evening was local trio Low Red Land. The band, comprised of Ben Thorne on bass and vocals, Neil Thompson on guitar and vocals, and Mark DeVito on drums, delivered an explosive set with earnest, heart-felt lyrics. Underneath the heavy rock was a forlorn and somewhat haunting Western feeling. “This race has been run, take me back where I came from / Let me return what I took from the ground / And when this old body won’t carry me no further / Lay me down, take me home,” Thorne sang on “Elijah’s Church,” taking the crowd home.

Not only did show-goers have the privilege of sampling great music from a few of San Francisco’s finest, they also had the opportunity to help raise cash for a worthy cause.

-Review by Nicole Sheikh; photo by Rachel Lipsitz

The Thermals / Wet Confetti / Them Hills
Bottom of the Hill
San Francisco, CA
April 3, 2007

It takes a special kind of band to sell out a Tuesday night show, even at a club as small as San Francisco’s Bottom of the Hill. The Thermals recently sold out back-to-back weeknights; their explosive performance easily demonstrated why.

Opening the night were Them Hills, a band from Joanna Newsom’s hometown of Nevada City, Calif. Newsom once described the place as “swarming with artists, hippies and old prospectors.” Alas, Them Hills were none of the above, although they were a decent opening band. With not-so-subtle nods to emo progenitors Sunny Day Real Estate, Them Hills incorporated nifty pedal effects and angst-ridden vocals from guitarist Dan Elkin with the heavy backend of bassist Thaddeus Stoenner and drummer David Torch. Elkin and Stoenner’s chemistry on stage made evident their long history playing together (think suburban garage, circa 1995). A few catchy hooks might have helped Them Hills stand out, but by the end of their 40-minute set, people were still clapping, albeit demurely.

Anticipation for Wet Confetti was anything but demure. A discreet blend of no wave and post-punk influences, the Portland-based trio’s sound has drawn comparisons to early Blonde Redhead. Their performance revolved around the palpable tension between Michael McKinnon’s punchy, danceable drumming and Daniel Grazzini’s discordant guitar. But it was frontwoman Alberta Poon’s disaffected, slight-of-frame-but-tough-as-nails stage presence on songs like “Saves Christmas” and “Sorry Dinosaur” that proved to be the highlight of Wet Confetti’s set.

Technically speaking, a headliner cannot “steal” the show; the spotlight is theirs for the taking. And The Thermals had all of it, blazing with undying intensity through two-dozen songs wrought with religious imagery and wry political statements. It’s rare for aggressive rock to boast such great melodies, which is what makes The Thermals so amazing. But as the crowd witnessed on this night, The Thermals owe a lot of their strength to singer/guitarist Hutch Harris’ animation on stage. There was nothing as thrilling as watching Harris zealously slice away power chord after power chord, maintaining the precision of his playing and the unwavering, defiant ring of his voice.

With their energy, accessibility and social message, The Thermals might very well be protest music for the iPod generation. Yet, the excitement of their performance belies a kind of sadness in the acknowledgement that The Thermals’ days of playing small

clubs might soon be over. With a show like theirs, what small club can contain them?

-Review by Andres Jauregui; photo by Ryan Kimble

Brainhole / Hey Lover / Tulsa / Shellshag
Slabtown
Portland, OR
April 1, 2007

Slabtown’s April Fools’ Day show left few unscathed. Torn drums and split fingers were the trophies of the evening, with only one band making it out in one piece. The music varied greatly, from experimental to punk to old-fashioned rock ‘n’ roll.
Portland-based openers Brainhole offered the most controlled performance of the night. Though they started a bit cold, they warmed up after a few songs. Frontman Bill Badgley in particular got charged up as the set went on, while the rest of the band seemed content to just back him up and enjoy the ride.

The only other full band to perform was Oakland-based Tulsa. When they actually did play, Tulsa’s music was classic punk, with nearly all of the songs clocking in at under three minutes. Guitarist Morgan Stickrod insisted upon a cleanly tuned guitar, however, and his constant adjustments kept the set from ever gathering very much steam. It prematurely came to an unexpected and unfortunate end when drummer Jon-Paul Burns punched a hole straight through his bass drum.

The night on the whole, however, belonged to the couples. Portland-based Hey Lover was the first pair to grace the stage. Upon meeting the married duo of Justin Varga and Terah Beth Baltzer, one could easily get the impression that they are a cute, friendly couple sharing a little music between them; but once onstage, a very different beast emerges. Despite being crippled from the start with a badly torn snare drum, Baltzer was by far the liveliest member onstage all night, tearing through songs with manic energy, barely contained by the physical constraints of a microphone and drum set. Varga tore up his finger at one point, streaking his face with blood every time he combed back his long, ragged hair. At one point a concerned audience member interrupted to ask if he needed a band-aid, but neither Hey Lover member was too alarmed, so the show went on.

The second couple of the night, Shellshag, closed the show with a distinctly different feel from the other bands. The duo played their entire set thrust against the very front of the stage, with Jen Shag playing stand-up drums and a jingle-belt and guitarist Shellhead facing her directly. They looked into each others’ eyes like ecstasy-induced newlyweds, only occasionally tearing away to play a guitar solo from atop an amplifier or to do a jingle-belt solo by lying flat on the stage and writhing around. Miraculously, none of Shellshag’s equipment was damaged during their set. They promptly remedied that triumph, though, after their last song by picking up the bass tom and driving Jill’s sticks straight through it.

-Bonwell Parker

The Essex Green / Kelley Stoltz
Spaceland
Silver Lake, CA
April 13, 2007

The best thing about Spaceland in Silver Lake, California is that it really is in a land all its own. It is not possible for an up-and-coming indie band to play Los Angeles without gracing its iconic stage. That said, The Essex Green and Kelley Stoltz were a smart musical pairing for the venue. The two acts played well-crafted music that delivered both a pop and jazz fix.

On record, indie veterans The Essex Green have the same dark, blues undertones as fellow Brooklyn outfit The Fiery Furnaces, or Cincinnati’s The Greenhornes. That undeniable, ‘60s garage rock twang unfortunately didn’t show through in their performance. The band’s trademark flute was a hit when Sasha Bell momentarily retired the keyboard and brought it out, which, regrettably, did not happen until the end of the show. Bassist Julia Rydholm and guitarists Christopher Ziter and Jeff Baron had a much closer dynamic with each other than they did with Bell. The Essex Green started out slowly, but as the night progressed they became more accessible and even got the audience dancing. All in all, they are a rocking band with energy and talent to spare, but in the live setting they had more of a bouncy, Belle and Sebastian sound mixed with a Sgt. Pepper flair.

San Francisco’s Kelley Stoltz was an unexpected surprise — not only is he a guy with an uncanny resemblance to James Blunt (vocally and visually), but he was also great fun live and even brought a bubble machine with him. As soon as he took the stage, the ambiance in the club did a 180 and became an energetic dance party. Kelley used the night as an opportunity to showcase new material. He switched duties between guitar and keyboard, often rocking out on the guitar with his fellow bandmates, all of whom had an undeniably weathered, jazz musician aura. With their stylish jam sessions, fedoras and bubbles, Stoltz and company delivered a much livelier set, feeding off of the energy of each other, as well as the audience.

As the night came to a close, Stoltz pulled out a bouncy rendition of the Welcome Back Kotter theme song and got the entire club singing.

-Review by Jen Tartaglione; photo by Kit Lubold

Xiu Xiu / Sunset Rubdown / Katie Eastburn / Das Llamas
Neumos
Seattle, WA
April 19, 2007

To see multiple bands explore the same theme in one night is a rare occurrence. Such was the case this Thursday night at Neumos when all four bands on the bill examined the darker sides of life with exceptional and memorable results.

Seattle’s Das Llamas kicked things off with a mix of ‘80s-style vocals and angular rock riffs. With his monotone yet expressive voice, singer Kerry Zettel led locals through a looming, angry set. Though Das Llamas was somewhat lacking in charisma, they had the chops to make up for it — especially drummer Thomas Burke, whose driving, march-like beats played counterpoint to the oft-droning guitars and keyboard.
A surprise addition to the set, Katie Eastburn of the Los Angeles group Young People did little more than play the keyboard and bass drum — however, she still managed to create an absolutely haunting environment. Her warm vocals blended perfectly with the minimal accompaniment, and the dark textures of her songs accentuated the fragility of her solo performance.

As evidenced by his work with Wolf Parade, Spencer Krug writes some of the most inviting songs about death, love and fear. His side project, Sunset Rubdown, is no different. With a voice equal parts David Bowie and Devendra Banhart, and songs supported by pristine technical artistry, Sunset Rubdown played a creepy, knee-buckling set. The high point was “Shut Up I Am Dreaming,” a ten-minute symphony of crashing guitars and paper-thin vocals which showcased Krug’s shrewd lyrical prowess in lines like “If I fall into the drink / I will say your name before I sink / Oceans never listen to us anyway.” For what was supposed to be a sort of vanity project, Sunset Rubdown had all the feel of a stadium rock band.

To say that Xiu Xiu frontman Jamie Stewart’s voice is an acquired taste might be an understatement. Luckily, the percussive choir of chaos that bandmates Caralee McElroy and Chris Smith contributed was overwhelmingly perfect in its complexity and execution, so much so that it made the vocals easy to appreciate. With the energy of Bigfoot on speed, the rhythm section tore through the set in support of Stewart’s operatic voice and oblique, macabre lyrics. Even with more halts and pauses than a freeway under construction, Xiu Xiu still managed to create danceable music in the live environment. Their unique instrumentation and songwriting was impossible not to appreciate.

Oddly, the fact that none of the bands had a chance to do a sound check was acceptable. The hushed tension of waiting between songs and performers supported the spine-chilling music each group was attempting to create, and ultimately enhanced the entire show.

-Review by Rob Bergquist; photo by Fel Pajimula