Merey Kimbrough of Mother Merey and the Black Dirt has a vocal style so unabashed it would make Bessie Smith proud. Combine that with the group’s foot stomping energy and this band delivers a solid bluesy folk sound like no other. Last week they were the perfectly placed opener for The Builders and the Butchers at The Buzz Mill’s Jamboree. Amid the hatchet tossing, jerky making and flapjack eating, there was Mother Merey and the Black Dirt, bringing down the rain with their glorious down home raucous. On May 29th they’ll be releasing their album, Down to the River, at Antone’s alongside Holiday Mountain, Whiskey Shivers and Old Gray Mule. — Written by Charise Sowells
NYC
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Album review: The Electric Lungs – Simplified and Civilized
Every person that picks up a guitar for the first time does it with at least some amount of notion that it will make them a rock star. After all, any musician who tells you that they never wanted to be Brian May circa 1976 is a goddamn liar. But there comes a time in almost every musician’s life where he or she realizes that dream is just not in the cards. Not for lack of trying or talent, but sometimes that lightning just doesn’t strike. So, what to do? Some go hang up the amplifiers, squirt out four kids, and buy a split level and a Kia. Some go the dreaded, dreaded, dreaded, dreaded cover band route. But the lucky ones are able to realize that there’s so much more to the making and celebration of original music than being uber popular for it. The Electric Lungs are in this wonderful place. They play THEIR music, THEIR expression, stripped of any notion of what it’s “supposed” to sound like. With Simplified and Civilized, they play the role of trendsetters, not trend followers.
The band provides us with ten tracks of energetic, punk-tinged, keyboard rock. Tripp Kirby fronts the bursting arrangements with the overzealous spasticity of a carnival barker. His voice is perfect for these songs, his moments of tenderness and sincerity in songs like “Every Ending” and “Eternal Smile” equally as effective as his red throated scream-singing in “Illium Works” and “(It’s not the) Bones That You Break.” The rhythm section of Marc Bollinger and Eric Jones does more than just lay the foundation. Together they shape and manipulate the dynamics of these songs, building and breaking them down to great effectiveness. The wildcard is the final gloss applied by Jason Ulanet’s keyboard work. Whether synth, horn, or a just simple piano, he further propels these songs into another category. In the end, you end up with something punky, something rockabilly, something proggy, sort of like Yes and Black Flag sharing a Bloody Mary at Brian Setzer’s wine mixer.
“Catching Up” is their take on the good old murder ballad. With equal parts psychopath and bubble gum, The Electric Lungs would like to remind us that under every serial killer there is a sweet little boy. Or something like that.
“Every Ending” is such a beautifully orchestrated song, cleverly organized and woven together perfectly. It is a funky little breath of fresh air in the middle of a wolf pack of punk songs.
“The Shit that I Eat” bursts at the seams, kind of like Sum-41 slave-driving an old-timey jazz band. The sullied horns and old-timey piano provide a wonderful counterpoint to the otherwise straight-forward and shit-kicking punk song beneath.
The album closes with one of the best efforts “Away to Stay (Hey)”. With all cylinders firing at the brink of explosion, this two-and-half-minute song is the perfect amount full of pounding drums, driving bass lines, fierce guitars, howling synths, and group-shouted “heys.”
This is a super strong record from the first strain to the last. The band has managed to take a group of very familiar rock music elements and spin them into something most decidedly new, something most decidedly themselves, something most decidedly The Electric Lungs.
The Electric Lungs will be playing tonight at Coda, after Dolls on Fire and The Hillary Watts Riot. Show starts at 9:30 p.m. All ages, $5. Facebook event page. If you can’t make it tonight, they’ll be at The Riot Room on Friday, June 7.
–Zach Hodson
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Zach Hodson is a monster. He once stole a grilled cheese sandwich from a 4-year-old girl at her birthday party. He will only juggle if you pay him. I hear he punched Slimer right in his fat, green face. He knows the secrets to free energy, but refuses to release them until "Saved by the Bell: Fortysomethings" begins production. He is also in Dolls on Fire and Drew Black & Dirty Electric, as well as contributing to various other Kansas City-based music, comedy, and art projects. |
Philadelphia
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New Track: “Chala” – Telequanta
Telequanta is the electronic solo project of musician/graphic designer J. Termini. Check out his latest track "Chala," which combines electro-dance, world beats and ambient-noise to produce a captivating sound that is like the hyperactive cousin of rising Chicago-based artist Mister Lies. He is currently working on a new EP, the follow-up to last year’s Programmable Matter EP. Telequanta will be performing live tonight at Johnny Brenda’s, accompanied by projections from visual artist Patrick Schlitzer, opening for UK-born German resident/globetrotting producer Gold Panda.
NYC
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Album review: Not A Planet – The Few, The Proud, The Strange
(Photo by Todd Zimmer)
To say that Not A Planet puts on a show is an understatement. Led by Nathan Corsi and his extremely detailed, story-driven lyrics and oh-so-sexy guitar presence, Not A Planet brings something most bands in this region are unable to do without overdoing it. Corsi, backed by the fast fingered “Wild” Bill Sturges on bass and the one and only (dare I say handsome) Liam Sumnicht on the drums (see our interview with Sumnicht), this trio brings one hundred and ten percent of their energy to every show they play. Extravagant and catchy in all the best ways, Not A Planet’s newly-released twelve-song LP The Few, The Proud, The Strange shouldn’t have a problem winning over fans of rock and roll in a heartbeat.
Opening track “Greatest Show On Earth” kicks the record off with a whimsical bang. Lyrical metaphors of a grandiose circus reflect in the dynamic music that carries Corsi’s voice. The line, “Climbing in the cannon, a smile on his face, he waves at all the sadists in the crowd” might explain why the album cover has a stunt man helmet on the front. The track serves as a proclamation of what to expect throughout the rest of this record: elaborate tales and massive instrumentation.
“Girl Comes Down” is a beautiful singer/songwriter ballad that I imagine would warm the hearts of lovers around the world. With its simplistic nature (vocals and clean folk guitar) a love story unfolds that just makes you want to hold your loved one close. If Wesley from The Princess Bride played guitar, he would definitely learn this song and play it for Buttercup.
The next track, “Kingdom Come,” shows off a punchier side of Not A Planet. Sturges’ groovy bass lines really shine on this track. His ability to hold down the low end is impeccable and it becomes even more apparent throughout the rest of the record. Sumnicht keeps the song fast and fun. If you’re a fan of air drumming, this song will keep you extremely busy. The band recently filmed a music video for “Kingdom Come” at the Nelson-Atkins Art Museum (see below).
“Bang Goes The Gun” is one of my favorite songs to watch Not A Planet play live. Here, they do an excellent job recreating the explosiveness that makes this song great. The dainty rim shots, deep bass, and smooth vocals that start the song out are abruptly interrupted by a chorus hits harder than Floyd Mayweather. “Bang Goes The Gun” packs a punch that makes The Few, The Proud, The Strange a force to recon with.
Without skipping a beat, “Black Dress” follows, and would give The Black Keys a run for their money. Oozing with swankyness and bluesy riffage, “Black Dress” will make you move. No if, ands, or buts. Well…maybe butts.
“Invisible Man” is an eerie track that is filled with haunting, reverb-soaked vocals, interesting time signature changes, and soaring guitar solos. After giving it a few listens, there is no denying that Not A Planet can write a catchy chorus no matter what the vibe of the song is.
A little slower-paced than the previous two tracks, “Low” would make Stevie Ray Vaughn proud. After bashing himself for all of his faults, Corsi sings the lyrics, “You don’t know how low I would go.” With its waltz-like rhythm, it develops into an evil carnival of self-observation. Conflicted and full of turmoil, “Low” shows listeners that Not A Planet has a darker side.
“There’s No Coming Back” begins with massive bass and drums, and a very sweet reversed snare drum track that adds a cool texture to this soothing song. This track sounds like the band recorded ghostly sounds from the spirits that hang out in Black Lodge, where the album was recorded. This is a consistent, easy listening track.
With the ninth track, “My Train Is Coming,” the NAP boys bring it back to their roots: straightforward train car ROCK AND ROLL. This high-energy song is classic rock to the core and makes me wish I had a six-pack and a few friends to drink with right now.
The interestingly tenth track, “Free To Be Chained,” is a bouncy song with dance-worthy drums and dreamy harmonies provided by Sumnicht and Sturges. If anyone out there is working on a Phantom of the Rock opera, this track would fit in well. I’m a huge fan of creepy, grittily recorded voices in songs and though I can’t distinguish whose voice it is at the end of the song, it definitely adds some mystery (and evidence to my case that Not A Planet recorded ghosts talking).
Ironically titled “The End,” track number eleven isn’t the last song on The Few, The Proud, The Strange. Similar to track two with its simplistic instrumentation, it has a little more production behind it and it lyrically demands to be heard. The final line, “Because in the end, love is the only truth,” brings an uplifting vibe to tail end of this record.
The album’s final track “I’ve Got A Secret” seems more like a fun “We are so happy to have finished an awesome record” studio jam. With a groovin’ piano, elephant noises, chattering groups of people, and long fade out, this is a song die hard Not A Planet fans will get a kick out of.
The Few, The Proud, The Strange was released on May 10. Not A Planet’s next show is next Tuesday, May 21, at The Bottleneck. The trio also has several tour dates in June. Information available at the band’s website, www.notaplanet.com.
–Eric Augustus Fain
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Eric Fain plays bass and is the most hairy/handsome member of Clairaudients. In December of 2011, he filled in on bass for Not A Planet for five shows. His compensation: a pair of Liam’s Vans (I can’t find one of them…), $60 (I’d have done it for free!), and the memory of Nathan trying to throw up out of a moving van (he failed and threw up all over my face instead. True story, bro). |
NYC
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Lawrence Field Day Fest: An interview with founder Cameron Hawk
Lawrence Field Day Fest was born out of Cameron Hawk’s frustration with the attention that local and regional acts weren’t getting—to highlight their talents, to be different from other festivals that bring in national acts and sprinkle in local acts here and there.
“I honestly didn’t think people in Lawrence would care that much. It’s not like we were doing anything new.” Hawk told me. “I just wanted to show people the great talent we had in Lawrence. Plus, it was a way to fill a couple days in The Bottleneck’s calendar.” It went so well in its inaugural year that July 11, 12, and 13 this year will see the return of the fest. “I guess what people were waiting for was for someone to step up and just do it.”
Kansas City’s recent Middle of the Map Fest was incredible, with bands like Joy Formidable, Grizzly Bear and locals including Soft Reeds, Cowboy Indian Bear, Thee Water Moccasins, Hawk’s own band The Dead Girls, and others, but it just wasn’t the festival he had in mind.
“Middle of the Map, where they matched up local and regional acts was a cool idea, but I wanted to do something for the Lawrence bands and some area acts to make them feel special, to give them something that was just theirs for once,” said Hawk.
Were there ever moments of doubt? When did the calls of people wanting the fest made Hawk nervous? Did he doubt the creature he began constructing? “Oh yeah, man. I had never tried to do something like this so there were a lot of moments when I wondered if I could actually pull it off. It was kind of a Wayne’s World 2 scenario. Let’s do it. Oh shit, now we have to do it.”
Hawk, guitarist for The Dead Girls, Many Moods of Dad, and the punk thunderbolt that is Stiff Middle Fingers, and drummer for Hidden Pictures, says this year LFDF is completely local or regional acts. This is different from last year, where alt-country greats Drag the River and punk rock legend Stephen Egerton—guitarist for The Descendents—took the stage at the Jackpot.
“Having Drag the River and Stephen (Egerton) last year just kind of happened. It was awesome, but this year, I wanted to keep it to just the great bands of the area. People haven’t been going out as much, whether its money, kids, work, or just getting older. I want people to see what’s been going on, what they’re missing.”
This year’s lineup will lean even heavier on the crop of local talent to build a roster that should pack The Bottleneck for three straight days. The ominous quake of Bloodbirds, Many Moods of Dad, Going To Hell in a Leather Jacket, the hardcore-influenced Black on Black, Radkey, Scruffy and the Janitors, sleaze warriors Pale Hearts, JOCKS, BaioWolf, Man Bear, Millions of Boys, and several others, will descend upon The Bottleneck, showing everyone that the Midwest is more than capable of cranking out great rock ‘n roll.
“I hope people see the whole point of this,” Hawk said. “It’s not about bringing in national acts and getting the local acts to support them. This is about the local bands playing and showing support for each other. Let’s quit worrying so much about which bill will draw the best, having the same bands playing together all the time, all the competition. There are people that work really hard and never get thrown a bone for whatever reason; maybe it’s a situation where if more people saw them they’d get a better chance. That’s all I want to do with this. Let’s just play and have some balls.”
Lawrence Field Day Fest runs from Thursday, July 11 to Saturday, July 13 at The Bottleneck. A full lineup and ticket info will be available soon at The Bottleneck’s website. Facebook event page.
–Danny R. Phillips
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Danny R. Phillips has been reporting on music of all types and covering the St. Joseph, MO music scene for well over a decade. He is a regular contributor to the national circulated BLURT Magazine and his work has appeared in The Pitch, The Omaha Reader, Missouri Life, The Regular Joe, Skyscraper Magazine, Popshifter, Hybrid Magazine, the websites Vocals on Top and Tuning Fork TV, Perfect Sound Forever, The Fader and many others. |
Philadelphia
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Enter to Win a Free Trip to Daytrotter w/Night Panther & More
This sound like it would be a lot of fun! If you become a new annual member of Daytrotter, give a gift membership, or extend a current annual one by May 22, you’ll get a free grass-green Daytrotter v-neck t-shirt, and be entered to win airfare, a hotel room and transportation to and from the airport to Rock Island so that you can experience a first-hand taping of local area faves Night Panther as well as Baths, Hockey, and more. You can check out the rest of the deets HERE.
Nashville
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Stream the Joy Of Painting’s Newest, “Tender Age”
The Joy Of Painting‘s newest, Tender Age, will be available to the masses on Tuesday, May 21st via South Division Records, but our friends over at No Country for New Nashville are doing us all a great service by streaming the album a week early.
Clocking in right around the 20 minute mark, Tender Age‘s only fault is that it doesn’t go on forever. Just in time for summer weather and pool hangs, all of the teasers and hype surrounding the Joy Of Painting’s latest effort have paid off. If you start streaming now and buy yourself a copy of Tender Age on Tuesday, you’ll know enough of the lyrics to sing along at the band’s in-store performance at Grimey’s on June 8th. –Brianne Turner
L.A.
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Moons of Mars Play Hotel Cafe 5.17
Brothers, Giovan and Mario Polanco, have been making music together for over a decade. Their latest project, Moons of Mars, is pop at it’s best, mixing cleverly crafted hooks with intelligent electronic production. “I Want You Here” is an emotionally-driven mid-tempo tune sprinkled with indie pop touches and an R&B-style melodic groove. It’s got the charm of the bedroom, but the impact of the studio. A full length is expected later this year. Catch them live at Hotel Cafe this Friday, May 17. – Jacqueline Caruso
NYC
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New song by Lucius: “Until We Get There” – debut album out in the fall
You should know by now that we have a soft spot for Ditmas Park based roots pop band Lucius. We’ve been waiting for their debut full length for way too long, so we see the release of this new single "Until We Get There’ as an encouraging sign. The band has actually announced that the album will be released this fall, after a late spring US tour.
San Francisco
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SF Based Band The Orange Peels Play Two Shows at Cafe Du Nord – 5/17
San Francisco based alt indie rock band, The Orange Peels are playing two shows on Saturday night at Cafe Du Nord in San Francisco, CA. The band’s late show (10 pm) is SOLD OUT, but never fear, you can catch them playing an early set at 7 pm. This bands laid back and well composed stye of rock is appealing and a joy to listen to. Do your best to catch this great Bay Area band!
Philadelphia
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Free Download: “With a Girl Like You” (The Troggs Cover) – Joe Kusy
Below is a sun-kissed bedroom cover by Joe Kusy of The Troggs’ classic hit song "With a Girl Like You," which is available to be downloaded for free below. It’s here just in time for all those spring/summer romances popping up. You can catch Kusy performing with his band, Far-Out Fangtooth, on Friday, June 7 at Kung Fu Necktie when they open for A Place To Bury Strangers.
Philadelphia
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The Bad Doctors Opening for JEFF the Brotherhood & Hunters at KFN May 16
Tonight is the first half of a big two-night run for Kung Fu Necktie with Nashville rising stars JEFF the Brotherhood and Brooklyn noise rockers Hunters. Representing Philly this evening will be New Wave post-punks The Bad Doctors. The trio has certainly been impressing audiences in our local basement/DIY scene, and with the release of their two-song 7” towards the end of last year, we are all looking forward to the band dropping something more substantial hopefully in the near future. Kung Fu Necktie, 1250 N. Front St., 8pm, $15, 21+ – Alexis V.