NYC

NYC Record of the Month: The Underachievers – ‘Evermore: The Art of Duality’

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With all the copycat artists snatching fame by biting simple styles, it’s evident more artists haven’t taken to the OutKast model because of its complexity and tenuous corporeality. Flatbush’s The Underachievers may be the only crew brave enough to attempt the feat. "Evermore: The Art of Duality," their second studio album on Flying Lotus’ Brainfeeder label, is a further exploration into the realms of psychedelic street rap. It’s MCs Issa Gold and AK’s ability to vacillate between complex lyrical patterns and simple blunt truths, referencing both Alduous Huxley and Tupac in the same track, that makes them so effective. In “Rain Dance,” AK raps, “Hennesy Sippin, crippin since I was a teen nigga, still a street hitter, psychedelics helped me see bigger.” Coupled with their predilection toward ethereal bouncy beats, Evermore is an effort Andre 3000 and Big Boi would be proud to have rattle their trunks. Currently on a US tour, The Underachievers will hit Webster Hall on October 24. – BrokeMC

Philadelphia

New Light Heat EP Available for Streaming

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Light Heat, the project from Mazarin’s Quenton Stotzfus, recently dropped a surprise five-song EP entitled The Silver Light of the Late Night. It’s been offered as a consolation prize for those who didn’t get tickets to this Saturday’s sold-out show with Lilys. You can stream the album in its entirety below.

NYC

Album review: The Grisly Hand – Flesh and Gold

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Few Kansas City bands have been not only respected but embraced by critics, fans, and fellow musicians of many genres the way The Grisly Hand has over the past few years. Formed in 2009, the band released the album Safe House in 2010, Western Ave. EP in 2012, and then followed those with the stellar and regionally successful Country Singles in 2013. The latter cemented The Grisly Hand’s position as one of the best acts in Kansas City, and probably should have launched them onto a national stage.
 
There may be just one slight problem—they don’t exactly fit the mold of any one genre. Typically billed as Americana, the band’s first three releases were undeniably country music. Not the contemporary crap you avoid at all costs on your radio dial, but more traditional twang, with perfectly harmonized vocals, pedal steel guitar, mandolin, a potent walking bass, and shuffling beats. It’s not cry-in-your-beer country, but mainly up-tempo tunes that—like a lot of old-school southern music—contain elements of rock, soul, and pop. Music that, despite its wide local appeal, is not exactly sought after by major record labels.
 
The Grisly Hand’s latest offering, Flesh and Gold, is a different direction for the group. There is an obvious attempt to lessen the country feel by moving to a more straightforward rock ‘n roll sound than present on previous albums. There’s a bit less twanging and a little more banging, but the songs are still well-crafted. Lead vocalists Jimmy Fitzner and Lauren Krum (Ben Summers takes the mic on the third track, “Regina”) harmonize like two people who have spent their entire lives singing together. The musicianship of Fitzner and Summers (guitar and guitar/mandolin, respectively), along with Mike Stover (pedal steel/bass), Dan Loftus (bass/keys), and Matt Richey (drums) continues to be top-notch.
 
Flesh and Gold opens with the familiar, beautiful ring of Fitzner and Krum, singing in front of a lone electric guitar on “Get in Line, Stranger.” The rest of the band soon kicks in, and the song proceeds to become what the majority of the album is—a very solid collection of catchy, mid-tempo, alt-country tunes; some of which could be accused of leaning towards (gasp) pop rock.
 
Possibly the most enjoyable cut on the album is the no-nonsense, driving rock song, “Regina.” Summers’ vocals, though not quite as refined as Fitzner’s, are laced with passion as he sings about the insecurities and immaturity of youth. “You probably don’t want to follow me down, because I’m a fucked up kid without a plan / Shows me why you do the things you can.” The track is vibrant and pulsating—Krum’s backing vocals give Summers’ voice some added depth, and Stover’s killer steel guitar solo supplies just enough southern touch. This could be a very radio-friendly song.
 
Some risks are taken by tackling a couple of heavy topics. “Brand New Bruise,” a ballad turned barroom blues rocker, is about a woman with an abusive partner. I was prepared for a clichéd country triumph about a gritty woman teaching her old man a lesson. Instead, the song reveals a sad dose of reality; a worn woman who doesn’t know where to turn. “You can say you’re sorry again, you can bury me down in the ground / Just know whichever way you choose…either way I lose.” “Satan Ain’t Real” is perhaps a jab at Christianity and the guilt it causes, or maybe just a way of telling people not to be too hard on themselves or each other. “Satan ain’t real, it’s just what we blame when we can’t explain why fellow men hurt us like they do, without remorse / Just know it’s all in your head, and it ain’t ever too late for you to break away.” The song is also one of the more intriguing numbers musically. Somewhere between a Bossa nova and a Cajun ditty, the relaxing groove, filled with mandolin and steel guitar, implores the listener to set their troubles aside.
 
“Regrets on Parting,” the record’s final track, is by far the most surprising. It is a soul song at heart, and could be mistaken for something coming out of Memphis in the ‘60s. Fitzner and Krum’s harmonizing is at its best here. The real surprise is the addition of a horn section comprised of Nick Howell (trumpet), Mike Walker (trombone), and Rich Wheeler (saxophone). It’s a fantastic, if completely unexpected, song. Maybe it’s no accident that this is the last song, as it could be foreshadowing of things to come on future recordings. (Editor’s note: Flesh & Gold is the first part of a double album that is slated for release in early 2016)
 
Flesh and Gold is a very good standalone album. There isn’t a single song that isn’t thought out and dialed-in, as any fan would expect. Had I never heard any of the The Grisly Hand’s previous work, I would go as far as to call this output great. However, I know what the band is capable of, and couldn’t help longing for a few of the things that made Country Singles so special. For example: the dialogue between Fitzner and Krum on “(If You’re Leavin’) Take the Trash Out [When You Go],” the infectious energy of “If You Say So,” or the moving beauty of “Coup de Coeur.” Despite this, I understand the need for change, applaud the band for moving outside of their comfort zone, and feel extremely confident about the future of The Grisly Hand.
 
—Brad Scott
Brad loves music, Boulevard beer, and his family.
 
 
The Grisly Hand will be one of the bands playing a pre-game concert at Kauffman Stadium this week. They will be taking Ink’s Outfield Stage for Game 2 of the American League Division Series on Friday afternoon. They will also be playing the annual Brew at the Zoo and Wine Too! at the Kansas City Zoo on the evening of October 17.
 

 

NYC

Album review: Bloodbirds – MMXIII

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(Photo by Todd Zimmer)
 
Twenty-year veterans of the LFK/KC underground music scene, Mike and Brooke Tuley have played with a number of bands familiar to local rock audiences. Best known for their time with Ad Astra Per Aspera, they established Bloodbirds in 2011 with the intent of cutting loose and shaking things up.
 
And they have. Dense, dark—equal parts Fun House (Stooges), Spacemen 3 and Black Angels—Bloodbirds’ newest release MMXIII may also be their swan song, given the departure of bassist Anna St. Louis for Chicago. In some ways, it is St. Louis whose playing defines the band. Forward in the mix, and by no means shy, St. Louis plays with punchy authority, reminding of some of the other great “lead” bass players like Jon Entwistle and Peter Hook. Brooke Tuley is a powerful drummer; her parts are simple, but dead-on. She locks perfectly with St. Louis.  Mike Tuley plays on top of their aggressive foundation, a canvas for his arsenal of shimmering hammer-ons (“Modern Sympathy”), punishing riffs (“Did You Say”), and sometime dulcet tones (the comparatively clean Blue Mask jangle of “Convalesce”). Depending on the song, his sound can be metal harrowing or as ropey, surf-psychedelic as the theme from Repo Man.
 
About those songs: they’re functional, gripping, emotional soundscapes, not necessarily bound by pop hook conventions. They hit you with the shape-shift intensity of vintage heavy rock like Blue Cheer or modern darkness merchants like Black Rebel Motorcycle Club. Which is to say the focus here is not necessarily on hum-ability. Even allowing for that, it would be nice if the vocals had a dash less delay density and a bit more clarity in the mix. Lyrics and vocals on MMXIII are more about mood than meaning (or mood as meaning), stray lyrics emerging from the driving murk to arrest your conscious mind here and again.
 
The tough thump of “No Trains Coming Through” totally belies the song’s title. With Roky’s manic intensity, the song “Did You Say” features the ominous, repeated line “Did you say you want the end to come right now?” And the music echoes the sentiment. “Round Moon’s” cascade of guitar features some of Tuley’s most expressive fretwork, summoning up the incantations of bands like the Icarus Line and the guitar howl of the Stooges’ Ron Asheton. For an album that emphasizes a certain heavy-osity, MMXIII manages to shift mood and tone effectively.
 
Brothers and sisters, the Bloodbirds can make a show-stopping addition to anybody’s Psych Fest. Live shows may be few and far between, given the departure of St. Louis, but they have reunited in support of MMXIII occasionally and the members remain close friends and open to the odd gig. Go catch them if you have the chance.
 
—Steve Wilson
 

 

Nashville

Waterfall Wash Release “Foreign Chords” Video

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 East side indie folkers Waterfall Wash are helping us cling to the last bit of summer with a DIY lyric video for staff favorite "Foreign Chords," dropped earlier this year. Basically, two fruits enter; one frickin’ adorable video leaves.

The fun, quirky video, directed by Dylan White, has all the makings of a perfect afternoon. There’s Nerf gun double-crossing, hand-painted signs, cameos by friends (and some local talent) and a refreshing-beverage-off, all to a track you can’t help but smile to. Boasting xylophone AND lap steel, "Foreign Chords" is full of personality, positivity and solid musicianship. 

Check out the video below and hear Waterfall Wash’s recent episode of local tastemaker podcast Notable Nashville here! -Caroline Bowman

 

NYC

Post-rock project The Album Leaf performing at The Wayfarer with Let’s Drive to Alaska, Omniflux

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OC post-rock and trip-hop fans rejoice: you can catch James LaValle’s solo project The Album Leaf performing the day before Culture Collide at The Wayfarer (fka Detroit Bar, Club Mesa). Supporting LaValle are the cinematically organic North OC duo Let’s Drive to Alaska, and the cathartic threnodies from Los Angeles trip-hop solo artist Omniflux.

There will be more than a few surprises tomorrow night: Omniflux is gearing up a lightshow to complement her set, Let’s Drive to Alaska will be joined by dance ensemble The Grigori, and The Album Leaf will probably most likely debut some new songs of his forthcoming album, as will Let’s Drive to Alaska from their new album The Fifth House. Ticket information available from The Wayfarer. – Ryan Mo

San Francisco

Hazel English Releases Day Wave Produced Track – Fix

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Hazel English is a singer-songwriter from Sydney, Australia. She currently resides in Oakland where she met producer, Jackson Phillips (Day Wave) in early 2015. They began recording songs together and the collaboration resulted in creating a blend of interspersed shimmering guitars and airy melodic vocals set amongst a nostalgic, dreamy ambience. Hazel’s EP Never Going Home is set to be released this fall.

It´s exciting to hear about new music and new artists landing in town to share some great music. Check out Hazel English´s new song, Fix and we´ll keep you posted on the release of her debut ep, Never Going Home.

NYC

Midnight dream pop Nightjacket performs Harvard & Stone tonight, ArtNight Pasadena 10/9

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The dreampop five-piece Nightjacket are opening for bi-coastal experimental outfit Guardian Ghost tonight at Harvard & Stone, with Ventura garage-rockers The Pullmen. If you haven’t already, now’s as good a time to check out Nightjacket with the recent buzz they’ve received on their fluorescent EP "Eternal Phase", a strong sign for the group’s continued efforts.

For fans swamped with work and school on a Wednesday, you’re in luck — they’re also performing this Friday at the Armory Center for the Arts in Pasadena at 7 and 9pm, as part of the bi-annual ArtNight Pasadena event. Both shows are free, by the way — Harvard & Stone is 21+ with strong drinks and cabin décor, and ArtNight opens up 21 galleries and institutions for eye candy to go along with your ear candy.

Need a refresher? Listen to "The Right Way To Fall" before you head out. – Ryan Mo

Chicago

Thomas Comerford (and band) @ Burlington

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Since Thomas Comerford (Kaspar Hauser) begin his solo career, releasing two outstanding albums since 2010 (the latest being "II", via Strange Weather (2014)), he has been backed by an array of musicians. Last winter the line-up solidified in an impressive way. Accompanying Comerford in recording and performing now is drummer Kriss Bataille (Urge Overkill), singer-percussionist Beth Yates (Smog; The Pillowhammer), bassist Matty Cummings (Big Buildings; Magic Gloves), pedal steel guitarist Tom McGettrick (Mar Caribe), singer Crystal Hartford (Dust Bunnies; Hartford-Focht), and lead guitarist John Roeser (Innkeepers; Electric Airlines). This line-up will begin working on "III" this winter.

Below is a video Comerford released back in January for the track "How To" from "II" directed by Jerzy Rose and Halle Butler that we somehow missed.

You can catch Thomas Comerford with Luke Redfield and Roommate on Nov. 6th at Burlington.

NYC

The Mad Doctors release cassingle ‘Justin’s A Cop’ + play The Gutter on 10.10

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Brooklyn garage punk trio The Mad Doctors enjoy spending their time churning out raw energy and fuzz-driven riffs, delivering some fine sludgy musical goodness. These beard-sporting, faux physicians take the sounds of Black Sabbath and smash it clean into some Black Flag surf-era punk rock. They’re set to play The Gutter this Saturday (10.10) so if you’ve never witnessed their live presence now’s your chance. You can also listen to their raging new single ‘Justin’s A Cop’ below, and buy the cassingle split with Vamanos via Pizza King Records, out now. – Michael Haskoor (@Tweetskoor)

Philadelphia

New Video: “In Heaven” (Live – Eraserhood Forever) – The Divine Hand Ensemble w/Laurel “The Lady in the Radiator” Near

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At part of the 4th Annual David Lynch-themed Eraserhood Forever event at PhilaMOCA, Laurel "The Lady in the Radiator" Near, performed the much-covered “In Heaven” with the help of the maestros known as The Divine Hand Ensemble. The video, captured by Bob Sweeney, is a surreal blend of beauty and creepy darkness. It’s a truly memorable and timeless moment.

Eraserhood Forever: The Divine Hand Ensemble with Laurel "The Lady in the Radiator" Near "In Heaven" from Bob Sweeney

NYC

For Lean releases debut LP ‘Quiet Day’ + plays CMJ at Pianos on 10.13

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On October 2nd, Brooklyn stalwarts Fort Lean released their debut full-length album "Quiet Day" on indie label Ooh La La Records. Establishing themselves on the local scene over the last few years through a number of singles, EPs and live performances, the band delivers with its latest release their most accessible but also best orchestrated work to date. Standout track “Might’ve Misheard” (streaming) emphasizes the verse/chorus structure by aligning it with quite/loud production values. While the verses are sonically spacious (allowing for intimate detail storytelling), the bombastic chorus delivers a memorable vocal hook bathed in a sea of distorted guitars. “I thought you said we could both disappear – then we’d get away” provides both auditory and emotional release, while cleverly embedding the songs title within follow-up lyrics. Previously released opening single “Cut To The Chase” builds around clean, undistorted guitar figures over a 50’s stroll rhythm. Melancholy bridge chords emerge as the lyrics turn pensive and confessional. “Never mind, it’s alright, you can lie, you can say that it’s ok” comes as the defining hook. Title track “Quiet Day” burns slowly as a steady bass guitar pattern runs through it. Mental turmoil is suggested not only through lyrics but via audio textures that play like a tense psychological dramatic film soundtrack. Catch them at Pianos during the CMJ Music Marathon on October 13. – Dave Cromwell – The Deli interviewed Fort Lean in 2012.