Check out Record Store Day at Grimey’s/The Basement and The Groove!

 – Deli Staff

This guy is the embodiment of The Comfies. They are playing tonight with Tennessee band Overzealous, Dallas’ Bravo, Max! and France’s SvenSon (big deal).

This should be a good one. Go check it out tonight at The Basement!

8pm, $5. Tonight (April, 12).

Sundays are for resting, and going to church, and drinking tea with little old ladies, and preparing for the coming week.

Oh wait. No they fucking aren’t.

They’re for thrashing in a Basement.

Go to Metal Night at The Basement tonight to see Nashville’s I Am The Tower (above art work) and Ophiuchus, as well as Milwaukee’s/Indianapolis’/Dayton’s Harlot.

More TBA.

9pm. $5. Rock.

If you guys don’t know about the show tonight at The End, know about it. Nashville’s Lone Official, Huntsville, Alabama’s surf rockers Daikaiju and New York’s Abstract Artimus are putting together a concoction tonight that is best served on the Rocks, if you catch my drift.

If you have something else going on, cancel it. If you don’t have any plans, you’d be an idiot not to go. That’s right, an idiot. Take our word for it, this show will send you over the edge. – Deli Staff

April is looking like a busy month for the artists of Electric Western Records (EWR). Derek Hoke played at the Family Wash last Friday, and Jacob Jones‘ is releasing his LP on the 15th.

Tonight, April 6th, Nashville can see Reno Bo’s self made music video for the single "There’s a Light" from his debut album – a musical collage of ’70s rock titled Happenings and Other Things. Though the single’s official release is set for April 20th, the video will be shown at Exit/In this Tuesday with Bo and his band playing along to it.

Bo and Jones founded EWR and they are responsible for the creative ideas that come out of it, too, so it’s little surprise that Bo illustrated the video for "There’s a Light" himself. And it’s not just Bo playing; the show is sponsored by Exit/In’s Rock The Block Series and will feature a total of 12 bands, including The Hollywood Ten, Kopecky Family Band, Evan P. Donahue, Dozen Dimes and Daniel Pujol at both Exit/In and The End on the same night.

Plus, it’s F-R-E-E ! – Jessica Pace

If you haven’t heard about this event, head on over there for some great mid-day tunes and fun.

A quick glance at the four guys on the cover of The Kicks album The Rise of King Richie might cause someone to back away fast. It could be the half-unbuttoned shirt on one or the bandana on another, but something about the look says, "I am the man in the bar with the bad pick-up line." That said, it could be that the four Kicks members are satirizing a particular look, plus it really all just depends on what you’re into.

Most prominent about this album, released last September, is an array of odd influences throughout, ranging from the early 60s jukebox numbers to the hard rock of the 80s and 90s. Its guilty-pleasure charm is like all the songs that people like, but won’t admit to liking.

King Richie opens up on a fast note with "This Feeling," with guitar solos and yowling vocals reminiscent of Aerosmith. The 1960ss oldies influence comes into play on "Turn It Out," from the harmonizationadns teady percussive snap vis-a-vis Roy Orbison’s "Pretty Womanm," and if you listen to the chorus of "Good Morning," you will find a striking and unexpected resemblence to Bowie’s "All the Young Dudes."

Still, there’s more with a drilling riff on "Shake It Loose" that sounds like Skynyrd, before the album wraps up on its slowest note with a Billy Joel-esque piano opening on "No Easy Way Out."

If a rock album infused with 60s and 80s pop floats your boat, The Rise of King Richie will do the trick. The band members are more than capable instrumentalists, and they definitely are not the morose types, judging by the album’s upbeat vibe. Check them out May 13th and 12th and Porter. – Jessica Pace

What do you get when you take three hot chickadees, one dreamy bike kid, a bunch of instruments and a lot more PBR? Good times.

Nashville’s local four-piece, Heavy Cream, played alongside Shellshag, Cy Barkley and The Looking Glass (whom I foolishly missed, but apparently they ruled) Friday night at Lil Hammy.

Cy offered a bracing take on 3-chord punk, with his melody/guitar riff-driven gnashing, thrashing and (unintentional) audience singalongs. Most of the youngsters watching him play knew all the words to his songs, especially their fav – a song probably entitled something to the tune of, "We Don’t Give A Fuck." His Myspace page should be up and running soon, and when it is, give him a listen.

Brooklyn band Shellshag was a bit more mellow, lo-fi psychedelic rock, with some occasional up-tempo songs that (questionably) placed them in the punk genre. And while it could have just been a fleeting moment of unconsciousness, the part where they played punk songs seemed to be nonexistent. This is not a criticism, though, because the cool factor was compensated for by drummer/sing Jennifer Shagawat, who wore bells on her ankles, thus making her resemble the badass dude from Battle of Endor, as she beat away on three floor toms. She was joined by guitarist/singer Shell, and together they played some sludgy songs with catchy hooks that drew parallels from bands as varied as Weezer, Hole, really (really) old Liz Phair, or grungy AnHorse. An epic drum tower was hastily constructed, and once it came climactically tumbling down it was time for Heavy Cream to play.

As usual, their good looks only served to enhance their almost blues-chord-tinged punk-rock ‘n roll. The band seems to get better at playing their instruments with each and every show, as well as the growing audience sentiment of love for – well, again, damnit – singalongs. Friday’s set was no different, seeing how the crowd joined lead singer Jessica McFarland as she bounced, belted and squealed her way through every catchy Cream chorus. Her special helpers were Mimi Galbierz, who ripped and roared on the guitar (all the while with a sweet little smile on her face), Melissa Burnett, a gal on the go when it comes to tempo, and Daniel Severs, who handled the bass and balanced out the estrogen to testosterone ratio. "Stiff Lick" was a particular favorite, and makes for perfect background music while you get hyped up on whippets; listen to Shellshag when you’re coming down.

Heavy Cream plays again on April 3rd at Glen Danzig’s house, so be sure to make it out there. You’ll probably also see Cy there, so you can tell him that you dig his shit, and he should therefore make it available on The Internets for our constant listening pleasure. – Erin Manning

Don’t forget: Spanish Candles and Spider-Friends play this Wednesday night (31st) at Little Hamilton with two Detroit bands, Child Bite and Zoos of Berlin. Should be a good one. Check it out. 

For more information: check out the facebook invite. – Deli Staff

Wednesday evening at The End was special, not just because Thelma & The Sleaze debuted their fine discounted Goodwill merch table, (i.e. camo-trucker hats, bejeweled overall shorts, etc.), but because The Moaners decided to pay us a little visit, all the way from Chapel Hill, NC. First, though, fuckshow warmed everybody up with a little folksy kind of punk rock. Lead singer Wes Trew’s "less annoying Billie Joe Armstrong" warble, and fuckshow’s surprisingly insightful lyrics were pretty refreshing to hear from a band with such a name. (Say it with me now – fuckshow).

It was more refreshing to hear The Moaners play next, who are currently on tour, promoting some of their new tunes. Listening to them play on Wednesday made you feel like you were a character from a horror movie, drunkenly wandering around a farm late at night in the middle of nowhere, and you suddenly realize that a deranged man with a chainsaw is chasing you in his Ford Bronco – but in a good way. Most of their set was made up of 3-chord songs that would drone their way into sounds similar to The Ditty Bops’ interpretation of Marcy’s Playground. Many of the songs made their way into jams that you didn’t realize were jams until the song was already over, which takes some pretty crafty instrumental skill. Their final song was an eerie waltz which featured lead singer/guitarist Melissa Swingle on a beautiful saw solo, and drummer/singer Laura King accompanying her on guitar. Check out the video here: http://www.youtube.com/watch?v=v_-dvs5js1Y

Thelma & The Sleaze went on last and brought the trashy level back to where it belonged. While singer/guitarist Lauren Gilbert still insisted on wearing her confederate flag bikini, the previous Trampskirt members gave a "damn good effort" to their grunge rock sound, which has become less punk and more blues – more sass and trash – since the Trampskirt days. Bassist Emily Zimmer held an interesting tune together – think Henry Mancini bass lines with added scrappiness – and with Gilbert’s Janis Joplin growl, their set was better than ever.

Catch fuckshow, T&TS and The Moaners if you can. Until then, be sure to say hey to Lauren Gilbert at Taco Party if you care to have a delicious burrito and a good laugh. – Erin Manning

It is difficult today to be the first of anything, which is fine for Cannomen, who appear to be perfectly alright regurgitating the sound pioneered by past punk gods. The band’s recent EP release officially titled, Black Hole – though the cover reads, Science Studies the Black Hole – is a four-track 45 of punk nostalgia from format to lyrical content. So in this case, disregard for the avant-garde is forgiven, if not preferable, because of an old familiar energy ripping through it that never seems to quit.

As professed in the opening/title track "Black Hole," Cannomen are the kings of decay, and they go for the throat with four fast stories of head cases, sleeping all day, throwing up in driveways, as well as the occasional murder-by-shovel. Though the songs are blazing with an almost palpable angst, not a single one is bitter. They all manage to maintain a grim sense of humor throughout, something like, "I killed her with a shovel/burying her corpse was no trouble" might suggest.

Even when the lyrics fade into the abstract and the meaning is lost on the listener, they are always brought back by lines with an inexplicable charm, like, "I can’t be your spiritual deceiver/cause I believe in science baby" in "Palm Reader". And it’s hard not to fall in love with a song with some well-placed whistling parts, as found in "Black Hole," which is probably the highlight of the album with an inviting prompt to lose control.

The album goes fast. True to typical punk rock form, each track is short and sweet, all clocking in under two and a half minutes. Every jarring instrumental clash is there, and with time the band will probably begin to probe deeper into its lyricism. It feels like "Black Hole" is just a teaser for more gritty party music to come.

For those who are missing the days when punk was first on the rise, or just like it loud and fast, get your fix. – Jessica Pace

It was a big weekend for Nashville music, thanks especially to the bloggers of Nashville’s Dead. After realizing that every other great punk band and his sister was coming through our area to make it to SXSW, Nashville’s Dead decided to put together three nights of non-stop music. "The Freakin’ Weekend" brought ten bands from Brooklyn, Baltimore and surrounding areas to play alongside a few of Nashville’s favorite groups.

Not-so-serious rockers Larry David and the Hipsters, Ben Stein’s Money and Millions of Dead Punks kicked off the party Friday night at The Jungle. When a "special guest" was unable to help finish off the night, legends Jeff the Brotherhood stepped up to the mics, more-than-worthy substitutes, and filled the room faster than you could say "bananas." By the end of their set, everyone’s clothes were stained with sweat.

Saturday night was just as exciting. Out-of-towners The Beets, Ex Humans, Terrible Twos, Peacekillers and Beach Fossils were welcomed to the stage of Glen Danzing’s house (no, you won’t find a Misfit there) to play alongside Nashville’s The Looking Glass and Natural Child. The Looking Glass played a mostly instrumental set, flawlessly setting the vibe for a mid-2000s late night Bonnaroo show with jam-band worthy tracks. Natural Child sealed the night with catchy, driving punk that we all wish we could have pumped our fists to in high school.

Nashville’s best dive bar, Bett’ys, held the scene for the final night of the Freakin’ Weekend. Sisters, Grooms, Videohippos, Lesser Alvarez Gonzalez and Coasting (seriously talented babes from Brooklyn) all shared a stage with Nashville bands So Jazzy and Daniel Pujol. So Jazzy, as usual, was a super enjoyable blast from 1980 with undeniable influences of bass-led Joy Division/New Order. Finally, it only made sense for "Mr. Nashville" himself (comment made by one of the Brooklyn bands) Daniel Pujol to put Nashville’s most monumental weekend to bed. Pujol, returning from a Spring Break tour, half screamed bouncy tunes permanently stuck in every Nashville show goer’s mind by now. When asked how they felt about closing out the weekend, both the bassist and the guitarist agreed that it was like having to grip their croches on a long road trip and then finally being able to relieve themselves: aka the best feeling in the world.

When vans were packed and SXSW-bound rockers had finally crashed on all of Nashville’s couches, Nashville’s Dead proudly admitted that the weekend was a success. "The bands were great, the crowds were great, and we probably made like, a million dollars." An exaggeration, no doubt, but there definitely wasn’t a person who left any of the shows without a bag of unforgettable times and tunes. Nashville’s Dead’s only complaint? Nashville, apparently, needs to learn more bathroom manners. Hopefully they’ll overlook that and help Nashville bands along the way to SXSW again next year. – Sarah Marie