Tuesday, May 31, 2011
Review: Band of Horses at the IMA
Posted by Grant Catton on Tue, May 31, 2011 at 11:25 AM
Band of Horses, Tyler Ramsey
Indianapolis Museum of Art, May 28
5 stars (out of 5)
When is a "secret show" too secret? When the headline act is Grammy-nominated alt-rock band Band of Horses and the line to enter the show has less people in it than the one outside the West Coast Tacos truck at lunchtime. As the surprisingly small crowd gathered in the IMA's parking garage to avoid the seemingly-impending rain, it certainly seemed that the two corporate entities presenting the show, IZOD and GQ, had been far too quiet about it (although the IMA's Facebook page made clear Friday that the first 500 fans would get in).
However, the sparseness of the crowd worked out nicely and gave the free concert a relaxed, garden-party kind of atmosphere, while the Charleston, S.C.-via-Seattle-based band put on an electrifying 90-plus minute show for the roughly 300 or so fans that ended up gathering in the terraced lawn of the IMA's amphitheater.
The group opened with the first song from their first album, the aptly-named "The First Song," blasting the crowd with their characteristically heart-broken yet powerful wall of sound and lead singer Ben Bridwell's yelping vocals. The group went on to play a full array of hits from all three of their albums that left even the most die-hard BoH fans satisfied — and that left Bridwell's shaggy hair soaking with sweat on the first misty, humid night of the summer.
Following up quickly with another of their early hits, "The Great Salt Lake," the band then busted out "Islands on the Coast," with Bridwell and fellow guitarist Tyler Ramsey facing each other, guitar-to-guitar, almost dueling as they tapped out the song's opening sequence. Bridwell took periodic pauses between songs to tell the crowd how much fun he was having and also to jokingly apologize for the band's lack of practice before the impromptu show, all in his laid-back Southern drawl that added to the casual informality of the evening.
Moving on to cuts like the grungier "Ode to LRC," and then to the smooth, swaying sentimentality of "Factory," the band showed their depth but still kept the energy strong. Toward the end of the evening, the group played "Laredo," the top single from their latest album, Infinite Arms, before moving on to the country-influenced "Marry Song," with Ramsey working deftly on the lap steel.
Due to the monolithic nature of their sound, BoH's tracks tended to blur together as the show wore on, but they ultimately brought the house down, closing with "No One's Gonna Love You," and, finally, "Funeral," perhaps the band's best known track. That pace-shifting, emotionally wide-ranging ballad represents BoH at their best, and put a fitting end to a long, well-wrought and energetic show.
Ramsey opened the night with an acoustic/electric solo set featuring songs from what he said is an upcoming album, calling BoH drummer Creighton Barrett on to accompany him for one song. Barrett's appearance on the drum kit injected life into what was otherwise an unremarkable performance by Ramsey. Despite his flawless guitar work — both solo and with the band later — his solo songwriting simply lacked inspiration and his lyrics came off as one-dimensional.
Rock / Roots Roots/Rock: Henry French outtakes
Posted by Rob Nichols on Tue, May 31, 2011 at 8:00 AM
Shakespeare Was a Big George Jones Fan
"A quirky, botched-together documentary on the life and times of 'Cowboy' Jack Clement who is a Nashville legend. He worked with Sam at Sun Records, recorded U2 and Elvis, and discovered Charley Pride and Jerry Lee Lewis. He also made slasher b-movies, was an Arthur Murray dance-instructor and was best buddies with Merle Haggard and Johnny Cash.
Tom Dowd and the Language of Music
"Tom Dowd was the go-to engineer in the early days of rock and roll, through the late 70's hey day, having recorded Ray Charles, Aretha, Coltrane, Otis Redding, Tito Puente, Booker T. and the MGs, Thelonious Monk, Cream, Clapton, Derek and the Dominos, the Allman Brothers, Lynyrd Skynyrd and more, all while being a physicist working on the Manhattan project... NO JOKE. The film opens with the piano reprise at the end of Layla that HE recorded, being played back from the original tape, with Tom Dowd at the helm in the control room. Goosebumps."
Rock / Roots The Acoustic LIVE Challenge Finals
Posted by Danielle Look on Tue, May 31, 2011 at 7:50 AM
For many, last week’s Acoustic LIVE Challenge was an emotional one. To me, as a judge, it was a really tough one. And to any supporter of local music, it was, above all, an exciting one.
The finals are the finals. It’s that stage of the contest where all of the musicians have proven themselves in front of judges and audience members twice, sometimes thrice. To this point, they’ve shown they have the confidence to maintain a strong stage presence. They’ve demonstrated that they have the ability to draw on their following and bring people out to shows. And most importantly, they’ve portrayed true musicianship- both in singing and playing abilities.
After multiple rounds of elimination that narrows 40 artists down to a mere eight, only the best of the best are left. That, in and of itself, is admirable, notable, and praise-worthy. So to James Wilkerson & Pat Armstrong, Josh Hann, Jess and Amy, Joe Sherfick, Chris Wolf, and The Post Script: pat yourselves on the back and take a step back to consider the intangibles (networking, new fans, performance experience, personal development, and more) and realize that no one is walking away empty-handed.
But it IS the finals. And that means it’s going to take something exceptional to stand out and be differentiated. Performing the same set of songs, making the same commentary between those songs, and pulling from the same bag of tricks will no longer do the trick. But if an artist can take criticisms to heart and make step change improvements in a matter of months, coming back to perform with new material and interact with the audience in new ways every time, that is evidence of a dedicated musician who has the drive and determination to break out of the local scene.
So it comes as no surprise that the final decision came down to a matter of just two points.
Runner-up Jamie Carnes, the demo-less grungy acoustic rocker, started the contest in week five by “specializing in bland” and hiding underneath a beige ivy cap. But he ultimately caught the attention of my fellow judge Branch Gordon, who helped Carnes record a demo at his studio in time for the semi-finals. Furthermore, with earned support from new fans, Carnes’ self-confidence developed and his stage presence matured noticeably.
Acoustic LIVE Challenge champions, The Knollwood Boys, started their climb to the top with excessive love songs, smooth and mysterious music, and deadpan facial expressions. Upon suggestion to liven it up if they’re not going for the “emotional boy band” image, they did exactly that in the semi-finals by introducing rapped vocals, energetic songs, and amusing subject matter.
The Knollwood Boys will enjoy a handsome prize package as the new Acoustic LIVE Challenge champions, including 10 Hours of studio time at Winn Studios, album design and packaging by Bleeding Media, a photography session with Melissa Brewer, and performance slots at Mojostock and Slamology later this summer.
To learn about the artists who competed in earlier rounds of the competition, check out our weekly recaps from the past three months.
For contest details or to find out how to be a part of next year’s event, visit the Acoustic LIVE Challenge website.
Danielle covers local music for NUVO.net and IndyMojo.com.
Thursday, May 26, 2011
Soundcheck: Weekend edition
Posted by Scott Shoger on Thu, May 26, 2011 at 11:00 AM
- Staind
Thursday
Tantric, The Fabulous Miss Wendy, Dead Man’s Grill, ShadowBox, Ladymoon at Rock House Café
Soon after Days of the New hit it big in the late ‘90s, three of the band’s members departed to form a group, Tantric, which soon signed with Madonna’s label, Maverick, and went on to score some Billboard Modern Rock hits. Then 2007 rolled around, and those same three members departed Tantric en masse, just as they did the first band. The remaining dude, vocalist Hugo Ferreira, retained rights to the Tantric name, and recruited a new backing band to keep on keeping on. With L.A. guitarist The Fabulous Miss Wendy, who has made Indy a second home in the past few months. 7 p.m., $15, 21+.
The Steepwater Band, Root Hog, Vintage Union at Birdy’s Bar and Grill
A night of hard rock, headlined by Chicago electric blues act The Steepwater Band, whose members track their career in relation to the Black Crowes: the drummer and bassist met the lead singer at a Crowes concert, and they all went on to work with Marc Ford, once a guitarist with the Crowes, as a producer on their 2008 full-length Grace and Melody. The Band’s most recent release, The Steepwater Band: Live at the Double Door, chronicles a headlining spot at the Chicago nightclub. 8 p.m., $7, 21+.
Joey Molinaro, Caleb McCoach, Christian Taylor and Homeschool, Pangea Drums and Dance at White Rabbit Cabaret
Basilica violinist Joey Molinaro goes out on his own with a two-part, untitled debut album. The first half of the new record is devoted to an solo violin arrangement of a classic grindcore album, The Inalienable Dreamless, by Discordance Axis; the second, a 15-minute suite inspired by Zamyatin’s dystopian novel We. Check out our 3.5-star review of Molinaro's new record. 9 p.m., $5 (includes download of Molinaro’s new album), 21+.
Friday
Dreamers of the Ghetto, The Kemps, The Pass at White Rabbit Cabaret
Three-fourths family band (surname Jones) with one part Early Day Miners drummer (Marty Sprowles), Dreamers of the Ghetto sound like modern rock radio in the late ‘80s: a little bit of U2 and Springsteen, but heavy on synths in the style of work on the other side of the pond (it’s was not surprising, for instance, to hear how much the band sounded like itself when playing Depeche Mode at the Boxcar Books Rock ‘n’ roll Prom). Hear the band’s eight-track debut at dreamersoftheghetto.bandcamp.com. With local garage rockers The Kemps and Louisville electro-pop outfit The Pass. 9 p.m., $6, 21+.
Miller Lite Carb Day concert at Indianapolis Motor Speedway
Featuring Staind and Papa Roach. “This high-energy concert will definitely put race weekend into top gear for our loyal fans,” says Jeff Belskus, Indianapolis Motor Speedway Corporation president and chief executive officer. 3:30 p.m., $20, all-ages.
Saturday
X103 May Day at Verizon Wireless Music Center
X103 celebrates working people about a month late, with help from South African metal trio Seether, Welsh metal band Bullet for My Valentine and erstwhile Live lead singer Ed Kowalczyk. With local acts The Last Good Year, Beta Male, Xero Sum and Stereo Deluxe. 3:30 p.m., $19.50-$42.50 (plus fees), all-ages.
Slothpop, Union Tree, Humdrum at Radio Radio
Chamber-pop band Slothpop, whose confident debut record arrived this year, headlines at Radio Radio, joined by a couple St. Louis bands — the sparse, experimental Union Tree and the spacey, ambient Humdrum. 9 p.m., $5, 21+.
Sunday
The Big Finish 2K11 at Sensu
Crush Entertainment and Sensu present the official IMS after-party, featuring five drivers as hosts (Matt Dixon, Dan Wheldon, Marco Andretti, Tony Kanaan and Justin Wilson) and some Crush regulars on the tables (Crush head honcho Indiana Jones, Lockstar and Gabby Love). 9 p.m., $10 advance, 21+.
Tuesday
The Queers, The Involuntarys and Chaotic Neutral at The Sinking Ship
The guys in the goofy New Hampshire-born pop-punk group The Queers have always kinda flirted with homophobia, but their stuff is really more stupid than offensive, in the style of early, nose-thumbing punk. Their Indy appearance will open The Sinking Ship as a venue; it’s been clear that the newly-opened bar and restaurant was destined to host live music (a soundboard is prominently located near the bathrooms), but it’s taken a few months to see to all the paperwork. Check out Wade Coggeshall's feature for more about the show, which commemorates the 20th anniversary of freeform radio show The Free Zone.
8 p.m., free, 21+
Weekend
Ellusion, Mary Bridget Davies at Slippery Noodle Inn
Once again, the Noodle breaks out a tent for its Indy 500 festivities, which often draw in 500 celebrities, along with a good deal of downtown hotel traffic. A couple party bands are on the bill: Terre Haute’s Ellusion and Janet Joplin tribute act Mary Bridget Davies. May 27 and 28, 9 p.m., 21+.
Abbey Road on the River at Belvedere Festival Park and Galt House Hotel, Louisville
We tend not to include out-of-state shows in Soundcheck, but if you’re a Beatles fan, the world’s largest Beatles tribute festival is surely worth the two-hour drive— and, in particular, if you’re a Beatles fan with a family, because advance tickets for those 21 and under are free (with the purchase of at least one adult ticket, of course). Roughly half of the 75-plus bands on the lineup will perform a Beatles album in its entirety, including Revolver (re-created by the Scotland-based band Revolver, among others) and Abbey Road (by the Athens, Ga. group Abbey Road). For the sake of variety, one-man acts will tackle solo work by John (Drew Harrison), Paul (Macca Mania) and George (the Indy-based Rex van Zant, Jimmy Pou). And for the sake of incongruity, Jimi Hendrix and Eric Clapton tribute acts are also on the bill. May 26-30, $30 one-day, $80 three-day (advance tickets for 21 and under free).
Wednesday, May 25, 2011
Rock / Roots Roots/Rock: Rev.Peyton's van troubles
Posted by Rob Nichols on Wed, May 25, 2011 at 7:14 AM
What we didn't know were the trevails the band experienced in the final few days of the tour, because of a van that started to come apart, both on it's own and with a little help.
Peyton gives a peek into the not-so-glamorous life of a hard-working bar band on the road, as he wrote a "humorous and sad" blog post about the van.
"We were heading to NYC. In New Paltz, NY the van started overheating. We immediately pulled over of course. While we were stopped the radiator blew. White smoke and coolant everywhere. I knew the sound, and knew it wasn’t good..."
Read full post
Tuesday, May 24, 2011
Rock / Roots Roots/Rock: Catching up with Owen Thomas
Posted by Rob Nichols on Tue, May 24, 2011 at 8:10 AM
Almost a year removed from that show, the earnest Thomas has put away his live music for the moment (though he says he has been writing songs), and jumped into film; heartland rock replaced by following the creative pull of his heart. He's started to focus his efforts on moving images rather than playing a Telecaster and writing American rock. While former bandmate and guitarist Thom Daugherty jumped back into live performing, touring with rising country group The Band Perry, Thomas has stayed behind-the-scenes so far. We caught up with Thomas to see what the Petty-esque rocker was doing to fill his desire to create.
NUVO: We haven't really seen much of you since the farewell Elms show last July, what have you been up to?
OWEN THOMAS: It turns out there were other artists out there who were fans of The Elms' aesthetic neurosis, which was always one of my obsessive duties for the band. So, I've been working with other bands and artists, both major label and independent, doing creative direction, filmmaking, photography. I'm preparing to launch a new creative house called Absorb. It will primarily endeavor in modern digital films, but will also serve as the outlet for music and other projects I'll be working on, anything that pops into my brain. Absorb will release the DVD of The Elms' final show. My overt contributions to the creative world have been a bit quiet lately, I've been more behind-the-curtain. But I'm interested in changing that soon.
NUVO: Is there a new band in the future for you or did you step completely away from music?
OT: I'll never play in another rock band, I'm not really interested in performing with any other combination of people in that context. I do have about 100 new songs written, mostly from the last year and a half. Last summer, while we were preparing for The Elms' final show, I was very affected the entire time. So, a lot of very honest material emerged. I'll probably start recording it soon, and will let it evolve 'til it's ready to put out. With The Elms, we always played straight from the guts, which is how I think it's meant to be for a rock band. With anything I'll record from here on out, it will be a bit more from the brain. But I'll still ask the boys in the band to play on my recordings.
OT: I'd like to direct a feature film by the time I'm 40, so that gives me eight years to really find an extraordinary story. It'll happen sooner. I've got cool scripts and ideas floating around. I'd also like to write a record that is entirely accompanied by visuals that I'll direct myself. So, it would be like making a film, or a series of short films, that my songs will be the soundtrack for.
NUVO: What about that DVD of the final show? What's it look like in the raw version and do you have a timetable for getting it released?
OT: We're all working on it, slowly. We decided to edit and mix the whole thing ourselves, really interpret our final night exactly how we want it to be perceived. We've still got to shoot some conversational bits with the guys in the band, and we've decided to make it both a concert film and a documentary piece about The Elms' lifetime. It's an enormous undertaking. The raw live footage is really great, and I know it will be a beautiful presentation once it's ready. Timetable? Hopefully it will come out in the next hundred years.
NUVO: You made your best album (The Great American Midrange) as your last. You built a good base of fans in Indianapolis. How do you look back on those days?
OT: We had been a band since 2000, but didn't really find Indianapolis as an adopted hometown until about 2006, when our album "The Chess Hotel" came out. It was our first major-label album, and so there was more interest in it than there was in our first two records. I think the scene in Indianapolis is not particularly different from many midwestern towns, which is to say that you can grow your band with equal parts hustle and restraint. You have to value what you're doing. If you're playing the same cities and venues twice a month, or more, it's too much.
NUVO: What have you been listening to lately?
OT: Music has really taken a bit of a back seat to filmmaking at the moment, if you can't tell. So, I'm more likely to tell you about my affinity for Romanek, Kaye, Akerlund, and Anderson these days. When I listen to music, it's always Bruce or The Kinks or Wilco, like it always has been. I like all the staple popular stuff that's really great too, like Kanye, Strokes, Arcade Fire.
NUVO: So what are the plans for you?
OT: Creating. Still adjusting to life after being in a rock band. Keeping my mind and hands busy. All is good. I'll be around.
THE ELMS, "The Last Band On Earth" (Pre-Trailer 1). from Absorb. on Vimeo.
Find Owen on Twitter (@OwenMThomas) or his blog (HiOwen.com).
Rock Freekbass releasing free album today
Posted by Danielle Look on Tue, May 24, 2011 at 8:00 AM
- Jason Faulk
Freekbass is one of many Ohio natives brought up in the ever-flourishing funk-mecca known as Cincinnati. Unbeknownst to many, the city has cultivated a long-standing reputation for producing great music and musicians- due in large part to fellow Cincy native and funk pioneer Bootsy Collins.
Freekbass (who cites Larry Graham, Sly Stone, Stevie Wonder, Parliament and Bootsy as early inspiration), has been playing bass guitar since early childhood. With his band (consisting of guitar pro T Sly, drummer Chip Wilson, and DJ Tobotius), The Freek has released four full-length albums including the most-recent “Junkyard Waltz” which features guest appearances by Phish bassist Mike Gordon, guitarist Buckethead, keyboard wizard from P-Funk/Talking Heads Bernie Worrell, and is produced by aforementioned funk legend Bootsy Collins.
Today, Freekbass will release a new full-length album, Concentrate, available online for free download. Special appearances on the album include DJ Spooky, Adam Deitch (Pretty Lights/Lettuce), Steve Molitz (Particle/Headtronics/Phil & Friends), Tobotius (Animal Crackers,Science Faxtion), and more.
Concentrate is a noteworthy release for Freekbass, as he continues to challenge himself to expand horizons and work outside of the proverbial box. Indeed, the first single "Grinder" finds The Freek’s music sounding more electo-tinged than ever, but still doused in his signature funktacular basswork. Concentrate will also follow an increasingly common trend in today’s music industry: the free album download.
All this, just before Freekbass hits the road, making appearances at bars and clubs, as well as summer music festivals. And he’s not traveling alone, either. In a previous interview with The Freek, he told me he likes juggling multiples projects at one time because “it helps to keep what I am doing musically fresh”.
This Saturday, he’ll be performing at The Mousetrap with the rest of his band- the perfect pre-party to your race day shenanigans that will surely ensue the following day. He’ll also be at the upcoming Stable Studios Music Festival on June 16th, performing as part of The Headtronics (featuring Freekbass, Steve Molitz (of Particle, Phil & friends), Fareed Haque (of Garaj Mahal) and Gregg Fundis). He’s also billed for Shamy Bash at Nelson Ledges Quarry Park in Parkman, Ohio the weekend of July 28th, performing as Freekbot with DJ Tobotius; Buckethead will headline Shamy Bash.
Stream the new album below and, if you like it, cop it for free from the Freekbass website.
Danielle covers local music for NUVO.net and IndyMojo.com.
Monday, May 23, 2011
Rock / Roots Roots/Rock: Tim Grimm, Jethro Easyfields
Posted by Rob Nichols on Mon, May 23, 2011 at 7:29 AM
***
One of Indiana's most refined and intelligent folk artists,Tim Grimm, has a new album out, called Thank You Tom Paxton, co-produced by his friend and Prine guitarist Jason Wilber. In addition to helping produce, Wilber played guitar on most of the songs.
Grimm, joined by Wilber, will be playing CD release shows, beginning this Monday, May 23, with a full band show at SPACE in Evanston, IL at 8 pm. Wilber opens that show. They also play a pair of shows at the Unitarian Building in Columbus, IN on May 28 and 29 (7850 Goeller Rd).
***
For fans of the 1980's country/rock/pop duo Foster and Lloyd, a new album called It's Already Tomorrow, was released May 17, reuniting the Radney Foster and Bill Lloyd after 20 years. For their fourth album together they had an assist from Bruce Springsteen's E. St. Band bassist, Garry Tallent on the the acoustic-based "When I Finally Let You Go".
Friday, May 20, 2011
Review: Primus at the Murat Theatre
Posted by Wade Coggeshall on Fri, May 20, 2011 at 12:00 PM
Primus, Dirtfoot
Murat Theatre, May 19
3.5 stars (out of 5)
At a Primus show, when the crowd starts chanting "Primus sucks," it's a term of endearment.
The trio got such plaudits multiple times at its concert Thursday in the Murat Theatre at Old National Centre – the opening night of their 2011 world tour.
Primus have been on and off for years now, last releasing a full-length record, Antipop, in 1999. Frontman Les Claypool has conducted a bevy of solo projects and collaborations in that time. With the return of original drummer Jay Lane, the Bay Area band is back on the road and ready to release new material this summer.
Thursday's concert, however, focused on the old. Primus played six cuts from their breakout 1991 disc Sailing the Seas of Cheese. They debuted two new tracks, "The Last Salmon Man" and another that wasn't named, from a forthcoming record that's tentatively titled Green Naugahyde.
The merriment commenced earnestly enough, with a reserved rendition of "Here Come the Bastards" before Primus jammed out a woozy version of "Those Damned Blue Collar Tweakers." "American Life" also got the extended treatment, a rendering both phantasmal and arena-sized.
Claypool, universally known as a bass avatar, brought out some of his Frankenstein gear for the middle part of the set, including an electric upright stick bass he played with a bow and a Whamola that he hit with a drum stick. The latter sounded like an elastic record played on the wrong speed.
There were plenty of classics in the set list. "Logic dictates when you play Indianapolis, you have to play 'Jerry Was a Racecar Driver' right?" Claypool asked before they launched into the pliable aggression of "My Name is Mud" as footage of former President George W. Bush was projected onto the faces of two giant inflatable astronauts flanking the stage ("we're rebels," Claypool explained for the switcheroo).
The new stuff sounds like vintage Primus – throbbing, dexterous rhythms, electric flamenco flourishes and gobs of demented sing/speak. It's reassuring that the band hasn't lost its flair for the absurd.
Opening act Dirtfoot has to feel like striking gold for the music fan who seeks good, creative new sounds. The Louisiana sextet played a mostly unplugged 45-minute set that was deep on junkyard jams. It included standup bass, banjo, acoustic guitar, sax and two percussionists who weren't afraid to trade solos. They proved there's nothing better than tightly-controlled excess in the live setting. Dirtfoot's self-named "gypsy punk country grumble boogie" is a long way from Primus on the sound chart, but there's still enough of a lineage there to explain the pairing.
