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Archive for November, 2022

[DID NOT ATTEND: November 7, 2022] Travis / Ben Ottewell

When Travis first came out with their second album The Man Who, I thought they were going to be the next big thing.  I loved how the opening song, “Waiting to Reach You” was snarky at Oasis: “Radio is playing all the usual and what’s a wonderwall anyway?”  And “Why Does It Always Rain on Me?” seemed poised for epicness.

And then an upstart Travis copycat band called Coldplay put out Parachutes, with “Yellow,” and I thought, “well, they’re good, but they’re no Travis.”

The Invisible Band seemed to solidify their status with the super catchy “Sing.”  And then no one ever hear from them again.  That’s not true, but I certainly never did.  They’ve put out six albums with, apparently, no U.S. airplay.

When they announced this tour, playing The Invisible Band in full, plus other hits, I did consider going.  I considered going up to and until this day, when I ultimately decided I didn’t need to see them.

Ben Ottewell is one of the three singer from Gomez.  

I liked the first Gomez album, but I didn’t listen to much beyond it.  I’m not sure I realized they had three singers.  I’m assuming that Ottewell is the singer I associate with them most (his voice is gravelly and rough).  His solo work is even more mellow and acoustic, so this would have probably been a fine, if interesting set.

For some reason, I kept thinking that he was opening for House of Love.  But I was wrong, obviously.

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[ATTENDED: October 29, 2022] Tropical Fuck Storm

I saw Tropical Fuck Storm open for Modest Mouse four years ago and I was really impressed by them.  Since then, they have put out a couple more albums and seem to have made some headway into the American market (even with a name like that).

This show was sold out (it was their first show in Philly).  However, it was also a night that the Phillies were playing in the World Series.  So, the crowd was not packed in tight.  It worked out for everyone–the band got a sold out show and I didn’t have someone on my toes.

The band came out were fun but not super chatty.  I’m pretty amazed to see that they played largely the same set that they played back in 2018–especially since they have two new albums out since then.

They opened with “Braindrops” (from my favorite of the three albums).  I love the way the band sounds like a big pile of chaos and yet they are all really tight and focused.

I was in front of RKO (Erica Dunn) who mostly played guitar and occasional keys.  In the middle was Gaz, (Gareth Liddiard).  Off to the far side was Fifi (Fiona Kitschin).  On the drums was Hammy or Hammer (Lauren Hammel).  And she smashed the drums harder than anyone I’ve seen.

I loved watching RKO play wild guitar parts–sometimes conventional chords, sometimes solos.

But really it was Gaz who was the focal point.  And how could he not be since he sang most of the songs and played a frenetic and noisy lead guitar.  He has a huge stack of effects pedals, including what I’m thinking is some kind of loop, so that when he does … something, it sounds like a siren going off (but only for a second).

His playing is loose and seemingly crazy and yet full controlled with his hands almost never off of the whammy bar.

One of my favorite parts of their songs is when RKO and Fifi sing backing vocals.  They have great voices, but they can also sing in a surprisingly high register as well–which contrasts perfectly to Gaz’s low growl.

RKO sang lead on “New Romeo Agent,” a kind of slow burning song.

The crowd was very much into the whole set but they went nuts for “You Let My Tyres Down,” a personal favorite of mine, too.  It’s just as frenetic and wild as the rest but with a slow and catchy chorus.

FiFi sang lead on the cover of the Stooges Ann, a slow moody piece.   They ended with “Two Afternoons,” a song that has slow verses but is just a noise fest in the beginning and the end.  As this was the last song, they really jammed out the end with Gaz squatting on the stage playing with effects pedals and causing all kinds of noisy feedback–glorious chaos.

They came back after a couple of minutes and played “Paradise,” a killer song from Braindrops.  On the record it’s 6 minutes long but they stretched it out even longer with noisy jamming sections and aural chaos.

I thought they might do another song (they had been playing “Stayin’ Alive” as a second encore.  And they’d already long passed the 11PM mark (there’s no curfew apparently).  But nope, that was it.  I would have really enjoyed one more song, but it was clearly an exhausting set and it was quite an intense 75 minutes.  Highly recommended.

2022 2018
Braindrops Chameleon Paint
Chameleon Paint Antimatter Animals
New Romeo Agent ♠ Soft Power
Antimatter Animals You Let My Tyres Down
You Let My Tyres Down Back to the Wall (Divinyls cover)
Legal Ghost ♠ Two Afternoons
Ann (The Stooges cover) Rubber Bullies
Rubber Bullies Baby Squared (The Drones cover)
Two Afternoons
encore
Paradise

⊗ A Laughing Death in Meatspace (2018)
∀ Braindrops (2019)
♠ Deep States (2021)

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[ATTENDED: October 29, 2022] Nina Ryser

Nina Ryser is a member of Palberta (I love that name) whom I saw live a while back.  I recently also saw her bandmate Lily Konigsberg solo, so that’s 2/3 of Palberta I’ve seen solo now.   (Clearly Anina Ivry-Block will be opening for someone in the near future).  I have also seen Nina Ryser play drums for Old Maybe.

Like the rest of her Palbertans, Ryser is a prolific songwriter who is classically trained but who likes to push the boundaries of what music should do.

For this little set, she and her husband played keyboards (and all manner of gadgets).  The set sounded improvised, but I’m sure it wasn’t.

Most of the songs were built around a beat and a simple chord pattern.  There was a droney component to it and Nina’s vocals were kind of deapan.

I know she played “Shelf the Trophy.”  She played another song that reminded me of a lo-fi Stereolab.

My favorite parts of the show occurred between songs where Nina would mess around with looping pedals and make these interesting collages out of bits of the song she’d just played.  There was definitely some improv in here and I enjoyed watching her manipulate the sounds to create something cool.

She ended the set with the catchiest song.  I don’t know what it’s called but there was a repeated refrain of “you never looked better.”  It was simple, but the vocal line complemented the music really nicely.

There’s so many interesting Philly-based musicians and so many places to play.  It’s quite a rich scene.

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[DID NOT ATTEND: November 5, 2022] Superorganism/Blood Culture

I had seen Superorganism four years ago.  They were buzzing around with a couple of left field hits and at the time I thought they could be the next big thing or an internet meme.  Well, they drifted away.  But came back somewhat surprisingly at the end of last year.

Although I hadn’t heard they even released an album when this show was announced.

I’d had a good time at the last show so I grabbed a ticket.  Evidently the show did not sell well as Union Transfer sent out this:

You are invited to bring a friend for FREE! No catches or hidden fees etc. Just roll up to the show with your ticket(s) and let the door people and ticket scanners know you are bringing your friend as a free plus one / guest. They’ll hand over a complimentary ticket for your friend to use on the spot and that’s it. Free show!

It had been a long week and the kids were both going to a homecoming dance, so we decided to stay home (even though I would have brought her for free).

The opening band Blood Cultures has a fascinating gimmick

Blood Cultures is an experimental indie pop group from New Jersey. First known as a single person and now recognized as a collective (a quartet as of 2019), the band’s members remain anonymous, their faces obscured by black hoods in all photos. As they have explained, their anonymity is crucial to their ethos and aims “to keep the relationship between the listener and the music as pure as possible”. Hailed as some of the most exciting music coming out of New York by NME in 2018, Blood Cultures’ genre-bending sound is often characterized as psychedelic pop, electropop, and chillwave. Blood Cultures released their first album, Happy Birthday, in 2017. The band released its second album, Oh Uncertainty! A Universe Despairs, in September 2019. Their third record, LUNO, was released on May 28, 2021.

They sound pretty interesting and I would have definitely enjoyed checking them out.  I’m also really surprised I hadn’t heard of them before.

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[ATTENDED: November 2, 2022] Let’s Eat Grandma

I first heard about Let’s Eat Grandma back in 2016 from NPR music.  They had put out an album, I, Gemini that was weird and quirky, the creation of two weird and quirky girls–Rosa Walton (r, on the poster) and Jenny Hollingworth.  The album was really bizarre–strange music and spoken/shouted lyrics in thick Norwich accents.

I really wanted to see this concoction live, but they were quite young at the time and didn’t come over to the States until 2018.  Their 2018 album, I’m All Ears had a very different sound (more synthy and dancey, but still quirky).  The song “Hot Pink” from that album is about as weird as a catchy pop song can be.

Then in 2022 they put out Two Ribbons.  They had a series of personal crises in this time and it feels like a lot of the quirkiness was bashed out of them.  This makes the new album poppier and a lot mre accessible but to me a bit less interesting.

I read a review of their live show to make sure I still want to go, and it did make me want to go.  But I couldn’t help feel that there was something a little flat about the whole thing. (more…)

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[ATTENDED: November 2, 2022] Julien Chang

I hadn’t heard of Julien Chang (pronounced “Chong” according to him) before this show.  He has an album out and a new one out on November 4.

I had listened to a couple of songs beforehand and found them to be nice enough.  I was in no way prepared for the band that he brought with him.

His lead guitarist Utah Miller was really fantastic.  They looked really young, but there was some serious shredding going on.  Julien’s bassist (whose name I didn’t catch played some great riffs and a few sliding bass-like sounds.  He also played guitar on a couple of songs (for a three guitar attack!).  But his most impressive bandmate was drummer Maya Stepansky.  She was all over the kit but in a very controlled manner.  With a small drum kit, she played some really impressive and timely fills.  She had a lot of subtle moments of the cymbals and was just a stellar accompanist.

Then there was Chang himself.  He wrote and played all of the songs on the record (with a couple of exceptions) and his songwriting skills is really quite accomplished.  I found some of his arrangements to be really complex and wonderful.  He has a jazz composer’s technique, with time changes and major rhythmic shifts in the songs.  And obviously allowing Miller to shred and Stepansky to riff shows a complex song structure.

I’m not even sure how to best describe his music.  It felt jazzy and poppy.  There were some prog rock elements (in the time shifts) and musically I really enjoyed what I heard.

I haven’t heard any of the studio recording of these songs, but I feel like they will simply be a lot better live.

  1. Heart Holiday
  2. Snakebit
  3. Butterflies in Morocco
  4. Marmalade

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[ATTENDED: October 29, 2022] Chris Forsyth

I saw Chris Forsyth a few years ago and have been wanting to see him again.  It didn’t really matter what he was playing, I knew I’d enjoy his improv-filled jamming rock songs.

I was pretty excited to see him at Johnny Brenda’s as I knew I could get up close to watch him play.  It turned out that this particular show lined up with the Philadelphia Phillies’ first home game of the World Series.  Which meant that a) it was impossible to find parking and b) hardly anyone was in the concert hall.  Which was fine for me.  And probably for him, as I’m sure he sold a bunch of tickets ahead of time.

After raving about Meg Baird, Chris came up on stage with some of the band that Meg had used.  Douglas McCombs (from Tortoise!) and my favorite new (to me) drummer, Ryan Jewell.

The show started with Chris on a guitar that he didn’t play for the rest of the night.  The song was quiet and a little trippy.  A simple guitar chord structure with very loud simple bass line from McCombs.  I thought I knew the new album pretty well, but I didn’t recognize this song.  Nevertheless is was clearly a Chris Forsyth song with an interesting riffs and a tasteful solo or two.   I enjoyed how after about three or four minutes of this quieter introduction, the band totally rocked out. (more…)

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[ATTENDED: October 29, 2022] Meg Baird

I saw Chris Forsyth a few years ago and have been wanting to see him again.  Having Meg Baird co-headline was a bonus.  As Chris said:

On this tour, Meg & I will each be doing a set with a great band (Douglas McCombs, Ryan Jewell, and Charlie Saufley, and if they don’t appear throughout your music library, how did you even get this email?). Although it’s very much a co-bill / co-headline thing, we’ve decided that Meg will play first and I will play second, mainly for volume/dynamic considerations.

Meg’s name sounded familiar to me and I realized that I have an album that she made with harpist Mary Lattimore.  But it also turns out that she is the drummer for the band Heron Oblivion whom I saw back in 2018.  Turns out that Charlie Saufley is also in Heron Oblivion.

For this set, Meg sat at a keyboard, although mostly she played acoustic guitar.  Saufley played lead and Douglas McCombs played bass.  I was also pretty excited to find out that Ryan Jewell was on the drum kit.  He is one of my favorite drummers to watch.

Meg sat right in front of me and I was enthralled by her voice (which can soar to incredible heights).  For Ashes she “oohed” rather than singing words and it was angelic.  She sounds like she could be singing with a Fairport Convention or another sixties British folk rock band.  (more…)

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