SOUNDTRACK: THE PIERCE BROTHERS-The Records Were Ours, (2017).
The Pierce Brothers was without a doubt the best opening-act-whom-I-hadn’t-heard-of-before. The two of them (twins!) were an incredibly energetic, exciting and crowd-pleasing act. They had us clapping, singing along and generally making all kinds of merry.
Jack (drums and more, including guitars) and Patrick (guitars and more) Pierce (and their family, obviously) are from Melbourne. They have a pretty big following there and yet apparently no Wikipedia page about them! Go figure.
They have released a number of EPs and this was the first of two in 2017. They are a bit more subdued on record (especially the couple of mellower songs here).
“Take Me Out” has a terrific, great catchy guitar riff followed by a shout-along chorus of “stand up!” and “take me out.” This song rocks a lot harder than their other songs (there’s more production as well). This is a great clap-along and get-up and sing song.
Their other songs are a bit more folkie (live, it’s primarily acoustic guitar and drum kit). But even their folkie songs tend to move fast and have big sing-along choruses.
“The Records Were Ours” has a simple 1,2,3 waltz melody. It’s incredibly catchy and has a pointed verse
When you left my house / You took the records and they were ours / You hadn’t broken them up just yet / You got me hooked on these cigarettes
and the best, most understated kiss-off chorus ever:
That’s why / I don’t care much for you / I don’t care much for you anymore
“Rhodes” is a more traditional folk rock song–a simple beat and bouncy guitars. The big difference is the lengthy guitar solo that ends the song. It was on this song that I first noticed that Jack (on the left when they play live) sounds more than a bit like Ed from Live. “Rhodes” is a minor key, darker ballad with a whistling solo that is crazily distorted and more than a little creepy.
“Take a Shot” returns to that big anthemic singalong. They sing in gruff voices, loudly, and it’s quite catchy. Later in the EP there’s a live recording from the Syndey Opera House Forecourt in which they introduce the song by saying they wrote it about an [American] fuckwit with a really stupid haircut and we’re all stuck with him for the next four years.
“Keep In Mind” is a slower ballad with interesting percussive sounds. Jack sings with some falsetto notes that also remind me of Ed from Live.
The final two tracks are live. The first is that version of “Take a Shot” and the second is a then new song called “Brother” recorded live at Paradiso, Amsterdam. They tell the audience that “Black Dog” was written for the brother and that “Genevieve” was written for their sister while this song is written for their older brother Justin (“you see my brother his name is Justin Anthony / he was eleven when we were three). It’s got a big easy chorus that’s basically just a simple melody of whoa whoa oh oh, whoa whoa oh. Impossible not to sing along to.
They ask, you guys wanna join in? And do they ever. The audience is so loud and encouraging that when the song ends, the crowd starts the sing along all over again. And they guys actually have to start playing the end of the song over again–that’s gotta feel pretty awesome.
And that’s the kind of power they have live.
[READ: December 10, 2017] “The Queen of Zilch”
It is Christmas Eve and the narrator is flaked out in the basement at her dad’s. She could hear her dad’s new girlfriend Danièle making tons of food for the party. Danièle had invited “her mother, her million sisters, and god knows who else.” Her father had only invited a client of his who had just gotten divorced.
Her father didn’t talk to her much. She had “moved” into the basement. Her father had taken out the old couch out and replaced it with the one form the den (because the new girlfriend wanted a new couch). But he did nothing else to make the place hers–no fridge, no other renovations. Just a basement.
He came down to give her a warning not to dress crazy or put on make up like a drag queen. (more…)
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