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Archive for the ‘Johnny Brenda’s’ Category

[DID NOT ATTEND: December 4, 2022] Bit Brigade / Standards

I saw Bit Brigade in 2018 and really enjoyed the show.  The premise of their live show is terrific.

The band plays the soundtrack to a video game while their resident gamer plays the game.  The band is heavy and the sound is amazing.

I can’t believe they were here in May and are back now in December and I didn’t get to go to either show.

For this show they were playing MegaMan II and Ducktails, two games I don’t know at all, so maybe that had some impact on my decision.

Standards opened the set.  Once again, I had not heard of the opening band for a Bit Brigade show.  But once again, they picked wisely.  Broadway World (!!!) has this succinct review of their music

Led by ebullient guitarist Marcos Mena, the pair boast a fruitful combination of musical chops and catchy guitar-driven melodies which has garnished popularity among fans who laud standards for their uniquely danceable brand of complex instrumental rock. For almost five years, their instrumental compositions have captivated audiences all over the world.

I need to reiterate this one part: uniquely danceable brand of complex instrumental rock.

It’s a spot on description.  The guitar is kind of showoffy intense and complicated, but never obnoxious and the light touches of synth and almost chiptune, make the songs really delightful and bright–almost like a video game is scrolling past.

 

 

 

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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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[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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[DID NOT ATTEND: October 10-15, 2022] Philly Music Fest 2022

Every year since 2019 I have participated in Philly Music Fest in some way.  But this year I wound up giving the whole thing a miss.

Philly Music Fest is a non-profit endeavor focused exclusively on local bands, with all proceeds donated to local music education charities. Philly Music Fest features both established and up and coming artists, showcasing the diversity of the Philadelphia music scene.

It wasn’t because of a bad lineup or anything, it was that I had tickets to other shows every night.  I wound up not going to all of those shows anyway, but basically I was already booked for the whole Fest.

This year’s line up was even bigger than last year’s

October 10, 2022 at Ardmore Music Hall 

  • Marielle Kraft is a poignant indie pop singer-songwriter
  • Electric Candlelight is a heavy psychedelic band that I was supposed to see open for Fuzz
  • Mt. Joy is a band I’ve heard on the radio a bunch who I don’t particularly like, so not so great in the headliner here.

October 11, 2022 at Ardmore Music Hall 

  • Stereo League is apparently impossible to describe using concrete words as I can’t figure out what their music sounds like from the blurbs I’ve read.
  • Salika is an R&B singer
  • Mt. Joy of the two nights I wouldn’t have picked this one anyhow.

October 12, 2022 at World Cafe Live

  • Perpetual Motion is described as dynamic acoustic jazz who play blues, rock, jazz, and world music
  • Kayleigh Goldsworthy is a folk singer who I saw open for Frank Turner.  She was great.
  • Ron Gallo is not Vincent Gallo, which is what I think every time I see his name.  Ron is an indie guy who I’ve never heard but who must be pretty popular or interesting if he keeps popping up.
  • Lady HD is a kind of psychedelic pop band whose name reminds me too much of that Lady A fracas that bubbled up a few years ago.
  • Low Cut Connie is one of the bigger bands at the festival.  I’d never want to see them, but I like some of their songs.

October 13, 2022 at Johnny Brenda’s

  • This was the night I would have gone to
  • The Ire is a four-piece goth-tinged post-punk band.  I like their overall sound.
  • Ghosh is a band I’ve wanted to see: they’re pissed off, informed, and ready to party.
  • Screaming Females are terrific and even better live.  I thought this would sell out in a second.

October 14, 2022 at REC Philly

  • This was a free show.  A night of hip hop and beat curated by Working on Dying who I’ve never heard of of

October 14, 2022 at The Dolphin

  • The Dolphin is a new-ish venue that I’ve yet to check out.
  • Max Swan is saxophonist, vocalist, and producer influenced y likes of Stevie Wonder, James Blake.
  • Echo Kid is two guys from RFA.  This is a hazier, no-holds-barred, psychedelic reimagining of the way they’d approach their songwriting process with a languorous sense of ease, effortless genre-blending, and an amalgam of intentional recorded conversation
  • Shamir is an artist I’d like to see live.  They keep popping up as an opening act and then something happens and I don’t see them.  Here’s another miss.

October 15, 2022 at Underground Arts

  • This would have been my pick for show of the Fest, if I hadn’t already been overbooked.
  • Justmadnice is blues-dipped psychedelic jazz.
  • Riverby are a fun indie rock band with a loose sound (and a cover of “Walk Through the Fire” from Buffy the Vampire Slayer.
  • Empath is a band I was supposed to see open for Fucked Up but the couldn’t make the rescheduled date.  They are kind of noisy and poppy and punky and are probably very fun live.
  • Mannequin Pussy is one of my favorite new(ish) bands.  They are amazing live and are always worth seeing.

The 2023 Fest is bound to be great too.

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[DID NOT ATTEND: October 7, 2022] Momma / waveform*

Momma has been getting a fair amount of buzz lately.  They are a duo (from L.A.) who have a really nice 90s grunge vibe.

The band  is Etta Friedman and Allegra Weingarten, as well as drummer Zach Capitti Fenton.  They put out their third (!) album this year.

I really like their sound, although I had tickets to Stereolab long before this show was announced.  Turns out I didn’t really enjoy the Stereolab show as much as I thought it would–I probably should have gone to this one.

waveform* is another duo (this time from Connecticut).  Jarett Denner and Dan Poppa make “downcast guitar pop.”  That’s not quite my thing but maybe a live show would be better than the description sounds.

I hope they come back around soon.

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[ATTENDED: October 2, 2022] Otoboke Beaver [rescheduled from from April 9, 2022]

I wanted to get to this show early because it was sold out and I knew it would be crazy.   But between one thing and another I wound up arriving at 8:25.  Only to find out that the opening band (opening bands at Johnny Brenda’s tend to go on a little later than advertised) was DONE.  Apparently Soft Torture, a Philly hardcore band, did a super-fast set (their debut EP has nine songs in about 13 minutes).  Listening to it, they sound really tight with a great vocalist.  Shame I missed them.

But I was there for Otoboke Beaver.  And so was the rest of the riotous crowd.

About their new album, SUPER CHAMPON (ス​ー​パ​ー​チ​ャ​ン​ポ​ン) the band says:

CHAMPON is a Japanese noun meaning a mixture or jumble of things of different type.

Our new album is a mixture of songs from love to food, life and JASRAC. Our music is genreless and has various elements. We hope that it will be our masterpiece of chaos music!

Otoboke Beaver are a four-piece from Japan.  There’s Accorinrin on vocals, Yoyoyoshie on lead guitar (and crowd surfing), Hiro-chan on bass and Kahokiss on drums.  The band plays primarily hardcore, but with a comical and fairly wild edge.  But even that is an extremely limited view of their set.  The songs shift without warning, from frenetic punk to … well, anything else.  It’s amazing how tight the band is that they can keep up with these twists and turns.

Accorinrin is up front.  She stomped around the stage, sometimes pointing finger pistols at the audience, enagaging really well with everyone.   Stage right was Yoyoyoshie who is as ferocious on guitar as her howls of “Otoboke Beaver!” between songs.  On the left was Hiro-Chan standing bare-footed (the band has pleaded that people not put any drinks or throw anything on the stage to protect her feet).  She seems remarkably chill given the frenzy around her, and her growls are awesome.  Kahokiss on drums somehow sounds fantastic while all of this is going on.  How on earth can she keep all of this straight?  It’s really amazing. (more…)

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[DID NOT ATTEND: September 29, 2022] Finom / Mmeadows / Grocer

In August 2022 Sima Cunningham and Macie Stewart announced that they had changed their name from OHMME to Finom, for legal reasons (I wonder what those were).

I don’t care for the new name. I didn’t really love the first name either.

But I saw them open for Jeff Tweedy a few years ago and they were incredible.  Their new album (as Finom) came out a little while ago and I never really got into it–maybe I didn’t give it a chance.  But for whatever reason I wasn;t as interested in this show as I thought I’d be, given how much I loved their set last time.

This is actually the second show that I didn’t go to in which mmeadows was supposed to open.  Their music is pretty interesting.  Rough Trade publishing describes them this way:

Longtime collaborators Kristin Slipp and Cole Kamen-Green come together for the first time as a duo in mmeadows. The band’s distinct sound is informed by their deep musical backgrounds: Kristin is a current member of indie royalty Dirty Projectors, while Cole has worked directly with Beyoncé on two albums, ‘Beyoncé’ and ‘Four.’ Drawing from their disparate influences, mmeadows sees two people connect in what Paste Magazine calls a sonically “singular” way.

Vocal-focused pop songwriting is the heartbeat of mmeadows, who liberally use found sounds and esoteric vintage instruments in their productions and performances. The band released their first EP, Who Do You Think You Are?, in April 2020.

Perhaps a but too poppy for me, but I’ll bet they’re fun live.

I thought I knew Grocer from a Tiny Desk Concert, but I was wrong.  Grocer is a Philly based band that I keep seeing around–so they must be opening for a lot of bands.  Their bandcamp says

Grocer is a band from Philadelphia. Lead by three distinct vocalists, they pendulate between moments of brash atonality, saccharine pop sensibility, and rhythmic acrobatics.

Their compositions are both meticulous and volatile, while their live performances are lauded for explosive chemistry with cheeky curiosity. On their most recent full length, Numbers Game, the band rearranged the puzzle pieces of 90s-influenced rock and dissonant pop into something utterly their own.

I love their chaotic sound as it works with their melodies.  And this blurb makes me realize I need to see them live

Grocer is a multi-vocal guitar band from South Philly that demands context and attention: listen to just one song or wander away mid-set to smoke a cigarette, and you’ll completely miss what they’re about. Featuring three distinct vocalists/lyricists, Grocer is a band that grooves, but never quite settles; a group that loves a good melody, yet remains moments away from chaos. Recently described as “if The Pixies wrote a musical”, their on-stage chemistry is undeniable whether ripping through an Audiotree session or playing in their home city of Philadelphia.

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[DID NOT ATTEND: September 24, 2022] Porridge Radio [moved from August 7, 2020 Boot & Saddle]

I heard about Porridge Radio from NPR back in 2020.  They are exactly the kind of weirdo post-punk British band that I love and would never hear anywhere on the radio.

Singer Dana Margolin is more of a talker than a singer.  Her accent is thick and her intensity is palpable.  The band mixes melody and noise in an unexpected way.  And of course there’s “the growing legend of their intense live shows.”

The 2020 show was cancelled and then Boot & Saddle closed.  I’m not sure if this even counts as a rescheduled show or not.  But they did, in fact come back to Philly.

Unfortunately, I thought we were going to Frantic City (which we wound up not doing).  I probably could have gone to this show after having bailed on Frantic City, but that seemed like too much chaos for one day.

Sean Henry is from Connecticut.  Henry began his career making music under the name Boy Crush.

His stuff under the name Sean Henry is pleasant and a little twee.  Although his live recording (from Audiotree) rocks a bit harder.  He’d be a good opener for just about anyone, I suspect.

I hope Porridge Radio comes back for their next album.

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