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Archive for the ‘Underground Arts’ Category

[ATTENDED: November 17, 2023] Cam Kahin

Cam Kahin is a twenty something Torontonian who, at this show at least, looked a lot like Phil Lynott (mustache included).

It sounded like the band he had with him was a touring band, but they were in pretty great synchronicity–with both the bassist and guitarist seeming very excited to be playing.

His songs were catchy and leaned toward the heavy end of alt rock.  With songs like “Wat Are You Waiting For” having pauses for heavy guitars to punctuate the choruses.  Although some of the songs started off quietly while he softly sang lyrics like

Take my phone
Throw it down the river
Take my smokes
Flush ’em down the drain

He spent most of the time between the songs trying to get the crowd to start moving.  I have to admit that I didn’t think Mass of the Fermenting Dregs were all that mosh-based, so I didn’t really think the opening band would get that kind of response either,  But there was a small section of the crowd who were bouncing enough for their liking–the group received several shout outs.

I enjoyed the simple repetition of the chorus of “in around” which reminded me of old punk songs in style (but not sound).

Nothing in the song was stand-out original, but his use of older ideas was cool.  Like the simple echoed three note riff (and then later a repeated two-note riff) in “try again.”  Super catchy.

“Queen St.” mellowed things out a bit with a kind of rapping delivery.  Although there was some great crowd interaction with our helping out on the “oh-oh” during the chorus.

Then he asked if it was okay if the final two songs were much heavier.  And yes, of course it was.  He introduced “birds” and was probably confused as to why everyone shouted “go birds” at him.  That song and the absolutely blistering “nicotine” ended his set on a high, heavy note as the songs crashed through the crowd.  The lead guitarist also jumped into the crowd (after, I assume, telling Cam that’s what he was going to do).

I didn’t know Kahin before this show, but it was a great set and his music still resonates.

  1. Junky
  2. compass
  3. what are you waiting for
  4. in, around
  5. try again
  6. queen st
  7. birds
  8. nicotine

⊕ When It’s All Over (2023)
⇓ Let It Sink In (2022)

 

MASS OF THE FERMENTING DREGS is a Japanese alternative rock band formed in Kobe City, Japan. In 2007, they won the best artist of EMI Music Japan’s new comer audition and recorded their songs with Dave Fridman at Tarbox road Studio in USA. After they released their 1st album in 2008, they rapidly climbed the alternative-rock ladder in Japan. The band once paused their activities in 2012 then reunion in 2017. The current lineup consists of Natsuko Miyamoto (Vocal & Bass) , Naoya Ogura (Guitar & Backing vocal) and Isao Yoshino (Drums & Backing vocal). Known for their energetic, hair-flailing live shows and melodic, guitar driven pop sound, they are still one of the most exciting and attracted act in Japan.

Cam Kahin

As a singer-songwriter, multi-instrumentalist, and producer, Cam has been pouring out his own experiences and emotions into his music. Cam has been playing music since he was 12 years old and has been developing his skill set ever since. His music leans toward an experimental/alternative-rock sound, from which he says is due to his upbringing listening to bands such as Radiohead, Cage the Elephants, and Biffy Clyro.

 

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[ATTENDED: November 5, 2023] Yard Act 

I had tickets to see Yard Act last year.  I bought the ticket mostly because I wanted to see the opening band, Gustaf, whom I had recently seen and really liked.

That show was cancelled at the last minute because Yard Act was called back home to do a live TV appearance for the Mercury Prize (surely a lot more lucrative than playing a gig at Underground Arts).

When this new tour was announced I decided to give them a go.  They are very British (being from Leeds).  On record, “singer” James Smith mostly rants and speaks angrily.  His lyrics are placed over some very cool guitars from Sam Shipstone and some really grooving bass from Ryan Needham.  Drummer Jay Russell keeps things together.

For this live show they had a keyboardist/saxophonist who seemed to allow Shipstone to go even more berserk.

I really had no idea that Shipstone would be playing the kind of noisy, feedback drenched sounds he did.  Which is not to say that he was not playing melody because he was, but as the rest of the band took over a song, he was just wild on the far side of the stage.  I was a little annoyed that I couldn’t see him well.  The woman in front of me was dancing and taking up a lot of real estate so I couldn’t lean in around the guy next to me.

Needham’s bass had a great sound and was often the only thing holding the melody down while Shipstone went nuts.  He also provided backing vocals.

But the focus of the show is clearly James Smith.  And the best part of the show is that he doesn’t casually recite his lyrics.  He is a non-stop machine of gestures and quips, singing and screaming lyrics.  Whispering and delaying satisfaction.  He has the entire audience in his hands and he is not afraid to make then do what he wants.  It was amazing to watch.

He was also quite taken with Philadelphia (he apologized that they missed last year’s show…but they had other commitments).  There was even a point where he shouted I love Philly!  And then fell to he knees shouting “And I’m not just saying that!”  He also said if he HAD to move to the States, he’d want to live in Philly.

So I’d listened to the album a couple of times and knew what the band was about, but I didn’t know any of the songs really.

Really, it’s the lyrics though, that keep you coming back, even if they are spoken like in “Dead Horse:” (more…)

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[ATTENDED: November 5, 2023] PVA

I had not hear of PVA before this set.  I listened to one song before the show and liked it.  Then I read this blurb

South London trio PVA’s stunning debut BLUSH consolidates the beating pulse of electronic music with the raw energy of a life-affirming gig and reveals more than they’ve ever shared before. Ella Harris & Josh Baxter (who share vocals, synths, guitars & production) and drummer Louis Satchell, create 11 blistering tracks from a formula of acid, disco, synths, the dancefloor & queer-coded post-punk.

PVA was sitting on the stage when I walked in.  They were still doing sound check and looked pretty bored.  I think they got their set started a little late because of this.  I say this especially because thy played two fewer songs at our show than the previous night’s show and the audience was really responsive to them.

The woman in front of me, who I picked to stand behind because she was fairly short, turned out to be a dancer.  Which is fine.  Except that she took up about four people’s space when she danced.  She moved a lot, so I couldn’t get anywhere close to where I thought I’d be standing.  She also did that very irritating thing that young women do of stacking one hand up in the air randomly.  So, she was annoying but not terrible. (more…)

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[ATTENDED: October 27, 2023] Mudhoney 

I have never really been much of a Mudhoney fan.  I like “Touch Me, I’m Sick” and I have a couple of their early records but I never really listen to them.  Their music was pretty abrasive and didn’t really have any joy for me.

And yet I acknowledge that they are the progenitors of the whole scene that I loved so much.

Nirvana may have been the band that put an entire generation in flannel, and Pearl Jam and Soundgarden both sold a lot more records, but Mudhoney were truly the band that made the ’90s grunge rock movement possible. Mudhoney were the first real success story for Sub Pop Records; their music laid the groundwork for the movement that would (briefly) make Seattle, Washington, the new capital of the rock & roll universe. They took the sweat-soaked and beer-fueled mixture of heavy metal muscle, punk attitude, and garage rock primitivism that would become known as “grunge” to the hipster audience for the first time with early releases like 1988’s Superfuzz Bigmuff and 1989’s Mudhoney, and those fans would in turn sell it to a mass audience ready for something new. Mudhoney never scored the big payday some of their old running buddies did, though they did land a major-label deal that produced several strong albums, especially 1995’s My Brother the Cow and 1998’s Tomorrow Hit Today. Their importance on the Seattle scene cannot be underestimated, and their body of work — big, loud, purposefully sloppy, a little bit menacing, and even more funny — has stood the test of time better than their well-known colleagues.

They are also one of the few bands from that scene (besides Melvins, who I also didn’t really like) who stayed around and kept making music.  So what do I know?

The crowd was rowdy but not very big.

When the band came out on stage, they shone the album cover of Superfuzz Big Muff on the screen behind them.  And I soon learned that they showed whatever album each song was from, which was kind of cool. (more…)

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[ATTENDED: October 29, 2023] Hooveriii

When this show was announced, I was excited because I found out that it was a Hooveriii show.  I didn’t even realize who the headliners were.  I was a little torn because I thought a Mudhoney show might not be that much fun, but I ‘ve been wanting to see Hooveriii for quite some time and I wasn’t going to miss them again.   I was supposed to see them in February and I didn’t go.  Still regretting that decision.

I’ve really enjoyed Hooveriii psych-rock albums, although their latest veers much more synth heavy (just like spiritual brethren King Gizzard).

But live, they simply rocked the fuck out.

Bert Hoover on lead guitar and vocals was a maniac.  I was in front of Kaz Mirblouk on bass and drummer  Owen Barrett was also pretty close up front.  I’ve really be enjoying seeing drummers closer, and Barrett had a lot of styles in his arsenal.

I was also more aware of James Novak’s contributions on keyboard.  He played some solos and probably had more impact on the newer songs, but it fit in perfectly with the overall vibe.  (more…)

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[DID NOT ATTEND: October 27, 2023] Vagabon / Nourished By Time

I was planning in seeing Vagabon in March 2020, but her show was cancelled, of course.

I really enjoyed Vagabon’s debut album.  It had a great indie rock sound, but the fact that Lætitia Tamko is originally from Cameroon gives her music a unique quality that makes it stand out.

Back in 2021, I chose to see Dinosaur Jr instead of Vagabon, a choice I regret a little.  When this show was announced, I grabbed a ticket right away.  Honestly it has been many many years since that debut came out–she could sound very different now, I’m not sure.

Anyway, I was excited to see her and then My Morning Jacket announced a show on the same night, so my wife and I are going to that instead.  I’m not sure if I’ll ever see Vagabon.  She might get put on my “missed too much list.”

I saw Nourished by Time open for Palm last month. Nourished By Time is producer Marcus Brown, with a laptop on the floor and keyboard on a stand.

He played about six or so catchy songs.  They were kind of a blend of new wave and R&B.  His vocal delivery differed for each song, which I really liked.

At the end of the show he said he had some shows coming up that he wasn’t looking forwars to.  I hope it wasn’t these.

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[ATTENDED: October 21, 2023] Genesis Owusu / Godly the Ruler

My wife and I joke about how we don’t really like Genesis Owusu but he is so damned catchy that it’s inevitable  to become a fan.  When his show was announced I grabbed a ticket and then forgot about it because it was months away.

I realize that he’s Australian and may not come to the States that often, but when the Wax Jaw show was announced, I was sure that I could get to the Genesis show after the Wax Jaw set.

Wax Jaw was finishing at 9:30 and most Underground Arts shows start at 9.  So, I’d miss Godly the Ruler and be there in enough time to catch the Genesis set.

But for reasons I cannot imagine, Godly went on at 8:30! (more…)

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[DID NOT ATTEND: October 22, 2023] Be Your Own Pet / Birthday Girl

I remember when Be Your Own Pet came out in 2006–they were endorsed and supported by members of Sonic Youth.

They played bratty teenage punk and were a ton of fun.  And then they broke up.

They have recently reunited (wikipedia says)

Following a fourteen year hiatus, they reunited in 2021 after being specifically requested by  Jack White to open up on a few dates of his Supply Chain Issues Tour.

Their own blurb says

On the heels of playing to packed rooms and enthusiastic audiences at SXSW, Nashville’s Be Your Own Pet have dropped a new single, “Hand Grenade,” via Third Man Records. The song marks their first new music since the release of their seminal Get Awkward album (XL Recordings) in 2008 and was written and recorded by the three founding members Jemina Pearl Abegg (vocals), Jonas Stein (Guitar), Nathan Vasquez (bass), and longtime drummer John Eatherly. Picking up right where they left off and clocking in at just over 3 minutes, “Hand Grenade” is an exuberant return and leaves no question they are the same band that Pitchfork called “vibrantly charismatic” and Rolling Stone labeled “charmingly raw.”

I had not heard of Birthday Girl which is surprising only because of the band’s lineage.  A Pessimist is Never Disappointed notes:

I think some folks are, rightly, going to check out Birthday Girl because Mabel Canty’s father is Brendan Canty (Rites of Spring, Fugazi, The Messthetics, etc.), or because Isabella MacKaye’s dad is Alec MacKaye (The Faith, Ignition, The Warmers, Hammered Hulls, etc.). But people are going to stay with this band because the music those two make with drummer Tess Kontarinis is sharply realized and emotive. What’s here on the band’s self-titled debut isn’t so much the sound of a new generation of harDCore, as it is that of the heyday of college rock. Less Beefeater and more Bettie Serveert is what I’m saying.

Sounds great.

Unfortunately, I am trying not to go to as many shows in quick succession.  And since I was out last night, I decided to give this one a miss.  I’d like to check out Birthday Girl some time though.

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[DID NOT ATTEND: October 14, 2023] Algernon Cadwallader / Knifeplay / Church Girls / Huey, the Cosmonaut

Algernon Cadawallader announced two shows at Union Transfer last year.  I bought tickets to one and then couldn’t go.   I hadn’t even heard of them before the show, but I had since listened to them and thought they sounded pretty great.  My show sold out and the second night did so eventually as well, I believe.

When this night of Philly Music Fest was announced, I immediately grabbed a ticket assuming this would easily sell out.  But as of the night of the show there were still tickets left.  That seems very weird to me.

I was pretty psyched for this show mostly for the opening acts, but then my son came home from college and I stayed home to hang out with him and the fam.

Of course this means I didn’t go to any Philly Music Fest shows this year.

Knifeplay plays a kind of moody acoustic music.  The guitars feel acoustic but the songs are layered in washes of synths and feedback. There’s a  cool shoegaze feel and the vocals sound almost like he’s singing made up words (ala the Cocteau Twins) although he isn’t.

Knifeplay is a band that eludes definition, existing somewhere between the nihilistic detachment of shoegaze and the emotional honesty of folk songwriting. Originally a solo bedroom recording project of Tj Strohmer’s.

The whole vibe of the album is great.  I’d have liked to see them.

Church Girls play indie punk right in my sweet spot.

Church Girls write propulsive melodies and achingly vulnerable lyrics wrapped in the throbbing anxiety of post-punk and joyous aggression of pop-punk. Formed in 2014 by Mariel Beaumont.

The record sounds big and full with too many guitars and too many big vocals and it is glorious.  I absolutely wanted to see them.

Huey, the Cosmonaut plays in a variety of genres.  The first song of his that I heard I didn’t like. But the others I did.

I’d like to think that my music exists in the space between emo, R&B, bedroom pop, lofi hip hop and jazz. Some of the themes in my music include a focus on loneliness, traveling, nostalgia, melancholy, everyday sensations, black history, renewal, growth, cartoons, comic books, the cosmos and imaginary worlds. I feel that I’m constantly caught between different worlds in my personal life and musical aspirations.​ Through my music, I seek to unite some of those things. All of my music is produced from the bedroom. I’ve been playing with a band recently though.

Knowing that he plays with a band makes me want to see him more than if he was by himself.

Bummer that I missed the show but it was great seeing the college kid.

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[ATTENDED: October 5, 2023] Everything Everything / Pierre Kwenders

I recently heard of Everything Everything in glowing terms and when I saw that they were playing locally I made a note of it.  They are an

English art rock band from Manchester that formed in late 2007. Noted for their eclectic sound and complex, sociopolitical lyrics.

Their music is interesting and they remind me of a few bands that I like, but I wasn’t blown away enough to want to check them out.

Pierre Kwenders is the stage name of José Louis Modabi, a Congolese-Canadian musician. His 2014 album Le Dernier empereur bantou was a shortlisted nominee for the Juno Award for World Music Album of the Year at the Juno Awards of 2015, and a longlisted nominee for the 2015 Polaris Music Prize.

he has a good vibe and nice flow, but I’m not sad to not see him.

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