Follow the Day and Reach for the Sun!

  

This photo is appropriately from a site that features the weirdest bands.  I'm definitely weird and eccentric so if you are too then read the rest of this post.  

                'You Don't Know Me'- from Yes, It's True (due out Aug 6 2013)
                      

Past History and Anecdotal Context of The Polyphonic Spree:

(Note: If you find this part boring, you can skip ahead to the review of the actual show)

So there are not very many bands nowadays that I feel extremely connected to through their music.  What's more is that there are few modern bands that I've liked for more than five years.  There is one band that defies my typical band relationships.  And note that my relationship with any band is just as serious as my own marriage or any friendships.  I can break up with a band after a bad album or get back together with them after a sincere reunion show.  

The story I'm about to tell is about a relationship with a band that has been going strong for the last ten to eleven years.  I was in college and I was listening to a lot of Phish, Ben Harper, and Bella Fleck.  However, I still remember the magic moment where my love affair started.  I remember the moment like it was yesterday.  I picked up a music magazine at the Union Square Barnes and Noble while visiting New York City.  It may have been Paste but I think it was something a little more obscure, something you can't find in the Midwest.  I remember reading an article about this multi-member band from Texas who wears robes and play many instruments.  I knew I HAD to check out their debut album, 'The Beginning Stages Of'.  A voice inside of my head told me to get this album and I knew at that moment that I'd never be the same.  I wasn't.

I love this band so much that in college I owned a Spree robe.  It was white with orange at the bottom (I'll put a picture in this post).  I've seen The Spree a total of four times.  If first saw them in Columbus, Ohio in 2003 during my senior year of college.  I saw them next in 2007 in St. Louis, when I moved back home to teach.  I saw them again in 2012 at Webster Hall in NYC and in 2013 at Bowery Ballroom.  Every single time I've seen them, it's an amazingly high energy show that I'm never let down by.  Every show is different with different incarnations of the band.  People come in and out.  I've seen the band with 30 + people and with about half of that, 12-15 members. 

I LOVE The Polyphonic Spree.  Ever since I listened to their debut album, I have been smitten.  Yes, they are the band with like 30-40 members who play many different instruments (harp, trumpet, cello, flute, tuba, etc).  The members all wear robes and the concerts feel much like religious revival events (minus the Jesus talk).  No, they are not a cult.  No, they are not a Christian rock band.  The Polyphonic Spree is more than a band, more than music.  I have had significant emotional and spiritual things happen while listening to their music.  At one point I had a theory that their music could melt the soul of any black hearted person.  In other words, I believe that their music is so filled with light and love that people who absolutely hate their music are probably bad people.

Case in point.  During college, my friends and I used to take drives into the Ohio countryside.  Sometimes I was alone, and I'd either be playing The Polyphonic Spree or Sigur Ros, depending the season.  The Spree was great for emerging spring or descending summer.  I would drive around with my friends packed into my Ford Taurus and go exploring.  Well, one of these times, when I was playing the Spree, one of my friends at the time, Liz, complained that the music made her think of death.  She literally thought she was going to die.  I thought it was a strange reaction, especially since my other friends loved the music.  

Most people, including me, would associate positive and beautiful things with their music.  So I consider The Polyphonic Spree to be a litmus test to see who uses their powers for good as 'light workers' and who doesn't.  I'm being serious.  I've always felt that I was a part of something large with The Spree.  That I'm actually in this 'fragile army' spreading light and love by turning people onto their music.  Also note that my friend Sarah and Laura who went with me to the Columbus and St. Louis shows respectively didn't really know about Spree beforehand.  After the concert, they were both madly in love and told me that it was one of the best concerts they've ever attended.  What's more is that one of my friends actually put 'Follow the day and reach for the sun' on her van that was painted.  I inspired her to write this, as I turned her onto the band and also became associated with the essence of The Polyphonic Spree.  I talked about them all the time back in college.  I guess I really was spreading the gospel of 'reach for the sun'. 

Another point is that at every single show, I make friends with people who were previously strangers.  Not the same people either.  I've seen them twice now in NYC, and both times, I made friends with people who had similar interests and hobbies.  And that's NYC.  I have made concert friends before but never in NYC and usually only at Polyphonic Spree shows.  In fact, those shows are the only in which I feel comfortable going alone because I know by the end I'll have new friends.   

                              

This is a picture of my friend, Denise's, van.  On the side on neon orange it says, 'folow the day and reach for the sun'.

                                       

      

Me with my Polyphonic Spree robe (2004).  The other guy in the photo is also named Bobby.

                    

                   

        

Review of The Polyphonic Spree show at The Bowery Ballroom:

So, as I mentioned already, i was lucky enough to see The Polyphonic Spree in concert at The Bowery Ballroom last night, July 10th.  It was an epic show to say the least.  What I love about this band is that they might play the same songs but the actual show is never the same.  It's a lot like how Shakespeare is meant to be seen.  If you ever have the chance to see Shakespeare performed at the Globe in London, you can see the same play 100 times and it's never ever the same.  That's how a Polyphonic Spree show is best described.

So of course I was in anticipation for the main event but I always give opening bands a chance.  What's great is that I was at the Bowery Ballroom and for the first time.  I think I'll go back to that venue, as I like the intimacy and laid back atmosphere.  Even though you can't really hang out after the show, and they kick you out, they aren't as nasty as some other venues (ech em Terminal 5).  See, I'm a groupie, I like to hang out with fans after the show and talk to the band.  Anyway, so the opening bands were AVAVA and Harper Simon.

AVAVA:

  I liked this band a lot.  They had this hard edge but also a very trippy, psychedelic sound infused into what they were doing. It was a good blend of techno, rock, pop, synth, indie, and psychedelic rock.  It was three guys who were dressed in white jeans and white t-shirts.  The three guys played drums, bass, and keyboard.  Their sound reminded me of Spirtualized, Animal Collective, Brother's Past, and The Doors.  They had this neat fusion of sixties underground psychedelic rock with slow seventies bedroom/progressive rock (like Bread or ELO).  Then throw in the raw power of early Foo Fighters.  The vocals sounded just like Anthony Caleb Followill from Kings of Leon.  The lead vocals had a solid tenor tone and at times you could see the veins popping out from the singer's neck.  The vocals were smooth and liquefied.  It was never screechy or whiny though, as often rock tenor can become.  I'm a tenor myself, so I know.  I liked that the vocals and other instruments with synth was a sick blend of sound. 

It was definitely a unique and new indie sound.  There was an interesting blend of 50's, 60's, and 70's rock.  Some of the songs had a pop-like dance beat and others were more dreamy and hypnotic.  The sure thing was that every single song was unexpected.  Yet, everything flowed together.  There were themes and rhythms which repeated.  Parts of songs weaved into one another at times.  I liked the fact that some songs were intense and some were more relaxed.  And I couldn't believe that there was not guitar.  The drummer picked up a shaker at one point, and the keyboardist had a trumpet, but no guitar.  The lead singer played bass confidently and was well adept at handling both singing and strumming at the same time.  He definitely held the band together. 

The transitions were seamless.  The songs weaved in and out much like The United States of America, a late sixties' psychedelic rock band.  The instrumentals, at times were like Radiohead's 'Kid A' album.  The synth experimented with different sounds.  There was a good harmony of what I call masculine and feminine musical interludes/sounds.  What's more is that the entire band didn't really interact with the audience not because they were cold and distant, but because they were so into the music.  Not once did any of the members look up or snap out of their musical trance.  They were all in sync and fully connected to the sounds coming out of their instruments/bodies.  They were one, as a band unit.  You could jump inside of their music and shoot off into a different reality or galaxy.  I recommend checking them out.  You will not be disappointed seeing them live, and I have a feeling that we'll be hearing a lot from them.  You can find them on FB.

                                  AVAVA at Bowery Ballroom on 7/10/13

                         

Harper Simon: 

Harper Simon website

 There were six members in this band: 2 guitars, 1 bassist, 1 synth, a drummer, and a keyboardist.  At one point, during the middle of the set, a string quartet was brought out and played an arrangement by Gillian Rivers. The only critique is that at times the vocals were too soft.  It was difficult to hear the lyrics and words being sung.  It reminded me a little bit of the stylings of Elliot Smith or Andrew Bird.  The sound of the music, though had a distinct late 80's/early 90's vibe.  They kind of remind me of Hum, Polaris, The Pixies, Red House Painters, early REM, or Dinosaur Jr.  They were kind of like a harder rock version of Tripping Daisy, which is fitting since that was Tim Delaughter's band before The Polyphonic Spree.  There was this nice blend of country twang with blues and surf rock going on too.  I loved the instrumentals.  Not that the vocals were bad but I could have just listened to the instrumentals alone.  No vocals were even necessary. 

On the song, 'Division Street', there was a blues and rockabilly sound.  The vocals didn't really match twangy instrumentals, but it worked.  The lead guitarist (Mike Beum sp?) was incredible.  As I looked around, people were dancing to the music.  Not polite dancing but full getting down.  There were couples swinging each other around and others clapping and bopping along.  I liked the country twang which, on top of the soft alternative rock sound made something pleasantly new.  By the song 'Just Like St. Theresa', the string quartet was added.  It was a nice element of formal and informal.  I liked the infusion of the 2 violins, 1 electric violin, and the viola.  The sixth song, '99' was very very early 90's.  This is where it sounded a lot like The Pixies or even a pop/blues version of Dead Milkmen (with a lot less punk attitude).  Then on 'Dixie', it was a little more rock n' roll.  It had a faster beat.  The vocals were not aggressive at all.  The instrumentals definitely were the powerhouse.  I liked the infused stylings of country and blues with some of that 90's nostalgia alternative rock.  They are another band worth checking out and seeing live.

Harper Simon- 'Wishes and Stars'

                                      

                Harper Simon performing 'Just Like St. Theresa' at Bowery Ballroom 7/10/13

                                        

The Polyphonic Spree:

The review here is going to be very short.  And it's obviously not because I don't like this band.  I write more extensive reviews (from my notes) for bands I've never seen before.  When I've seen a band more than once and when it's one of my favorites, I talk about general things from the show.  I don't evaluate the music and talk about the sound because I already like the band.  And with The Polyphonic Spree, we've had a love affair going strong for ten years now.  

Their set list was comprised of the following songs:

Opener (with banner and white balloons)

Light to Follow

Hold Me Now

Younger

Popular

2000 Places

Get Up & Go

Running Away

Hold Yourself Up

You Don't Me

Light & Day

Best Part

We Sound Amazed

Soldier Girl

Sonic Bloom

Umbrella

Closer- Lithium

I loved that the start of the show started with a big white sheet banner across the stage.  Tim DeLaughter, lead singer of the band, wrote #benwillwin.  He explained toward the end of the show that a former bandmate of his from Tripping Daisy, Benjamin Curtis, is fighting cancer and needs all of our love, prayers, and support.  At one point, Tim got out his phone and recorded the whole audience chanting 'Ben..Ben..Ben' and 'Ben will win'.  It was definitely a testament to the power of positive energy intention.  And I'm sure everyone went home after the show and said a prayer for Ben, as Tim asked us to.  I also loved the white balloons that dropped from above and got tossed around like beach balls.  I had to pop some of them, honestly, because they were taking up leg room on the floor.  I was all the way up in front.  I was so close that I kept getting spit on by the trombone player.  Not literally but his spit valve would leak onto my head.  Yea, I was that close.  It was insanely and amazingly awesome!

I truly loved every Spree song, and I was glad they played old stuff and new stuff.  Of course what stands out for me are the songs: 'Light to Follow', 'Running Away', 'Light & Day', 'Soldier Girl', '2000 Places', 'Hold Me Now', and 'Sonic Bloom'.  What's more is that they even played songs that are off their upcoming soon to be released album, 'Yes, it's True'.  It comes out August 6th.  There were songs from Tim's Tripping Daisy days.  I loved every minute of the show to be honest.  Though the band was smaller for this tour, the sound was as if every single member was present.  However, I did very much miss Megan, the amazing flutist for the Spree.  Despite the truncated band size, from beginning to end it was a party.  When it ended, it was like waking up from a good dream.  I felt lighter and happier afterwards. 

What I like even more about Spree shows is that the audience is comprised of many different people.  There was a girl with a partially shaved head, platinum spiky hair, piercings, and tattoos.  She was getting into the music and much as me.  And right next to her was a guy who looked to be in his sixties, very much a caricature of a younger Mr. Magoo or something.  There were frat looking guys and grandmas.  There were hippie chicks and hipster dudes.  The thing about The Polyphonic Spree is that you cannot typify their fan base.  And I think they want it that way.  There is no label to their music and none for their fans.  Every single show is like this too.  The fans cannot be thrown into a box like other concerts I've been to.  I always observe the fan base and look around to see what other types of people like the same type of music I do.  With Polyphonic Spree, it is impossible to do this.  Their fans are as eclectic as their music.  And I love them for that. 

    Discography (condensed)- 

Beginning Stages Of (2002)

Together We're Heavy (2004)

Thumbsucker soundtrack (2005)

Wait (2006)

Fragile Army (2007)

Yes, It's True (Aug 6, 2013)

The Polyphonic Spree 'Light and Day' music video

The Polyphonic Spree- 'It's the Sun'

The Polyphonic Spree- 'Running Away'

Polyphonic Spree opening of show 7/10/13 at Bowery Ballroom

 

Polyphonic Spree performing their song 'Light and Day' 7/10/13 at Bowery Ballroom

Polyphonic Spree performing cover of Nirvana's 'Lithium' 7/10/13 at Bowery Ballroom

Here are some photos of The Polyphonic Spree set:

      

  


 

So yea, you can kind of see my fanaticism for The Polyphonic Spree in this post.  I LOVE LOVE LOVE this band.  There is only one other band that counts in my top two current bands and that's the Scissor Sisters.  Funny thing is that one of my new friends from last night, Amy (out of the many things we had in common) said she loves both of these bands too.  Amy actually reminded me of my friend Laura (who was with me at another Spree show) and even gave me a present (something that she made which reminded me of my friend Jessa, who also loves Spree).   In fact all the friends I make at Spree shows are people who I feel like I've known forever.  The only other times I've had this experience of meeting long lost friends is at Bonnaroo and at an Of Montreal show.  It's uncanny the type of connections and friendships I make at Spree shows.

 To me it's part of the band's charm and magic.  Especially since I also feel like I'm part of this big family.  The Polyphonic Spree is a big family.  Sure it was always my dream to actually be in the band and sing or play an instrument (which I can actually do) while donning a cool psychedelic robe.  I can live vicariously through my audience experiences, since The Spree really try hard to make the audience part of the show, part of the band, part of the whole experience.  Last night, Tim DeLaughter invited the whole top floor to come downstairs.  Then we all sat down while he came out into the audience and sang to us.  Yes, it's a family.  And I'm glad to be part of the Polyphonic Spree phenomenon and kindred fanbase.

Their new album Yes, It's True is due out on August 6th.  Reserve/buy your copy NOW!
 The Polyphonic Spree (New Fumes Full Album Mashup)

I'll leave you with some Polyphonic Spree wisdom:

Follow the day!  And reach for the sun!

Have a day!  Celebrate!  Soon you'll find the answer!

Polyphonically yours,

~R~

 "Still a man.
It seems the time has gone away but all at once you knew your mission well.
You're civilized it seems soon to paralyze.
The thought became the mission of your life.
The best place is to find your home.
The coolest is to find your way.
The best place is to find your home in time til' when the fool becomes a king." 

  -'When The Fool Becomes a King' (from the 2004 album Together We're Heavy)

"Well you know where you're going
And knowing is a comfortable fight
And your wish is pretending to slightly move over the light
And you sigh at the rainbow
That's coming from the other side
And you slide with the message
This trouble seems to give me some life
You're hanging around the day
You're fooling yourself with blame
You're taking it all to a future sight
Hanging around the day." 

-Hanging Around the Day (from the 2002 album The Begninning Stages Of)

A Cemetery Catharsis

  A cemetery is a very unlikely place for a concert, but that is where I ended up last Sunday, March 31st. I went to hear the Vulpes and Little Fox play at Greenwood Cemetery Chapel.  First of all, if you have not been to Greenwood Cemetery, you need to go.  It is very photographic and artistically beautiful, for a cemetery, that is.  I don't like cemeteries and I wasn't one of those kids to hang out in them, but Greenwood has a magic and it made my journey there into an 'experience', an 'adventure'.

  As soon as I walked into Greenwood Cemetery Chapel, I was smitten and I could tell that I was going to have a very unique experience for Sunday afternoon.  It was mildly ironic that it was Easter Sunday and I was in a chapel, with the appearance of going to church.  Actually, everyone there was in anticipation of music rather than religion so I was in good company I guess.  I mean, it is funny to find a good little Jewish boy in a chapel with a giant Jesus on the wall, everything primed for some Easter service but devoid of all of that.

The chapel had cool Gothic architecture and the stained glass was stunningly beautiful.  In fact, it reminded me a little bit of my college (Kenyon College) with its spires and buttresses.  The venue was just beautiful and could not have been a more perfect setting for the music I was about to enjoy.  It was small, intimate and fit fifty to sixty people quite comfortably in its pews.  I saw Tanya Lam (of Vulpes) in a two-toned blue long dress hugging and greeting people.  We had never met, but immediately she knew I was the blogger she invited to attend this concert.  She's definitely the type of woman you want to be friends with and hang out with.  She just has that energy!

                                      video: Day in the Life of Tanya Lam
                            

Little Fox: The concert started with Little Fox (Kathryn Lee Campo), a woman generating music as a solo act.  It started with her at the keyboard, barefoot.  I was quickly impressed.  She started hitting her microphone and clapping.  However, this wasn't performance art.  It was music!  I've never heard or seen anything like it but it was amazingly brilliant.  She would record a track and then record over the previous track again and again.  She would record layers upon layers of what she would play and sing.  She started playing a melody on the keyboard and then would sing or start playing the violin.  The music was made by her recording the bits and pieces over one another.  She just kept adding layers.  It was live and public, yet very private at the same time, like she was recording something in her apartment.

I thought it was cool to see each song being constructed right in front of our very eyes.  She would make the harmonies all herself and each layer synced up perfectly.  The piece from the keyboard fit with her soprano melody which then fit with the alto part and then into her tapping the microphone.  To most people it would seem weird, but to me it was so fucking cool.  The awesome stuff Little Fox was doing with the audio reminded me of the ground breaking stuff the 60's band, United States of America, was doing with analog back in the late sixties.  Her sound was so trippy and hypnotic; it was very fitting for the soundtrack to a cemetery.  The only downside was that the speaker had some feedback issues when the volume go too loud which ruined the moment of some of the songs.

I also liked that the sound was so basic and primitive (in being unpretentious) but yet it was very high tech.  You couldn't do this type of music without the kind of equipment that was there but the music fought with both the ordinary and bizarre, the other worldly and contemporary.  There was a play of light and dark, and like I said, it was perfect music for a cemetery chapel.  Each song fed perfectly into the next and Little Fox was always totally absorbed into her music, and she seldom looked up.  It really was like being invited to a private recording, like we were seeing something undramatic yet rehearsed.  The dreamy feel of the music transported the listener to a far away land, to the past.  In fact, it would be an awesome act to precede Ginger and the Ghost (another recent band I saw).  I loved that the nature of the music was unpredictable and fresh; the audience was on the edge of their seat to know what was coming next.    It reminded me slightly of Cat Power or Feist but really, Little Fox was unlike anything I've heard/seen.
                                       'Dish Soap' by Little Fox
                    

  Reverb Nation: Little Fox

Vulpes and Impulse String Quartet: Tanya Lam was in charge of both of these projects.  Vulpes is her solo act.  She came out, at first, with a violin and then sang.  She is certainly something of a musical prodigy.  She would move between different instruments with ease.  She mixed jazz and classical/chamber music with a new twist.  Again, this was something I haven't heard before.  Tanya's vocals were shrill (pleasantly so) and precise at the same time.  Her lyrics hit you over the head like a glass bottle but her voice is smooth as glass.  It's a play of soft and hard.  Her voice reminds me a little of Brittany Howard from Alabama Shakes or Priscilla Ahn.  There was something distinct and raw about the way she sang.  Her singing was alive and full of energized power.  Her music definitely has and edge and it isn't something you can get from listening.  You HAVE to see Tanya live.  You just do!  Her energy is kinetic and she is so soulful and passionate with her vocals and lyrics.  She feels every word she sings.

With the string quartet, it was just an extension of Tanya's solo act.  There were four people, three women and a man: two violins (Alex Weill on 1st violin and Hana Segerstrom on 2nd violin), one cello (Susan Mandel), and one viola (David Fallo).  Tanya played an electric guitar.  The balance of acoustic and electric strings made a completely unique and balanced sound.  Again, the hard vs. the soft, the electric vs. the acoustic.  I loved the fusion of classical with electric guitar.  Sheer genius!  There was also an unexpected quality to the music here.  At one point audience members would tap on glasses that made noises like dinghies or buoys lost at sea.  I felt like I was on the ocean, on a boat, being tossed in a storm.  I guess this was fitting, since the theme of this set was water.  It was about the wisdom and taking in the space around you; how you always have to mold to the people and places around you.

I definitely understand the whole elements thing.  I, myself, am made of fire.  Being a double Sagittarius, I am consumed by fire and it is my wife (an Aquarius) whose water ways always calm me down.  The only thing I wished was that the idea of the elements was explained a little more, perhaps in the program.  There was a young blonde woman who explained everything right between Little Fox and Vulpes but with little context.  I think she was late to the show, and perhaps she had a longer monologue.  I'm not really sure.  I feel that Tanya had done a lot of work thinking about the meaning and connection to the elements.  So I would have liked to see and understand her full vision.

Kate Hannington was the arranger/conductor.  But she only came on to conduct for a sliver of a moment in one of the songs.  At first, I was confused at who she was and why she wasn't conducting the entire time.  She sang on the last song, which was included in the program.  I liked that there was audience participation, as we were invited to sing along on our appropriate part with the last song.  Our notes were even played for us by Kate which made us all feel like part of the act.

Tanya reminds me of my friend, Doran Danoff.  Doran is also a musician; he mainly records out in LA though sometimes plays in his old 'hood Brooklyn.  They have the same energy.  She plays different instruments and I'm sure she could play different styles of music, just like Doran.  Tanya's music is atmospheric and you have to see it live.  It sounds different live than it does on a recording.  I actually hope that my friend Doran can get together with Tanya so that they can do a show together.  I think they'd produce something completely out of this world.  Tanya has so much passion and energy for her music.  I love that it makes you connected to the universe.  A cemetery was a very appropriate venue as anywhere else would not have been fitting.  Tanya also reminds me of a mixture of Joan Baez and Ani DiFranco.  She has that 'it' factor.  The magnetic quality that make for legendary performers.

My only disappointment was the concert ending.  I wanted more.  The music carried me away to a faraway place.  It was like I was sleeping, dreaming, but I was completely awake.  For music to have this effect is quite extraordinary.  I have seldom had out of body experiences when listening to music.  I have also not felt the same energy and connection that I felt on this particular occasion.  Sometimes what I'm listening to is solely music, my favorite band, but this was different.  This was beyond music.  It was art.  It was beauty.  It was the human soul expressed in song, poetic and sublime!
  
Vulpes on Soundcloud

                                            Live at 860 Sessions: 'Money'
                              

                               'Captain's Remourse' from Reflets Dans L'eau
                           

                               Tanya Lam live- 'Obsession' (from 2008)
                       

I encourage everyone to check out Tanya Lam of Vulpes and Little Fox.  A truly different yet mesmerizing musical experience that you will not soon forget!

PS: Apparently my three year old son deleted ALL of my video and pictures from the event.  So instead, I will have to try and find other videos on Youtube and the worldwide web of both Vulpes and Little Fox.

Musically yours,

~R~

                                  

Future Sounds

Last night I saw an amazing show at R Bar in Manhattan.  I was invited to attend the show by my new friends, in the band, Of Clocks and Clouds.  There were three bands playing: Of Clocks and Clouds, Ginger & the Ghost, and Eva and Her Virgins.  Very different, yet they all gelled together very nicely.  R Bar had Burlesque and face painting going on in the background as well as a very colorful and eclectic crowd.  I felt very at home here, as I saw a girl with a pink Mohawk, various tattoos and piercings, as well as people who donned costumes like it was Halloween.  I appreciate and prefer the strange and eccentric atmospheres and this venue felt very much so in that element.  I'm sick of going to bars and venues seeing hipsters, scenesters, hip-hop wannabees, and other posers.  It was nice to be somewhere original where I was around people who looked artistic and colorful.  Such a relief!

So let's get down the discussing the music.

(-:   Note: All photos and clips below this text are taken by me.  If you use them, at least give me credit.  :-) 

Of Clocks and Clouds:

 It is no surprise that they put on a great show.  Actually, I have to confess that I liked them even more than the first time I saw them.  I knew all the songs, and was watching them for them rather than listening to everything I listen for when I'm watching a band for the first time.  I actually could sit back and just listen rather than having a zillion thoughts pour through my brain.  Their set had even more energy and electricity than the first time too.

I think it had to do with many things.  First, the venue fit their personality and style much more than when they were at Spike Hill.  The other bands playing also worked well with their style and energy.  One doesn't often think about venue and how it can damper or heighten a band's synergy, but it does matter.  This is one reason I refuse to EVER go to an amphitheater concert again.  Not unless I have front row seats to a back to back show by Aerosmith, Kiss, and Queen.

Second, Ross, the band's original drummer was playing with Joe and they felt more at home in their skin.  Even though the last show had Joe's brother drumming, it does make a difference when a band has replacement players.  It's a reason why I hesitate seeing bands like Smashing Pumpkins or Van Halen.  They don't have the original line-ups and that makes me weary of them as a band.

A final reason for Of Clocks and Clouds stellar performance was the energy of the crowd.  The crowd at R Bar loved them.  L-O-V-E-D!!  They had shouts and cries of adulation from the audience who truly was enjoying their music.  I have a feeling that they gained a lot of new fans after their set, as they played flawlessly.  As I said, they had a lot of fresh, electric energy.  They were 'on' for sure.  Even I was mesmerized as if I were seeing them for the first time.  The music tapped into raw emotion, and actually, I didn't want their set to end.  Much like the audience, as they all chanted 'encore' and 'one more' after their final song.

Of Clocks and Clouds do not have a CD as of yet.  They are about to start filming for their first music video.  It is impressive, as they are pretty new on the scene.  I talked to Joe after the show and he told me how this band started as a 'bedroom' project.  He met Ross at his former band's show and they talked about forming a band together, enter Of Clocks and Clouds.  I was intrigued to hear that, at one time, they had more than two people.  They went through a couple of bassists even.  Though, being a bassist, I know what trouble they can cause (heh heh).  Bassists are the real divas of the band!  Believe me!

 I'm glad it's just Joe and Ross though.  They don't need any additional members.  Just as Polyphonic Spree works with 20 plus members, Of Clocks and Clouds works with just two.  Ross's drum playing melts perfectly with Joe's guitar solos and control over synth/sound effects.  Adding any other members would spoil the recipe.  It would just become too much/little, too sweet/salty, too acidic/soapy.  The drum and guitar solos feed off of each other and fit in, like a jigsaw, with the synth/electro backings.  For now, you can get Of Clocks and Clouds music off of Soundcloud and Bandcamp.  Honestly, though, I hope they put out a CD (preferably live).  They'd be fine with a studio version, as they are good but live, they are great!

I still think Of Clocks and Clouds echoes this raw 90's rock sound.  It's like industrial/hard rock/grunge with some twinge of indie/electro-synth.  You can't stop moving to each song and it's hard not to love them.  Songs like 'Travelling at Light Speed in Hyper Reality' is quickly becoming my favorite.  The opening is a promise of a high energy futuristic blast off right into outer space.  You can hear the reference to bands like Kraftwerk.  And I love that machine robotic sound in the song that a lot of music I like is producing nowadays.  Then there are songs like 'Need you Now' which echo to something darker, like Stabbing Westward (remember them?)  I've said they're a fusion of/reference to Radiohead, Flaming Lips, Stabbing Westward, (lower key) NIN, Gravity Kills (an STL band) and Kraftwerk with a little bit of reference to newer bands like Apparat and Tanlines.

I know I like to make references to other bands but truly, Of Clocks and Clouds are original. They are themselves.  You should check them out for yourself because they aren't going anywhere.  I LOVE that they bring this 90's rock sound and fuse it with the hip and now.  It's as if Joe and Ross, like Bill and Ted, had an excellent adventure travelling through time and we're all back in 1996 watching a band blow our minds while they fuse sounds of the future with sounds of the now.

                               
                        
                             

                            
                             
                                
      
                             


Ginger & The Ghost:

Holy shit, I have a new band crush.  To say they blew my mind is a total understatement.  I'm so glad they came to us from Australia (Melbourne).  They are going to be a hit!  I know it!  I have had their set running through my head all day long.  I wish I would have bought a CD because I am smitten.  Lord oh lord am I smitten!

First of all, they have the fucking theatrics of David Bowie and Freddie Mercury.  They make rock back into a spectacle, as it damn well should be.  Missy, the lead singer was dressed in a blue sparkly leotard and had on a coat vest with shredded, white pieces of fabric.  She donned a crown on her head and had on various pieces of striking jewelry.  The guitarist had on a similar styled jacket, that was torn pieces of cloth and leather.  Underneath, a simple shirt and pair of pants.  They each also had face paint/make-up that made them resemble faeries from Shakespeare's own forest.  I truly felt like I was watching a band with Titania and Puck as its sole members.  Their energy was magnetic and unlike most of what I've experienced in live music before.

There is something tribal, raw, spark igniting, and well feverish about their sound.  Missy's vocals are like a mix of Kate Bush, Gwen Stefani, and Cyndi Lauper.  Missy has the same 'witchy ways' of Florence Welch from Florence + the Machine; witchy meaning entrancing and mysterious.  Missy, though, has a nice vibrato and uses stylistic/reverb effects on her vocals that make them even more unique.  Their total sound is like M83, Of Montreal, MGMT.  Do you know the video for 'Electric Feel' by MGMT?  It's like a band emerged out of that exact sound.  They fuse this danceable indie pop, electro-synth sound so very well.  It's not all inorganic sounds.  Oh no!  They are very organic.  At points, they switch off to different instruments.  Like a Rainstick for instance.  Missy strums on, what looks to be, an electric zither giving you that distinct old-thyme sound.  In fact, parts of their songs sounded just like the slower songs on Smashing Pumpkin's album ,Mellon Collie and the Infinite Sadness.   It has to be the zither!   They had chimes and the drummer had a mean bass drum that both he and Missy would bang on for effect.

Truly, this duo looked like extras from Mad Max or a children's story like Where the Wild Things Are. Something fantastical and sublime, right out of your most pleasant dreams.  The music, too, was part of that dream world.  They're leading us all into the desert as the world ends.  But you don't care.  You want to detach from reality with them.   In fact, listening to them made me feel young and took me out of my own body.  I felt silly for not being dressed up like them.  I wanted to hop into the forest and have them lead us all into faerie land.  PS: I do believe in faeries!  I've seen them with my own eyes!

You really can't take your eyes off, Missy, the singer.  She dances and sways with the music.  She is totally in the moment and feels every beat, every note.  Their music, their act is magic.  And, like I said, it sweeps you away to a magical Narnia, Neverland place where we're all young and beautiful.  It's hyptotic, eerie, and sexy all at once.  Missy has this Blondie (Debbie Harry) and Pat Benetar vibe.  I love that both singer and guitarist are barefoot.  Very earthy and mystical.  It calls to mind Burning Man, which Missy said she attended.  In fact, their song, 'Red Balloon' arose from that experience of hers.  Every song is danceable and catchy.  And this is a band that you HAVE to see live.  It is a full body experience.  You can't just listen to them on the radio or Itunes.  You have to see them live!

And, I hope they do a show just with Of Clocks and Clouds because the two work very well together.  Of Clocks and Clouds perfectly fed right into Ginger & The Ghost.  It was like I was in charge of the mixing (I do make very pleasantly harmonized mix CDs or so I've been told).  Really, though what works about both of these bands is that their music tells a story.  It involved your entire being and soul to hear their music.  It's beyond music.  It is art!  True art!

                              

                              


                              

                             

                            
                                            
                                                  Video for 'Where Wolf'
                              

                                     video for 'One Type of Dark'
                             

Eva and Her Virgins:
 So though this band doesn't fit my personal style of music.  In fact, I doubt I would have found them if they had not been playing with the other two bands.  However, I did enjoy their show and they definitely have a lot of raw talent.  They definitely represent the dark side of crazy.  I was surprised to hear that they're from Colombia (the country).  I wouldn't have known, if someone else would not have mentioned this fact.  They represent the dark goth hardcore circus/biker side of American culture well!

Eva and Her Virgins is four individuals: a lead female vocalist, a bassist, a guitarist and back-up vocalist, and a drummer.  I certainly liked their original look.  It was dark and industrial.  Like they were playing for a biker bar of goths and punks.  The drummer was shirtless and had on sunglasses.  The bassist had a black wife beater and black pants.  The guitarist and synth/back-up vocalist had a black hoodie and black jeans.  The lead vocalist had on a black tutu, what looked like a corset and gold/black glitter that looked like mud all over her shoulders and arms.  This band was not about good looks or polished sounds.  Which is fine with me.  I prefer that punk/underground rock sound.  Music is not all about perfection and plastic looks.  Not at all!

So I liked the originality of this band, for sure.  Actually, what I thought was their first song was only a warm-up.  I liked the raw power, the aggression and anger of their sound, however.  There whole set was very very punk.  The lead singer reminded me of Wendy O. Williams of Plasmatics fame.  She had the same gritty, unpredictable energy going on.  At points, the lead vocalist would straddle the metal pole that was on the stage, meant for burlesque shows.  She would make all these interesting facial expressions, grimacing and showing disgust.  She'd pound her head, hit herself, and make gun motions at her head.  You cannot copy this originality.  In fact, the singer's facial expressions reminded me of one Ana Matronic from Scissor Sisters in the expressiveness and outlandish caricature of each look and taunt.

The lead singer looked like she had just rolled in mud and had not slept in days.  However, out of character, she would smile and wink at the audience so I knew it was part of the act.  The singer purposefully played with the sweet, coy and gruff, crude perception of a female.  I liked that very much!  Lead singers who are also females don't have to be fucking Taylor Swift!  Every time she screamed, it was like a tea kettle going off.  She would tug at her microphone, wrap herself in electric cords, and crawl around all over the stage.  At one point, she even jumped up onto the bar and stage dived into the audience.  She sprayed the audience with water from her water bottle and at times looked drunk and disoriented.  It looked like she just woke up from a coma and was getting reoriented with her surroundings.

I liked how the lead singer's being makes reference to Shirley Manson (of Garbage), Joan Jett, and Wendy O. Williams.  Truly, a female Sid Vicious.  As a punk ballerina, she truly made the band.  The other members were good but she was definitely the key to their act.  Not to say, however, that 'the Virgins' were without talent.  They are really into their music and the back-up vocalist/guitarist also had interesting facial expressions and you were drawn to him as much as the lead vocalist. But 'Eva' is certainly the center and glue of this band.

                         

                                  

                                 
                        
              
                        
                                                 video for 'Hammer'
                        
                                   'Disrespect'
                       
I want to take a minute to thank all three bands for their wonderful performance.  Performance art it was.  I was not bored.  Not at all!  And I thought all three acts worked really well together.  Truly raw and full of neon current.

I also want to reference other bands I feel are worth mentioning below.  I've talked about them in previous blog posts.

Other bands/artists to watch and/or check-out:
  (A cheat sheet from my other new music posts)

• Bosco Delrey

• Tanlines

• Wild International

• Doran Danoff

• Foxygen

• Cuddle Magic

• Birdy 

• Bottin

• Cameron Stenger

• A House of Waters

• Michael Kiwanuka

• Alabama Shakes

• Cults

• The Milk

• Ruby Velle and the Soulphonics

• White Lies

• New Look

• Animal Kingdom

• M83

• Filthy Dukes

• Passion Pit

Check out all the bands mentioned.  I promise you won't be disappointed.

  Rockin' out in the free world,

~R~

Brooklyn Beats

Spike Hill- Williamsburg (Brooklyn) 

Saturday, March 9, 2013

BAND BILL-

Maya Killitron

The Lounge Act

Of Clocks and Clouds

Dussel

Revolving One 

Tattoo Money
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Maya Killitron- (#1)

 This young lady is definitely going places.  She opened up the night with a bang, zap, pow, an explosion of R&B/Hip-Hop, electronic/dance-pop infused goodness.  Her voice is like buttah, seriously.  In today's world, it is hard or next to impossible to be a one woman show, but she does it with flying colors.  Dressed in black spandex, black leggings with pointy pockets, a gold necklace, and gold sparkly flats, she does not fool anyone with a girly girl likeness.   She is tough as nails as she spit lyrics like, "Your bullshit I hate it, finally I can face it."  DJ Denver had her backup electro beats.  But the start of the show was definitely Maya.

She hails from Toronto, a feisty, fiery Canadian.  I like that she mixes in different styles and often incorporates spoken word into songs.  She also knows how to work a crowd, serenade and talk to (not at) them.  You feel like you're having a nice, casual, intimate conversation with a dear, old friend.  After one of her songs, she told the audience that, "It's hard to get Brooklyn to dance" but even harder to get 'people in Toronto to dance' because Canadians are 'assholes'.  That's right, Brooklyn, we might be too cool for school with our aloof hipsterdom, but apparently Toronto is worse.   I also like her telling the audience, "Who here has date/fucked a musician?"  and responds "STOP-they're all assholes."  A comedian to boot.  

I like that she says 'sohrey' with that Canadian twang.  It adds to her charm.  I like Maya's free style vocals.  Her uninhibited nature causes her to dance and writhe on stage as if she's at home in front of the mirror.  My one complaint is that Maya's voice was often hard to hear.  And you want to hear her voice.  I wonder what she'd sound like backed by a live band, much like the late Amy Winehouse.  I would say Maya's voice is a mixture of Nelly Furtado, Alicia Keys, Leona Lewis, and a tinge of Beyonce (without the diva).  Her vocals are SOLID!  She is the real deal!  And thank goodness I didn't dig her up watching American Idol.  She's too good for that trite, banal shit!  Even when she does a 'sad ballad', the song has a beat and is quite rhythmic.  She is definitely one to keep an eye out for.  She worked with a slue of artists and DJ's namely in Brooklyn, Chicago, and Toronto.  She plays multiple musical instruments including violin, saxophone, and piano to name a few.  She was asked, at only 17, to attend the Banff International Jazz workshop and got to play with Esperanza Spalding.  Impressive if I say so.  

Maya, if you're reading this,  you go get 'em, girl.  You are a spitfire and you will go far.  In today's music industry, to be female and talented (and good looking) is a blessing and curse.  But for you, I feel it will bring blessing upon blessing as you seem too street wise to fall for the pitfalls of stardom and fame.  I hope I see you as a Grammy nominee soon!

                                          Video for 'Red Dress'

                   

                         cover of 'Rolling in the Deep' (by Adele)
                 

Lounge Act- (#2)

This band was also pretty good.  With two guitars (Simon Guzman and Jordan Wuest), a bass (Roger Walsh), and a drummer (Nick Ciccantelli) they eased right from tuning and setting up into their set.  They have this 60's rock vibe, but more of the darker side of that era.  They were like a new age Doors mixed with The Animals.  That's the vibe I got.  The lead singer (Guzman) was no Jim Morrison (that's a good thing) but he had this dark, hypnotic quality to his vocals and lyrics.  They were certainly no One Direction!  Thank goodness for that.  I could see them opening for a band like Foxygen (who also have a vintage 60's vibe).  Foxygen and Animal Collective!  They all exist on the same plane of reference.  However, Lounge Act has a tinge of the British 60's too.  A very gritty 60's freestyle mix of hard and edgy with sensitive.  I call it 'hard emotional' with a 'rough glass sensitive' add mixture.  

I also like that they went from simple and basic riffs to more complex solos and chords.  At one point, one of their guitar riffs sounded a lot like Dave Brubeck's 'Take Five'.  I like that they build on chords and notes, making them get more complex.  I got visuals of walking down a 'dark desert highway'.  No, literally, a New Mexico desert night, open and vulnerable to the elements naked, cold, and alone with coyotes howling in the distance.  The guitar solos were lit on fire, they were nasty solos.  Some of the solos were trippy and reminded me of the underground  psychedelic bands like The Electric Prunes or Tomorrow.  And, the lyricism and melody glowed a very sinister green flame.  I also imagine this music in a Calvin Klein or Levi's commercial in the sense that it has that other worldly, dark, rebel quality that those types of commercials have.  This is the music that James Dean would cruise the highways to on his motorcycle.  Easily the soundtrack to Easy Rider.  

My only criticisms are that I wish the band had a standard 'look'.  I liked that the drummer had on a dark tie and a white shirt.  Maybe having the whole band attired in that look would be too referential to the sixties, but I feel like it might have been cool.  I also wish that some of the songs had more structured endings.  A few of the songs just ended abruptly, which is probably their style but it went against the build that they achieved during each song.  I liked that no band member was too important.  Every single member was featured at some point with a solo.  And they're ALL talented musically.  No one is being carried by anyone's coattails, which is refreshing to see.  You can easily get lost in the instrumentals.  I also like that though referencing the sixties, they also reference the 70's and 80's as well.  Some metal riffs get fused into the otherwise psychedelic sound.  Their song 'For What It's Worth' was their golden ticket.  I see this becoming a big hit.  The drum solo at the start is amazing.  I hope they get a break in a commercial (like Target who sometimes uses edgy music).  I don't think this will be the last you'll hear about them.  Not by a long shot.  Too much talent to let go to waste.

'For What It's Worth' The Studio at Webster Hall (6/12)

                           

From Spike Hill (3/9) 

                           

Of Clocks and Clouds- (#3)

This is the band that I mainly came to see.  They tweeted me and I listened to some of their stuff.  Because they were having a free show, and I liked their music, I decided to check them out.  I was NOT disappointed.  This is also a band to watch.  What's impressive is that it's just two dudes, the drummer and a guitarist who also does synthesizer/sound effects.  Joe Salgo plays guitar, does synth and vocals as well as writing all the lyrics.  The drummer is Ross Procaccio, but when I saw them Salgo's brother was filling in.  He did an amazing job filling in by the way.  If Salgo wouldn't have mentioned it being his brother, I wouldn't have thought anything was amiss.  Of Clocks and Clouds have a Kraftwerk influence, which I definitely can hear and appreciate.  Kraftwerk is an underrated band and being that I'm obsessed with machine/robotic sounds fused with music especially from the late 70's/early 80's I found myself really enjoying the Of Clocks and Clouds set.

The electronic beat seemed to be pre-programmed in, which is good since the guitarist was the one doing all the sound manipulation.  What a multi-tasker!   I mean he writes all the songs, sings them, and manipulates the effects.  WOW!  I used to sing and play bass in a band (in high school) and that's hard enough.  I can never understand how people multi-task their musical talents, not playing multiple instruments, but doing them all at the same time.  Respect!  I like the poetic lyrics and there is a nice balance of vocals, drums, and guitar.  Nothing overpowers or gets underscored.  Everything balances quite well.  There is nothing lacking or overwhelming which is too often the case, often the fault of sound technicians or the board operator.  Of Clocks and Clouds reminds me of an American Tears for Fears, Depeche Mode, or White Lies.  The latter being newer.  However, they have this great 80's New Wave or underground alternative (Ultravox, B-Movie) sound but they make it fresh.  There is also a tinge of Stabbing Westward, something more gothic and dark.  I feel that industrial/goth/electronic element and it's not out of place.

Of Clocks and Clouds is very unpompous and not showy at all.  You feel like you can hang with them after the show and chat over some brews.  I also like that the music could be on a crime show like Bones or CSI.  It's dark and deep enough to make a show like Law and Order: SVU even more sinister.  The music is mainstream enough to be big but it's not cliche or ironic enough to be Mumford and Sons (who are annoying the shit out of me these days) and not vapidly mainstream like Blink 182 (who suck live).  I feel that there could be more interplay with the electronics and synth.  I really enjoyed the sound manipulation and lyric echos orchestrated by Salgo.  The vocal effects were amazing and like nothing I've heard.  Innovative like The United States of America (not POTUSA).  I loved the song 'Love Will be My End'.  That's definitely hit worthy and stands out as both intense and hypnotic.  Of Clocks and Clouds is much like Flaming Lips in that their lyrics seem simplistic but at a closer listen, you can tell they're very soulful and deep.  Great music for a foggy, rainy misty day.  Yes, a blend of Radiohead and Flaming Lips.  I hope I see them again, live, soon!  Bravo!

                                        'What Should I Believe?'(At House of Yes)

                      
                                                                'It's Over Now'
                                        

                                                     'Need You Now' (at Pianos 1/6/13)

Dussel Has Friends (#4)- 

I have to be honest.  This was my least favorite band of the night.  They are a blend of alternative and hip-hop.  However, I felt like I was at a frat party.  This is just a really good college band playing at someone's fraternity house.  There are six people in the band: two guitarists, a bassist, drummer, a vocalist, and a guy on electronics.  Two guys are back up vocals.  It's an interesting mix in that the band is interracial which you don't see a lot.  It's either all black, all white, all Latino, etc.  I like when there's a blending of races and genres.  The labels get blurred.  That's one thing I, in fact, DID like about Dussel.

However, a lot of the instrumentals were simple rock riffs.  There was some electronics, but not nearly enough.  It was hard to hear the rapping and vocals, as it was drowned out by the instrumentals.  I liked the energy and personality of the vocalist/rapper.  He has a lot of great energy and connected to the audience well.  He made their music into feel good music, and bearable for me.  I also did not like that they took riffs from known rock songs like Weezer's 'Say It Ain't So' and Nirvana's 'Smells Like Teen Spirit'.  Let me say this very clearly.  I HATE when any artist takes a well known rock riff and then doesn't do it much justice.  I'm very territorial about my rock and especially Nirvana.  I almost walked out the door when I heard the famous 'duh duh duh neeer neeer' that everyone associates with the anarchy cheerleaders in a pep rally gone awry music video.  I literally almost walked out.

Though I'm glad I didn't because I got to hear that this band does some great funk.  If they mostly did that, just did funk like Sly and the Family Stone infused withe some rap, then it might be more enjoyable.  However, most of the songs were 'cute girl shake your ass' stuff.  I felt it was too similar to Kid Rock or Nickelback (who I find irritating).  I felt the novelty of this band wear off by the fourth song.  It really wasn't until they did some funk, that I was woken up from my boredom.  Oh and they also stepped on a Harry Belafonte tune, 'Jump in the Line' (my fave).  I did not like Dussel's rendition, however.  Sorry, I'm just a Debbie Downer here.  I just didn't like the appeal this band may have had to some.  It is a talented band of musicians, and that's why I say doing more funk would bare their soul and showcase their high  level of talent.  I feel like they're selling themselves short, like someone handed them some music to play and they said, 'okay, the money is good' and threw away whatever they actually had planned.  More originality.  With their funkier stuff, they remind me of Living Colour (of 'Cult of Personality' fame).  I did like 'Summertime' and felt that could be a hit.  It was different than the other songs.  Maybe it's just my aversion to feeling like I'm in a fraternity, but it really was like a college kegger in Williamsburg.  Definitely not my scene!

                            'Summertime' (in Philly 2/11)
              


                       video for 'American Made'
             
            

Tattoo Money (#5)-

This was the headliner of the night.  They were doing a CD and music video release party.  Their video had zombies in it (big points in my book).  I actually liked this band a lot.  Three people: vocalist and guitarist, bassist, and drummer.  I actually enjoyed this band the most.  They have an IT factor.  I could easily see them on Jay Leno or Jimmy Fallon.  They have swagger, a coolness factor.  You want to know these guys.  I liked that they handed out a card with a free download of their new album.  Most artists sell their stuff for $20 per CD at shows (if you're lucky).  These guys are definitely chill.  The drummer had on a dashiki (and he's white).  The vocalist/guitarist had on a stovepipe hat and blazer donning an Andre 3000 (from Outkast) look.  

I liked the opening, 'Diamonds in the Sky'.  A Rhianna cover but the originality of the song made me doubt it to be a cover at all.  I think of Tattoo Money's music as surf meets rockabilly meets doo-wop, kind of a fuse of Lenny Kravitz, Outkast, Yes, and Pink Floyd.  I'll call it 'funk-a-billy trip-hop'.  I loved the song 'Wolf Ticket' which has some nice psychedelic reverb.  I have never heard anything like this in my life.  The lead singer has tons of charisma and the dashiki donning drummer was insane.  His facial expressions were intense, letting you know that he is totally enveloped in his own music.  I also liked the song 'Melt With You' in its genre defying, face melting wonderment.  That was the real shit!  Golden shit!

  I liked that Tattoo Money did a cover of the Lumineers' 'Ho Hey'.  I cannot stand that song.  It is hipster bullshit and is the anthem of Williamsburg.  I heard it in the corner market on Bedford and W 7th, before the show and heard everyone in the entire store singing along.  BLECH!  But Tattoo Money sang it with swag and with sardonic irony.  That's why they're the shit, Tattoo Money, not The Lumineers.  Tattoo Money was the highlight of my evening, despite the other bands/artists having lots of talent.  I was reminded of Cee Lo Green and Dungeon Family injected with Moby Grape and Buffalo Springfield.   A little early Chicago circa '25 or 6 to 4'.  Funky, fresh, and dynamic.  I would see Tattoo Money again and actually pay some money to see them live!

                         video for 'DJ Please Don't Play No Dubstep'

                 

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The other band, 'Revolving One' did not show.  Maybe they played after Tattoo Money because I left early.  Not because I was bored but because I'm old and a dad (and my wife hates me getting home too late).  She lets me out to concerts and I don't like getting home past 1 am.  Anyway, that's my two cents on what I saw.  If you catch any of these bands/artists, I hope you enjoy what they have to offer.  And like I said before, they all have unmeasurable talent.  Even though I liked some acts more (or less) than others doesn't speak to their talent level.  It just speaks to my level of taste which is totally subjective.  Music is even more opinion forming than fashion and religion combined.  And I usually like stuff off the beaten path anyway.  So, I hope any of the bands who I write about don't take offense.  You're all very talented, and I'm sure you'll go far in the really nitpicky and grenade filled world that is the music industry.

Musically yours,

~R~