Live Review: A Place To Bury Strangers/Hooray For Earth @ Motorco, 3/11/2011

If there's one thing I love, my friends, it's hitting the road for an out of town show. It feels like a teensy vacation, venturing outside state lines to go see some music at a club outside your usual circle of venues. And Durham's Motorco might just be my favorite non-local spot within driving distance. So give me the chance to go see two amazing live bands at such a great venue and odds are good I'll make the trip. Even with all that hideous DC metro Friday evening traffic. But damned if Hooray for Earth and A Place to Bury Strangers weren't worth the trip and then some. I don't really know what else could be better on a Friday night.

Hooray for Earth, some of my new favorite New Yorkers, are definitely a special live band. They have this certain feel to them, a rush of breathless, frenetic yet totally chill energy. It's the sound of the promise of beautiful warm weather, and to my winter coat-wearing ears they sounded simply delightful. To me, they're at their best when bouncing all over the place sonically, buoyed by lively drums and an inescapable feeling of excitement. At times, the room lacked a little intensity, but I think a big part of that was the drunken, basketball-glutted Duke and UNC fans in attendance. Taking cues from their lovely noise, the accompanying background images were a collection of swirling, dizzying colors and shapes. Big, clunky riffs and an uneven, awesome drum beat hallmarked a lot of the songs from their upcoming LP. "The barbecue truck is fuckin' rad," they opined between killer songs that went by much too quickly. Initially, I wasn't quite sold on this tour pairing, but having seen Hooray for Earth again, and heard more of their great, great songs, I think it totally made sense. In a way, they're like the sunshine to the stormcloud of animalistic aggression that is A Place to Bury Strangers. They didn't even throw my jam ("Surrounded by Your Friends") into the set, and they were still daggum fantastic.

So too was A Place to Bury Strangers. They've been just about flawless each and every time I've seen them, and are without a doubt one of my favorite live bands. And I made damn sure to have myself some earplugs for this one. The crowd was still on the lackluster side for their set, but the band played like they didn't notice. One song in, Oliver was already going gangbusters with his guitar-playing contortions and herky jerky moves, a precursor of the awesomeness to come. They weren't, as usual, big on banter, but early on we were informed that drummer Jay Space had a broken collarbone. After their set, I'd have said I didn't believe it. He, and the rest of the band, carried out their industrialized shoegaze with gusto. "Deadbeat," one of my most-loved APTBS songs, sounded about as good as I've ever heard, with that growling bassline and Oliver's onslaught of vicious guitar noise. The guitar bore the brunt, too, ending up tossed across the stage before the song was over. My most favorite song came right after, an extra feedbacked and extra slinky rendition of "Ego Death." It was nothing short of ferocious. The trio gritted and grimed and fuzzed and tore their way through their set with much savage force. And I ate up every last minute. Also notable was "I Lived My Life to Stand in the Shadow of Your Heart," which might have been my favorite song of the night. The black and white ballerina projections were the perfect juxtaposition to the sheer brutality of the merciless fuzz. The instrumentation in this song in particular was nigh on epic. This is a band that taps into some amazing energy when they get together on a stage, and if you haven't yet seen them live, well, you'll want to amend that as soon as possible.

Despite the blase attitude of the basketball-hungover crowd, both of these bands killed it at Motorco. It was a great tour pairing, and both of these bands should be seen live whenever possible. Trust.

mp3: Comfortable, Comparable (Hooray for Earth from the Momo EP)

mp3: In Your Heart (A Place to Bury Strangers from Exploding Head)

[photo by Megan Petty - Philly, 2010]

Live Review: Class Actress @ Red Palace, 2/5/2011

Initially, I was super excited to see the amazing double bill of Class Actress and Violens at the Red Palace. Then I was saddened to learn that Violens had canceled. But then, my loves, I was happy once again. Once Class Actress took the stage and started the party, all was weller than well. Elizabeth Harper and her pair of strapping touring knob-twiddlers brought some serious sonic class to DC, and it was so very sexy.

To me, the music churned out by NYC's Class Actress is the very essence of 80s glamour, what with the stunning voice possessed by Harper paired with the big, synthy beats. It's a glacially cool combination. There's a giddy breathlessness to this band, under all the polish and gloss, a near-urgency to get their point across. Harper looked the part of the chic songstress, in her extravagant, smashing fur coat, oversized white button-down shirt, and black leggings. For some reason, I look at Miss Harper and think Dynasty. The band sounds nothing if not luxurious, perfect for tooling around in your convertible BMW with your lip gloss shining and your man's collar popped. And I mean that in the best way possible.

The beats in the songs (and the stoic stance of the two dudes) were the perfect foil to Harper's honeyed, sophisticated whisper. They were slinky, they were slick, and they were very hard not to like. This is music that smacks of yacht lounging and jetsetting. Harper is a more than able vixen, and the songs are a great homage to the dancefloor days of old french kissing the dancefloor days in which we live. Definitely check Class Actress out when you can, they're well worth your effort.

mp3: Terminally Chill (Neon Indian Cover) (Class Actress - buy stuff!)

[photo by Ryan Koopmans]

Live Review: Pujol @ Comet Ping Pong, 2/4/2011

It was, for all intents and purposes, the week that wouldn't die, perhaps because I was so super stoked to see Pujol once again at Comet Ping Pong (touring with Monotonix). Once I arrived at the pizza/rock joint, I was amazed/pleased/impressed to see the concert room bursting at the seams. It was so packed that people were actually being turned away at the door, something I haven't seen at any venue around DC in quite a while. I could hardly see the stage for the heaving mass of people, but that was quite alright. I didn't need to see Pujol to get blown away once again.

With one of his band sporting a Bob Dylan circa Nashville Skyline hat, the band was ready to begin. "Fuckin' own that shit!" someone slurred drunkenly behind me, and own that shit they did. "We're all from Tennessee and we're gonna play some songs for you," Daniel Pujol proclaimed before the band ripped into their fantastic set. As I expected, based on my last live Pujol experience, the band was rougher and more raw live, though the poppy undertones remain amongst all that rowdy rock and rolling. The band was loud, raucous, and fearless. "We're gonna slow it down and be serious, Daniel said in his intro to "Butterflyknife," garnering loud cheers with the cool, easygoing slowdown with just a hint of bombast it presented among all the sweaty shimmying.

The set was over way, way too fast for my liking. But what a set it was. If you're in need of some sweet little rock and rollers, you can't do much better than the catchy as all hell song stylings of Pujol.

mp3: Too Safe (Pujol from Black Rabbit)

Live Review: The Moondoggies @ Iota, 1/28/2011

I was way, way beyond excited to see The Moondoggies live. Ridiculously so. The Seattle swamp folksters had made a real big impression on me with latest record Tidelands, and I just could not wait to see the songs done live and proper. It wasn't a question of would it be a good show, but how good a show is this gonna be? And my little lords and ladies, it was one hell of a show.

I'm not sure I was prepared for how good this band was gonna be. From the beginning, they were stunning. At times they were full of gentle twang, a subtle whisper of a time long gone but still remembered. At others, they were letting those instruments of theirs to careen all over the place, kicking up storms and creating some serious noise. Every note was so very rich, so very in tune, and so very hard to resist. When the band played "What Took So Long," a current earworm of mine, I just about got chills. The harmonies, o the harmonies.

It wasn't long before I began to realize who The Moondoggies were really reminding me of: The Band. Something to do with the fullness of the sound, the tone of Kevin Murphy's voice in person, and the presence of some serious keys. Very, very Band-esque. At times I felt Creedence creeping in, lending their influence in the hue of some swampy, molasses-thickness on the guitar hither and yon. I think The Moondoggies are kindred musical spirits with the classics for sure. They've got old souls, not to mention an appreciation for good showmanship. I like to think The Band would be proud.

Much to the chagrin of the way sold out crowd, the show eventually came to an end. Thankfully, though, not before the band unleashed a breathtaking version of "Night & Day," the pretty softness of the opening section of the song so gentle and sweet, and the chaotic feverish craze that followed was undeniably awesome. What a show, my friends. What a show. Go get yourself in the path of this band, because ye shall not be disappointed. Scout's honor. In case you wanna try before you buy, head over to the official Moondoggies site, where they so graciously have some live sets you can get your mitts on for free.

mp3: What Took So Long (The Moondoggies from Tidelands)

Live Review: Eternal Summers @ Red Palace, 1/16/2011

As some of you may recall, I went to quite a few shows last year. I was pretty burnt out after all of that, so I took a few weeks off, mostly for the purposes of getting more sleep. But then, along came a show I realized would be pretty dang silly to miss. And so it was that I found myself at the newly-minted Red Palace (Palace of Wonders + The Red & The Black) for the buzzy Eternal Summers. And all was joyous and wonderful.

I'm beginning to think Roanoke, VA, might be a magical place, y'all. Every band I know of from there is dynamite. Eternal Summers is yet another offshoot of the Magic Twig Community, and features two of my favorite Young Sinclairs (Eternal Summers recently welcoming Sinclairs drummer John Thompson to the fold as bassist). After this set, I'm jumping firmly on the Eternal Summers bandwagon, and am hereby dubbing them my most favorite of the Roanoke & Rollers.

The set, as I had been alerted to beforehand, was peppered with new songs the band was trying out. "Prisoner," "Cog," "Pure Affection," and "Child's Mind" should be on the new Eternal Summers EP (due out Marchish), and there were a couple untitled jams to boot. Each and every song, new or not-so-new, was delectable. Their sound, which to me falls in some delightful ether between 80s synthpop and 60s psych revivalism, with a sprinkling of that trendy surf thing, translated ever so well to the Red Palace stage. Even with a bit of a sore throat, Nicole Yun's voice was adorably enchanting, and Daniel Cundiff's rapidfire, thoroughbred drumming was deliriously good. The addition of Thompson to the group added immeasurably, adding another level of awesome to the songs. When they launched into my favorite track from the Silver record, "Silver," I think I might have gotten a chill. They proved to be kicky, fizzy, and rather sassy up there on the stage, and as they played I got the feeling that I was seeing a rather special band.

And there you have it, dearest loves. Eternal Summers have my stamp of approval as one of the rootin'-est, tootin'-est, good time-est bands around. You will, without a shadow of a doubt, be infinitely happier once you've let Eternal Summers into your life.

mp3: Pogo (Eternal Summers from Silver)

Live Review: GWAR, 9:30 Club, 12-29-10

Ah, GWAR. For those of you unfamiliar with the Scumdogs of the Universe, well, it's something you have to experience to fully appreciate. If you thought the KISS Army was for pussies, well, GWAR might be the band for you.

You never know what you're going to get at a GWAR show, but you can rest relatively assured that it's going to be fucking loud, offensive and wet. Newcomers might have wondered why the 9:30 Club, per standard operating procedure, opted to cover approximately 1/3 of the venue, including speakers, lighting and the bar, in plastic sheeting. Once the first fake blood fountain started spurting a whooping five minutes or so into the proceedings, that mystery quickly was put to rest.

The show actually started oddly last night, with the lights being dimmed and two full Black Sabbath tracks played before the band actually took the stage. With a stage show as elaborate as theirs, i assumed it was either a costume or blood cannon issue. There appeared to be some issue (a possible scuffle?) in the stage right green room, but with all that plastic tarping, it was nearly impossible to tell.

i cannot prove it, but i'm fairly confident that lead singer, ODERUS URUNGUS, just shouted "GWAR, GWAR, GWAR" for at least the first three songs straight. One, however, does not attend a GWAR show for the lyrics. One comes for the spectacle. And by my previous GWAR experiences, this Bloody Pit of Horrors tour actually was tame by their standards.

Yes, Sarah Palin was dismembered. Yes, Lady Gaga ate feces and then was herself disemboweled while her boobs spurted blood across the crowd. And i'm pretty sure there was some homonecrobestiality (with Black Dynamite as my witness, i never thought i'd use that word in a concert review) to go along with the gallons and gallons of blood and viscera that was pumped onto the audience. All that being said, it was by no means the most offensive i've ever seen these wonderfully sick puppies.

Musically, the boys stuck mostly to their thrash/hardcore/punk wheelhouse, but i have to point out that while waiting for the band to get in tune or something, URUNGUS started singing, "I got your picture. I got your picture..." That's right, GWAR did a two-line "cover" of the Vapors' "Turning Japanese." And if that and a drenching in fake blood aren't your idea of an excellent evening, well, kid, you came to the wrong show.

mp3: GWAR Special Edition Podcast with Interviews, Music, and More. (GWAR from Metal Blade Records August 2009 Podcast )

Live Review: Prince's Welcome 2 America Tour, Izod Center and Madison Square Garden, 12/17/10 and 12/18/10

As many of us can attest, getting older sucks. When one's heroes start to show their age, well, that just fucking sucks twice as hard. i've been going to Prince shows for more than 25 years now, starting back with the Purple Rain tour last friggin' century, so i know from good Prince shows. Unfortunately, i'm oh so sad to report that from the two nights i've caught of the Welcome 2 America tour, this ain't his finest work. His Royal Badness can't quite hit the high notes as often or sustain them for quite so long. i'm guessing it's the hip replacement, but the 52-year-old can't quite shake it like he used to, either. Most heart wrenching of all, however, he just didn't seem to have the same "oomph" that he used to. When even my mother said, "he just can't muster up the sexy like he used to," i figure that about summed things up.

Fortunately, even the worst Prince shows are better than 90 percent of anything else you could ever hope to see, so let's focus on the positives, shall we? The bulk of both nights was older stuff, predominantly from Purple Rain ("Let's Go Crazy," "The Beautiful Ones," "Take Me With U," "Purple Rain"). He played one track i didn't know at all, i'm guessing off of 20Ten, and "Guitar" from Planet Earth; that was about it for the new stuff. He did up a number of classics over the two nights, including "Kiss," "Cream" and an almost ballad-like "Little Red Corvette." With the exception of the order and a few tracks, however, both sets were near identical in content.

Of the two nights, the first at the Izod Center clearly was the better of the two. i'll be honest, the first two-thirds of the show were lackluster by Prince standards, but then he brought out Sheila E. for the first encore, and it was the 1999 all over again. Prince's musical highlight of the night came then, right after a blistering solo perfomance by Sheila of "Glamorous Life, when he ripped up a bass jam he did for "Love Bizarre." For those of you unaware of the master musician that the Purple One is, this tour certainly does play more on his musical capabilities than most. Unfortunately for this show, until the very end, a groove was never struck. Whereas Prince typically is a very gracious performer, sharing the spotlight with his band, with the exception of a nod to his back-up singers, there was no recognition whatsoever. He closed this night with a second encore, three ballad set of "Insatiable," "Scandalous" and "Adore" (admittedly one of the best live versions of "Adore" i've ever seen him do). i kept thinking, "who ends on a string of ballads?" Answer: Prince does. And he does it WELL.

MSG had more energy upfront, but the tempo was all wrong. He brought out Sheila E. much earlier in the performance, saving the encore to bring a bunch of jamooks on-stage (Spike Lee? Jamie "The Least Talented Poser Alive" Foxx? Gimme a fucking break) that did nothing but stand there and clap. At least, Sheila tore the bastard apart when it was her turn. i'd like to say there was a standout moment at MSG; perhaps the cocktails had something to do with my fuzzy memory, but none stand out.

Again, don't get me wrong, if you have a chance to catch either of the two remaining dates, GO. Prince does not put on a "bad" show. But for those of us who have been around since the beginning, it appears as if the halcyon purple days are dwindling. i guess this is what is sounds like when doves cry.

mp3: I Would Die For You (Remix) (Daedelus from Pop Massacre)

Live Review: Cyndi Lauper at the 9:30 Club, 11-27-10

As a number of musicians "of a certain age" are apt to do lately, Cyndi Lauper has decided to do a "classics" album. Her genre of choice, blues, and the album in question is Memphis Blues, which she's currently touring.

Now, i'm about as big a fan of the blues as they come. Hell, i worked at the world's premier blues club all throughout college, so trust me when i tell you i know of which i speak. While i'm giving Cyndi full props for trying to bring interest to a criminally undervalued music genre, for the vast bulk of her show, i just wasn't feeling it. Her band might be worthy of the Friday night early slot that goes on during the free buffet. Of course, this is downright criminal when you consider that she's touring with none other than Charlie Musselwhite. i've seen Chuck countless times over the years, and normally he's one of the baddest harmonica cats you'll ever hear the pleasure of hearing. Unfortunately, he sounded largely tired and/or bored for most of Saturday night's performance.

i've decided to give the huge benefit of the doubt that the countless technical difficulties of the evening kept the band from ever finding its groove. Hell, you can't have Charlie Musslewhite on stage and not have more blues talent right there than the rest of the city had in all its juke joints combined. Still, Lauper must have gone through three or four mics, at least two sets of ear plug monitors and quite possibly one sound guy during the course of the roughly hour and a half set (with encore). Occasionally, on songs like "Rollin' and Tumblin'," Lauper would get hold of the track and really belt it out to her obvious and capable levels, but those moments sadly were few and far between.

Of course, all this went out the door for the encore, when Cyndi finally did a few of her own classics ("Girls Just Wanna Have Fun," "True Colors") before closing with an acoustic, stripped down version of "She Bop" that had the crowd rocking. Once the older material started, the room went wild, and, more importantly, Lauper looked like she genuinely was enjoying herself. Hell, i'm not too proud to admit the nostalgia factor is what had me and The Missus attend in the first place (this was the first show i'd taken her to in months, as The Missus isn't quite the fan of live music that her terrible husband is). If this energy had run rampant all through the night (that's right, i wrote it), this would have been a much different evening.

Lauper has gone from the oddly coiffed freak of the 80s to a powerful voice for the LBGT community, but let's be honest, a meaningful portion of the crowd was there to hear her tell her genuinely funny stories between songs. Fortunately, she used that time to point out some of the greats in the blues industry, from B.B. to Albert King. Fuck what you heard, this is what you need to hear. As so-so as the majority of the show might have been, a history lesson like that was more than worth the price of admission.

mp3: Unusual (Fresh Nerd from The Cyndi Lauper Beat Tape)

Live Review: Grinderman at the 9:30 Club, 11-16-10

My apologies about the lack of posts the past few days. God damn real job keeps getting in the way of my flourishing, unpaid life as a blogger. Damn you, all consuming need to make money and live high on the hog! Oh well. i do have a LOT of toys, so what can you do?

Anyway. Grinderman. This past week at the 9:30.

Grinderman is loud,raw and raucous. The music is glorious and fierce and angry and sexy all at once. For a bunch of guys in their 50s, to say they've got more energy than men half their age is to give far too much credit to the younger generation.

Up until recently, Nick Cave had a prominent place on my "get to know his music" list, but i couldn't seem to find an entry point album that did it for me. Well, the debut album took care of that, and the show cemented my new love. Looking like the late night act at Satan's seedier nightclub, the men rocked hard for a good hour and a half. Leaning slightly more heavily on Grinderman II, Grinderman was well represented nonetheless. Following a teasingly tense version of "No Pussy Blues," Cave explained "That song's not about not getting pussy. It's about not having pussy." If that wasn't the highlight line of the night, i don't know what was. The band, particularly Warren Ellis, seemed posessed for the duration of the evening, creating some sort of distorted, future blues that bespoke the follies of growing old and yearning for youth, not wanting to be forgotten and wanting to get laid. Following a nearly half hour encore, the band closed with their eponymous single, closing the night on the same crazed, serpentine note they'd enforced all the night long.

If given the opportunity, go see these old men show what Jack White aspires to and what the world would have been happy with had Bonham lived and Zep took the music to its natural next level. Just leave your young women at home.

mp3: Heathen Child (radio edit) (Grinderman from their website)

Live Review: The Black Crowes at the 9:30 Club, 11-13-10

i really dig the Black Crowes. Back when i was in college, i had this elaborate plan to join their tour crew as a roadie and even got so far as meeting the boys in the band back in '95 when i worked at Buddy Guy's Legends, but that's a story for another campfire. As the years have gone by, i've grown somewhat out of touch with the band, but that certainly didn't stop me from taking one of my innumerable brothers to catch them at the 9:30 this past weekend.

Now, my first Crowes show was close to 20 years ago, i'm saddened to admit, and suffice to say, the band has morphed over the years. Even with a somewhat similar line-up (always good to see the Brothers Robinson share the stage), the band has gone from a straight up southern rock outfit to more of a jam band. Having seen Phish just a scant few weeks ago, i'm about jammied up for the next year or so, but fortunately, the Crowes only delved into heavy jamming sporadically. The set was an incredible mix of earlier stuff ("She Talks to Angels," "Remedy," "Wiser Time") and covers (the Joe Cocker version of "Feelin' Alright," Pink Floyd's "Fearless"), and only a handful of tracks with which i was wholly unfamiliar. All in all, a damn fine night musically. And with a three and a half hour show (two sets and an encore with two brief intermissions), that's really a must. The last time i caught the fine feathered friends, i didn't recognize a damn song that did that entire evening. This clearly is the preferred way to go. When they closed with Ry Cooder's "Boomer's Story," which i hadn't heard since i saw them in Italy back in 94, well, let's just say the evening was capped perfectly.

Now, as rocking as things were musically, a couple of negatives must be addressed. As regular readers are more than well aware, we tend to go to the 9:30 Club a LOT, and this was, hands down, the rudest crowd i've ever encountered there. Pushing, elbowing, shoving, no "excuse me's," quite frankly, it was the height of rudeness. And here's the fucking kicker--every rude asshole there was 40 or older. C'mon, folks, get your shit together. When i see 20-year-olds actually with more decorum at a hippie concert, well, something ain't right. As i'm getting awfully close to that 40 barrier myself, i can just tell you all to shoot me if i ever get that way. Secondly, well over half the merch, including both posters and at least one tee shirt, were from previous tours (all you had to do was check the dates and locations written). Now, i'm all for pimping your product as best as possible, but the Crowes already are the most expensive merch act that comes to the club ($30 for a tee shirt?!?!), so you'd think they'd at least keep their shit current. Well, think again, and keep your eyes open if you find yourself looking to schwag out the next time you catch them. The boys will rock your ass off, but you've got to watch out for damn near every other sucker there.

For today's mp3 offering, i've got a bootleg recording of the Black Crowes at a secret acoustic show at Ronnies Scott's Jazz Club in Soho, London back in June 20, 1991. The quality is phenomenal, and the boys are in rare form. Enjoy.

mp3: Jealous Again (The Black Crowes from Black 'n Blue Bootleg)

mp3: You're Wrong (The Black Crowes from Black 'n Blue Bootleg)

mp3: Seeing Things for the First Time (The Black Crowes from Black 'n Blue Bootleg)

mp3: Boomer's Story (The Black Crowes from Black 'n Blue Bootleg)

mp3: Live Too Fast Blues (The Black Crowes from Black 'n Blue Bootleg)

mp3: She Talks to Angels (The Black Crowes from Black 'n Blue Bootleg)

Live Review: Bonobo at 9:30 Club, 11-10-10

Let me preface the following bitchfest by acknowledging that i realize this is nobody's fault but mine, but, hey, it's my blog (and Meg's, too, natch), so what are you going to do? Nothing. And like it.

This was supposed to be a HUGE beat freak week in DC, and wouldn't you know it, damn near all my plans fell through to make the most of it. To kick things off, The Gaslamp Killer was supposed to be at DC9 with Daedalus this past weekend, but what with their recent legal issues, that show didn't happen. Yes, it was rescheduled for a club in Baltimore, but after the late night affair that was the LET extravaganza, i just didn't have it in me to make the trek. Sure, shame on me, but it was what it was.

i allowed myself to pass that one by, reassured by my tickets to see TokiMONSTA and Bonobo last night at the 9:30. Now, i ALWAYS check around 10 am on the day of a given concert at the 9:30 to see when the sets actually are slated to start. With the exception of two shows of the dozens and dozens i've seen there, the 9:30 is EXCELLENT at actually sticking to published start times. Anyway, the day got away from me, and when i checked at 6 pm, that 9 pm show i so was looking forward to seeing turned out to be starting at 6:30. Long story short, i missed all of Toki and what i was assured was "only about 10 minutes" of Bonobo. i'm not going to lie, i was pretty pissed at myself, but i can say that the approximate hour of Bonobo's set that i did see was incredible.

Surrounded by a full band comprised of a multi-reed instrumentalists (dude who played a lot of horns), drummer, couple of guitarists and a gadget tweeker (i believe introduced as electronic percussion), the man himself slapped de bass with a passion for the entire gig. And, of course, Andreya Triana made a few appearances, singing her hits from the recent Black Sands. It's hard to describe the music, but, of course, i'll try. Imagine a post-sex glow vibe amalgam of funk, jazz, Eastern and beat, right when you're almost through the refactory period. Yeah, that works.

i've got to say, this was quite possibly the largest crowd i've ever seen at a 9:30 Club early show, and the crowd only swelled as the gig continued. Sure, a lot of them were club hopping ass hats, but at least their taste in music was admirable. Clearly, the entire room gladly would have stayed and grooved all night long had the club permitted it.

Next time Bonobo comes to town, i will check the website set time early and often, i tell you what, as i do not want to miss a second of his set next time.

mp3: Eyesdown (ft. Andreya Triana) (Bonobo from Black Sands)

mp3: Kiara (Bonobo from Black Sands)

mp3: Little Bit (TokiMONSTA Remix) (Lykke Li from TokiMONSTA bootleg remix)

mp3: Alpenglow (TokiMONSTA, Lunice & Swede:art from Various Assets - Not For Sale - London 2010)

Live Review: Phish at Boardwalk Hall, Atlantic City, 10-30-10

i'll be the first to admit, i'm not a rabid Phish fan. Sure, i was really into them back in the day (their first few albums are monsters), but once Jerry died and those damn Deadheads took over the scene, i pretty much made with the exit, stage left. Of course, when one of my best friends, an admitted and self-affirmed Phish fan for life, opted to celebrate his 40th during the jam band's recent weekend stint in A.C., well, naturally i was going to go, too.

Truth be told, this marked at least my fifth or sixth concert, assuming you count IT as three. (Ed. note: Of course, i was pretty tanked that entire trip, so i don't know if i should count it at all. i did lose my shoe in a mud pit and was helped by hippies, though, so maybe i had the truest Phish experience of them all. But i digress...). For those of you who never have attended one of these circuses, well, little lady, allow me to elucidate.

For starters, you'll actually find a rather interesting cross-breed of society. Sure, there are far too many white kids with dreads who need a bath in the worst way, but you'll also find large numbers of professionals, minorities (you haven't lived until you've been called "brah" in a perfect stoner accent by an Indian Hindu with whom you're sharing a cab while he tries to score an extra ticket) and various other decidedly non-Phishy types. The vibe is about as laid back as one can get without lapsing into a coma, which probably is aided by the Rastafarian Dutch amounts of weed in the air. i believe i can honestly say i've never been surrounded by that much pot smoke in one setting in my life, and i'm a two-time judge at the Cannabis Cup, for chrissakes. During the performance, if you can see through the smoke, you'll notice the air is thick with flying glow sticks, beach balls and balloons. If you should happen to get smacked in the noggin with one, play along and throw it back into the crowd. When in Rome, right? Now, every Halloween, the band plays a double album from a different band (this year it was Little Feat's Waiting for Columbus), so this particular weekend is pretty highly attended.

Now, whether you're into jam bands or not, it's nigh impossible to deny that Phish is comprised of some uber-talented musicians. As long as the music doesn't get too, too "jammy," the boys can rock with the best of 'em. On this particular night, personally, i dug the show. With little exception, the sets were crisp and the energy was high. From various random strangers who chose to pontificate, i heard the night prior was somewhat lackluster. Fortunately, that was not the case here. Now, my Phish experience (and admiration) pretty much sticks to their first four albums. As fortune would have it, the boys played fairly heavily from their early materials. Of course, things were pushed into hyperdrive by a second set thick with Led Zeppelin covers. Personally, i could have done with a rousing version of "Contact," too, but what can you do?

i have no intention of touring with the band any time soon, but with sets as strong as these were, i'm not going to wait another seven years before my next show, either. A good time certainly was had by all, Phish devout or occasional listener. And that, kids, is what it's all about.

mp3: Ramble On (Led Zeppelin cover) (Phish live from Boardwalk Hall, Atlantic City, 10-30-10)

Live Review: The Corin Tucker Band at the Black Cat, 10-29-10

i do love me some Sleater-Kinney, so it was somewhat of a no brainer that i attend Corin Tucker's new solo venture this past weekend at DC's finest Black Cat. As i knew i was going to see her within weeks of her debut solo CD, 1,000 Years, hitting shelves, i opted not to purchase it before the show. If i'm going to shell out ducats for a disc, i like to at least pretend i'm giving as much of the money as possible directly to the artist in question. Purchasing from the literal hand of the band seems to accomplish that goal.

Anyway, long story short (if it's not too late already), i really had no idea what to expect from Ms. T's new gig. The majority of reviews i'd read kept going on and on about what a new and softer side the CD demonstrated, but all i had heard prior to Friday night was the single, "Doubt," which is rather a rocker, so i figured those reviewers were blockheads.

So here's what i learned. The majority of Corin's new stuff is, indeed, of a softer, more mellow nature. For the most part, this is a good and fine thing, demonstrating her growth as both an artist and a lyricist. In a live setting, however, Tucker's voice sounded a tad strained on some of the higher notes of the quieter, more intimate tracks. Of course, this was the last night of her tour, so some vocal fatigue probably is to be expected. On the rockers, however, she belted them out with the usual ferocity we SK fans have come to adore. And let's be honest, these were the tracks the crowd came to hear. While the audience was respectful throughout the evening, when the volume was cranked, that's when the crowd started moving. Another lesson--Tucker has employed a damn talented band, but may have perhaps the sweatiest keyboardist/rhythm guitarist on the planet in Seth Lorinczi. i'm sure he's one hell of a guy, and he certainly was a strong musician, but guy was dripping so much, i think i lost some weight. Back to the music, however, the new stuff is excellent, and i did end up buying the CD post-show. That being said, the highlight for me, without question, was CT's choice to close the evening, a rocking rendition of Sheila E's "The Glamorous Life," quite possibly the best encore choice i've heard this year.

It's my understanding that one of the many reasons SK broke up was to allow Tucker to pursue mommyhood, and let me say, it appears to be treating her well, as she looked stunning (somebody slimmed up nice and sexy during this tour; rowr!) and performed with energy. Hell, i even loved the baby onesies she sold in lieu of posters. Family can be a good thing.

While a Sleater-Kinney reunion would be a sweet, sweet thing, as evidenced by Ms. Tucker's solo performance (not to mention some stellar things the other band mates are doing with the Jicks and Thunder Ant), the ladies' reputation moving forward seems to be doing just fine.

mp3: Doubt (The Corin Tucker Band from 1,000 Years)

Live Review: Jenny & Johnny; Black Cat; 9-16-10

Last night's Jenny & Johnny show at the Black Cat marked my third show this week (second in two nights, fifth in the last nine days), and quite frankly, i'm getting too old for this shit. Hell, i'm getting ready to retire next week, for the love of Benjy! i don't see how Megan pulls this shit off, but i hope you kids realize how lucky you are to have us out there in the trenches for you.

i've got to be honest, i'm not overtly familiar with either of the artist's work beyond some of Jenny's solo stuff. After last night, i see i'm going to have to rectify that situation.

i was assured by my friend and rabid fan of both artists that they played a bunch of tracks from the new J&J album, as well as a few from each's solo work. For me, the highlight occurred as the set was ending, with the encore adding a brilliant touch. After 45 minutes of nice rock showcasing Lewis' vocals and Rice's brooding skills, things took off from there. The Next Messiah kicked things into high gear. Just as the audience started grooving hardcore, the band left the stage, naturally returning moments later before launching into an acoustic set to send folks on their merry way. The duo pulled a handful of young ladies from the crowd to sing back-up vocals on "Acid Tongue," arguably the high point of the evening. i thought it was a bit unnecessary for Rice to insult them on their way offstage ("Let's hear it for the 'Keep Your Day Job" Choir"), but who am i? The two closed with a cover of the classic "Love Hurts." Kind of a low vibe track to end the evening, what i was later told by the aforementioned fanatic is standard practice for them these days.

Other than fully realizing what an absolutely incredible set of pipes Jenny has, the best thing about last night's show was the contagious happiness coming from the stage. While Johnny didn't open up too much, Jenny's beaming smile was only outdone by her obvious joy at being there. And that, children, is what a good show is all about.

mp3: Big Wave (Jenny & Johnny from I'm Having Fun Now)

mp3: Scissor Runner (Jenny & Johnny from I'm Having Fun Now)

mp3: Acid Tongue (Jenny Lewis from Acid Tongue)

mp3: Jack Killed Mom (Jenny Lewis from Acid Tongue)

Live Review: Those Darlins, Strange Boys, Gentleman Jesse; Black Cat; 9-15-10

If you don't want your ass rocked off on a Wednesday night, don't go see Those Darlins on their latest tour with the Strange Boys and Gentleman Jesse & His Men. While the overall small crowd might have fooled you at first sight, you know it's been a full night of entertainment when the sound guy turns on the lights and tells the band that it's time to call it a night.

Unfortunately, i missed the first bit of openers Gentleman Jesse & His Men, but let me tell you, what i heard was good stuff. While all three bands of the evening had an early rock vibe going on, GS&HM attach a nice, sped up, punk edge to their live sound, which kept the crowd rocking for their short set. Think early Elvis Costello. All in all, a great band to start the night, full of piss, vinegar and a winning stage presence. i'll be interested to catch these cats the next time they hit the scene.

Second bill Strange Boys, while equally talented, didn't seem to make quite the audience connection of the other two acts of the evening. This resulted in overly long pauses between songs filled with silence, requests from the band to turn on the house lights (to better see the crowd), and, quite frankly, an overall uneasiness. Sure, the music was great, adding their own touch of fuzz and Americana to that aforementioned '50s rock vibe, but it certainly didn't seem like the band was enjoying itself much on stage, which was a shame.

The crowd, obviously, was there to see Those Darlins, as the frenzied rush to the front of the stage at the start of their set attested. i'm not sure if i've ever seen that few people in the club that close to the stage, but there you have it. The ladies ran through predominantly new songs from their upcoming ("in the next few months") LP and just released 7". As i mentioned reviewing that 7", the new sound is more ominous, spooky, sultry and dirty all at the same time. Sounds like the ladies have gone a bit swamp for this one. The band interacted effortlessly with the crowd, each member jumping into the crowd and playing frantically for extended periods, and the audience ate it up. Well, except for one ass hat that kept shouting, "You suck!," but i got the feeling that was some inside joke with the band. If it wasn't, well, that guy was a maroon. Apparently, it was family night, as Nikki Darlin brought her mom on-stage for a few numbers at the end, playing tambourine and seemingly having a blast. Those Darlins came back for two liquor fueled encores, and undoubtedly would have stayed longer had the bar staff not wanted to go home.

Those Darlins, they're some wild ones, indeed.

mp3: Put Your Hands Together (Gentleman Jesse & His Men from Introducing Gentleman Jesse)

mp3: A Glass to You (Those Darlins from Daytrotter Sessions, 3-19-09)

mp3: Redlight Love (Those Darlins from HearYa Sessions, 1-11-09)

mp3: Wild One (Those Darlins from Those Darlins)

Live Review: Broken Social Scene, Warner Theater, 9-13-10

As Kevin Drew pointed out at the start of Broken Social Scene's two-hour plus musical extravaganza last night, Monday nights are a weird night to get one's groove on. Of course, that did absolutely nothing to stop the band from tearing through an equal mix of classic audience favorites and new material to the obvious joy of those attending. If anything, the usual somberness that accompanies the start of a week (hangover; cough; say nothing; act casual) created an almost reverential air, as was evidenced during one of the night's highlights, a church-like version of "Lover's Spit."

i often compare BSS to a Canadian Wu-Tang, but every time i see them live i remember the better comparison is Parliament Funkadelic. While Drew is the apparent leader of the group (on vocals, if nothing else), each member plays a variety of instruments throughout the set, and everyone gets a crack at the mic, too. Shoring up the female side of things this time was the captivating if seemingly disinterested Lisa Lobsinger. Back up duties and a decent "All to All" were nice, but when she took the lead for the final encore number, "Anthems for a Seventeen-Year-Old Girl," well, i think i might have developed my latest crush. The only time the band stopped rocking was when they actually stopped long enough for each member of the band actually jumped into the audience to dole out hugs. Swear to Black Dynamite, they did. And that was the vibe all night, one of shared camraderie, a bunch of our clearly more talented friends on stage to entertain while the night wore on, an excellent way to spend an otherwise mundane Monday, vibe be damned.

A quick note on the Warner--when did that place start falling apart like that? The arm rest on my seat fell off, the stuffing was coming out of the chair in front of me, and i was worried one of those angels in artwork was going to do a Greg Louganis into the good seats at any moment. The real pisser for me personally, though, was my being told no cameras allowed. Best damn seats i've ever had there (thanks, BSS Fan Club!), and all i brought in was my cell phone. Knives Chau sitting next to me had multiple cameras and some dude was packing a telephoto lens the size of a wildebeest cock (What? Exactly.), so i'm afraid you'll have to look elsewhere for the spectacular shots that i'm sure others took. i can tell you that i was close enough to finally realize Kevin Drew is NOT a dead ringer for my buddy Eddie W., but what good does that do you?

This marks the third or fourth time i've seen the band, and they have yet to disappoint. If anything, last night may well have been the best i've ever seen them. They've got their groove on tight. Go see them while the gettin's good, that's all i'm saying.

mp3: Superconnected (Broken Social Scene from KCRW, 11-18-05)

mp3: Anthems for a Seventeen-Year Old Girl (Broken Social Scene, Live in Stockholm, Sweden, 7-8-04)

mp3: Lover's Spit (Feist from the Black Sessions)

Live Review: Dreamend, Junk Culture and Tobacco; DC9; 9-10-10

Stop me if you've heard this one before, but, yes, Meg and i went to see the following show, too, so you will see her spin shortly. However, the lovely lass was double booked last night, so she only got to see Dreamend open. i certainly hope she had a blast at her prior engagement, as this was one of the most entertaining shows i've seen this year.

The entire night was devoted to digital manipulation, and not the masturbatory kind, either. Each of the three duos used computers, samplers and the like to create unique soundscapes that pushed the boundaries of what a "live band" is and can do. i kind of thought of it as the honky version of what i imagine a Wednesday night at the Low End Theory to be like (with all due respect to Junk Culture's Deepak Mantena).

Opener Dreamend was nothing like their CD had expected me to hear. Whereas the excellent album (quickly making its way into my top ten for 2010) is an almost dream-freak-folk-pop hybrid, on-stage is a horse of a different color. Comprised of Ryan Graveface on guitar and an unnamed drummer (d.kyler, perhaps?; i know little of BMSR), the two were the musicians of the evening. While there were certain tuning issues, the two played a strong set with a lot more speed than their CD counterparts, everything filtered through computers. Graveface mentioned twice, "Why did we play that song so fast? Odd choice." It was a moot point, however, as it was a fantastic set.

Next up was Junk Culture, comprised of the aforementioned Mr. Mantena and a second, different, unnamed drummer (c'mon, bands, take James' advice to heart and give the drummer some, for chrissakes). Let me tell you, this kid on the skins was an absolute beast. i'm still not sure how he kept such a perfect and seemingly wild beat to accompany a sampler, but i'll be damned if he didn't. Mantena was the most engaging performer of the evening, starting seemingly random conversations with the audience, stopping between songs to demand that the crowd inch closer to the stage, and literally leaping off the stage and bouncing, Tigger-like, damn near every single member of the audience until the whole house was jumping up and down with him.

With the musicians and performers out of the way, Tobacco took the stage, and the mad scientist came home to roost. Accompanied by a lovely, young lady i'm guessing was The Seven Fields of Aphelion (seriously, i've never been in a room where i thought that the players needed name tags more), the two didn't say a word for their entire set, but concocted a glitchy, spastic, fuzz-drenched set that had the entire house going ape shit.

When Tobacco and Dreamend came back to encore together, i was told it was a Black Moth Super Rainbow reunion of sorts, and while i can't really speak to that, i can say they rocked that fucking joint, yo.

i would be remiss if i didn't mention that part of what made it one of the most "entertaining" shows of the year was the fact that each band played videos in the background a la Admiral Radley. And while each was entertaining in its own right, Tobacco clearly took the prize for the evening. The only "problem" was that i was so captivated by his video show, i arguably found myself not paying enough attention to the music from time to time. It started with a clip of the Fat Boys, followed by a montage of various break dancers. Then, what i'm almost positive was Shô Kosugi from either "Revenge of the Ninja" or possibly "Ninja III: The Domination." When i thought i couldn't take any more 80s goodness, Tobacco somehow found a boatload of what originally appeared to be 80s aerobics videos. However, i knew those faces were too familiar, and it quickly proved itself to be glorious porn which he montaged into short clips of facial expressions only. And yet, nothing could prepare me for what concluded the evening.

Now, i thought "Edward Penis Hands" was the strangest pr0n ever made, but Tobacco proved me wrong, unearthing an E.T. fuck flick.

Let me repeat that--he found and played a porno where the female lead was dressed up in a full E.T. costume, with only her mouth and one nipple showing.

While his music is amazing, it is this feat that has me tipping my hat to the artist. Well done, sir. Well done, indeed.

Tobacco may be bad for your lungs, but goddamn, it's good for your soul.

mp3: Where You Belong (Dreamend from So I Ate Myself, Bite by Bite)

mp3: West Coast (Junk Culture from West Coast)

mp3: Heavy Makeup (Tobacco from Manic Meat)

Live Review: Best Coast with Cults, RNR Hotel, DC, 9-8-10

Contrary to the unfounded rumors i've been spreading to make myself sound like the Mack, even though Megan and i attended yet another concert (third in three weeks?) together, she is not my sugar mama, and i am not her bitch. Well, maybe the latter is true, but if you saw us together again last night, trust me, The Missus already knows and is cool with it. As such, expect Meg's take on this one to follow yet again.

i believe i've come to the conclusion that the Rock and Roll Hotel is perhaps the worst venue to see live music in all of D.C. The sound system is atrocious, and apparently management has something against spending money on electricity. Not only are there no spotlights on the performers, but both fans and A.C. were left in the off-position for the duration of last night's concert featuring the Cults and Best Coast, giving the show the dubious honor of literally being the smelliest show i've ever attended. About half way through Best Coast's set, it smelled like a mixture of girls gym locker room and wet cat. Not a good combo, i guarantee.

Fortunately, the music was better. When i bought the tickets, i didn't even know Cults were opening, which was a nice surprise. i'd only heard a handful of their singles, so i was quite surprised to see the full band. More surprising still was the amount of hair on stage for their performance. While bands bond over numerous things, from shared musical tastes to favored bands in common, i'm fairly sure Cults came together over a mutual love of rich, creamy shampoos and conditioners. The band was pleasantly spry, though their style was pretty consistent throughout, meaning not a lot of tempo changes or the like. And while this made them a perfect fit for BC, it didn't make for the most exciting show. Add to the fact that lead singer Madeline Follin's voice was pretty, but not particularly strong, and you get a better than average, but not stellar, performance. It probably would have been markedly better if i could have heard half of what she said and/or sang, but what can you do?

And i'd say about the same for Best Coast. Again, a lot of hair on stage (is that making a comeback? Do i need to work on a comb over now?). Now, fortunately, their lead singer, Bethany Cosentino, has a powerhouse set of pipes. Sure, she used the same echo effect on mic as Follin, but Cosentino's voice never was lost amongst the backdrop of her bandmates. Speaking of bandmates, even though both bands play similar lo-fi, 50s/60s early rock with surfer tendencies, BC bassist Bobb Bruno adds heft to the sound. Now, i realize you're either a fan of the sound or you're not (i am, but am nearing my limits), but it would have been nice if they had thought their set through a bit more. The only upbeat songs came at the end during the encore. While there was a lot of swaying throughout the show, the bouncing that started at the end finished before it even got fully underway. Sure, Cosentino tried to make small talk periodically between songs, but the mixture of sweaty crotch and barely audible speeches did not do much to bring the crowd into the moment.

Don't get me wrong, shitty venue and horrific crowd stench notwithstanding, it wasn't a bad show. That being said, it certainly wasn't the best i've seen this year, even if we're only talking about the handful i've seen with my wonderful writing partner this past month.

Maybe i'm just a jealous bald guy, though. Hot chicks with long hair have that effect on me. Throw in the dudes with long hair, and i'm completely off my game.

mp3: Go Outside (The Cults from Cults 7")

mp3: When I'm With You (Best Coast from Black Iris 7")

mp3: Sun Was High (So Was I) (Best Coast from Art Fag 7")

Live Review: Autloux, Black Cat, 9-1-10

The stars have aligned yet again, and Megan and i found ourselves enjoying the same concert together in one another's company. As such, expect her take on things shortly. In the meantime, i'm guessing mine will be the only one of the two that admits to a troubling fascination with Carla Azar's drumming, but who knows? Maybe Meg will surprise us both.

i try not to get too effusive about Autolux, as i invariably focus in on my own infatuation with Ms. Azar, who, as far as i'm concerned, is the greatest female drummer out there today, and probably in the top ten drummers over all, if i can be both honest and sexist at the same time. i'm not sure what it is about the band, but every time i see them (and this was at least my fifth show, if not more), i find myself uncontrollably bobbing my head. While George Clinton or Prince might get my booty shaking more, or House of Pain might make me jump more, no other band i've ever seen has that same hypnotic effect on me that Autolux does. And this time around at the Black Cat, things were no different.

The band played pretty equally from both albums, but the clear winners of the night were from debut album, Future Perfect. And it's easy to see why, as the band has had the time to make them anthemic and intimate at the same time, truly mastering the tracks in a live setting. Tracks like "Blanket" and "Robots in the Garden" had the house swaying. In an obviously crowd pleasing mood, Azar not only rocked the skins all night, she was given more vocal duties than i can recall her ever being given at any of the past shows i've attended.

If there was any complaint to be had, i'd argue bandmates Eugene Goreshter (lead vocals, bass) and Greg Edwards (guitar, vocals) both went a tad overboard on the reverb. What i couldn't tell is if that was their doing or the Cat's older speakers simply not having the juice left to handle the boys' desired effect. The sad part is these guys write killer hooks, and according to my brother, "if you didn't know those songs, you could hardly tell what they were playing." Except, of course, for the steady, almost robotic hand of Azar. No matter how far afield the boys might wander, she was there to anchor each song methodically. In a fitting gesture, as the band closed the set, each member walked off stage without saying a word. The boys left first, leaving Azar to hold the fort and soak up the last of the well deserved applause as the appreciative audience clapped and stomped and hollered.

i can't say it enough--if you're lucky enough to have Autolux blow through your burg, go. And thank me later.

mp3: Capital Kind of Strain (Autolux from Future Perfect)

mp3: Persons and Machinery (ft. Autolux) (U.N.K.L.E. from War Stories)

Live Review: Admiral Radley and Horray for Earth, DC9, 8-21-10

The uncommon happened this past Saturday night, and Ms. Meg and i actually got together in person to partake of the wonders offered by Admiral Radley and opener Hooray for Earth at DC9. It's OK, though, the Missus knew ahead of time. Expect her (Meg's, not the Missus') take on things in the next day or so. In the meantime, here's how things went down from my perspective.

i knew nothing about the openers, Hooray for Earth, ahead of time, but i can say they put on an enjoyable, though brief, slot to get things started. The acoustics at DC9 leave a little something to be desired, so i honestly couldn't make out a word the lead singer said, but i can say the boys are talented enough to keep the crowd humming for at least half an hour. Two things stuck out to me that had little to do with anything--the lead singer looked freakishly like Dent May, and i'm not sure if i've ever seen a more exuberant drummer; the guy literally looked like he might bounce off of his stool at any given moment, so into the beat was he. All in all, not a bad way to start the show, even if they did start nearly half an hour later than they were supposed to.

Sadly for the rest of you, by the time Admiral Radley took the stage at about 11:15, there still were only maybe 50 of us there to enjoy things. The show played almost like a backyard BBQ, with an easy camaraderie onstage and a lot of cheap beer flowing amongst performers and audience alike. Starting almost immediately after stepping on the riser that served as a stage, co-leads Jason Lytle and Aaron Espinoza were gabbing back and forth like a couple of high school buddies from back in the day. And let's be honest, Admiral Radley is a continuation of the Grandaddy and Earlimart sounds, essentially lazy stoner skateboarder tunes. You might worry that as nobody in the band is a teenager anymore, perhaps the band has overstayed its welcome in the genre. Instead, their additional years seem to add a bit of wit and wisdom to the lyrics that almost transcend the material. Don't get me wrong, "Sunburn Kids" and "Drunk on Beer" are two of my favorites on I Heart California, but even Lytle admitted the former was "silly." Of course, one of the highlights of the evening came when Espinoza, possibly somewhat besotted himself, started muffing the lyrics to "Drunk on Beer," claiming, however, that it was no problem, as he was, in fact, drunk on beer himself. Another high point clearly was Ariana Murray's solo, "The Thread." Any earlier complaints of bad mic-ing were gone for this song. Having a crowd quiet down, even partially, for the slow songs always is a Herculean task, but Ms. Murray kept the crowd enraptured with her straightforward performance. Of final note for me, Espinoza informed the crowd that for the encore, they'd be doing "kind of a cover" before launching into "Every Time I'm With You," one of Lytle's contributions to Dark Night of the Soul, and personally one of my two favorite tracks from that CD (the other being his second submission, "Jaykub").

Overall, Admiral Radley benefits greatly from the vocals of both Lytle and Espinoza, each sounding pretty damn close to the consistency of slightly heated honey burbling out of the plastic bear and into your teacup. The fact that Lytle still projects old home movie footage, though on a far smaller screen than the last time he played the 9:30 Club with Grandaddy, adds a layer of depth and shading you wouldn't expect at such a small location as DC9, which is nice. It would have been nice to hear more from Murray and perhaps at least an acknowledgement that Aaron Burtch was even on stage, steady on the skins all night, but they all seemed to be enjoying the hell out of the experience, so who am i to talk?

I'd like to note that for a band that's apparently only been together a handful of months, they sounded like they'd been playing together for years and years. As concerts for "new" bands are supposed to accomplish, i've been listening to their debut album pretty much non-stop since Saturday night, a true testament to the talent on-stage that night. i think it's pretty fair to say i heart Admiral Radley.

mp3: Every Time I'm With You (ft. Jason Lytle) (Danger Mouse and Sparklehorse from Dark Night of the Soul)

mp3: intro/jeez louise (Jack from Just Like The Fambly Cassette) (i.e., Jason Lytle's Just Like the Fambly Cat demos)

mp3: Pull the Curtains (Grandaddy from Excerpts from the Diary of Todd Zilla)