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Archive for December, 2010

30
Dec
10

* Earl’s Killer Squirrel @ Sluggo’s Vegetarian Restaurant 12/23/10

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Categories: Show Pics and Show Write-Ups
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The chorus of the song said it all. “I’ll Never Be Your Boyfriend.” With one sentence, Earl Lyon, lead singer and guitarist of Earl’s Killer Squirrel, condensed a mass of human emotion into five words. Much like Ernest Hemingway who, according to literary legend, made a wager with friends, betting that he could pen a compelling story in only six words. “For Sale: Baby Shoes. Never worn” was the resulting composition.

Going straight for the heart, Lyon paints a story without the sentiment of longing, pondering and regret that are indulged by some artists. With Jeff Rahn on drums and Dave Kober playing bass, EKS throws silver linings to the dark clouds of unrequited love and chapters of the human condition by taking a “keep your head up” approach to each theme. For the friend who is always there for you in every turn of life, Lyon and company dedicated a new song called Bloodline, “For Brody, my drinking partner!”

Continuing through the upside of life, Lyon dedicated songs to the lovers in the house, “This song is for Joey and Jill. They’re getting engaged! It’s a song called Flowers.” Near the end of the set, Lyon also made a dedication “for Shane and Mary.”

With only two days left before Christmas, Valentine’s Day came twice this year thanks to Earl’s Killer Squirrel.

-MLS

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23
Dec
10

* Wake Up the Echo @ Sluggo’s Vegetarian Restaurant. 12/18/10

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Categories: Interview, Show Pics and Show Write-Ups
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Exactly one week before Christmas and shortly after their show at Sluggo’s Vegetarian Restaurant, Travis Brown (guitar/vocals) of “Wake Up The Echo” gave insight on the band, musical influences, gear, Neil Young, and bandmates Nathan Price (guitar/vocals) and Ryan Steward (drums).

TCAS: What is the history of Wake up the Echo?

Travis Brown: “Wake Up the Echo was an idea that started in late 2006 when I was living in NW Indiana. I had moved up there to take a job (chasing a bigger paycheck), but quickly found myself miserable, alone, and totally bored. I started coming up with songs and recording them on a digital 8 track machine. They mainly consisted of guitar, drum machine, and other assorted noise/keyboard sounds. I moved back into the area a few months later and actually got together with my old friends, Alex Steward, Nathan Price, and Ryan Steward. We had all played in various incarnations of my previous musical outlet ERCEL, so it was a pretty easy deal to get everyone together. I reworked some of the NW Indiana recordings with Alex to add live drums and other instruments and we rehearsed a handful of times. We played one time at Sluggo’s (the old Brownsville location) and after that show I basically decided that I didn’t want to play live music ever again.

Flash forward to spring/summer of 2010: I had been recording some music with my laptop computer and came up with a very stripped down collection of songs (titled AVERY STREET) that I pretty much just emailed to my close friends. I still had no interest in playing in public but it was fun to be messing around with music again. Of course, I started getting bored with acoustic songwriting so I started messing with the electric guitar, especially with alternate tunings. This really opened up a whole new approach to guitar, one that really made playing a lot more simple and interesting to me. I came up with a bunch of demo recordings set to drum machines and around August started talking to Ryan and Nathan about getting together and seeing what would happen. We started practicing with some regularity on these new songs; Nathan and Ryan also had numerous song ideas that seemed to fit in perfectly with what we were doing. We played in public for the first time in November at James Hagan’s birthday party/roast. We are currently recording at the studio we have set up in my spare room. Alex Steward plans to join us as a bass player in the near future.”

TCAS: Musical influences?

Travis Brown: “I have been influenced by alternate tunings and fuzz pedals. I would be lying if I didn’t mention Neil Young at the Saenger Theater, which was really kind of a bizarre performance. I’ve never seen a solo artist get up and play fuzzed out guitar quite like that.”

TCAS: Were the dual Fender Thin Line, F-Hole Telecasters used by Price and yourself a coincidence?

Travis Brown: “I’ve always loved Telecasters and I picked up mine over the summer in a trade that I made via Craigslist. I wasn’t trying to totally copy Nathan, but I couldn’t pass up this deal. I think it’s kind of funny, but it would be a lot more cool if we had matching Electical Guitar Company guitars or Travis Beans. Nathan does have a Gibson SG that he has mentioned possibly using and I have a P-90 equipped Gibson that I will probably use in the future as well, so it won’t always be an “all-Tele” band.”

TCAS: Any projects in the works?

Travis Brown: “We are currently working on recording this batch of songs which we will make available (for free) to download when it’s all finished up.”

TCAS: Anything else you would like to add about the show or your band?

Travis Brown: “First, I am thankful to all of our friends who have provided encouragement, inspiration, and a level of enthusiasm that I never would have imagined. We will play in public again at some point, but nothing has been lined up yet.”

Check out Wake up the Echo

-MLS

16
Dec
10

* The Constellations, The New Collisions, Deadly Fists of Kung Fu @ Vinyl Music Hall. 12/11/10

By Take Cover and Shoot! 3 Comments
Categories: Show Pics and Show Write-Ups
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“Without you coming out and supporting live music, none of this is possible!” After Elijah Jones (lead singer of The Constellations) made this declaration towards the middle of their rhythmically charged set, the audience shouted in agreement and the band launched into a white-hot rendition of the Nile Rogers produced, David Bowie classic proclamation of escapism and desire, “Let’s Dance!”

This Saturday night adventure was a steamy, celebratory mix of rock, dance and even a little humor. Billed by Vinyl Music Hall as a “Low Dough Show,” five bucks earned admission into the venue and a date with three bands who dedicated their night to making everyone shake a move or two.

Fresh from their Vinyl Music Hall-oween Cars cover set, were local rockers Deadly Fists of Kung Fu, who started the night’s activities. Anchored by a straight forward push of rock, DFKF warmed the crowd up and even got one audience member to start a Pogo Dance Revival in front of the stage. Sailing their wave of sound are Zac Hobbs (vocals/guitar), Phread Touchette (bass), Andrew Bennett (drums), and Jason Hurt (guitar). No one can ever say that the DFDK are guilty of shoe gaze rock or taking themselves too seriously; some songs were introduced with comedic abandon by Hurt, rebutted by Hobbs and then clarified by Touchette in an entertaining, old-school vaudevillian fashion. One brave audience member tried to throw in a smart remark only to be shot down by the Hobbs, Hurt and even a few people in the crowd. The band might crack jokes and have a good time, but messing with the Deadly Fists of Kung Fu could render one embarrassed. Midway through the set, Hurt announced that radio DJ, Candy, was in the audience and the band took a minute to promote TK 101’s “Anything for Kids” radio-thon to be held the next morning. The radio-thon was a benefit to help the Children’s Home Society. The Deadly Fists of Kung Fu closed out their set and proved that a band can rock, joke and lend a hand for a good cause all in the same night.

Following the Deadly Fists of Kung Fu were The New Collisions. Fronted by Sarah Guild (vocals), the Boston, Massachusetts group powered a sound that echoed touches of 80’s new wave heroes Berlin, and a striking touch of The Pretenders. Skillfully weaving their sonic backdrop were Scott Guild (guitar), Casey Gruttadauria (keyboard), Alex Stern (bass), and Zak Kahn (drums).

Celebrating their six month anniversary as a couple, James Hagan and Bonnie Hans enjoyed a full night of entertainment that was highlighted by The New Collisions’ debut performance at Vinyl Music Hall. “They are the best band I’ve seen all year” remarked Hagan, a University of West Florida graduate student, when asked his thoughts regarding the show.

After the New Collisions finished their set, It was time for The Constellations to mark a stamp on their second performance at Vinyl Music Hall. Having opened for Electric Six barely two months ago, the gathered mass of people were vocal about the band’s return as headliners for the night’s show.

“I came to party” voiced Elijah Jones and matched loudly by the Pensacola crowd. Making their way from Atlanta, The Constellations fielded a full assortment of vivid players including Wes Hoffman (bass) who was endearingly given the nickname “Fro-bot” by Jones, Jamie Gordon (keyboard), Trevor Birdsong (guitar), Jason Nackers (drums), Shabnam Bashiri (vocals, percussion),and Alaina Terry (vocals, percussion).

Not a precious second was wasted as the band commenced to reaching out and working every soul in the room with their addictive explosions of funk, soul, rock and pure energy. Jones even threw in some old school beat-boxing for added pleasure. Matching the sonic connection of their music was the pure visual pageantry of their performance. Every character in the motley cast proved enthralling, engaging and dedicated to the sound, their instruments, their band mates, and the audience. At times, Gordon played the role of mad scientist/musician with a crazy love/hate affair with his ebony keyboard; seconds of pounding its dark carriage followed by moments of caressing hyper-melodic sounds from it. Some of the most fleshed out characters in a Tennessee Williams’ play never faced the kind of treatment that Gordon showed his keyboard this night.

A few songs into their set, Jones dedicated a song to fellow Atlanta artist, Cee Lo Green, the charismatic former Goodie Mob member and co-creator of Gnarls Barkley. “He helped me write this song,” shared Jones, and it is called “Love is a murder.” Like all parties, this one had to come to an end, but The Constellations definitely provided the fully expected exclamation groove-point for the evening.

Five dollars, three bands, one hot, crazy night of fun “under the moonlight, the serious moonlight” in a city called Pensacola.

-MLS

Story and Pictures from the Electric Six, The Constellations, CockFight show @ Vinyl Music Hall
Story and Pictures from Deadly Fists of Kung Fu Vinyl Music Hall-oween show

For band sites, click on the hyperlinks found in the article.

10
Dec
10

* Mr. Gnome, Hollowman/Badwater, Hello Crescendo @ The Handlebar. 12/07/10

By Take Cover and Shoot! 3 Comments
Categories: Show Pics and Show Write-Ups
Tags: , , , , ,

Live music, Beer Buffet and The Handlebar; a trio of good reasons to venture out on a cool December evening in Pensacola, Florida. Devoted to red wines and never really cultivating a taste for beer, I was enticed into enjoying two of the elements mentioned in the previous equation.

Everyone in The Handlebar knew they were in for a good time (or a lot of trouble) when the rocking vocalist/guitarist/”tambourine-topped bass drummer” of Hollowman/Badwater looked into the crowd and proclaimed “Don’t say Betsy Badwater never gave you any cock!” Consistently delivering a mix of wit, humor and southern charm, clarification may only taint the joke, but Badwater was referring to the rooster proudly displayed on buttons they were giving away along with home-made food she had prepared for everybody at the show.

With Lang Hollowman (guitar) and Jeff Glickman (snare, ride cymbal, tambourine) by her side on this musical Mt. Calvary, Badwater released everybody’s sin and led their set, even introducing a new song cleverly titled “Dear Delilah…..Love Samson.” Hollowman/Badwater eased the crowd into confession and bared witness to the power of gospel, blues, rock and a good time. Before ending their set, she updated the status of their recording sessions and provided tender affection for the crowd in between songs while conspiring to get their feet moving during them.

Following Hollowman/Badwater were fellow Pensacola musicians, Hello Crescendo. Stirring ingredients comprised of Taylor Stoll (vocals, guitar, keyboard), Richard Hohn (vocals, bass, keyboard) and Trey Stoll (drums), Hello Crescendo served a sonically intoxicating performance that held the audience in a trance-like state for most of their set. Even when Taylor Stoll’s guitar string broke during the first song, Trey Stoll and Hohn collected whole and improvised a hypnotic groove that pleasantly distracted the crowd while giving their bandmate time to restring. Thriving in layers of sound that would challenge most five piece bands, the trio seamlessly orchestrated their set by hovering close to their monuments of skin, wood, steel, keyboards and effects pedals; Their set proved to be the auditory foreplay leading to the nadaville of headliners, Mr. Gnome.

Based in Cleveland, Ohio, Mr. Gnome are formed by the duo of Nicole Barille (vocals/guitar) and Sam Meister (drums /vocals). More human than math rock yet completely void of the parody that poisons even the most outer realms of indie rock, their music is skillfully unpredictable and soulfully evocative in the same heartbeat. Arnold Schoenburg talking shop and collaborating with Tchaikovsky is the visual that comes to mind when thinking of Mr. Gnome. Barille and Meister seem to have added yet another layer of uniqueness since I saw them on their last tour stop at the Handlebar. A perfect example was the inclusion of a song that was propelled by Barille’s Scotty Moore style swing guitar intro and Meister’s fluid jazz/rock hybrid playing style. While melding single-note bass melodies with compelling chord progressions on her guitar, Barille would sway to her double-microphone stand and release her haunting lyrics with lips barely pressed on a thin layer of air between them, while Meister teased his drum kit with a mix of finesse and governed aggression.

Like a twisted carnival ride, their compositions leave the most automatic of human functions in shock. After finishing what Barille had announced would be their last song, the crowd, in pleasant protest, responded with chants and cheers for one more song, to which Barille and Meister reciprocated and granted their wish. Such is the way of their sound; you have an idea of what the end result will be, but the dramatic twists and unanticipated turns make the event even more memorable. Such is the dynamic created by Mr. Gnome.

Check out their sites!
Mr. Gnome
Hollowman/Badwater
Hello Crescendo

- Michael L. Smith

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