Nu Rave Brain Wave

This weekend Brighton turned into, rightfully named, Shoreditch on Sea when thousands of hipsters and young industry peeps invaded my turf for the Great Escape Festival. Unimpressed as I was last year with this baby SXSW attempt, I still managed to see a couple shows inbetween Relentless Bombs (bad idea at 5pm) and forays into the Pav Tav (always a bad idea). Here’s what I saw. Note: it was all awesome.

Bleeding Knees Club @ Beyond Retro: Beyond Retro is the weirdest place in Brighton to see a show, due to the fact that the band has to be up on this little loft area and the whole crowd is like 10 feet below them. However, Bleeding Knees Club had a really good turnout of (as someone on twitter put it) any blogger with their salt, and a bunch of their drunk friends in my case, and we fucking loved it. Their EP, Virginity has been on my stereo constantly since November, and it was a pleasure to hear them run through favs like ‘Bad Guys‘, ‘I‘, and ‘Teenage Girls‘ all which rule. The Aussie gutter punks do really bright and fun garage pop, it’s warm and an excersize in excellence in simplicity. Their choruses are catchy as fuck, and they played a good little set — the highlight of which, of course, was ‘Have Fun, their most infecutous and wonderful song, which has not been able to leave my head since I heard it. Big things up for these dudes, and songs to match. Check out the live vids taped by The Fly during TGE:

Bleeding Knees Club – ‘Truth Or Dare’

Bleeding Knees Club – ‘Teenage Girls’

mp3: Bleeding Knees Club – Have Fun

Die! Die! Die! @ The Hope: I’ve never seen Die! Die! Die! before, but holy fuck, thank god I did. They were definitely the best set out of the weekend — they packed the Hope, and everything was sweaty, but they were energetic and noisy and relentless. They were razor sharp and tight as fuck (playing together for 6 years will do that) and the drummer played like an reminded me of Animal (from the Muppets. Not only did Andrew remind me of John Dywer, but as a band they played with that frenetic craziness that I love about Thee Oh Sees. I wish the crowd would’ve gotten a little crazier but they were amazing.

mp3: Die! Die! Die – Auckland Is Burning

Fear of Men @ Green Door Store: Brighton based Fear of Men was a couple of people’s must see band for the Great Escape. I really like their tape that they just released on our great friends Sex is Disgusting’s label, so I was pretty excited, too. They lived up to what they’d put down on cassette, which is a kind of shady-summer day haziness tinged pop that while detailed, is irresistably simple and easy. Very enjoyable, but definitely didn’t blow me away live. They’re new as fuck so I feel bad saying that, but I think there’s probably something here that’s going to grow over the next year or so.

mp3: Fear of Men – Phantom Limb

Milk Maid @ Green Door Store: Having recently announced their debut album is being released by the great Brightonian label Fat Cat, and having adored everything that I’ve heard out of Manchester’s Milk Maid, this was the ONE band that I couldn’t miss at the Great Escape. They put on a mostly great show — and since pretty much everyone has heard about 3 songs, it was all new material that plays upon what they’ve already laid down. That is to say, it’s all gold soundz, slacker melodies that permeate your brain and refuse to leave. It’s kind of 90s, but it doesn’t sound dated and pretty much rules. The excitement that I felt listening to their first records didn’t quite translate live, but I think this is a case of a new band feeling its way out. What I do know, is that the songs sounded really solid, many of which could wind up being my summer anthem. They’re recorded in a dark garage, but they speak to things that are bright and fun. We’ll see.

mp3: Milk Maid – Such Fun

This year, I was incredibly happy to be involved with throwing the Eruption of the Real party that happened on Friday, March 18th at the Cherrywood Coffee House. Our partners, Sweet Relief Musician’s Fund and Secret Chief Management were the most awesome, helpful all around badasses with fantastic taste in music, and who know how to throw a great party. Sweet Relief Musician’s Fund is a really awesome organization that provides financial assistance to all types of career musicians who can’t make ends meet while facing illnesses, disability or age related problems. They are involved in all kinds of projects to do so, and could and always will appreciate and use your donations to support musicians. So we all conspired to throw a day-party at Austin’s cutest coffee-house (with badass fucking burgers, if you’re in the market for one) with 22 great bands. Here’s some of the awesome craziness that ensued:

Beautiful Cherrywood Coffee House

Up first we had the great Dead Man’s Clothes from Portland, Maine (Yep, people live there! News to me, too). I know it’s a super cop out to describe some band as being ‘indie rock’, because you may as well say that there were some guitars, some vocals and a little bit of drums for as much as it describes something, but there’s really no other way to describe them. They had jangly guitars, nice vocals from a good lookin’ front man, and solid melodies: overall, it was really great. It may not have completely changed my world or stunned me or anything, but in the Austin sunshine with a beer in my hand, it was really nice.

After Dead Man’s Clothes, we had TRMRS. I’m going to try not to write an essay about how much I love these weird Costa Mesa punks and am so happy that they were added to the lineup. Since I wrote about them immediately when I got back from SXSW, I have had lots of time to listen to them and appreciate the live show so much. Definitely not digging on their recorded stuff (because it rules) but their live show is so damn compelling. I loves me a band that basically the same as a garage/trash pop TNT explosion of crazed energy — and while they were playing an early show, so there wasn’t, ahem, any head thrashing or jumping around — that’s something that I would do anytime I heard their music. They basically fulfilled every box I have for a band I like: surfy garage pop tunes, tons of energy, ridiculous clothing, at least one moustache, and at least one ridiculous hat. It all really works – I like their ethos and I like their songs. Best discovery of SXSW — and bonus points for being able to see them constantly in LA/the OC.

TRMRS @ Eruption of the Real SXSW Party from Brianna Saraceno on Vimeo.

mp3 | TRMRS – Zombie Party

Finally! Atlanta’s Carnivores were on next. They were one of the bands I was super excited to have play, and to see play for the first time. And holy hell, was the wait worth it. I’ve been pretty much in love with their peculiar brand of kind of psychy-garage rock. They delivered one of the best sets of the whole day. Not only did they go hard the entire time, but Philip and Caitlin had some really great dance moves — I particularly liked the way Caitlin slaved over the keyboard helping to add those weird but absolutely entrancing melodies. The shared vocals between the classically trained pianist Caitlin, sparse and dry guitarist Nathan, and the bright and pogoing vocals from bassist Philip worked really well — each has something different to offer to each song that makes their songs feel more variegated and fresh. The two highlights from their set most definitely had to be ‘Dressed For the Rain‘ which is a UK exclusive that kills me on record, but slays me live in a completely different way. It’s such a weird funky little song that will get stuck in your head SO easily — it’s actually kind of like perfect for the UK because it reminds me so much of making your way through a really foggy disgusting day after something really strange happened to you. I hope that’s what they’re going for, because they fucking nailed it. Second highlight was for sure the brilliant and strange ‘Georgia Power Company‘. I beg you guys, get their stuff from Double Phantom, you’ll love it. And UK buds, get ready, we’re gonna hear alot about these guys soon…

Carnivores @ Eruption of the Real SXSW Party from Brianna Saraceno on Vimeo.

mp3 | Carnivores – Georgia Power Company

Hasselblad photo by the stunning Rachel S. Peters

Hasselblad photo (with extra special ME) by the stunning Rachel S. Peters

Next up we had Los Angeles’ finest, Sweaters. Long term or short term readers of this blog will know how much we adore Sweaters, not just as one of the finest craftsmen of the most illustrious pop songs that I’ve ever heard. Not only are they deft songwriters, but they’re ridiculous and amazing people who wrote a book chronicling their Can’t Stop Winning Cult, of which I am a member, and was also founded before all this Charlie Sheen nonsense.  They also put on a stunning show, that really stole the afternoon. Their particular brand of 70s inspired, glam pop that’s completely DIY has always converted any crowd and this one was no different. Running through their standard set of Bob-Dylan-referencing (When they ask yr real name, never give it) ‘Investigations‘, the forceful and unimaginably catchy ‘Killing A Man‘, the story of my life ‘Skymall‘, and the less-oft-played but still-amazeballs ‘Fruit on the Vine‘. They run the gamut from kooky to confused to unflappable to ecstatic to joyful, but Sweaters will always, and have always played sets that put a smile on my face in a way that no other band does. If they’re good at nothing else (false), you could say that the atmosphere that they create at gigs is worth the price of admission alone. Don’t sleep on these dudes, they really are LA’s finest.

mp3 | Sweaters – Killing A Man

photo courtesy of Dieter von Schramm

After Sweaters, we had to take a little break from baking in the Austin sunshine, but we came back out for a block of bands that was curated by Austins great John Wesley Coleman III who came and played with his band (featuring none other than ex-Strange Boy Matt Hammer on drums!) and ended up being one of the best surprises for me. Coleman played a really nice late-afternoon set that was packed with beautiful, fuzzy, boozy, bluesy gems. It was one of the sets that I think people enjoyed most. After was Brooklyn’s Fletcher C. Johnson who does his own project and moonlights as King Tuff’s backing band. On a completely selfish level, I’m super pleased Fletcher came to play as he brought King Tuff and I finally got the ‘Was Dead’ tape I’ve been after since last year when they sold out. But Fletcher’s set was really great as well. I really enjoyed his breezy, bluesy sort of countrified songs. Also he is adorable. Bonus points! Austin’s Fleshlights were a real treat, too.  Any band who describes themselves by saying “We’re just kids that hate male pony tails and love to rock” is fucking A-OK in my book, as long as they rip as hard as Fleshlights do. And boy, did they rip hard and fast. Note to self: get more of their stuff. Last notable was Chapel Hill, NC’s Shit Horse. They were the most hilarious, engaging, strange band and their MC had the BEST pants I have ever seen. Kenny Bloggins over at The Decibel Tolls has some great photos. If anyone knows the frontman of Shit Horse, I’d really like to get my hands on some of the pictures he took at our show.

mp3 | John Wesley Coleman III – Liquor Store

School Knights photo courtesy of someone who tagged them on Facebook

After the most relaxing, enjoyable, free beer afternoon, I finally got to see a mostly full set from Boulder’s School Knights. I say mostly because I spent about 3 hours running around like a crazy person, and I watched a teensy bit of TRMRS’ great semi-acoustic set. Seeing them do a longer set than the day before, my first time seeing them as a 3-piece was incredible. They were louder than ever, and holy shit, do they sound good on an excellent PA and for not having played much together as a trio, were tight as fuck. They played all of my favorites: a crashing and reverbed out version of ‘Fuck The Beach‘, a semi-sloppy but completely on point version of ‘Never Needed‘, and the perfect set closer (my absolute favorite, and best song I’ve heard in so long) ‘Lunch Money‘. They also played a new instrumental song that sounded really, really good. I know that I go on all the time, constantly, about how these dudes slay/rip asses/kill etc but I just really think that they’re super talented. Their ability to craft supremely catchy garage/punk/power/pop songs is unparallelled for any band whose been together for as short of a time as they have. I can sense a little frustration in the way they play, waiting for their album to get released — they’re changing songs and writing new songs and I know that once they find someone, they’re gonna unleash some fucking incredible, incredible songs, if the ones off ‘Fuck The Beach‘ are anything to go by.

mp3 | School Knights – F_#k the Beach

I was super overjoyed to have San Diego’s Heavy Hawaii over to play. We had them go on in the inside stage which actually suited them really, really well because it was a cute little space with like fairy lights and we were able to make things really dark and atmospheric. I’m not going to lie and say this was kind of incendiary different set than the one I’ve seen them the past two or three days (and since January) but thats definitely not a bad thing. Something I really like about Heavy Hawaii is the fact that they’re really consistent. They consistently write consice, lovely, floating jams and they consistently step up their game and make songs that serve me so well on sunny Sunday mornings into engaging shows. Although I was only able to catch like 2/3 of this show, it was as good as I’ve seen them. ‘Better‘ is really such a good fucking song. Keep your ears peeled, I think the singles that HH are going to be putting out soon are going to blow your little ear holes with greatness.

mp3 | Heavy Hawaii – Better (Early Version)

I’m pretty sure Vancouver’s Dead Ghosts thought I was a major dork just because of the way I was gushing about how excited I was to see them. I came into their self-titled record at the tail-end of last year and it ended up being one of my favorites of the year. They said “get ready to be dissapointed”, but sorry fellas, I was totally blown away. Although I was only able to catch half the set (again, more running around) but I was so impressed about the way they were soo tight and even though on record they sound sloppy/great, in person it has something much more finished about it. My two favorites had to be a really fucking radical and practically perfect rendition of ‘Girl Across The Street’ and a similarly fantastic and rowdy version of my single favorite song they’ve done ‘When It Comes To You‘. These dudes slay. Fact.

mp3 | Dead Ghosts – James Brown

We also had Orange County’s greatly underappreciated (that will soon change, I think) Cosmonauts. I really, really enjoyed them and have seen them live since and they’ve been equally great. There’s something really fresh to their take on psych-garage rock. I wouldn’t put them far away from San Fran’s Fresh & Onlys. They write really tight songs and then live they sometimes let them meander into jammy noise territory and it all works really well. I can’t wait for more from these dudes.

Anyone who had the opportunity to see King Tuff at SXSW was treated to the OC’s young power-rippers Audacity playing as his backing band. After SXSW, they left on a Burger Records Boogaloo back to LA as his backing band. So when we had them play on Friday — we were treated to something that probably no one else has seen: a King Tuff set as performed by Audacity — no King Tuff involved. Even though Matt was wasted, they played a really, really tight set of covers. I mean, as someone who missed King Tuff in 2009, and then proceeded to miss every King Tuff set at SXSW… it was really special to get to hear them played, even if KT wasn’t there. They did a spectacular versions of ‘Animal‘ and ‘Ruthie Ruthie‘, and as always ‘Connection‘ was fucking fantastic. Due to time, they just ran through a short set but it was really cool and I’m so happy they played. Seeing them about a week later opening for and with King Tuff, I just can’t get enough of these guys. And having heard some of the material they’re gonna put on the album they’re recording in the next few weeks — it’s going to SLAY hard.

mp3 | Audacity – Power Drowning

SXSW 2k11 was a crazy blur of wildness, great and loud music, and $1 wells. This is the best and brightest of what ensued:

Heavy Hawaii @ Hardly Art Fag Party :: I have seen Heavy Hawaii play numerous times now, and I can’t stop the amount that I adore them, so I was happy to trek to the Hardly Art Fag party to see them, even though they’d be playing my show the next day. Unfortunately there wasn’t a massive crowd to see them, but the ones who were out fucking loved every second of it. Highlights include the songs that took me a little while to come around to but now are permanent fixtures in my mind, especially ‘Better‘ and ‘Sleeping Bag‘. I love that live, HH doesn’t lose any of that wonderful melancholy that sometimes contrasts and sometimes compliments Matt Bahama’s vocal harmonies, and the quiet but necessary guitar lines. Again, as in January, their newer material sounded on point as can be, a little bit more uptempo, but most of their stuff is in the live setting — can’t wait to see what this year brings for HH.

mp3 | Heavy Hawaii – Teen Angel

Brown Brogues @ Aussie’s Bar & Grill :: I was really happy to finally see Wigan’s Brown Brogues. Having read so much about them and hanging out with them for most of the week, I couldn’t wait to hear them play. They’ve gotten a lot of really good press around their first 7″ (out on Suffering Jukebox). This venue was on South Congress and had beach volleyball being played in the background, but they still ruled. For a two piece, they make a lot of fucking noise and it works so goddamned well. The highlight for me, was definitely them playing ‘Shergar’ which is one of my favorite songs (described by them as ‘quite aggressive) but I think they’re a little bit aggressive, but it sounded amazing. Ben (drummer) and his facial expressions and Mark (guitar) and his John Dwyer-esque moves played really well even though there wasn’t a giant moshing crowd for them (there should be!). More on these rockstar dorks later, saw them a few more times and they ruled each and every time.

Brown Brogues @ Aussies Grill SXSW 2011 from Brianna Saraceno on Vimeo.

Brown Brogues @ Aussie’s Grill SXSW 2011 from Brianna Saraceno on Vimeo.

Brown Brogues @ Aussies Grill SXSW 2011 from Brianna Saraceno on Vimeo.

mp3 | Brown Brogues – Treet U Beta

School Knights @ House Party :: If you’ve read this blog or my twitter since about November of last year, you’ll know that School Knights might just be my favorite new band. I was super happy that they did decide to come down to SXSW and so we left the insanity of downtown and cruised over northeast to a house party. Not only was there plenty of free beer, but I also got to hear a really raging duo right before School Knights as well, AND I picked up a Whataburger coupon to which my drunk brain read as “Buy One, Get One Free – Honey Butter Chicken Biscuits” but a week later turned out to be “Buy One, Get One Free – Honey BBQ Chicken Biscuit”. Sad times. But finally about 8pm, School Knights went on and played three really, really great songs before the motherfucking POLICE came and shut us the fuck down. However, it was my first experience hearing SK as a three piece (they added a second guitarist) and I thought it only added to the amaziness that was already there. I would go on further, but I want to save my good review for their Friday show at my party. They ruled though, for the 10 minutes they were on.

mp3 | School Knights – F_#k the Beach

Black Lips @ VICE Party, Club Deville :: We all know how much I adore Black Lips, there’s nothing that can negate that. They always put on a good show, they really do, but I’ve seen them so many times now that I know exactly what to expect. As I’ve watched them, they’ve gotten older and less volitaile (which is completely fine) — but that’s kind of what I look for in a band, I guess. They played tons of the classics (‘Sea of Blasphemy‘, ‘Drugs‘ etc), and they played a lot of new songs from their forthcoming LP, Arabia Mountain, which was the highlight of the show. I think that this is going to blow their last LP out of the water. This was one of the first and only Black Lips shows where everyone sort of danced on their own (except around Tyler, The Creator) without disturbing anyone else, which kind of sucked because I was in the mood to fucking push some people. It was an okay show, but I don’t think I will ever waste any of my precious SXSW times on bands that I know I’m going to see again very, very soon.

Black Lips @ Club Deville – Vice SXSW Party from Brianna Saraceno on Vimeo.

mp3 | Black Lips – Stoned

Strange Boys @ The Bat Bar :: Ah, the Strange Boys. Unfortunately, the Bat Bar is the weirdest little venue where its kind of like a long rectangle yet the stage is like a little half hectagon in the near right hand corner. I’m describing it badly, but it was a really weird little place and I don’t think the Strange Boys fit very well in the venue. Maybe it was because it was 1am, or maybe it was because I missed King Tuff at 12, or maybe it was a long fucking day — but the Strange Boys just wern’t on point for me. They played mainly second album material (the ones that I don’t, uh, actually put on very often) and everything had been slowed down by a bit and it just seemed really syrupy and I really missed the bite and the frenetic energy that made me love them in the first place. I’m not adverse to bands growing and doing something different, but I had never seen a set like this from the Strange Boys. Highlight included (although, not as good ast it was at SXSW 2k10) ‘Woe Is You & Me‘ which is like, the story of my life. I’ll give these weirdos another chance soon.

mp3 | The Strange Boys – Baby Please Don’t Go

SXSW 2k11 was a crazy blur of wildness, great and loud music, and $1 wells. This is the best and brightest of what ensued:

The Vaccines @ AOL’s Pop-Up Show Series at the First Baptist Church :: Damn the Vaccines look tired. Kind of seems like maybe entering into the major label circuit was a bit of an oversight. Having done two UK tours, a small US tour and a Europe tour back-to-back-to-back prior to SXSW was a bad idea. This was for some kind of stream that you could watch online (hope you saw me!) so they made us do some fake clapping and stuff which was pretty lame. They played well compared to the ill-fated Spaceland show in January. Their four big singles are damn good (that would be ‘Blow It Up‘, ‘Wrecking Bar‘, ‘If You Wanna‘, and ‘Post Break Up Sex‘), and Justin’s voice was booming (although towards the end of the Festival it went out — and now he has to have surgery – we wish you well Justin!) but the rest kind of fell flat. We did get treated to the longest set of the festival and I had ‘Post Break Up Sex‘ in my head the whole time so there’s that….

The Vaccines – Wolf Pack @ SXSW 2011 :: AOL Popup Thingie from Brianna Saraceno on Vimeo.

mp3 | The Vaccines – Norgaard (Marc Riley Session)

Bass Drum of Death @ I’m An Alcoholic And I Hate You at Club Deville :: I had been extremely, extremely excited to see BDOD. I had gotten a copy of their debut LP, GB City, and so I wanted to see how much they could rock my face off live. Let me just say, they totally fucking did. It’s kind of amazing how loud they are for just two dudes, but John and Colin were blasting — and the fact that they let the songs speak (read: no banter, but lots of presence) for themselves just added to their fucking incredibleness. If I was a guitarist, I would headthrash just like they did. Highlights (from the set AND the album) include the impossibly catchy, eponymous ‘GB City‘, the rough and tumble ‘Heart Attack Kid’ and the incredibly accurate and jangly ‘Young Pros‘. Check out some really great video below. And if you don’t already have your copy of GB City you should head to Fat Possum and get that shit.

Bass Drum of Death – Heart Attack Kid @ Fat Possum Party SXSW from Brianna Saraceno on Vimeo.

mp3 | Bass Drum of Death – The Ballad of Bandit X

Mellowhype @ I’m An Alcoholic And I Hate You at Club Deville :: So, I would probably classify myself as a pretty big OFWGKTA fan. Just ask the Boys whose house I play them in for about 10 hours a day. Consequently, they’re all fans. So I was really excited to see Mellowhype at the Fat Possum party. I was super surprised to see that it wasn’t that packed, but amongst the chants of “Swag!”, renditions of “FUCK THE POLICE” (joined by Tyler, The Creator! SWAG!) and tweets about Aziz Ansari, Mellowhype (Hodgy Beats + Left Brain) left the crowd with no doubt that Tyler, The Creator is not the only member of OFWGTKA destined for greatness. Playing the hits from their forthcoming reuisse on Fat Possum, BLACKENDWHITE, but the most special moment was when they played Earl Sweatshirt’s soon to be classic ‘Earl‘. It was fucking SWAGGED OUT. Can’t wait for more.

Mellowhype @ Fat Possum SXSW Party from Brianna Saraceno on Vimeo.

mp3 | Mellowhype – Fuck The Police Featuring Tyler, The Creator

Hunx & His Punx @ Waterloo Records :: Big time Hunx and His Punx fan, first time seeing them live. Although I would’ve much preferred to see them in a small venue, the Waterloo Records stage looked and sounded amazing. Hunx is the consummate entertainer, wearing a man thong, tights and a see through sort of tuxedo shirt and Russian style hat. He intermingled hitting on men in the crowd (‘Hey sexy gay man in the beard, stop talking about me!’), giving people who left the set the finger, and rocking it the fuck out. They played lots of new songs from their forthcoming second album, including the great ‘Lovers Lane‘. I thought it was a really great set, but it just made me want to see them in a tiny venue where Hunx was way more drunk, stripping way more, and being 1,000x crazier. But I can’t really complain, they’re coming to the Echo in the beginning of April. Best be there.

Hunx & His Punx – Lovers Lane @ Waterloo Records SXSW 2011 from Brianna Saraceno on Vimeo.

mp3 | Hunx & His Punx – Lovers Lane

Davila 666 @ Nuevo’s :: I don’t really know what to say about Davilla 666 other than that they ripped so fucking hard. Having been told to listen to them like, at least a thousand times, and not really knowing where to start, I figured this would be it. They played to a really small crowd at 8pm at Neuvo’s which was a shame but they did NOT hold anything back. The entire group looked a little squeezed onto the stage but it worked really well as their sweat was flying, angry Spanish was shouted and they fucking ruled. Time Magazine even agreed that they ruled super hard, so you can’t really argue with them and us, right?

mp3 | Davila 666 – Hanging on the Telephone (Nerves Cover)

The Growlers @ BD Rileys :: I’m pretty sure this was my 25th time seeing the Growlers (no shame whatsoever) and it was just as good as it always was — maybe even better. Having gone 4 months between seeing them, I rejoiced when I saw their laid-back swagger and their ridiculous spectacle (covering themselves in tin foil), I was reminded of exactly why I adore them so much. Every single song they have is a definitive classic, as you well know if you read this regularly, so I was happy to jump around to ‘Old Cold River‘, ‘Sea Lion Goth Blues‘, and ‘What It Is‘ — it’s hard to keep writing the same things about them — they’re always good live, I never get tired of seeing them (obviously), they always bring something new and endearing and compelling to the table, even if it’s just ridiculous outfits or wigs — but it never overshadows the fact that they write incredible songs and love what they do. If it makes any difference, two Brits that I took to see them loved them, even though one was gonna make $15 bucks if he didn’t. That’s a damn good band.

mp3 | The Growlers – What It Is

It’s kind of weird to keep writing about the Growlers now, although I’m not going to lie, I have an essay planned about why I think they’re the greatest band, but you know, full disclosure, this was my 21st time seeing the Growlers. They always have new tricks up their sleeve, something to thrill and delight — even after all this time. I was so excited when I heard about this show approx. six months ago, especially since we saw them on NYE 2009 last year, and had just the best time ever.

And it seems almost every time I write about them, I just say that there’s nothing that I haven’t said yet, and there’s nothing I can say that would come close to how great they are live but I keep writing about them (constantly, I know). However, something I don’t say which, is often true of Growlers shows, is that the crowds usually suck. I have seen them with plenty of good crowds, but usually they suck. And this time was no different. The crowd was either way too fucking wasted or way too sober and NOBODY was dancing besides like the first two rows of people of the completely packed Echo. But, this was such a homecoming of sorts for the Growlers, so it was really special to watch them sell out a venue that I saw them play to, you know, 10 people at before.

A super suprise was the opener, ‘The Graveyard’s Full’, which was re-recorded from its previous condition on Couples Vol. 6 and released on this past October’s Hot Tropics EP and is so much of a fun like, gypsy stomp although it was a little bare to how it sounds on record. The highlight was undoubtedly the second to last one, “People Don’t Change Blues” which was written by and is sung by Matt Taylor. Now they play this live all the time but it’s always with the vocals turned so far down you can barely hear — but this time he used Brook’s full volume mic and we got to actually hear it and it was INCREDIBLE. Not only is it one of my favorite Gs songs, but I think that it’s incredibly well written, straight to the point, and extremely astute. It was a thing of beauty when you could hear Matt Taylor and then heard Brooks doing some motherfucking wailing backing vocals.

But the real biggest surprise of all was ‘Wet Dreams’ which they actually NEVER have played not once when I’ve seen them. Although it’s not my favorite Gs song on record, it really worked live and was more upbeat than the versions that appear on Couples Vol. 5 and Are You In Or Out? Then the Gs do what they always do, which is play their “last song” and then play one more, and one more, and then one final one. This time the actual set-closer was the ridiculous Barnacle Beat which if you’ve listened to, is one of the classic Growlers-sound songs and is a one song dance party.

You know they also played the classics: Acid Rain, Sea Lion Goth Blues, What It Is, Badlands, etc and they were all amazing as per usual. Personally, I though they were great although I did hear some people think otherwise. I think it was the perfect send off to a year that has seen so much great stuff for the Growlers (including filming what has been deemed one of the worst interviews of all time, by us) and we all know 2011 is only going to bring better stuff (I have heard whispers of a new LP soon!). We love you, Gs.

mp3 | The Growlers - Mean People Suck

We all know I’ve been super digging on Denver’s School Knights for quite a while and I was pretty stoked that they were playing the Smell on the 19th of December. I don’t remember what the bands who opened, there were two of them, but they ruled and I knew it meant good things for School Knights.

Besides a little bit of fuckery with the Smell’s equipment electrocuting the guitarist, at first mysteriously, and then he wore the soundguys shoes and it was all fine – but they fucking OWNED. Like, I’ve seen bands play really good sets at the Smell but I’ve never been super blown away by anyone I’ve ever seen there until the other night. ‘Never Needed’ was really great – it’s one of their songs that’s more chord based than riff and it focuses a little more on vocals but I think it’s really great – it has a kind of ‘everything we liked about Wavves in the beginning’ feel to it, in a really complimentary kind of way. ‘Lunch Money’ is one of the best songs I’ve heard so long but because it’s such a little ripper, I was kind of hesitant to hear it live but they fucking killed it. The guitarist was so on point and the drummer was just like, seriously going wild and it was so raw and contagious and loud. The song itself is the catchiest little riff I’ve heard in so long. If you’re not in on this one yet, you’re a fool. The set closer, and one of my personal favorites, was ‘Fuck The Beach’ which not only cracks me up as a title but is a seriously amazing song. School Knights have a real knack for super catchy riffs and fun shouty choruses – they’re really controlled but really fun at the same time. They just fucking rule, okay?

Like, it was so weird seeing a band with so few songs thus far just seriously ripping it up on stage — they didn’t have a TON of stage presence but I don’t much care for that and was just so impressed the way they just fucking did everything really perfectly – but it wasn’t like robotic in any way, it all just felt really well put together — they’re a band who works hard. My favorite quote off an interview is “We don’t like to chill and have a good time, we like to work and practice and pay the bills”. I can get behind that. They’ve got kind of the school schtick with the band name and songs like “Cliques” and “Lunch Money” but they’re so good that I don’t even care and find it incredibly endearing.

Do not miss School Knights playing on the 26th at FMLY Fest!

mp3 | School Knights - Fuck the Beach (Live on Rad 1190)
mp3 | School Knights - Lunch Money

Photo Courtesy of | Rachel Lipsitz

Last night was one of the best lineups that Brighton’s seen this year (okay, keep in mind I only count the months that I’m in the country which is approximately 6). Thanks to Teen Creeps, Jam hosted their xmas party and featured sets from Ty Segall, Sauna Youth and Fair Ohs. I was there, it was criminally underattended and I had some thoughts on it.

First opener Sauna Youth, who partially reside in Brighton I think, were a band I discovered not that long ago and kind of mildly love. But I’m not convinced. They put on a pretty good show, it was less sort of weird than I thought it would be but very engaging; the front man was all up over everything and sort of a strange man but it really worked. You could tell that two of them had been in (okay, again, questionable research) melodic hardcore bands before, but filtered through some kind of garage thing. It was enjoyable but again, not totally convinced. Definitely leaning towards yes, though. Also the comment ‘They have the best band name ever’ was thrown around quite alot, but apparently, it only works when us American people say it.

Fair Ohs put on a thoroughly enjoyable, engaging, groovy show. I was really nervous when I saw the singer take off his shoes and socks (hate that shit, and White Denim does it, ugh) but they quickly redeemed themselves. All their songs are total hook-line-and-sinkers, immediately catchy and engaging, super-dancability – they have great songs. They also got super bonus points for having hilarious and fawkward stage banter which is definitely appreciated by me. I think the only problem I had with it was that all the songs sound the same, that, and it made it really confusing because I thought they were playing my favorite song (‘Hey Lizzy’, by the way) like six times but then they never ended up playing it. But I mean, I would still give this a strong B+.

Ah, Ty Segall. What can I even say about Ty Segall? He fucking rips. Every single time. I don’t think I’ve ever seen him play a bad show (though I’m sure they have happened) and last night was no different. He blasted through 45 minutes of mostly ‘Melted’ and ‘Lemons’ songs, and the crowd of about 35 people were fucking loving it. Half the people were headbanging the shit out of it, and the rest were nodding their heads in enjoyment. As always, my barometer for a good show: the two budz I brought enjoyed the fuck out of it, even though they only had heard two songs before. They also appreciated the hot, talented ladies in Ty’s band. They ruled. Favorite moment of the show: a raucuous, sweaty, ‘show closer’ of my favorite track off this year’s ‘Melted’: Caeser. Instead of leaving stage, they ended up playing two more songs due to great demand. And if myself and my friend Pocky who actually knew the song, Ty did a rippin’ cover of Black Sabbath’s ‘Paranoid’. AND, finally, in greatest things I’ve ever seen moments: Ty playing guitar behind his head and tapping, which is probably one of my favorite guitar moves of all time.

mp3 | Sauna Youth – Teenage Summer
mp3 | Fair Ohs - Hey Lizzy
mp3 | Ty Segall - Bullet Proof Nothing

So I penned (using my stunning journalism voice) the following for Drowned in Sound about the great Los Angeles band, Fool’s Gold whose debut album came out on IAMSOUND Records earlier this year. It’s good. People kind of forgot about it, but not me:

Back in January, when I reviewed Fool’s Gold’s debut, self-titled album, I called them a quintessential Los Angeles band, which they are. Their influence, not only through their music, but through side-projects (Foreign Born, especially), but in support of other local bands can still be seen/heard in LA. There was a time when it seemed like I couldn’t go a week without seeing Fool’s Gold, from opening slots to Dub Club to their triumphant Residency at the Echo, they built a pretty sizable buzz (I want to make some kind of vuvuzela joke, but I think it’s too late). Then the album was released and it got very positive press, but now, almost 12 months later, I hardly hear them mentioned, unless it’s the about massive world tour that they’ve been on for months and months now.

I think Fool’s Gold face the live band vs. on record band connundrum. Fool’s Gold are a live band. There’s no two ways about it — their live shows are an experience. Their music is blatantly body music so when you’re in a sweaty club and their rhythms are washing over you like pulsating waves, and you’ve got a crowd full of people groovin’ right next to you — it just works so well. Every time that I’ve seen them, it’s been an extremely communal, joyous experience that encapsulates their ethos perfectly.

And the songs off the album work so well live; ‘Surprise Hotel’, the crowning jewel of their reppertoire, is always wonderfully light and the whimsy of the guitar line is as beautiful on record as it in person. ‘Nadine’ translates just as well, the vocals are longing and floating, the horns just as jubilant, and the mesh of the backing rythms shines perfectly through at the brightest moments.When I reviewed the album, I classified the first half of the album as body music and mind music, and the second half as just body music. Which, in the live arena, works out very well — ‘The World Is All Their Is’ is the perfect example, live it’s soaring and bright, the perfect set-closer; but on record, when your feet aren’t stamping along to the beat and you don’t have someone elses sweat flying at you, it feels drawn out. The second half of the album, which can meander into that wild, lengthy territory, is best seen live.

The album is definitely an album that got swallowed up, perhaps by it’s January release, or perhaps because, while the album shines – it shines just a little less bright than their live show. This is not a story where the live show compensates for a mediocre album, it’s a case of the live show burning so bright, that it sort of eclipses what sounds great on record as well. So, I guess this is a plea — don’t write off the album, Pesacov, Top and company have almost perfected their polyrythmic, melodic, Afropop influence and turned it into 8 tracks that will make you dance. If not around your room, then definitely when you see them live — and if they don’t, well… Then something’s wrong with you.

mp3 | Fool\'s Gold - Suprise Hotel

I know Kanye a jerk, how could you say that? / He rode me and my momma round in his Mayback / What kind of jerk is that? / What kind of jerk says y’all? / Fuck it, if he a jerk, I bet you jerk him off / Bet you take it off, chase him through the mall

KANYE IS PERFECT!!!!

10/10

mp3 | Kanye West – See Me Now (feat. Beyonce & Charlie Wilson)

Photo Courtesy of | Live & Loud Photography

If there’s one thing we can all agree upon, let it be that Justin Hayward-Young can write a damn good pop song. I’ve loved and watched Justin since he was writing beautiful, melancholic folk songs that showed off his killer, emotive voice as Jay Jay Pistolet. So when he retired the Jay Jay moniker and went underground for a while, I was ultra depressed. Then, I heard whispers of a new band at this year’s SXSW and thus the Vaccines were born. They’ve been the recipients of a fuckton of secret industry hype or whatever, here in the UK and so I was excited to see their second-ever Brighton show (their first ever show was down here in August) at Audio, which is a fair-sized venue for a new band.

They played their three big songs, which I think most people in attendance (a very, very good amount, if you were wondering) would agree with me, and they all fucking ruled. ‘Wrecking Bar’ was just as ever, a flash of surfy, 60s pop brilliance; ‘If You Wanna’ sounded incredible, Justin was on point with the vocals, sounding big and reverby in the best kind of way. The one that surprised me most was ‘Blow It Up’ which I didn’t really take to at first, but now has become one of my favorites — it just sounded super big and joyous. Justin’s voice is so different to how he sang as Jay Jay Pistolet, but I love it — it is vast and echoing and wonderful. The rest of the short set was in the same vein as these, but obviously upon one listen, were less catchy or less memorable. That’s not to say that they were bad or forgettable (I think there’s a definite difference), it’s just they’re still a really young band who are going to be forced to rely on the strength of 3 singles or whatever. I think it’s more of a commentary on the state of the British Hype Machine and ridiculous expectations for bands that are just starting out. I mean, they’re about to play on the NME Awards tour soon, so we’ll be seeing them everywhere soon.

All that said, their 7″ out on the 22nd is a fucking cracker, and you should check out their brand new videos for both a-sides of their forthcoming 7″ Wrecking Bar (Ra Ra Ra) and Blow It Up, both of which, are rad:

mp3 | The Vaccines - Blow It Up