Sunday, October 28, 2018

The Psychedelic Furs @ Robert E. Parilla Performing Arts Center - October 24, 2018




Robert E Parilla Performing Arts Center (Rockville, MD) - Seats 509 in total. The lobby space is comfortable and quaint. Many benches are inside as you wait (tables outside too). It's a nice campus area with many places to walk around before a show. The theatre has a very homey atmosphere like you get from many art centered venues. It's in a great location with ample parking and is easy to get to, unlike some more clustered venue areas closer to DC. The more vintage architecture and lighting only add to the experience of seeing a band full of nostalgia. I had an amazing overall experience and would definitely recommend seeing a show here.

Two small setups of refreshments include a number of tasty choices including a decent selection of beers and some small snacks. When it's described as intimate, they mean it. Any seat in the house is ridiculously close (think small high school auditorium - and seats happen to be surprisingly comfortable. Someone before the show said, "It feels like we're at a talent show".

The Psychedelic Furs seemed to have a small merch setup for a band of their stature, I feel they could make even more money if they introduced pins, sweatshirts or other items, but the table did have some exclusives like a signed drum head. The t-shirt selection was surprisingly limited.


Liz Brasher (Memphis, Tennesee) - Soulful singing on top of bluesy jams that also lay down a funk groove. An exact example of following genres of days old and putting a new spin on them that helps the trio fit into a more indie based music world.

The vintage country influence is evident in slower tunes as the depth of each individual vocal note is full of emotional power.


I can envision Liz Brasher becoming a name in the realm of artists like Margo Price or Alabama Shakes if she can continue to embrace the nostalgic voice she has while also creating a sound that breaks down certain barriers.

She's reminiscent of many 1960's singers and clearly out of our time. Gifted as a multi-instrumentalist, she has great chops on guitar and piano (playing the Fender Rhodes beautifully and delivering that classic sound that's on so many famous recordings).

A great pick as opener for The Psychedelic Furs as too often you see an act that too closely resembles the headliner.

Psychedelic Furs - Lately, I have cut out a lot of suspense before I see bands as I obsess over setlists on setlist.fm, but this time I restrained and decided to allow myself the surprise. Some may think that ruins the experience but for me, it created an allure to the experience.

When The Psychedelic Furs come to the area, it's typically a place like The State Theatre, a standing room general admission venue with 850 capacity and a few balcony seats. A seated theater of 509 capacity is quite an up close opportunity to see them without getting sore feet from waiting at the rail. You'll pay double the price but the smaller, seated venue makes for a more relaxed, intimate show.

Before the show, one could hear many conversations of past encounters with the band, including someone trying to describe their sound to another. "It's like post-punk mixed with new wave but it's really just alternative rock". That didn't seem to clear things up much for that guy, but it shows how diverse and truly skilled The Psychedelic Furs are at their craft.

Dimmed hazy lights cover the stage as the legends appear. Opening with the energetic hit "Heartbeat" it gets the crowd going and their hearts pumping as most seem to remember when they first heard the song on the radio in the 80s. (OK, I'm pretty much the youngest person in attendance but I'm used to it by now).

The current lineup of the band, Richard Butler (Vocals), Tim Butler (Bass), Paul Garisto (Drums), Mars Williams (Saxophone), Amanda Kramer (Keyboards) and Rich Good (Guitar) is tight and together, really giving the songs life now more than ever.

A clear highlight over many other of their contemporaries is saxophonist Mars Williams who adds another dimension to the mystical songs like "Sister Europe".

Richard Butler's unique low and crackly baritone voice has held up and still sounds clear as it cuts through the mix.

It's hard to believe you are seeing a band of this importance when it's at a venue that makes you feel like it's an up and coming mid-level act.

"The Ghost In You" is as enchanting of a crowd pleaser as ever. The magic in the room for that song can't be overstated. The energy in the room was electric.

"Into You Like A Train" is the ultimate dance number and Richard, Rich, and Mars entice the crowd as they often close in on the edge of the stage to interact with fan and bring the experience closer.

The older crowd dies down and sits in their seats by the fifth or six song before rising for the anthem "Heartbreak Beat" which contains the first audible crowd singalong. This is my favorite Psychedelic Furs song and the 45 sleeve graced my Mom's bedroom door in her teens, making it a very sentimental song for both of us.

"Love My Way" stuns as Amanda Kramer hammers out the classic marimba notes (played by Todd Rundgren on the original track) on keyboard. Richard Butler still hits the signature high ahh-oos in the bridge.

Riveting bass lines and punchy drums drive many of the songs as the rhythm section of Tim Butler and Paul Garisto is truly a dynamic duo.

The stage was consistently illuminated with very fitting dark colors to set the tone of the songs and not much light was needed in such a small area.

Giving a slight giggle and seeming very humble every song was Richard Butler. Not much other crowd interaction nonsense was required, just pure rock.

"Heaven" delivered a euphoric chorus that had a few hugging their lovers and feeling really sentimental toward a band that may have shaped their youth in more ways than one. The gaze in they eyes of many of the crowd were fixated on the alternative rock legends.

The Psychedelic Furs ripped through all of their hits in a set of classic songs that please all the first time concertgoers and longtime fans. One song led right into another with a very straightforward direction and no time-killing banter.

"Pretty In Pink" is played as the first encore song but doesn't end their performance. Instead they end on "India" which seemed to throw some of the crowd for a loop, some just exited the theatre and headed home after hearing the gigantic 80s film theme song.

This was a very special concert for me as The Psychedelic Furs shape much of the music I listen to that my peers have never heard of. My mom shaped much of my musical taste and truly set me on the path for music that I'm now so dedicated and grateful for. A performance like this is truly inspiring and one I'll never forget... despite how jealous my mom was. Don't worry, Mom, I'll take you to see The Psychedelic Furs next time they're around. :)

Tuesday, October 23, 2018

Garbage @ Lincoln Theatre (Washington DC) - October 22, 2018

Garbage is in my top five favorite bands and they have always been on my list to see live. This time around they played two nights (October 21st and 22nd) at the historic Lincoln Theatre in DC playing their critically acclaimed second album Version 2.0 in its entirety plus B-sides for the 20th anniversary. They did the same tour setup three years ago for their debut album.

Version 2.0 isn't my standout favorite Garbage album, but as I listened to it to prepare for the show in the months before I quickly fell in love with the songs and B-sides.

This show was general admission seating so getting there early was a priority for me. As I waited in line I heard one of the VIP concertgoers speak about the numerous times he had seen Garbage over the years. "This has to be the weirdest tour just in the sense that the songs are so slow and the set feels like it drags on a bit". Frankly I found the album did take a little while to grow on me as a whole, though I've always liked it since first listen. Upon entrance to the venue the layout, lighting and decor took me by storm. The venue lived up to the regal pictures I saw online while purchasing tickets. Front row seats were easily secured and now all that was left was waiting.

Garbage came out and started the night off with the B-side "Afterglow", a slow and dreary tune that set up the perfect emo/goth tone the album often embraces. Most of the crowd lived the first few songs through their phones.

The first feeling of crowd energy and excitement came at the third song played, the opener to Version 2.0 "Temptation Waits". One of the strongest songs on the album, the crowd singalongs to the chorus of "You come on like a drug - I just can't get enough - I'm like an addict coming at you for a little more - but there's so much at stake - I can't afford to wait - I've never needed anybody like this before". A brilliant display is painted in the song and the enthusiasm seemed to kick in.

The set list didn't follow the traditional album order. The band pieced the songs together in such a way that you never knew what emotions would be felt next.

"13x Forever and "Get Busy With the Fizzy" were a great pair of back to back B-sides played next. Butch Vig's dominating drums and the ever adaptable guitar duo of Steve Marker and Duke Erikson were on top of the songs the whole night.

Songs were often proceeded by prerecorded audio and quotes from various sources. This heightened the impact of a gut-wrenching ballad like "Medication". The theme of depression and getting through hard times is one repeated on the album, so you can only imagine what Shirley must feel singing some of the songs, she often looked as if certain songs really hit her.

"I Think I'm Paranoid", "Push It" and "When I Grow Up" were dispersed toward the end of the pre-encore set. The crowd erupted when each hit was played and the band owned the stage as you could feel the experience in these songs as they are typically played on other tours whereas most of Version 2.0 doesn't see the light of day. Getting the opportunity to hear the lesser played songs was amazing for any super fan.

"Soldier Through This" and "You Look So Fine" were standout songs diving deep into the potential of Garbage as a band. They often create so much sonic depth and transcend into something so surreal.

An interesting part of the show was the covers played. Some were originally B-sides while others were played in the middle of other album tracks. An enchanting and heartfelt version of Big Star's "Thirteen" was my favorite. Garbage's version was even praised by songwriter Alex Chilton himself, who wasn't please by most covers of the song. Another brilliant cover was the fuzzy and spacey rendition of The Seeds' "Can't Seem to Make You Mine". Others that were played included Depeche Mode's "Personal Jesus", The Kinks' "Tired of Waiting", Siouxsie and the Banshees' "Happy House and Fleetwood Mac's "Dreams".

A reoccurring issue throughout the show was Shirley Manson's frustration at the sound mix she was getting in her in-ear monitors. She often took one out and plugged her ear to sing and shrugged and grunted at the sound man. From what I've heard this has happened at other shows on this tour as well. Personally most artist I have seen use in-ear monitors always end up taking them out anyway, when they could easily use earplugs and on stage monitors instead.


"The Trick is to Keep Breathing" started the encore as the band returned to the stage. Manson explained she had gotten the song title from a novel and dedicated the song to anyone going through a tough time and reminded everyone that you have to remember the special things in life.

Aside from Version 2.0 and its B-sides, Garbage did grace the near sold out crowd with three other songs. The James Bond theme "The World is Not Enough" being played early on and they would end with the other two during the encore.

"#1 Crush" was played as an "audible from the printed set list and was a pleasant surprise.

"Cherry Lips (Go Baby Go)" was played last and Manson expressed her distaste with the current happenings in the fight for gender fluidity and equality. An uplifting message that had the crowd applauding loudly and it was quite the way to end the night.

If you ever have a chance to check out a show at the Lincoln Theatre, you should definitely shell out the money. A great venue experience.

Nowns (Frederick)/Evil Sword (Philly)/Slow Groan (Baltimore) @ Guido's - October 19, 2018

Nowns - One man project (guitar and vocals). Backing tracks with heavy hitting drums and dominating bass/synth parts keep everything pounding and on track as the rest is disjointed in a magical mangled noise fest. These backing tracks are clearly a painstaking programming process as they are every bit complex.

Straight up rock with a twist on unconventional guitar parts (think jangly indie pop). Dazed with lots of spacey sounds and high frequency guitar. A slightly whiny voice somehow stays in the constraints enough to sound like some sort of acid dream. The set ended on the coolest and absolute crazy version of "Fade Into You" by Mazzy Star. At least that's what I think I heard... even with earplugs the buzzing becomes instilled in your ears.

LISTEN HERE |
Bandcamp



Evil Sword - The band was dressed in grey robes beforehand to disguise what was to come. An ominous backdrop with the silhouette of leafless trees and pointy prop fences set the mood. The show opened with a siren-like high pitch frequency to build suspense.

The members lurched down the guido's hallway dressed in costumes: one featuring a giant monster head mask. The show began with a slam poetry like intro with creepy dialogue. Pots, pains and even a metal chain were thrown at the ground and slammed against each other in the most nonrhythmic fashion.

Demonic chants lock in to the most disjointed yet calculated drumbeat. Drums, trumpet and bass all played into the sound along with many unconventional percussion instruments (bells and more). The band mended punk with more complex math rocky basslines and drumbeats. Other instruments like whistles were used, seemingly anything was a perfect fit for their sound (even a small recorder or piccolo flute).

Everyone was covered in some sort of creepy makeup (black and ashy, apocalyptic). This is a pure stage show and far from a gimmick. Dropping drumsticks purposefully and many other stage antics made for the most exciting live experience. Evil Sword was chaotic and wild fun. They are a must see.

LISTEN HERE |
Bandcamp

                Slow Groan - Throat singing that elaborated on the classic sound you usually hear with lyrics full of comedy and introspective hilarity. Played an interesting two string electric instrument by sliding a bow like some sort of psychotic violin with more mid range. Every possible sound and genre that the normal person would find to be intolerable is simply an interesting and engaging mix as the act switches each song/dialogue bit.

LISTEN HERE |
Bandcamp

Thursday, October 18, 2018

Middle Kid's Zack Willis/Grayling (Philly)/I'm Glad It's You (California)/Silent Old Mtns.' Andrew Bromhal @ 11:11 Cafe - October 17, 2018



What do you expect to hear at a DIY show hosted at a cafe besides a joking conversation about Dave from Dave's Killer Bread. Zack Willis exclaimed, "Man, I wonder how much he would charge to be booked on a show... THIS DUDE SHREDS, LOOK HOW JACKED HE IS... and what a mustache! (pointing at the logo on the packaging and)... I hope he's not a real person, this man could never live up to my expectations".

My mind always seems to expand when I'm eavesdropping at these kinds of shows.... Though I like to look at it as more of myself trying to capture the feeling and atmosphere of concerts through the interesting dialogue you'll hear.



The Frederick music community really tries its best to really and support touring bands who come into town with the hopes they'll get a few new fans while making enough money to cover the bare minimum of traveling expenses between a suggested $5 door charge donation and their merch. Despite odds being very against them, the bands continue to come. It's I'm constantly liberated by the passion of people/bands who come from all over the globe just to express themselves through live music in Frederick, MD.

Do yourself a favor and get out to more shows. We're lucky to have so much music surrounding us and you'll experience feelings like no other.

Zack Willis from Middle Kid (Frederick, MD)
Zack Willis


Before the show starts, there is music playing on a little speaker in the corner of the cafe. No one can figure out how to turn it off and no one is sure where the owner went, so Zack calls on everyone to sit in chairs up close and around him in the little nook space the gear is set up in.

Wielding an acoustic guitar, he begins the set and ignores the plugged in microphone (given our close proximity to him) and opts to belt out his singing in the reflective space given.

Dissident yet melodic chords mingle with his subtle shaky vocals full of emotional honesty. He utilizes the full range of the indie genre, showing true colors in only moody and slightly downer anthems but also upbeat folkier numbers. Cutting deep into vulnerability, the music makes you feel a depth of emotions.

Grayling (Philly)
Grayling


Typically a band, they announced this was one of the first duo shows they had done.

The ipod driven drum machine powered the duo, but it would be hard to call that a weak point. Soft-spoken airy vocals often dive into choruses of anguish and remorse. Powerchord powerpop and a layer of unbelievably simple guitar leads provide a punchy drive. The harmonies between the two braoden the potential of their sound.

Thriving in a style reminiscent of Frankie Cosmos.

I'm Glad It's You (California)
I'm Glad It's You


Melodious guitar picking with reverb induced fields of sound. Often-buried low pitch vocals follow deeply in the dreampop/bedroom genre tradition. Perfect road trip music to put you in a trance looking at scenery.

Shrill bouncy riffs create an eclectic dimension of electric sound. Melancholic singing with remorseful lyrics and bits of punky jams.

The slower atmospheric songs seem to be where most of his talent shines, though he's clearly well established in the comforting repetition in the unique blended guitar parts he creates.

Andrew Bromhal from Silent Old Mtns.
Andrew Bromhal


Rolling fingerpicking and folky guitar sounds mix with his croaky yet smooth voice. This is the music you'd hear at a pivotal point in any indie movie.

He has an extensive range and is able to hit all the lows while still managing more subdued notes.

Truly a perfect fit for the alternative genre as it's so hard to classify his/Silent Old Mtns. work under one roof sometimes.

Do yourself a favor and catch the next Silent Old Mtns., full band show you can, I can only describe it as a truly wild and fun listening experience.




Tuesday, October 9, 2018

The Thing 2018 Overview

Cheshi

The Thing has come and gone yet again (this past Saturday the 6th). Now in its third year, the Frederick music festival (hosted by Frederick Playlist) aims to bring local bands/artists together for a jam packed day of entertainment at venues and businesses all over downtown. The event attempts to span across many genres yet leaves some communities in disappointment and feeling like they’ve been overlooked, mostly heard in my experience from the Metal scene. Still, we take what we can get in the area musically with only a few traditional venues having original music year round and cover acts being much more desirable to bars and places whose main concern is crowd draw.

This year seems to be the most successful yet in order to maintain and keep the annual spectacle going.

Year one I missed it completely - Maybe that was a fault of my own but it surely wasn’t on my radar as an avid concert-goer.

Year two (last year) was full of promise, I was able to book a slot playing and many others were encouraged to reach out by email leading up to the event so lineups were announced very late. There was even a regional headliner in the Weezer-ish indie rockers Rozwell Kid, who’ve become one of my favorites (Check out Precious Art - My favorite album of 2017).Some bands (Time Columns, Silent Old Mountains and other notable acts) would not be on the bill for year 3. It seemed to be the most excited I was for the scene in a while but it still seemed weird for a band like Rozwell Kid to epically close the 200 East venue spot. They have 24,000 likes on facebook after all.

I mean, this is Frederick we’re in - I thought the populace was overtly only into 80s cover bands and our few local legends who are amazing in their own right (Scott Ambush, Mary Ann Redmond). But I’ve been thinking about the times I caught indie-rock pioneers The Smithereens and Marshall Crenshaw at the Baker Park Bandshell on the 4th of July. Clearly Frederick wants these cool and often overlooked bands/artists to converge with its many art galleries and record stores that have thrived in recent years.

Frederick even had its own crazy nightclub (The Xhale) a while back that hosted Cheap Trick, Squeeze, Ratt and other crazy names your parents will remember. Do people still care about these rock bands, let alone live music in Frederick anymore though? (YES, I have seen it with my own eyes, even if it's a only a select group)

So on we go to year three. The lineup was almost purely Frederick based bands, with the exception of a few with members from Baltimore/DC.

A cool addition was a stamp card which allowed you to get prizes for the more venues you went to. The prizes were (in order) a pint glass (2 stamps), Frederick One Take CD (4 stamps) and a T-shirt (5 stamps and the Finale on Carroll Creek). (I managed to nab all of them). This is a great value considering a wristband for all day attendance was $20, or $5 a venue/$10 for the creek main stage.

The following is an overview/review of my experience with the venues and bands throughout the day.

Venues are in bold and bands are italicized.

Cellar Door: It was announced the day before that the two jazz performances here were cancelled and there was no time to find a replacement venue. This didn’t kill the spirits of Saxophonist Darryl Brenzel who could be spotted busking outside the venue and playing his heart out. I had to chip in and throw a dollar into his instrument case.
PC Lamar performing at Cafe 11:11

11:11 Cafe: Small space with minimal seating. Intimate as you can get with the sound reverberating very well. Attendance: crowded in my time there early on.

PC Lamar - Serene folk songs with a twist on the traditional flavor. Bluegrass harmonies blend with the calm river-like flow of the lightly strummed guitars and mandolin. All the relaxing qualities of acoustic music seamlessly take you with them. Highlight of the set was a great Tom Petty cover.

Frederick Rock School band performing.
Taco Daddy: Hectic venue choice because of the layout. All tables were full upon arrival and the bar wasn’t much better. A mass of people were huddled in front of the server podium right in front of the entrance of the restaurant where the stage was. Nowhere for the sound to go so it was very loud.

Frederick Rock School - Any organization progressing future musicians should be a central part of a community. Sure, not every kid will blow you away but it’s important in establishing a love and passion for music and expression in future generations.

The crowded entrance of Taco Daddy.
Cafe 611: I had only stopped by in between two bands I wanted to catch so that I could get a stamp on my reward card. Frankly, I’m not too familiar with the local hip hop scene that was present at the venue (aside from favorites Stitch Early and J Berd). Of course the 611 stage has graced some decent names so it’s an obvious venue choice for The Thing. I never make it to Cafe 611 enough because it’s
frequented with acts that just aren’t on my usual radar (I clearly need to expand in local hip hop and metal).

Sullen Brother rocking.
New Spire Arts: So much promise lies in this space for many art events. The show was held in an open room with fluorescent lighting that was luckily turned off prior to the bands playing. Some full length mirrors graced the space (obviously used for a dance class but provided some cool angles to watch bands). The open space with nothing to absorb the sound was surprisingly decent, but it didn’t do a lot of the acts justice. Attendance: moderate at some times but was the least occupied space I saw all day, which was a shame because it has some of the most interesting sounding acts and some out of towners you don’t get to catch often.

Sullen Brother - Enchanting post rock that encapsulates so many emotions. I caught this band at Guido’s a while back and they were at the top of my list for the day. Blissful guitar melodies and a straightforward yet heartfelt drum/bass combo make the instrumental four-piece soar.
Cosmic Halitosis

Cosmic Halitosis - Energetic poppy grunge. The trio blasts intro abrasive and unforgiving anthems of angst. Every song explodes before burning out into noisy and unorchestrated jams. A crazy and fun live unit.
Flooring

Flooring
: The set started off a bit wonky with the singer’s vocal mic seemingly turned all the way down. This sort of thing is expected with quick setups with many bands and the issue was fixed promptly. The band regained confidence almost instantly and delivered some solid garage rock entertainment. You can’t help but bounce around while listening to the punchy beats and demanding pop-punk vocals.

Dot-Dash - A DC band composed of long accomplished musicians who define themselves as avant-garde. A mixture of 80-s jangly indie pop rock with a new wave aftertaste. Even a member of the legendary band The Undertones proclaims this band put out his favorite album. This is a band you check out, especially when they’re right in Frederick.

Dot Dash
Miss Lonelyheart - Often classified as dad-rock or any other slightly offending genre you could make up would overshadow this band. You could slap the word “post” to just about any staple sound the members create, whether it’s punk, rock or indie. Next to Dot-Dash, they were the tightest and most concise lineup despite
bassist/vocalist Andy Stout telling me the band was “pretty rusty” after a year of not playing shows.

Eagles Club: Solid turnout and a good venue choice for sure, given there is a real stage. The only other time I had been here was for a benefit show a few months ago and it was unbearably hot and humid with many fans going but no air was escaping. This time was much less crowded and more bearable.

Miss Lonelyheart
Jim Shorts - Real 90s inspired indie power pop with simple hooks that are your best friend.
I’ve been avid fan of this project and its likeness to many early predecessors to the “revival” genres of rock. The interlaid guitar parts are are the secret to the overall success. You’d be mistaken if you mention Ben Gibbard’s influence on David Haynes’ vocal delivery, but he has his own style and frankly a more shakey delivery that adds emotional honesty to the mix.
Jim Shorts


Carroll Creek: The epicenter for outdoor live music. You often forget how relaxing a stroll down the creek path is - It’s something to be grateful for. I arrived right before Cheshi’s set because I sought out original music as opposed to the acts providing a mixture of covers and a small slew of their own songs. The attendance was great and promising.

Cheshi - They’re at the pedestal of the Frederick music scene and have earned it in many ways. Having played before the headliner last year, they repeated the feat. Reviewers constantly note their Cranberries influence. Cheshi’s inevitable rise in the community makes perfect sense given the people who attend most music and art events share the band’s views and message - one of finding your way out of alienating self-despair, anguish, being grateful to those who have wronged you, equality and overcoming obstacles that define struggle.

The band shines much more as a live act, even though the EP they released is full of exceptionally hard-hitting songs. Ashli’s vocal presence and vocal power stuns crowds and Trevor, Matt and Evan are so connected dynamically that they’ve become sonically unstoppable.
Cheshi


At the end of the set they staged a protest of recent actions with a few people that marched in front of the band with handmade signs that spoke loudly, and an even louder Ashli screaming into the microphone for justice, equality and rights.
Frederick has embraced this band at the top of it all. They have the music to back it up as songs like “Poison” and “Thank You” have become powerhouse staples in their sets. This time they also added some songs from their forthcoming album they’re working on and their future looks very bright.

Conclusion: All in all, year 3 proved to be the most favorable setup for the festival if it does continue to be an annual event. As with any festival, it’s nearly impossible to make your way to see everyone, and I had to make the choice to miss some great acts. I’d hate to not mention them so I’ll wrap up by giving everyone a shoutout. Go support local music and arts! See you at The Thing 2019! (hopefully).

Check out these other great acts that played The Thing 2018!

Jeff Cosgrove
Redd Alexander
Ethan Larsh
Provoke The Hope
Frisco
Dajohn
Sewasquad
Nameless Mobb
Iodine P
Bead Gawd
Downtown Dawson
Cidida
Jase Kevion
Shadow Apparatus
Marzy Maddox
Chevre
Middle Kid - Rock on, Zack!
The Fun Boys - They really are FUN!
Mr. Husband - Dreamy
Hard Swimmin’ Fish
Michelle Hannan and One Blue Night
Samuel Powers
Scott Ambush - Bass God/”Hendrix of the Bass” - what my brother calls him