Taco Party 5: Panos, Shaki, Stefan, Lady Tiger

Sunday, March 27, 2011

Location:
The Grotto downstairs at Bespoke
266 College St.
New Haven, CT

9 PM - Free - 21+ to taco

2 dollar schafer + PBR
3 dollar whiskey shots

TACO PARTY is a multi-media exhibition whose soundtrack is rare music through space and time.

DJ sets by:

KINGPANOS
Shaki
STEFAN CHRISTENSEN
DJ Lady Wrangler

http://tacozone.net/
http://twitter.com/tacozone

Dead Wives Scuz Bucket EP

God damn. So much great stuff keeps coming out in Connecticut lately that it's impossible to stay on top of it all.

This Dead Wives EP is a four tracker of re-recorded and renamed songs we had been listening to in their demo form since 2007. Don't Stop Breathing was on their Demon Priest demo, VHS was on Hellrazor, and there was the Milk and Water tape from '07, where Crash Landing and Wilt come from.

Scuz Bucket came to life between November and December 2010 at Enox Productions in Newtown, CT. The message from the band said this was "3-piece skate-rock" which I think is great. I've relied on the skate-rock descriptor a bunch of times, mainly because there was that great period between the late eighties and early nineties where this stuff was going on. Whether it was the unforgettable soundtracks to the early H-Street videos, featuring bands like Wheezing Maniac, Wonderful Broken Thing, Sub Society, and Figure Ground (one of the members of which went on to join the excellent Purple Ivy Shadows in Providence, RI), to bands like the Spit Muffins, or the actual Skate Rock cassettes from Thrasher Magazine - all this stuff was a mix of lo-fi rock, punk and hardcore that I'd say guys like Lou Barlow and bands like Guided By Voices ended up turning into more than just something to crank from the blown speakers of a boombox while skating your miniramp. Conjures up thoughts of sunny summer days and the clank of trucks landing on coping. Can't be beat.

Definitely planning to get these guys a show in Hartford soon, hopefully with a similarly great rock outfit, Thank You Mr. Keating.

Scuz Bucket (EP) by deadwives

My Allegiance is to the Ground: Estrogen Highs' Friends and Relatives

Back in mid-December of last year, when the Gramery Records' message came in about the new label's inaugural release, Estrogen High's Friends and Relatives, I was busy self-medicating with heavier music like Nails' Unsilent Death to help drown out the reality of an impending holiday season. It was no time to devote attention to one of my all time favorite bands, the E. Highs. But a line in the Gramery press release had gotten me especially wound up: "Friends and Relatives is chalk full of a wide range of influences; from The Dead C to Guided by Voices, to Kiwi-style pop, to The Wipers, to psychedelic drones and jams..."

I interpreted this as the band taking their Dead Beat LP Tell it to Them and then grinding it up into an all out unclassifiable epic trash rock feast. Even if only The Dead C and The Wipers had been mentioned, I'd still have assumed this.

Instead, Friends and Relatives turned out to be a jangly lo-fi pop album that could easily be what Guided By Voices would have sounded like had they been from Western Mass and fronted by a mid-nineties-era Thurston Moore. I wasn't into it. Maybe had I heard Friends and Relatives before ever hearing Tell it to Them, and also without having read a press release that jacked me up for the next This Heat's Deceit, I would have instantly dug the LP. Or maybe it was the fact of having been beaten down by the three feet of snow that I had to shovel off the fucking roof of my house that made me less receptive to a more mild undistorted Estrogen Highs. I wanted to love it, but couldn't.

Yes, the Kiwi-style pop looms large. Chris March's piece in the Register spelled it out, with Stefan Christensen's list of influences that informed the second full length from Estrogen Highs including The Verlaines, The Clean, Tall Dwarfs, and The Gordons, four New Zealand bands. (By the way, Chris, "New Haven’s finest lo-fi garage rock outfit" doesn't cut it. New England's finest, at the least, man.)

So here's my take after a few fresh listens:

Friends and Relatives starts out with an excellent noisy intro called "Poverty Strike" before simmering down to the slow burning "Kaleidoscope," a song that sorta sends you back to the bar for another beer. "Weed Queen" is a pretty good tune that follows "Kaleidoscope" up with some of the energy that Tell it to Them devotees like me dig, as does the song "The Supposing View." "Common Folk" and "Hand of Hearts" are probably the most contemplative this band has ever been. But they sound more like a fire that's about to go out than a bed of hot coals. The closing of side A, "Wille The Inventor" and "I Am Tradition" are almost Dead Milkmen-like lyric-wise. "I Am Tradition" has a sick choppy breakdown bridge thing that is pretty clever. Always a sucker for that stuff.

Then there is side-B, which begins with what is fast becoming my all time favorite Estrogen Highs song. "Graffiti Pt. 1" is maybe a little like something from Medication's This Town, with a thick thread of feedback howling across what I think is the first acoustic guitar based Estrogen Highs tune. A lovely relatable lyric "I need you every day" digs into your heart like the kind of fishhook needed to reel a mako shark aboard. And after building into a faster and faster frenzy over the course of eight-plus minutes, the mad piping of a flute takes over, driving the song into its death throws. An apologetic track, "Ministers & Rabies," of guitar and vox only, picks us gently back up. Then there's "Re-Commencement Speech," a nice little pop song, almost Bee Thousand material, with delicate la-la's and ooo's atop. After the OK song "Irresponsibility," "Alley Man" clicks in with a false start, then returns with a left end of the dial radio worthy deep cut rocker.

"Silly Marvels" is a my second favorite on this LP. A drumless tune, and yet full of lilting rhythm, it has their most sickest and happy outro ever. Glorious and dingy, like that pair of ill-fitting bowling shoes you bought at the Salvation Army back in high school.

USA with shipping included $14
CANADA/MEXICO with shipping included $16
WORLD with shipping included $19

Add $10 per copy for 2 to 3 copies of LP

Paypal to grameryrecs [at] gmail [dot] com

Interview with Nick Reinhart from Tera Melos!

Interview by Monica Lyons and John Kritzman / photo by Kritzman. Also check out their show review here!

Monica and I managed to catch up with Nick Reinhart from Tera Melos this past weekend as the band made their way through Danbury in the middle of a month long road stand across the US. The band is fresh off of the release of their latest EP, Zoo Weather, which came out Feburary 22nd, and their full length, Patagonian Rats which came out at the end of summer last year.

Monica: So you guys just released an EP, can you give us a little background and how it turned out?

Nick: The EP is three songs that didn't make it onto our album [Patagonian Rats]. Actually, they’re on the vinyl LP, the side D. We feel like they didn't actually belong on the record. We had initially planned to release an EP prior to the full length but it just didn't work out, so we decided to release it afterward. We were gonna do it as a digital release only but then we're like 'oh well a tape will be cool, to have a physical item, and we can sell it for pretty cheap too.' It's kinda like a neat little souvenir, I don't know how many people still listen to tapes, but it's kind of a cool thing. So, it's three songs that didn't make it onto the album and three remixes of one of the songs on the album, and we're really happy with it. It would actually be pretty cool to melt it into like a little sculpture.

M: It's funny how tapes are coming back.

N: Yeah they are, a lot of people are doing that these days. The coolest thing about it is that they're cheap to manufacture and you can just throw a download card with it. So instead of just selling a download card, you're selling a physical cool little piece of art. Actually I think melting down is really cool. I'd be interested in doing that, maybe I'll do that tonight with a lighter or something.

M: So you're on tour with Marnie Stern, how's that been going?

N: It's really good, I think our bands match really well together. We met her a few years ago at SXSW and we had always talked about playing together but our schedules didn't line up properly, so this finally got put together a few months ago and were really excited to do it with her. I feel like there’s a big crossover between both our bands as far as fan base goes, and the people who haven’t heard of her that are into our band, and vice-versa, are really stoked on the bands. In fact, the other night some kids had never heard of Marnie Stern and I was like 'dude stick around and watch her, you’re gonna like her,' and they ended up staying and really really liked it. I think it's really appropriate and we're having a really good time. 


John: It's good to see you guys finally got out your first full length album, how do you feel it came out?

N: I think what we just did with Patagonian Rats is what we've been trying to do since the beginning of our band, but it takes a long time to get good. Maybe we didn't know what we were trying to get good at or it wasn't in front of our faces. I think we finally got good at what we were trying to achieve. Now it's the question of, well we can keep progressing with that or we can just flip it and do any of these different ideas because our band will always progress and do new things that interest us. I'm not really sure what the next step will be but for all I know it'll be just going further down the middle of Patagonian Rats, however that could be classified, making more like weirdo pop songs that are freaked out. Again, it can go in any direction, I'm not really sure what.

J: So it seems like you guys finally found your sound instead of jumping from sound to sound like you did in the first few EP's.

N: I agree, just like anything it takes hours. Have you heard of that Malcolm Gladwell book? It's about what it takes to be truly great at something. I can't quote it exactly but he hypothesizes that it takes something like 10,000 hours of practice to be truly great at what you're trying to accomplish. This is what related to me about the book, that before The Beatles had ever recorded a note or made an album, a lot of people didn't realize that they had already been playing and performing in German Strip clubs and all this stuff, and they had completed their 10,000 hours, or at least more than broken. He scientifically breaks it down with basketball players and scientists and other stuff, where it's like to get truly awesome at your goal, you got to put in your 10,000 hours otherwise it's just practice. I kinda feel like we can relate to that thought.

J: You guys writing more any time soon?

N: I started toying around with new ideas before we left, demoing some songs. But, I'm not really sure what we really wanna do next in terms of doing an EP, a full length, a split or anything, not only that but what sort of vibe we want to give our next collection of songs. There’s a lot of ideas we have, where as Patagonian Rats was our last record and was sort of neutral or right in the middle of the spectrum of our band. Part of me really wants to go more in that direction of songs like Frozen Zoo and Manar the Magic and kinda break it down, even more but keep it tweaked and weird, but then the other half of me and the band were really interested in going even further in the opposite direction of less accessible more fucked up and strange and faster, with thousands and thousands of notes and stuff. I don't really know what we'll do, but it kind of seems neat to do a really, really aggressive record, and then do a really like, not minimal album, but maybe more sample based, but still really out there. It's hard to describe. I guess I couldn’t even really articulate it with words until it was done.

Show Review: Tera Melos, Marnie Stern and Fugue @ Heirloom Arts

Lovely Marnie

Words: Monica Lyons
Pics: John Kritzman Full set of photos here!

On Saturday, March 5th, 2011, the Heirloom Arts Theater presented an impressive lineup of performances by Fugue, Tera Melos, and Marnie Stern. I had never been to the Heirloom Arts Theater after it was renovated from what used to be the Empress Ballroom, a raunchy, all-ages venue holding shows from ska showcases to the pits of CT hardcore. I’m not knocking the Empress Ballroom, as it definitely allowed for a non-discriminatory holding place for Connecticut scenesters, myself included. However, walking through its familiar doors, I was impressed with its cleanliness and modern renovations. It appears as though the Empress Ballroom has matured into a more professional and structural venue, promoting itself as "Danbury’s cultural and artistic alternative."

It took a while for people to show up, but eventually there was a pretty good crowd going. Fugue had already set up on the floor of the venue instead of on the towering stage, which was a good move on their behalf. Everyone was able to gather almost in a circle around the band as the lights cut out and a green spotlight engulfed the band. I have seen Fugue a couple times before but their creative energy never ceases to amaze me. Their sharp synchronization consumes the room, ranging from powerfully fast-paced to melodic and smooth. They create their own sound of rock-jazz fusion, even incorporating a new element into one of their songs that night that I had never seen before. Fugue’s sorcerer, Mike DiCrescenzo, took out a lighter and brought its flame toward an optical theremin, which produced an eerie, ghostly sound, complimenting their unique sound. Fugue also manipulates the use of movie clips into their songs before flowing into an array of rhythmic melodies. After some minor difficulties, in which some people were nice enough to offer up their own capos, they ended their performance with a new song. Fugue is currently recording new material to be released in the summer, which I’m sure won’t disappoint.

Fugue light it up

Tera Melos took to the stage for a sound check as the second performance of the night. It was uncomfortable looking almost straight up at the band during their performance, but maybe I’m just not used being so close up to bands on such tall stages. Despite the initial disconnection of height difference, Tera Melos expelled their energy onto the crowd and brought them to their level. The California native band pushes the limits of what is math rock and twists it to produce something completely new and outside the box. Complemented by the use of effect pedals and samplers, Tera Melos brings wildly quick and creative rhythms and abstract dynamics that flow in and out of each other, creating a completed puzzle of songs. They’re anything but traditional with their odd song structures, smooth vocals, and intangible melodic brilliance. The band played a lot of songs off their latest album, Patagonian Rats, as well as new material from their recently released EP, Zoo Weather. Tera Melos seemed truly confident during their performance, in which guitarist Nick Reinhart commented on their current standing: "Maybe we didn’t know what we were trying to get good at, or it wasn’t in front of our faces, but I think we finally got good at what we’re trying to achieve." Tera Melos delivered a captivating performance that night through their artistic ambiance and refreshingly different sound. At the end of the set, Reinhart brought his guitar toward his face as bassist Nathan Latona dropped his bass to the ground, reverb still echoing throughout the stage.

Tera Melos shred face

Marnie Stern, who has been on tour with Tera Melos since February, took to the stage for the last performance of the night. It was disappointing that a large portion of the crowd left after Tera Melos performed and didn’t even give her a chance to showcase her talent. I had read about the female songwriter and guitarist’s acclaimed finger tapping skills and was really curious to see what it was all about. Marnie Stern was literally shredding up on stage as her nimble fingers effortlessly tapped individual notes up and down the neck of her guitar. This is especially prominent in her performance of the song Transformer. Her constant smiling and graceful appearance almost made this technique look easy. Marnie Stern’s soft, playful conversation with her bassist came as opposite to her strong vocals and wide range of pitch, which synced up immaculately to the rapid riffs of her guitar. Her style is appealing and unique, incorporating genres such as experimental and noise rock. Though her sound was somewhat random and piercing at times, Marnie Stern shows a sense of individualism which positively sets her apart from other female artists in the music scene. Fugue, Tera Melos, and Marnie Stern all incorporated their own distinctive sounds and uncommon flair to create a complementary and impressive lineup for the Heirloom Art’s Theaters new reputation. They certainly won me over.

The Morning On Fire, The Field Recordings, Kari Bunn

Saturday, March 12, 2011, CT Indie presents at Arch Street:

Location:
Arch Street Tavern
85 Arch Street
Hartford, CT

9 PM - $5.00 cover - 21+


Been awhile people. Which means it's time to return with a vengeance. So here is a show that signals the start of CT Indie presents at Arch Street. Three different brands of rock action, all from equally inspired Connecticut-based musicians! Hartford has been gaining a little musical momentum lately, so come help fuel this momentum by supporting your local scene at Arch Street Tavern!

Parking is a bitch in downtown Hartford, so car pool if you can.

ReverbNation bio:
It’s been one year, two E.P’s, a full length, a list of performances from San Diego to Vermont, and The Morning On Fire is just getting started. Adored for their energetic and emotional performances, its hard to imagine that anyone is having more fun then them. Watching them dance across the stage, you can see the sincerity running through their veins, producing a high that isn’t replicable by any modern drug. They come across as some sort of mad-scientist/punk rock hybrids, delivering their music with force. Their energetic fusion of indie, post-rock, and hardcore is a treat to experience: it is like nothing you’ve heard before and like everything you’ve been waiting to hear. From sweeping valleys, to monumental peaks... quiet whispers to the loudest screams, The Morning On Fire creates a sound-scape and invites you to break from the norm and come along for a while.



These faves explain themselves on their facebook as this:
The Field Recordings are a Noise Pop band from CT. And yes, they flaunt their Vague Scientific Implications. Please, e-mail them to cause them to Perform for You. Oh, they beseech you: Download them for Free from http://thefieldrecorders.bandcamp.com/. With this Facebook, they have joined the ever expanding phalanx of Unchecked Profilers. They are presenting you with yet another Aesthetic Arm. You can hold it to you, please do not twist it out of shape.



"There’s a clear Belly, Julianna Hatfield and English rock vibe that permeates in certain Kari songs like "Diamond" and "Only This." We here at Weekend especially dig the tune "Memory Won’t Erase," but what we really like about Kari is that she headlined her MySpace page "Kari on My Wayward Bunn." That’s awesome. "
— Pat Ferrucci, Making A Mix with Kari Bunn

B.O.M.B. Fest Announces 3rd Annual Festival

Tickets On Sale Friday, March 4th at 6 a.m. EST via Bombfest.com

The 3rd Annual Bring Our Music Back Festival (B.O.M.B. Fest) is back and bigger than ever! This year, with support from Manic Productions, Bring Our Music Back, Inc. along with Frank Bombaci, Sr. and Frank Bombaci, Jr. are proud to announce the diverse group of artists that has been assembled for 2011.



For the first time, this year’s festival, taking place over Memorial Day Weekend (May 28-29), will be at the Festival Grounds of B.O.M.B. Fest’s new site partner, Western Connecticut State University (43 Lake Ave, Danbury, CT 06810) in Danbury, CT — a short train ride from New York City, Boston, Providence and Philadelphia.

B.O.M.B. Fest 2011 has assembled its most ambitious lineup to date, bringing together some of the best names in hip-hop, alternative and indie rock, giving the East Coast its own premiere music festival. The price for two-day passes will cost $109 and go on sale on Friday, March 4th at 6:00 am EST.

All proceeds from the festival will benefit Bring Our Music Back, Inc. which is committed to providing music scholarships, music enrichment and education programs, music and healing initiatives and community support and outreach. In addition, one of this year’s charitable initiatives includes the creation of an Emerging Artist Scholarship Fund at Western Connecticut State University.

2011 B.O.M.B. Fest Lineup:
Weezer
Snoop Dogg
Wiz Khalifa
Edward Sharpe and the Magnetic Zeros
Coheed And Cambria
Neon Trees
State Radio
George Clinton & Parliament/Funkadelic
The New Pornographers
Shpongle presents The Shpongletron Experience
Against Me!
Best Coast
HEALTH
RJD2
Titus Andronicus
The Cool Kids
Wavves
EOTO
Portugal. The Man
Man Man
Dum Dum Girls
The Felice Brothers
Dam-Funk
Freelance Whales
Holy Fuck
Daedelus
Quintron and Miss Pussycat
Dan Deacon
12th Planet
Free Energy
Woods
Real Estate
Nosaj Thing
The Hood Internet
Toubab Krewe
ESKMO
Small Black
River City Extension
Big Freedia
David Wax Museum
Roots of Creation
Christine Ohlman & Rebel Montez
Walk the Moon
Also featuring more than 25 local artists

About Bring Our Music Back, Inc.:
BRING OUR MUSIC BACK, INC. is dedicated to the enrichment of life through music. Our mission is to support burgeoning musical talent, programs and services in our communities by fostering the artistic development of youth preserving music as a viable art form. Bring Our Music Back, Inc. is all about MUSIC WITH PURPOSE! Some of the enrichment initiatives championed by Bring Our Music Back, Inc. include artist mentorships and music scholarships, music enrichment and education programs, music and healing initiatives, community support and music awareness and community and cultural outreach. Bring Our Music Back, Inc. is proud to support music therapy programs with the Connecticut Children’s Medical Center and Hospice of Connecticut.
www.bringourmusicback.org

press release via Girlie Action