After a "day off" (only seeing the Love Language Friday afternoon; see
Facebook page for photos), I returned to downtown Raleigh Saturday, and the last day of Hopscotch 2012, for a day-long slog of day parties and night shows.
First, the day parties. I started slow, heading to Trekky Records' day party at the Pour House at noon (largely for the promise of free iced coffee from
3 Cups, which really hit the spot). Wanting to see Cassis Orange, I showed up early enough to see
Hi Ho Silver Oh. This was Casey Trela from that LA band solo; he has local roots so he stopped by for Hopscotch. His sincere, twangy, almost-falsetto was accompanied by spare electric guitar and a little live looping. Towards the end, members of Midtown Dickens sat in with him.
Hi Ho Silver Oh (w/ Midtown Dickens)...
Cassis Orange was next. This is Autumn Ehinger's project; sometimes as a band, sometimes solo (as on this day). Her music was sparse but not insubstantial. Feelings of heartache and longing filled the air of the big room, pretty full for such an early set. Performing solo, her voice was quieter than usual, with a slight waver that perfectly captured the tone and feeling of the music. All alone on stage, hidden behind dual keyboards, putting her heart in her sleeve, Autumn's soft, dark, pop is as fearsome a solo set as there was at Hopscotch. Color me impressed, and pick up her excellent self-titled EP on the Bandcamp site (that is, until she records more; please record more!?).
Cassis Orange...
Then it was around the block to the Hive for the Phuzz Phest day party. I was hoping to catch
Ramps, but
Judy Barnes was still playing. I only caught a couple of songs, but their rolling piano and 1920's-inflected pop made for a perfect segue (and, ultimately, a necessary one -- sometimes a festival needs to be approached like a good mix tape) from the subdued, introspective pop of the Trekky party to the noise that was to come. Singer Jodi Burns' strong (no wonder, she sings opera professionally) and playful vocals and piano were teamed with with electric guitar and drums, for a welcome and different combination.
Then, well... okay, I just
had to get lunch. I missed Ramps (sorry, too much to see!). But the New Orleans-style roast beef Po-Boy was worth it. Thanks, Jenna and
Battistella's!
So back to the Hive, for Winston-Salem's
Estrangers. Only my second time to see them, but a set I was looking forward to as much as any at the festival. And the Phuzz kicked in. Their ebullient, California-inflected pop had this packed little rooftop bar bouncing. They put on a very, very fun, live show with one foot in the "big sound" sixties and another in the latest indie-guitar-pop. Estrangers are very tight, yet still sound properly ragged. The addition of keyboards this time around really filled out their (already pretty full) sound.
Estrangers...
The Phuzz Phest party then kicked into even higher gear with
Lonnie Walker. Frontman Brian Corum was tense and intense as always. Given the music Lonnie Walker plays, he's really rather restrained. You just feel like he could explode at any moment, like he's walking a tightrope. And the band is becoming an oiled machine, better and better every time I see them. This all comes out in their sound. A smokin' set. I will try to post video soon.
Lonnie Walker...
The rapid-fire progression of bands at Hopscotch required a lot of in-set tuning.
Then, it was across to the fringes of downtown, and of Hopscotch, to the Minus Sound Research 7 day party at Rebus Works. There was too much to go to in downtown proper, but I really wish I had made this earlier. I just wanted to at least see
Boykiller; another band I had seen once (quite awhile ago) and have been trying to get to again. Boykiller gets a lot of press for being 3 girls who sing unapologetically about sex (bay-BEE!), wear playful costumes and outfits, and adorn the stage with various props. That's all great fun, but it wouldn't go far without great songs. And Boykiller write, and play, great songs. Theresa Stone's vocals and usually ukelele are backed simply by drums (Ginger Wagg, ex Veelee), and keyboards (Catherine Steele, Animal Alphabet), with the occassional bass. The noise made is simple, ragged, complex, and and sublime. And it rocks. Great backing vocals too.
This set seemed a little less playful, \more serious, than last time I saw them. Sure, they still did Salt'n'Pepa, and
Get Get ("naked naked naked all the time!"). But it sounds like they've been writing more songs. And I don't know if it was the intense heat of what it looks like will have been the last "summer day" around here, but I was pleasantly swimming in the humidity and the vibe. At this set, Boykiller struck me as the most punk rock act I had seen at Hopscotch. Punk rock as I was weaned on the term: no expectations, no real influence
per se other that what you want to do, simply playing your music for fun, and sharing it in a communal setting with friends (big music fest or no). There was also much art and other wares available. The Saturday Market is apparently a regular thing at Rebus Works. I don't know how I've never caught it before, but I will have to again soon.
Boykiller...
Boykiller is another band that needs to record more, and they say they are, so stay tuned. I will try to post a video from this set later, as well.
Next up, the Saturday night shows...
No comments:
Post a Comment