Just Another Raleigh Friday Night: Part II - Ghostt Bllonde/Seabreeze Diner/the Dead Bedrooms, Gudiya (7/14/17)

Continuing my chronicle of just an average Friday night in downtown Raleigh, after Granite In Reverse outside (see earlier post), I head indoors for what promised to be a fun 3-band bill at Kings Barcade.  All three acts share an affinity for mid-century pop, something I like to hear in new music after it percolates through the brains of today's kids.  I hadn't yet seen opening act the Dead Bedrooms.  They had perhaps the most straight-ahead-pop take... a little surfy and maybe a little '80s too.  They show real promise for a new band.

The Dead Bedrooms...

This was my second time seeing Seabreeze Diner.  They bounce crunchy dual guitars off smooth crooning, and filled the bigger room nicely (I'd seen them at the quaint, excellent but more quaint Carrboro venue the Station).  I'm not sure, but they might just like the Everly Brothers even more than Ghostt Bllonde's Marc Kuzio.

Seabreeze Diner...

(when the action is perfect but your auto-focus can't keep up)

What can I say about Ghostt Bllonde that I haven't already?  (after several years, I think I finally have the "LL"s and the "TT"s right?  Oh yeah, I know... GET THAT DAMN ALBUM OUT GUYS!!!  I know they're close; judging from the updates crossing my feed, praising the work of the great Missy Thangs finishing it up at Mitch Easter's Fidelitorium studio.  

Ghostt Bllonde...

GB having some fun with SD...

As I said, there was plenty going on this night.  Being a longtime fan of Indian music, Bollywood or otherwise, I had to check out a unique offering at Slim's called Garam Masala.  Advertised as "an experimental night of spicy selections", it featured a DJ, Gudiya, mixing South Asian sounds with electronic.  Altered the usual Slim's atmosphere into a more experimental, easy-going vibe... great for a post-show beer.  I even recognized a couple from the movies I used to watch much more often... think I heard Chaiyya Chaiyya, and maybe some Jazzy B.  Check out Gudiya's Sister Mix on her Soundcloud page.

Gudiya & incense...

Here's a couple of videos from the King's show...

Organos Lives! First show in years, some videos...

One of my favorite, and one of the most unique, Triangle bands is Organos, the brainchild of Durham's Maria Albani.  Lately, she's been keeping herself busy with the Potluck Foundation, See Gulls, and Schooner, not to mention rescuing dogs from Mexico (oh and I'm sure a job or something).  But Organos is her baby, her musical voice.

I rarely take so many videos of a band.  But the desire for such was expressed, and Organos' sound lends itself well to the questionable sound recording of my Nikon (i.e., not so much loud guitar, feedback and distortion).  Plus, who knows when they'll play again?!  (a little bird tells me Nightlight in July)

So here's 5 songs from Organos, recorded at the Anti-HB2 Fundraiser at Kings.  It was put on by the band Make, who were also great... and don't get me started about In the Year of the Pig, whom I had stupidly never seen!  I took a vid of them as well, but I'm not sure yet how it came out (I'll post if it's decent).











Besides just raising awareness to fight HB2 and discrimination in general, the show was a fundraiser for Southerners on New Ground.  Check out the link to learn more about the cause.

The Love Language with Zack Mexico and No Eyes (King's, Raleigh, NC, 3/14/15)

Saw just a down-home rock'n'roll show at King’s last weekend...  No Eyes, Zack Mexico, and the Love Language.  I'd never seen No Eyes before, and they aren’t really in my listening wheelhouse.  But they were tight, fast, loud… and not too metal for my taste.  Great stuff.  Then Zack Mexico played a stunning show as usual.  I don’t know how these guys can consistently play a 5- or 6-song set and you never feel cheated.  Maybe it’s because they’re long, intense, driving jams that never sound like they’re just jamming.  I often say, as I did after they played to my friend Iggy, that I think Zack Mexico is THE best band operating in NC today.  He seemed to agree save for the great Whatever Brains (which I can't really argue with).

Then the Love Language played.  I’m a big fan of theirs, but I’ve seen them a million times, so I’m usually not dying to see them play anymore.  Truth be told, I came for Zack.  But it’s interesting that frontman Stu McLamb posted after the show that he was feeling rejuvenated about the band again.  As a fan -- after that show -- so am I.  They played as a 4-piece for the first time… ever? (at least that I’ve seen; but then I wasn't watching'em in Greensville in 2008)  But they rocked so much I almost believed the onstage joke that guitarist Andy Holmes was playing remotely backstage (I even checked J).  By the time they lit into the stunner Pilot Light from their latest album Ruby Red, I was re-assessing my “Best Band in NC” opinion from just a few minutes earlier.

If you read this blog, you've probably run across the social media meme that's been making the rounds to the effect of “List Ten NC Bands” or “Your Favorite NC Bands”.  I weighed in with mine… Zack Mexico and Free Clinic were 1-2, I think.  Well, the Love Language, who were lower in myTop 10, just pulled up to a tie for the lead.  But then on the way home, a song (Tenements) from Gross Ghost popped up on my iPod, and I switched to their album Brer Rabbit, and thought “How the HELL did I not remember to put them on my list?!”  And I realized:  there are WAY too many great bands in this state to list the “10 Best”.  At most, you could say “these are my favorite bands that I’m listening to right now”.  For me, it’s a constant revolving door.  We have an embarrassment of riches here in NC… from Kill Devil Hills to Asheville, from Winston-Salem to Wilmington.  Too many fucking good bands to listen to right now. 

It’s sickening, really.

Some photos below, but I’ll try to post all the photos on myfacebook page soon.  See also videos here and here.

No Eyes...

Zack Mexico...

The Love Language...

T0W3RS - TL;DR (Phuzz Records)

When Derek Torres decided to strike out on his own and make T0W3RS a solo project, I was somewhat dubious, and I expressed as much on this blog.  I always support an artist being open to change; to me, stagnation can render even my favorite music boring.  But T0W3RS were possibly my favorite local band.  If All We Have Is Time was a great album.  Don’t mess with yer sound, man!  Keep the guitar, the twanginess!

Thank goodness he didn’t listen to me.  TL;DR takes T0W3RS’ into a decidedly more synth-pop direction, and reactions (mine included) to the many live solo shows over the past year have proven T0W3RS 2.0 to be a wise upgrade.  But you know what?  It’s not really THAT different.  T0W3RS is a good band because of Torres’ songwriting, and that hasn’t changed.  Besides, most of the earlier T0W3RS recordings were made solo, and the very first couple did have a more electronic edge.  What is different now is the showmanship these songs allow him to impart to his music, whether solo or with a backing band (people are still talking about what many called the best set at Hopscotch 2014).  Derek’s always been a maniac onstage… never still for a second, guitar and hair swinging all around the place.  He really gets into the music.  But now, it’s more controlled… practiced moves a la Michael Jackson or Usher.  This was part of what he’s told me he’s aiming for with his new music and performances:  to give people a genuine show, an experience, some FUN! 

But the music… the music more than backs up the flash.  To go along with the metamorphosis, TL;DR (internet slang for “too long; didn’t read”), on Winston-Salem's Phuzz Records, is drenched in themes of openness, change, and acceptance.  Cups begins with soothing, fading, electronic echoes, before driving drums and organ kick in.  The lyrics preach “A cup of curiosity will fill you up / So take a drink, and pass it to me.”   Apropos, I’d say.  Cups is followed by the second should-be hit, The Situation, which has as great a hook as can be made with two simple, repeated synth notes.  This song is a zen anthem disguised as a slow party-groove.  “You can hate me when I’m gone / Away from all the fakeness and the scenes to come undone / This is just a part of everything that comes along.”  He’s just doing his thing, hanging with his friends, and everyone’s welcome to join (haters included).  I’m pretty familiar with this material live, but on the record, you hear a lot of little flairs and touches -- bells & xylophones, nice backing vocals (particularly on Situation), and great percussion -- that aren’t as discernable live.

After a pretty bubbly start, the album takes a shadowy turn with Raise the Gate.  Although the first two songs may be more upbeat, this is still one of the more danceable cuts -- in a strobe-lit dark room kinda way -- thanks in no small part to the input of local compadres Body Games.  Clipped hyper-pitched and uber-deep samples spar with Torres' own vocals, and there’s this ominous edge that’s always lingered in the background of much of T0W3RS’ music.  P.S. I’m Sorry continues at a similar tempo... maybe less dark, a little sad.  It’s a cover (billed as a “re-work”) of another local band, Motor Skills, stemming from an earlier project in which several artists interpreted songs by that band.  Nice sax (yes, sax), too… there’s more than a bit of ‘80s influence at work here.  But it never sounds derivative.  Let Me In (written by Human Eyes' Thomas Costello) then picks it back up with the themes of change, the slow-groove dance vibe, and little bird-like sounds flittering in the background of Torres’ (yes, slight drawl/twang of a) voice.  Instillation picks up the pace with maybe the most “rock’n’roll” cut on TL;DR.  While it keeps the dusky feel of this mid-record detour, it’s nevertheless one rollicking number.  It has this manic, almost disturbing guitar lick breaking in over ELO-from-Hell keys and drums.

Silk Hope lightens the mood again, and really, it’s pure disco.  Donna Summer is jamming to this song somewhere.  If we’re talking dance, this one is the most dance-y track on the record, complete with wakka-wakka guitar (maybe done w/ synth) and really nice percussion (courtesy Ryan Van Fleet).  The latter gives it a great Afro-Caribbean/Brazilian feel.  Then, as when performed live, Silk Hope segues right into the equally infectious M.P.D.B., which has Torres dwelling perhaps on his changing sound:  “I went back to a quiet mountain to find some things to sell / But I know it’s not my sound.”   Nice tweaking/squeaking/warbling guitars and keys likewise puzzle over what to do, but they get there.  Elasticity starts by going back into the guitar base, but really turns into another jumpy party-tune, with its rhythm, keys, and repeating “Ooh la las” leading the way.  It’s another dance-floor anthem of sorts, a good bookend to The Situation in both theme and sound. 

The record closes with the quiet, contemplative To Be Woke.  Torres again mulls ideas of change as he seems to lie in bed, frozen with uncertainty, and here, accompanied by actual birds (recorded from outside his window).  He sings “Have I been here too long?  Is it wrong to be open?”  I’m pretty sure this song was recorded (or at least released online) before much of the rest of TL;DR.  Fortunately, T0W3RS came up with the correct answer.  No.  No it’s not wrong to be open... to change, to trying something different, to relaxing and having fun.  TL;DR does just that.  With the stylistic sea change exhibited between T0W3RS's first two LPs -- both excellent at what they do -- I can't imagine (or wait) to see what Torres will come up with next. 

TL;DR will be officially released November 11th, and T0W3RS will be celebrating with a few record-release shows.  First, there's one in Winston-Salem at the Garage on Saturday, Nov 15th.  Then, here in the Triangle, there are back-to-back nights, at the Cat's Cradle Backroom in Carrboro on Friday, Nov. 21st and at Kings Barcade in Raleigh on Saturday, Nov 22nd.  If you missed the afore-mentioned Hopscotch set, the two Triangle shows are your chance to experience something similar, as Torres is bringing the full band again for those two shows!

Zack Mexico CD Release / Photo Essay* (Kings, Raleigh, 10/17/13)

(*photo essay = don't feel like editing down the photos)

Zack Mexico, one of the best bands in the state, brought their surreal, psychedelic, and darkly surfy brand of indie to the Triangle again about a week ago.  The main objective was to celebrate the release of their excellent full-length debut, Ephemera of Altruisms, on local label DiggUp Tapes.  They also brought a great light show, which perfectly accented their sound.

But first, the Critters opened.  They brought a smolderingly faithful rendition of 60s garage to the stage.  Locals Lonnie Walker, always one of my favorites, held down the center with a (relatively) toned down set. The Critters drummer was simply amazing...

Lonnie Walker's is pretty damned good, too...

Then Zack Mexico took the stage.  From the thunderous, seemingly endless opening number to the similarly drawn-out feedback/fader of a closer, they never bored.  To me, any song clocking in at over 10 minutes usually just starts to drag.  But after their opener ended (in what, 20? 30 minutes?), I just stood there stunned.  And pleasantly so.  Turns out, jam band tendencies can be entertaining.  Hugely.

I think that sometimes, it takes a band from way off the beaten path (in this case, the Kill Devil Hills, NC) to create something totally original.  Zack Mexico is sort of surf, sort of jam, sort of shoegaze, and none of and all of the above.  They use these sounds but don't play by their rules, and the result is an original brand of rock not really like anything else in these parts.  Pick up the CD to hear what I'm rambling on about.  As for the rest, I'll let the photos do the talking.  Again, great light show (though it was almost outdone by singer John Saturley's jacket)...

Aaaand:  the extended psychotropic fade-out of which was spoken above...

(the originals of these photos are much crisper; something glitchy is happening to them when I upload to blogger)

Hopscotch - Free Electric State, Hume, Liars, Thee Oh Sees (8/6/12 - Part 2)

Thursday Part 2.  Not as good as Part 1, but really.  Deerhoof.

However, when I made the hard choice to walk out on that show before it was over to trek back to Kings to catch now-half Triangle expats Free Electric State, I was not disappointed.  And that says a lot considering what I just walked away from.  But Hopscotch is all about variety, and taking it all in.  HOPPING around from show to show... guess that's why it's named that?  I only caught their last 3 songs or so, but they were tight as ever, burning up the Kings stage with new material from their recent release, Monumental Life.  When half the band opted to head back to Baltimore, their shows hear became more of a rarity.  So this was a welcome return.  They were clearly enjoying it, as was the crowd.  If they play a non-Hopscotch show soon, I'll be sure to check out the whole set.

Free Electric State...

I decided to stay put for the next band at Kings for two reasons.  (1) To see an act I knew nothing about (something I think you should do at least once a night at Hopscotch), and (2) Because I had just walked to and from Memorial Auditorium in pretty damn high humidity (for the Triangle anyway) and just wanted to sit down and have a cold beer.  I'm glad I did.

Hume came on with two drummers, a guitarist-singer, and a guy operating the most voluminous board of pedals, switches, and sundry gadgets I've ever seen.  The effect was like an Animal Collective for rockers, an effect further emphasized by the vocal similarities to Noah (Panda Bear) Lennox.  You could do worse; those vocals I think are really an underrated part of that band's sound.  Hume's singer has a really good voice.  Overall, a very enjoyable show, with little in the way of expectations and a rather high bar having already been set.

Hume...

Next, on the recommendation of 2 or 3 people, I headed back to Memorial to see Liars.  Where's a bicycle rickshaw when you need one?  Adam?  (he of local band Rooster for the Masses and, more importantly here, Crank Arm Rickshaws)  Seriously, that's a great way to get around during Hopscotch and any other day/night in Raleigh; I just couldn't catch one just then.

Liars were good; but again, the bar was high.  I knew nothing about them either, and they lean a bit heavy-dance for my taste.  And if you're going to be heavy on this stage this night, again... high bar (do I keep going on about Deerhoof?  Well, you weren't there; or if you were...)  But they had their audience in the palm of their hands.  Three Men In Black, multiple panels of varied instrumentation, spare drums, a whole LOTTA thud.  Between Deerhoof and Liars, Memorial Auditorium has probably exceeded its cumulative decibel limit for the year.

Liars...

So it's after midnight, and I read Thee Oh Sees were about scheduled to go on down at Raleigh CAM (Contemporary Art Museum).  Take the car down there (enough walkin', last show of the night).  It's packed.  Lines for beer.  Lines for (guys'!) bathroom.  Sardines up front.  Crowd-surfing (it's 2012, folks).  Buncha shirtless guys -- their shirts must've been up on this wall...

#ExplodedHipsterArtInstallation (stage was to left)

But Thee Oh Sees were good, in a drunken, garage-y fun way.  Don't get the mega-crowd, though.  I guess they're a good band for topping off the first night at a great festival.  Again, Hopscotch is all about variety -- something for everyone -- and there was definitely that this first night.  The massive crowd successfully avoided the flood downstairs, and CAM will be open for shows the last 2 nights of Hopscotch (well, Friday night's last band is probably just about winding up there now).  

Thee Oh Sees...

CAM is set up well for a big show, and I can't wait to see T0W3RS there Saturday.  I keep catching their brother/sister band, Lilac Shadows, but keep missing T0W3RS shows lately due to extenuating circumstances.  Not tomorrow -- fingers crossed.  I have, however, already found 2 of the 5 "cassingles" they're hiding around downtown, making up their new EP, Wyatt.  B-sides by Lollipops and Jenny Besetzt (so far, still looking, Derek...).

What did I say after the Part 1 post about getting some sleep?  It's been a LONG week; but here's to a fun weekend of more good music.