Review: Brown Bird, The Devil Makes Three, Wooden Dinosaur - Pawtucket RI 5.19

By Brian Hodge

Dave Lamb has got some striking ink.

The bearded singer (and guitarist and percussionist) of Brown Bird boasts sailing ships, dark bands and other interesting designs. But the most captivating piece resides on the lengths of his fingers, between his first and second knuckles.

It is there you can see the word “COME” clearly scrawled down his hand, the ‘c’ beginnning on the index and the word unapologetically creeping towards the pinky.  On his opposite hand lives the word “HOME.”

Put together, it’s a pretty powerful missive.

The duo are based out of Rhode Island but they recently looked quite at home on multiple instruments, percussive kick-drums and their barnstorming brand of outlaw folk-rock.  Their blending of distant influences (delta blues, eastern European) has allowed them to travel far and wide, but at the Met Cafe in their native Rhode Island, the pair looked glad to be home amongst friends and family, releasing their new EP.

The Sound of Ghosts continues the bands bold, upward trajectory, building upon the dark, engrossing Devil Dancing.  The four track effort features a Lamb’s solid baritone voice in full, confident force.  Morgan Eve Swain (violin, cello, upright bass) sounds more assured in both her fiddling and her vocals, particularly on the brisk “Cast No Shadow.”

(She is also more than capable in laying down the groove on the upright bass.  Check “Bilgewater” for proof.)

Brown Bird - Bilgewater

“Rat Tail” is a bluesy tune that takes a worms-eye view of the Rhode Island shipyard and the aforementioned “Cast No Shadow” carries over their effective sing-a-long sorrowful choruses.  All together, The Sound of Ghosts steps with the livelier pulse of a well-seasoned outfit poised for larger leaps.

The pair also played a new song from their full length album due out this fall.  It had a cinematic, Middle Eastern bazaar flair with the violin substituting for a sitar sound.

Put simply, if Brown Bird continues to make records - and put on shows - as good as these, you may want to catch them while they’re still around, lest you be the ones imploring them to come home.  They still have a few more Rhode Island dates on the books, including the Newport Folk Festival.  These dates (as well as their new EP) can be found here.

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The Silks opened the evening with dance-friendly southern soul that owed a sly smile to Lynyrd Skynyrd.

Wooden Dinosaur were next with honest, earnest folk music.  The lyrics of Michael Roberts were well-suited for the bands gently rolling swells and choruses.  The jazziest tunes were graceful and rife with Dixieland motifs, led by the melodic trumpet of Craig Barowsky (even if a bit hobbled by a foot injury.)

The Devil Makes Three were the third act and boasted a raucous followin.  The trio cranked out punk-infused folk music, sounding a bit like if Robert Johnson went down to the crossroads and came back with a new tattoo.

Review: Dawes - Nothing Is Wrong

By Lily Linquata

North Hills put Dawes on the map. It was a big map, and it was a well-deserved place on that map, but it was still a freshman album according to many critics. Rife with alt-country and alt-folk ballads, tracks like “My Girl To Me” and “When My Time Comes” hinted at a different side of Dawes: Dawes as American Rock and Roll.

Two years later, Nothing Is Wrong is less of a well-harmonized, yet melancholy recounting of a girl from the South, and more of an exercise in homegrown, rock excellence. It is Petty. It is The Band. And it is these rock giants in a very literal sense. The Heartbreakers’s keyboardist, Benmont Tench, offers his talent to this sophomore release, as does Jackson Browne. Arguably more impressive, however, is Dawes’s involvement with Robbie Robertson’s comeback. The Band’s front man has selected Dawes to support a series of performances promoting an upcoming LP, How to Become Clairvoyant, on which the eldest Goldsmith offered backing vocal work. Any critical ambivalence remaining post-North Hills is certainly gone.

Dawes - If I Wanted Someone

While California’s Laurel Canyon is home in theory, the boys of Dawes have spent most of the past two years on the road. Out on June 7th, Nothing Is Wrong captures the essence of this transient lifestyle – both the highs and the lows – and explores notions of home, of belonging, and of the search for each. Dawes's story-like lyrics are thoughtful and simple, but suggest a broad perspective as they ingest and then wrestle with life’s bigger questions. While, at times, separating the calm lucidity from the sad exhaustion in their words is near impossible, there is a beautiful surrender embodied on the album. It will make you think. And it just may make you cry.

Exhaustion aside, such incessant touring has played a large role in the crafting of Nothing Is Wrong. Recording live on 2” analog tape in September of 2010 at Jonathan Wilson’s Echo Park studios afforded Dawes the chance to not only bind the excitement of their live act to an album, but to prove the evolution of, and staying power of, their sound. The foursome has used their time on the road to prepare for, to polish up, and often to write songs for analog sessions. It's paid off. In a world of spell checks, MP3s, and airbrushing, Dawes has affirmed the power of authenticity, especially as it regards owning one’s pedigree.

But two years of practice isn’t all that’s factoring into the tear-jerking, foot stomping brilliance of Nothing Is Wrong. The collective songwriting of the group is more advanced, the arrangements are pristine, and the message is hyper cohesive. More than suggesting that Dawes has arrived, this collection of songs demonstrates that they are home. The waxing and waning of love, the struggle to stay put, the asking of the big questions, the labor of the road, the embracing of California roots and the carrying of that sense of pride: it’s all there.

The opening track, “Time Spent In Los Angeles” is a perfect segue into an album that should be listened to as loud as possible, as often as possible, and on vinyl, when possible. Dense with melody,  percussion, and highlighting Dawes's appreciation for and top-notch execution of vocal harmonies, the album is reminiscent of Springsteen, of Browne, of Petty, of the great Warren Zevon. The well-crafted, inspired rock tracks are long -- four of the eleven are over five minutes -- and though they might not veer too far from the conventional rock formula, they don't have to. It is the execution, the message, and the genuine wear of the endless days in a navy blue van with California plates that sets Nothing Is Wrong apart. Tracks like “Fire Away,” “So Well” and, drawing from Middle Brother’s successful March release, “Million Dollar Bill,” are stand out, though – truly – the album is, as a whole, pretty f'ing fantastic.

Bonus: Incredible video of Dawes from our talented friends at Kitchen Sessions:

The Radio Dept at The Troubadour - Los Angeles CA 5.26.11

By Mary Broome

Sweden’s The Radio Dept. opened their one-hour set at the Troubadour with my favorite song. Like many tracks by the indie dream pop trio, “A Token Of Gratitude” (off their latest LP Clinging To A Scheme) is a stunning treatise on love and a good indication of what would follow suit: “Do I love you? Yes, I love you, but easy come easy go...”

The Radio Dept - A Token Of Gratitude

I remember when I first heard The Radio Dept., during the miserably hot summer of 2006. I was studying in France and attended a screening of Sophia Coppola’s Marie Antoinette. Three of their songs are featured on the soundtrack: “Pulling Our Weight,” “Keen On Boys,” and “I Don’t Like It Like This.” To my senses, the Radio Dept.’s music serves as the perfect representation of old converging with new, mirroring Marie Antoinette’s legacy and Coppola’s vision for the film.

Taking cues from influences like Nick Drake and Joy Division, The Radio Dept. breathes new life into a sound that evokes both fuzzy memories of my 80s childhood, and cinematic moments at high school dances. I wasn’t a wallflower as a teenager but felt like one at this show, alone in a packed crowd full of swooning couples. The band played songs to sway to, like “Lost and Found,” “This Past Week” and “The Worst Taste In Music,” yet they settled into their groove during “David,” the most surprising track on the new record. When the synthy haze settled, “David” delivered hip-hop beats over Johan Duncanson’s underwater vocals, offering itself as a superb blend of new wave doo-wop genius.

Just before they launched into closer “Heaven’s On Fire,” the Troubadour crowd was screaming. You know, the kind of wailing that kids did for The Beatles’ on their American tour. I haven’t heard that type of feedback at a concert in the four years I’ve lived in LA. “It’s never like this in Sweden. Maybe we should move here,” Duncanson said. Yes, please.

Middle Brother - Daytrotter Sessions

By Brian Hodge

 

Middle Brother, that charismatic cast of Deer Tick, Dawes and Delta Spirit, laid down a twin-bill of tracks from their self-titled debut for Daytrotter.  Recorded in Nashville (with the songs still in their infancy) and Austin (in the midst of the carnal SXSW), the tracks capture both the enthusiasm of a group on the rise, and the road-weary, well-lived-in sound of musicians charred by a hellacious schedule. Title track "Middle Brother," with its raucous, infectious attitude, comes off as honest and endearing as ever.  "Theater" and "Thanks for Nothing" are somehow even more heartbreaking and "Daydreaming" does its darnedest to steal the show.

 

The second half of their set is notably missing Delta Spirit's Matt Vasquez, but don't worry - John McCauley (Deer Tick) and Taylor Goldsmith (Dawes) can still fill a room just fine on their own.

 

Check out the Daytrotter session here, and check out our live recording of Middle Brother in Boston here.  You'll get one more chance to see Middle Brother live at the Newport Folk Festival in July -- don't miss it.

Middle Brother - Million Dollar Bill

Old Abram Brown Blog Tour - I'm Not Happy

Visible Voice is proud to participate in the Old Abram Brown Restless Ghosts blog tour.  Here's the deal.  Old Abram Brown returned to their hometown of Nashua NH and filmed live versions of each song on their recent album Restless Ghosts in the hallowed and dusty halls of Hunt Memorial Library.  The videos are as beautiful as the songs.  Each track is being premiered on a different blog - pretty cool if you ask me. 

I have the pleasure of introducing "I'm Not Happy" - one of my favorite tracks from Restless Ghosts.  Brooding, ruminitive lyrics reverberate through the cavernous space, grounded by pounding piano chords and a steady beat.  As the song builds to its final climax, blaring horns and chiming electric guitars dance around one another and then it's over, the empty library returned to silence.  Check out the video below along with a free download of "I'm Not Happy".

Old Abram Brown - I'm Not Happy

See the rest of the videos and more info on the blog tour here.

Review: The Devil Whale - Teeth

  

I'm stating the obvious here, but I find that my favorite bands often lead me to some of the best musical discoveries.  In the case of Utah's The Devil Whale, I'd probably still be in the dark if it weren't for The Head And The Heart.  Now, it wasn't the fact that they toured together recently, nor the fact that members of the Seattle band sing on The Devil Whale's "Magic Numbers" that tipped me off.  Nope, it was a lucky click on The Head And The Heart's myspace "Friends" section about 6 months ago that led me to The Devil Whale's bandcamp page where they were streaming an unmastered version of "Teeth".  I sat slack-jawed, hanging on every word, anticipating every note - the way you listen to an album when you know that one day you'll think back and remember the first time you heard it.  A few days later the stream was removed, and all I had was fading memories of this mysterious album that captured my attention and left me waiting for May 24th when the album would be released.

After one spin of Teeth I remembered why I was so floored the first time I'd heard it.  Shimmering psych-pop that bounces with 60s/70s nostalgia, folky grit and rock n' roll swagger.  The album opens with "Golden", a sunny and soulful tune; all sugar-sweet melody with a hint of crunchy guitars (hmm sounds like a cereal ad).  "Indian" starts in murkier psych territory before exploding into a soaring chorus that pulls you along for the ride.  On "Werewolf Army" songwriter Brinton Jones dials up the introspection, with a chorus of "Honey you're too closed off / I can't come in".  "Magic Numbers" puts it all together and with that, I'm sold.  Bouncy piano psych pop, sweeping melodies and introspective, powerful songs.

The Devil Whale - Magic Numbers

The record gets stronger as it goes - picking up momentum and solidifying its strengths.  The relentless stomp of "Earthquake Dreams", the radio-friendly playfulness of "Barracudas" the tossed-off campfire singalong "The Road To Hell".  A complete album in both concept and execution and one of my favorite listens of the year so far.

Head to the band's bandcamp page to grab a free download of "Golden", and get the entire album here.

Manchester Orchestra Live at Lupos - Providence RI 5.13.11

By Todd Harrington

“This is not the Vans Warped Tour” singer Andy Hull called from the stage early in to Manchester Orchestras fourteen song set.  Over zealous fans towards the front decided pogo dancing needed to roll in to a little more of a “mosh pit” during “Shake it Out”.  Hull didn't stop the show, but made his point clear and the audience were then treated to a powerful set of music pulling from each of the bands three full length records.

The five piece made seemingly quick work of the songs, keeping banter to a minimum they kept their focus on the perfect and strong delivery of the songs.  Keyboard and percussionist Christopher Freeman who was off to Hulls left would rotate through his instruments of keyboard, tambourine to floor tom with animated and spastic freak outs.  Freeman and guitarist Robert McDowell would sing the harmonies and choruses when needed.  Bassist Jonathan Corley held the stead bottom and was just as animated as the rest.

The Lupos crowd, smaller than expected, was ravenous and did what they could to give everything back to the band.  Hull seemed a little distracted, or frustrated the theater didn't have anyone in the balcony.  He shouted “how is everyone in the balcony??..oh yeah we didn't sell enough tickets”.  Self-depreciating humor perhaps, but the band had the audience in the palm of their hand. The audience would clap, jump and sing along.  “My Friend Marcus” was a giant sing along with fist pumps and accents on the downbeats.

Hull kept his humor.  At one point some audience members close to the stage were clapping along and Hull looked at them (when the audience was not joining in) and said “well that is not going so well, so you can stop”.

The set seemed to end suddenly though. Hull had noted a few minutes before he was not going to do the song “I've Got Friends”.  Instead the band jammed a few minutes and everyone left the stage for Hull and Freeman, who both then walked off. The band did not return and the lights came up. Even with the odd ending the band is well worth your time to check out.  The rhythm section is very tight, Freeman is a blast to watch and Hull has a powerful and soaring vocal ability.  This band is well worth your time. Catch them live now before the truth of their excellent live shows hit the masses.

Lord Huron + Milo Greene Live at The Troubadour LA 5.14.11

Visible Voice is stoked to welcome yet another new contributor - world domination marches on!  Please welcome Mary Broome who will be covering the sound of the LA underground (and hopefully sharing some sunny vibes with those of us out east).  First up Lord Huron and Milo Greene, two bands you need to know!

Lord Huron at The Troubadour in Los Angeles (photo by Max Kramer)By Mary Broome

I’m a sucker for a promising band with a gracious attitude. LA’s Milo Greene is exactly that. The fresh-faced quintet warmed the Troubadour with now familiar Local Natives– esque vibes, boy-girl harmonies and instrument switches. Their set was marked with bookends “Don’t You Give Up On Me” and crowd pleasing “1957.” Keep an eye out for these kids who are poised to play bigger venues soon.

Milo Greene - 1957

The Union Line was up next, and they jammed out to a handful of psychedelic folk rock songs. Since I know nothing of their catalog besides what I heard at this show, I’m moving along to LORD HURON, a band I fell in love with at first listen. I went to a gig they did at the Autry Museum in January and was excited to see how far they’d come since, with a busy SXSW and national tour supporting Rural Alberta Advantage under their belt.

Frontman/pioneer Ben Schneider stood quietly at the mic during soundcheck, waiting to set fire to the stage. How fitting that they opened with a new song about a girl leaving no trace, followed seamlessly by “Into The Sun,” letting their calypso-Caribbean beats shine. “The Problem With Your Daughter” found Ben bobbing his head while wailing: “I am not the problem, YOU ARE.” Special guests The Calder Quartet joined them for another new one that had me swooning. I didn’t expect it to be chased by “The Stranger” (watch the incredibly dark video). I also didn’t anticipate audience participation. They rounded out the set with bittersweet “When Will I See You Again” and “We Went Wild,” where Ben and co. fulfilled their prophecy, getting rowdy in a ferocious frenzy of emotion.

Lord Huron - We Went Wild

Coming back for an encore, Ben launched into a cover of Bruce Springsteen’s classic “Nebraska.” He said: “Thanks for putting up with that one,” even though he nailed it with help from his insanely talented percussionist. They finished with “Mighty,” perhaps the most fitting word I could attach to this group of trailblazers.

At times, I wonder if Ben isn’t bearing the weight of the world on his shoulders like some indie rock yogi voodoo poet Atlas. Lord Huron should be at the top of everyone’s best of lists this year. They are playing Lollapalooza and Outside Lands in August: Grab your wagon and GET THERE.

Ed.'s note: I highly recommend checking out the Lord Huron and Milo Greene bandcamp pages for their excellent EPs, and a few free downloads.  Also, watch Lord Huron's video for "The Stranger" below -- beautiful song, creepy (but great) video:

New music: Kingsley Flood - "I Don't Wanna Go Home"

It's been a few months since I last wrote about Boston's favorite "city-country" band Kingsley Flood.  In that time they took home a Boston Music Award for Top New Artist, took Austin by storm at SXSW and took to the studio to record a follow-up to their fantastic debut Dust Windows.

The first single "I Don't Wanna Go Home" hints that album #2 will pick right up where the americana-punk barnburner Dust Windows left off.  Truth is, this may be my favorite Kingsley Flood track yet, and that's not an easy list to top.  Tongue-twister verses, a sing-at-the-top-of-your-lungs chorus, handclaps and a blistering guitar lead all contribute to what should be a summer radio hit (if only mainstream radio played music this good).  The track also shows the band expanding their palette - adding keys and horns to great effect.  Listen here and head to the band's website for tour dates, free tunes and more

Kingsley Flood - I Don't Wanna Go Home