Film School Take On The Parish

My experiences with Film School’s live performances haven’t always been positively memorable.  There was the first year I “saw” them at SXSW in 2003, which was more of an hour-long drive for buttons, an EP, and friendly chit-chat with Jason Ruck and Ben Montesano as the band loaded up their gear after I watched only the last few minutes of their set through a window.  The second time I saw them, which was in support of Hideout at Emo’s in 2007, was marred by too many rum and Cokes, and embarrassing drunken conversation with the band in which I may have admitted a crush on Lorelei Plotczyk.  I was hoping this time would be different.  After last night’s show at The Parish, one of Austin’s better venues, I was almost convinced that it was different, but something bugged me all the same.    

photo credit: Phillip Sada

Despite Fission‘s heavily synth-infused sound, the band pulled it off organically live.  Ruck calmly managed keyboard responsibilities with one hand and laptop adjustments with the other as his bandmates moved energetically to the sounds of their new material.  Each member, decorated in a conceptual display of colored lights representing Fission‘s album art,  leaned into the music and filled the rich folds of The Parish’s acoustics with the complete warmth and depth of the new album.    

After the set’s opener “Still Might” (one of the album’s more even-tempered songs) drifted to an end, it was clear that Film School wanted to establish Fission‘s angsty pop feel as they burned through songs like “Heart Full of Pentagons“, “When I’m Yours”, and “Distant Life.” Unfortunately, and due to no discredit of theirs, the crowd seemed unresponsive to their new shift.  Were these people at the same show as I? Were they hearing the same songs?    

While Film School’s new album is a bright beacon distinguishing itself from their earlier work, it’s nothing to thumb your nose at, and marks a mature progression toward their evolution as a group.  I mean, how long do you really want to hear your favorite bands play the same old shit?  Though the crowd seemed most energetic when shouting “play old school Film School”, the new school Film School raged on.  Plotzcyk showcased her prominent vocal presence on the new material, bouncing lyrics off of Bertens’ with a voice full of breath and sunlight.  Their lyrical interplay resulted in an endearing charm that was exciting to watch as they, full of smiles, engaged in musical conversation with one another.  And when Bertens strummed the intro to “Sunny Day“, it was only his shimmering guitar that could match the quivering beauty of her voice.    

photo credit: Phillip Sada

On they played, tearing through the new album’s majority, stopping only to question the audience’s liveliness and to blame a few small hiccups on “too many Lone Stars”.  At last (at least as far as some audience members were concerned), they endulged in a little “old school Film School.”  I expect a band to play their new stuff when touring in support of a new album, but I must admit a certain penchant for hearing some of the old songs that forged their career.  Let’s just say I was not at all disappointed when they unveiled “Compare”, easily my favorite track on Hideout.  They further appeased the indignant crowd by playing “Two Kinds” and “Lectric” (which was shouted out as a request several times by a drunken reveler whose favorite past time, aside from bothering Bertens pre-performance, was bumping into everyone within a 10-foot radius).    

When they ended with “Meet Around 10″, I was fearful the band’s disillusionment with the crowd would result in the lack of an encore, but they responded rather quickly, going “against the English” by performing not one, but two additional songs (the last of which was “Breet” from their 2006 self-titled LP).    

photo credit: Phillip Sada

Personally, I could’ve done without the lackluster crowd, but Film School is never disappointing as a live act.  They’re one of those bands for whose concerts you can pay the nominal ticket fee and confidently expect a tight performance.  Last night’s show was an absolute manifestation of the swells and lulls for which fans have adored Film School albums, and despite Fission‘s different sound, its content is the glorious sum of their foundational elements: layered guitar tonality; heavy bass riffs; tight drumming; and atmospheric keys/samples; plus, the addition of a rhythmic dance frenzy that will at least have your shoulders shaking if not your hips swaying.

BRMC + STP = NO SATX

For those of you confused/wondering about Black Rebel Motorcycle Club’s performances in Texas (specifically, San Antonio), here’s a bit of news:

Due to issues opening for Stone Temple Pilots in Texas, BRMC has had to postpone their headlining shows in San Antonio, Dallas, and Little Rock.  Not too sure what problems caused the cancellations, but they probably had something to do with STP’s late start times and Weiland’s onstage blathering.  While the group has properly rescheduled their Little Rock show, the San Antonio and Dallas dates still remain uncertain.  The band had this to say on their website:

We have rescheduled our headline show in Little Rock, AR for OCTOBER 17th!  All previous tickets will be honored. More news on Dallas and San Antonio coming soon.

The band will return to Texas in October, hitting Austin and Corpus Christi, but have San Antonio’s and Dallas’ chances at hosting BRMC ‘gone to shit’?

UPDATE: SAN ANTONIO SHAFTED, DESERVEDLY SO?

BRMC officially announced that they will not come to San Antonio as part of this tour.  While they rescheduled the Dallas show, the band has opted to bypass the River City due to scheduling difficulties (?).  The below excerpt is from the band’s website:

So sorry to all of you who bought tickets to San Antontio. Due to the new touring schedule, we will be unable to route back and reschedule that show. We were really looking forward to playing there.

No word as to whether or not the tickets will be refunded, or if the group realized they misspelled San Antonio (could it reflect their general disgust with the city?).  Did San Antonio lose one of its few chances to host a popular indie band to a city that’s even less progressive?

Penny Sparkle for Your Thoughts

When the opportunity to review Blonde Redhead’s latest album Penny Sparkle presented itself, I was less than hesitant to accept the offer. With a 15-year body of work that transcends expectation, the enigmatic trio is able to ensnare even the most casual listener in their indomitably engaging web, and on a day in San Antonio that fostered torrential rainfall and an infinite grey sky devoid of thunder and lightning, I was no exception. The first track unraveled itself with hypnotic percussion as outside the rain fell sideways, pushed by high winds that would upend roots and shake limbs from trees before it was all through. This is how it began.

Infinite in its tranquility, grey in its unyielding moodiness, Penny Sparkle mirrors the world outside that day. An unseen force moves the songs sideways across the album like rain that blankets the earth and courses down electro-atmospheric window panes in tidy crystal rivers. Colored largely by the overtly airy voice of Kazu Makino, the synth-heavy songs swell and overflow with emotive lyrics, each line sounding like it is composed of a haunting, final breath. Instead of being rocked by thunderous booms and lightning, Penny Sparkle exercises calculated restraint in its culmination, a sparseness that in itself is shockingly powerful. Throughout the high vaults of noticeable emptiness that present themselves within each track, layers of texture inflate like thin white veils filled with the warm puff of Makino’s voice.

As the initial seconds of “Here Sometimes” roll out, its drum beat curiously akin to the “Purple Rain” intro, it’s obvious that Penny Sparkle is noticeably different from anything Blonde Redhead have done to date.  Though mild in its dance-worthy affectations, the opening track is unmistakably catchy and spills over easily into ”Not Getting There,” an even more infectious frolic through light guitars, dance-inspired drums, and a permeating voice of seduction.  This 10-track, 45-minute daydream carves out a crisp groove fraught with head-bobbing, memorable songs that, while more accessible than older BR songs, don’t necessarily lend themselves to the all-new Volkswagen CC commercial soundtrack.

A clearly distinct departure from previous albums, Penny Sparkle is the type of work that – even if you knew little about Blonde Redhead’s discography – would symbolize a band’s progressive shift in maturity and artistic vision; however, Blonde Redhead is a band that needs to prove neither its maturity nor artistic vision. Instead, Penny Sparkle stands out as an obvious trend toward a provocative minimalism that Kazu Makino’s spellbinding voice has glided toward tranquilly for the last decade and a half like kite streamers on a lazy wind.

And though the rain in S.A. is over for what may potentially be quite some time, the quiet storm of Penny Sparkle still rages on.

TRACKLIST

01 Here Sometimes
02 Not Getting There
03 Will There Be Stars
04 My Plants Are Dead
05 Love or Poison
06 Oslo
07 Penny Sparkle
08 Everything is Wrong
09 Black Guitar
10 Spain

That Guy From ‘Labyrinth’ Has a Tribute Album

Ok, so everything you thought you knew about the David Bowie tribute album title and cover may have been wrong, but the album itself is still great and still teeming with excellent bands doing their takes on Bowie’s songs, and if you didn’t snag your copy of We Were So Turned On (the only tribute approved by Bowie) last Tuesday when it hit the streets, you can at least sample some tracks.

If you only know David Bowie as the Goblin King Jareth, you might not want to buy this tribute album.  If you know David Bowie’s name only courtesty of Avril Lavigne’s ignominious mispronunciation of his name, you probably shouldn’t buy this tribute album.  If you don’t know David Bowie, Labyrinth, or Avril Lavigne for that matter, you definitely shouldn’t buy this tribute album considering that technology has somehow rendered you uninvited to popular culture’s feast, and it’s a wonder you even navigated yourself to this page.

Newly titled and newly designed, the album We Were So Turned On features two discs and 42 tracks performed by some of today’s most lovable independent artists.  Listen to a few tracks here courtesy of Stereogum.  Enjoy!

Mogwai Choose Sub Pop as American Label, Still Fear Satan

Legendary instrumental group Mogwai has switched from longtime label Matador to join the variegated family of bands on Sub Pop.  What does this mean to you, the kind reader?  Nothing, really, just thought you might like to know about some of your favorite musicians’ decisions.  Mogwai, who have gone from three to five members and produced six studio albums within the last 15 years, had this to say about the transition:

We are happy and proud to announce that Sub Pop Records are releasing our next studio album in North America. The album is currently being mixed in Glasgow at Castle Of Doom studios by Paul Savage for an early 2011 release. Rock Action Records will be releasing the record in Europe with Hostess releasing in Japan.

We would like to take this opportunity to thank and pay tribute to our previous American home Matador records. They remain great friends of the band and we want to thank them for everything they have done for us over the last 11 years and wish them all the best for the future.

The Scotland quintet join Sub Pop in time to have the label’s moniker stamped on their seventh studio album which, according to Sub Pop, they will release ”in the early-ish part of 2011.”  There, that’s at least something you’ll enjoy more.  The promise of a new Mogwai album within the next six months.

Buy Sex With an X

More than 20 years after their first, and only, full-length, The Vaselines will tour in support of their sophomore album Sex With An X.  Better late than never, right?  And what’s more, you can stream the album for free one week before it hits stores.

Scheduled for a September 14 release on Sub Pop, the album features straightforward pop/rock tracks that employ simplicity as charming strategy.  With help from Belle & Sebastian’s Stevie Jackson and Bob Kildea on guitar and bass, as well as Michael McGaughrin on drums, Frances McKee and Eugene Kelly lay out songs that unapologetically toe the waters of their former musical romance, if only for the sake of making more music.  If the title track “Sex With an X” doesn’t boldly suggest it, then lines such as “Hey, hey, hey, I’ll take you on again” should have bells ringing inside that hollowed out cantaloupe you call a head.

The Vaselines recorded Sex With an X at Analogue Catalogue with help from Jamie Watson, who produced The Vaselines’ first full-length Dum Dum.  Twelve songs and 13 days after recording began, the album was complete, with bright, sunny, jangly, coyly sexual songs that oozed of ”good clean smut with a twist of bitter.”

Stream the album for yourself, and check out The Vaselines’ tour schedule below:

10.02 – Washington, DC @ 9:30 Club
10.03 – Philadelphia, PA @ First Unitarian Church Basement
10.05 – Boston, MA @ Paradise Rock Club
10.06 – New York, NY @ Webster Hall
10.07 – Mexico City, MX @ Vive Cuervo Salon
10.08 – Mexico City, MX @ Vive Cuervo Salon
10.09 – Guadalajara, MX @ Teatro Estudio Cavaret
10.11 – Carrboro, NC @ Cat’s Cradle
10.12 – Atlanta, GA @ The Earl
10.13 – New Orleans @ LA, One-Eyed Jacks
10.14 – Houston, TX @ Warehouse Live Studio
10.15 – Dallas, TX @ The LOFT at the Palladium
10.16 – Austin, TX @ Emo’s Outside
10.19 – Los Angeles @ CA, The Music Box at Fonda
10.20 – San Francisco @ CA, Great American Music Hall
10.23 – Vancouver, BC @ Biltmore Cabaret
10.24 – Portland, OR @ Wonder Ballroom
10.27 – Minneapolis, MN @ Varsity Theater
10.28 – Chicago, IL @ Lincoln Hall
10.29 – Detroit, MI @ Magic Stick
10.30 – Toronto, ON @ Horseshoe Tavern
10.31 – Montreal, QC @ La Sala Rossa

Ditch the Fest for the ‘Ditch the Fest’ Fest

Got ACL fever, but no ACL tix?  Not to worry!  Austin’s weekend-long, highly publicized music festival has become too trendy for even the most hip of Austin hipsters.  That is why Lucy the Poodle is trying their hand this year at the first ever Ditch the Fest Fest, a free alternative to Austin’s most well-known music festival whose ticket prices have remained high while its lineup integrity has gone steadily (arguably) downward.

Ditch the Fest Fest will take place Saturday, October 9, at Cheer Up Charlie’s, an all ages, always-free venue located on East 6th Street.  From noon until 2 a.m., more than 40 bands will rock, roll, hip, hop, pop, and lock their way to your hearts, helping you to save the expense and hassle associated with the overcrowded ACL Festival.  While DtF Fest’s lineup may have you initially saying “WHO?!”, Lucy the Poodle is hoping that your curiosity and support of Austin’s up-and-coming artists (not to mention the fact that ACL tickets are sold out) will ultimately have you saying “Oh, what the hell…”

Described as “a veritable who’s who of some of Austin’s best emerging talent“, Ditch the Fest Fest may not appeal to all Austin and San Antonio residents out of touch with original music on such a localized level, but it’s still music, it’s still free, and it’s still potentially more fun than you could have on any given Saturday. 

Ditch the Fest Fest Lineup (in no particular order… maybe)

Free Moral Agents (featuring “Ikey” Owens of The Mars Volta)
Woven Bones
2Mex (Strange Famous Records)
Golden Arm Trio
Yellow Fever
The Carrots
Yppah (Ninja Tune Records)
Follow That Bird!
Ringo Deathstarr
Weird Weeds
Shapes Have Fangs
The Ugly Beats
Missions (ex-Clap Clap)
Transmography
The Boxing Lesson
Agent Ribbons
Butcher Bear and Charlie
Richard Henry
Cry Blood Apache
Neiliyo
Death Is Not a Joyride
Spells (formerly Moth!Fight!)
The Low Lows
The Hi-Tones
Cowabunga Babes
No Mas Bodas
Pataphysics
Amplified Heat
The Jungle Rockers
Megafauna
Ryat
Silent Diane
Gobi
Red Leaves
White Dress
The Happen Ins
Hatchet Wound
A Giant Dog
Panjoma
Ripe
The Sour Notes
Art Versus Industry
Planet Rye Co.
Os Ovni
La Snacks
Low Line Caller
Super Lite Bike
DJ Hot Britches
Wolfteeth
Girls Rock Camp

The Vaselines Enter Austin

Since reuniting in 2006 – the first time on stage together after 16 years – The Vaselines have been lubricating their faithful cult following with re-releases and surprise shows at quaint venues.

Although not largely known outside of their native Scotland, The Vaselines garnered a devoted alternative following with only two EPs, a full-length, and three years in existence.  In 1989, shortly after Dum-Dum‘s release, the band split apart.

What further cemented the popularity of The Vaselines in the underground’s rich soil was their brief reformation in 1990 when they opened for Nirvana. They had made such a lasting impression on Nirvana front man Kurt Cobain, that he covered “Jesus Doesn’t Want Me for a Sunbeam” and “Molly’s Lips”, also citing Vaselines founders Eugene Kelly and Frances McKee as his “most favorite songwriters in the whole world” (Cobain’s daughter even bears the first name of Frances McKee).

But despite Nirvana’s popularity helping to keep The Vaselines on the proverbial tip of their fans’ collective tongue, Kelly and McKee ventured off separately to pursue their solo careers, which in retrospect is not entirely unfortunate considering it brings us, the good listener, to the present.

As part of promotion for their individual solo albums, Kelly and McKee performed a set of Vaselines songs in the summer of 2006.  They reformed again in April of 2008 for a charity event in Glasgow, then again in May of 2008 for Scotland’s Tigerfest.  In May of 2009, Sub Pop, the band’s label, released Enter the Vaselines, a re-issue of the 1992 deluxe edition of The Vaselines’ entire body of work.  Since then, the band (minus the original rhythm section) has toured the U.S. considerably.

This October, The Vaselines will make Texas that much more enjoyable three times over, with shows in Houston, Dallas, and Austin.  Here’s 36 good reasons for you to buy a ticket; check out their tour schedule below.

2010 Tour Schedule

10.02 – Washington, DC @ 9:30 Club
10.03 – Philadelphia, PA @ First Unitarian Church Basement
10.05 – Boston, MA @ Paradise Rock Club
10.06 – New York, NY @ Webster Hall
10.07 – Mexico City, MX @ Vive Cuervo Salon
10.08 – Mexico City, MX @ Vive Cuervo Salon
10.09 – Guadalajara, MX @ Teatro Estudio Cavaret
10.11 – Carrboro, NC @ Cat’s Cradle
10.12 – Atlanta, GA @ The Earl
10.13 – New Orleans @ LA, One-Eyed Jacks
10.14 – Houston, TX @ Warehouse Live Studio
10.15 – Dallas, TX @ The LOFT at the Palladium
10.16 – Austin, TX @ Emo’s Outside
10.19 – Los Angeles @ CA, The Music Box at Fonda
10.20 – San Francisco @ CA, Great American Music Hall
10.23 – Vancouver, BC @ Biltmore Cabaret
10.24 – Portland, OR @ Wonder Ballroom
10.27 – Minneapolis, MN @ Varsity Theater
10.28 – Chicago, IL @ Lincoln Hall
10.29 – Detroit, MI @ Magic Stick
10.30 – Toronto, ON @ Horseshoe Tavern
10.31 – Montreal, QC @ La Sala Rossa

How Stellarium Got Their Groove Back

Forget about Singapore’s high quality of life ranking, let’s talk about their high quality of rock, specifically hinging upon the well-crafted chaos of overdriven frontrunners, Stellarium.  From southeast Asia’s most prosperous port, this quartet of fuzz-minded aural assassins launch a thousand frequencies of mirth and mayhem, all aimed straight at your gut.

And their recent self-titled debut is the bombshell that contains those frequencies.

Unfortunately for Stellarium, a self-proclaimed shoegaze band, they don’t completely fit the mould of traditional gaze bands of years past.  Sure, there’s plenty of reverb and moaning guitars, but the intensity and rigidity of their rock movement propels them to something far more innovative.  The drone and absence of excitement typically associated with late 80s and 90s shoegazers cannot find purchase in the tumultuous soil of Stellarium’s supercharged rhythmic squall.  In fact, if you can find one song on the album that puts you to sleep, then you must regularly catch your winks in a cement mixer on a bed of ignited Black Cats.  From album opener “Any Day is Fine” to the eruption that is “Summer Bloodbath”, Stella’s 10-track fuzz war rocks, rolls, shrieks, wails, and dives violently into brooding depths that are strangely attractive.  “Fader”, a track that hints at a subtle sophistication, is like a Bond movie theme song on acid, inciting a riot with unyielding drums and guitars that grind their way to dizzying apex before the entire song dips into an angrily hypnotic sway.  And just when you think it’s over, you’re catapulted back into the glorious tumult of the song’s last two minutes.

Where Stella shines most brilliantly is in their ability to produce a solid slab of spiked noise into which they carve bold, melodic strokes, illuminated by the soft glow of muffled vocals, which at times lose themselves in the soundstorm to become another melody as opposed to a lead vocal presence.  They are a swirl of sounds, a swirl of moods, an abstract portrait of today’s rock ‘n’ roll narrative that will leave you craving a pair of dark sunglasses and a black leather jacket.

And your mood will be black when that jacket’s on.