Wickenden Wonderland, Dec 21, Rings In Holiday Spirit
Caroling is part of the Christmas tradition. Ordinary folks gracing their neighborhood with their own style of holiday cheer is commonplace in many cities. Fox Point on the PVD East Side, one of the city’s neighborhoods with an artistic temperament, is putting their own spin on it. Wickenden Wonderland – Thursday, Dec 21, 6-8pm – is a celebration put together by the Fox Point Neighborhood Association, and it is for a great cause. Raising money for the homeless with Amos House, this wonderland provides a glimpse of beauty in the human spirit. It also looks like a damned good time.
The start is the Point Tavern 6-7pm with drinks and plans for merrymaking. The kitchen will be occupied by Great Northern Barbeque, so it’s an opportunity to enjoy delicious food among friends. There will be drink specials at the Point, and their beverages are a great way to lubricate your singing voice – and no one should be caroling on an empty stomach. Revenue from food and drink sales will go toward Amos House. This all makes for a stellar reason to join in on the fun.
At 7pm, the party moves to George M. Cohan Plaza (the intersection of Wickenden and Governor Streets) for what the event Facebook page describes as “great musical accompaniment of the Mighty Good Boys. There will be hot chocolate and cookies for everyone!”
If you find yourself on PVD’s East Side or you’re in the city looking for something to do on a Thursday night, then celebrate the holiday season with a caroling crowd. It’s bound to be a fun time and, if you live in the area, then bring along friends. There are few places more romantic than Wickenden Street during the holidays, so bring a date. Get with the spirit and ring in the cheer because Christmas is near.
Facebook event: facebook.com/events/1814545535285306 Donations: facebook.com/donate/533257667010031
Amos House: amoshouse.com
Fox Point Neighborhood Association: fpna.net H.R. from Bad Brains at POP, Dec 16
H.R. from Bad Brains (Photo: Lori Carns Hudson)
In the world of punk, fewer frontmen are more iconic than Paul “H.R.” Hudson. During the ‘80s he led Washington, DC act Bad Brains to be one of the most influential bands of the decade. His intensity was unrivaled and no one could match the amount of energy he had on stage. These days he’s mellowed out a bit and his health is the best it’s been in years following brain surgery this past February to solve a rare condition called SUNCT syndrome. He’ll be performing with his reggae band Human Rights at POP Emporium of Popular Culture in Providence on Dec 16 as part of their “Out Of Control: The Spirit Of ‘77” exhibition.
I had a chat with H.R. ahead of the performance about the documentary Finding Joseph I that’s about him, his new record label, finding out about the UK ska scene in The Village Voice and getting amped to perform at more festivals next year.
Rob Duguay (Motif): Earlier this year, a documentary about you called Finding Joseph I was released. It was filmed over the course of a few years while examining your time in Bad Brains, your presence in the reggae community and your struggle with mental illness. Looking back, do you like the way it came out?
HR: Yes sir. I sure do, it came out great. It’s been 10 years in the making and I’m glad that it’s finally out.
RD: When I watched it, I found the film to be very inspiring. I do like how there was a happy ending to it with you where it seems like your life is going great these days ever since you had the brain surgery this past February. HR: Yes sir.
RD: How have you been feeling ever since the surgery? Do you find yourself having very much a different outlook on life then you did before?
HR: I’m feeling fine now, the surgery was a success.
RD: It’s great to hear that it worked out for you and you’re doing better as a result.
HR: Thank you.
RD: No problem. Bad Brains started at a time in punk rock in the early ‘80s where you, your brother Earl and everybody incorporated reggae into punk in America. At the same time in the United Kingdom, there were bands like The Specials and The English Beat doing similar things with ska. When the band was starting out, were you aware of what was going on in the UK?
HR: Yes, I was very excited about the success of what was going on in the UK. It started pretty early in our music careers, and around ‘79 or ‘80 it got a write up in The Village Voice and that let us know from then on that what were doing was correct.
RD: When Bad Brains went to the UK for the first time, did you get with a lot of those bands in the ska scene?
HR: We didn’t. We were working as a solo headlining band.
RD: You’ve started performing with your own band, which includes a date at POP on Dec 16. How did this current edition of the band come about? I know you have a few new members.
HR: It came about through the research of my wife Lori [Carns Hudson] and she did such a beautiful job of finding these shows. We’re more established in the US, but we went to Europe to play gigs in countries like England, Germany, Switzerland and Sweden, and that’s how this current lineup formed. When the band was established, people found out about it and they wanted to see what it was all about and where we were coming from. Then we started getting offers for shows around the area in the East Coast.
RD: Very cool. You and your manager Alfredo Weeks recently started a label called Catch a Fire and currently there’s a live recording of a performance of yours at the legendary CBGB in 1984 available for purchase. What made the both of you want to start the label? Do you plan on it being a place where you can release all your future recordings or will it just be for special releases?
HR: There will be projects that we’ll want to release on the label in the future. Catch a Fire was started by Alfredo, who is also my godson, and he did such beautiful work on the CBGB CD. We’re going to go ahead and give it a try and work out things in the future with him.
RD: Good luck with it. I always love hearing stories about artists getting creative control with their own label. Do you have any plans for next year? Is there anything set in stone as of yet or do you plan on playing it by ear?
HR: We’re going to be doing some festivals in the summertime and I’m really glad about that. We played the Riot Fest and the San Pedro Festival last summer and they were both so successful that we’re looking forward to playing more festivals next year.
Event page: facebook.com/events/377110026060321
POP: emporiumofpopularculture.com
Catch a Fire: catchafiremusic.com
H.R.: phdhrmusic.com
Album of the Week: The Quins – Beech Hill
Beech Hill by The Quins
There are certain acts that artistically go beyond any specific style, and The Quins fit into that exclusive group. The act from East Bridgewater, MA, has a little bit of jam and a smidge of funk to go with a classic rock-influenced alternative sound. Their second album, Beech Hill, is going to be released on Christmas and it’s a showcase of soulful progression. Harmonies are abundant and the combination of James Medaglia’s and Robbie Sturtevant’s guitars carry each song. A joyful feeling is also produced and that’s backed up by both Medaglia’s and Sturtevant’s vocals.
Every band makes a change from their debut to their sophomore album. With Beech Hill, The Quins lean more towards powerpop while their 2014 record, A Tale of Love and Evil, has more of a rock ‘n’ roll edge that incorporates a ton of blues. It’s an interesting musical path to take but the band never strays from their roots. Donny Hayes on bass guitar and Dave Petti on drums provide stellar rhythms, with Hayes also contributing vocal duties for added harmony. This album already makes the anticipation for The Quins’ next release very high. What separates this decade from all the rest is that bands and musicians can’t trap themselves inside a box anymore. There are thousands of bands for each genre, but only a few from each stick out. That’s why you can’t put a label on The Quins. Of course, they’re a rock band but they add elements to take themselves out of the ordinary. There’s a refreshing quality about that in an age where people think it’s fading away; what’ll never fade away are my top tracks off of the Album of the Week:
With a funky groove comes “Mother Earth,” where Medaglia sings his heart out and there’s a rhythmic sensation that’ll make the body move. “Days” is an excellent example of the powerpop and harmonies previously mentioned; the joint vocals are infectious and there’s a nostalgic vibe conveyed. There’s a bit of a doo-wop aesthetic in “Gunner Bee,” just give it a listen and the senses will get what I’m talking about.
They don’t have any shows announced as of publication, but be sure that The Quins will be playing all over the New England area once the new year starts. In the meantime, looks like Beech Hill could very well be the perfect last-minute Christmas gift for that fellow music fan you love. Make sure to grab a copy of it when it comes out. It’s a little bit of everything and all you have to do is press play.
Facebook: facebook.com/TheQuins
SoundCloud: soundcloud.com/the-quins
Don’t Break Down, A Film About Jawbreaker: Columbus Theatre, Dec 9
Don’t Break Down: A Film About Jawbreaker There’s a case to be made that ‘90s punk legends Jawbreaker have a big influence on underground music these days. So many bands now similarly walk the line between heart-on-the-sleeve emo and rambunctious punk, the way guitarist and vocalist Blake Schwarzenbach, bass guitarist Chris Bauermeister and drummer Adam Pfahler did in their heyday. The band’s reunion in 2017 was one of the most anticipated of the century and it looks like the reformation has a future. Don’t Break Down: A Film About Jawbreaker examines the effect the band had on their contemporaries and the musicians that came after them, along with the rise and fall of the band during their initial run. The film is currently being shown in theatres all over the country and there will be a viewing co-presented by Armageddon Shop at the Columbus Theatre in Providence on Dec 9.
“The film started in 2006 after co-directors Tim Irwin and Keith Schieron were finished with their first documentary feature, We Jam Econo: The Story of the Minutemen,” producer Dan Didier says about the making of the film. “They filmed on-and-off for the next few years, and then spent several years in the editing room. This was, and continues to be, a self-funded film. Through all the fits and starts and life getting in the way, Tim and Keith decided to reach out to me in 2015 to help finish the film. They already had a 90-minute edit that they weren’t happy with, so with the help of supervising editor Barry Poltermann and editor Erin Elders we started from scratch watching every frame of the footage to construct a brand new edit. Throughout the editing process Adam [Phaler] was instrumental in helping us with all of the archival footage, photography, artwork, etc. that helped us visually tell the story.”
The film features interviews with the likes of Billie Joe Armstrong from Green Day, acclaimed producer and Big Black and Shellac frontman Steve Albini, music critic Jessica Hopper, Chris Shiflett from the Foo Fighters and many others. Jawbreaker is a kind of band that has fans that personally identify with their music, and this should be a cool experience for anyone who feels that way. It promises to provide an in-depth look at one of the most important bands of the last 30 years. It’s also somewhat exciting providing the possibility of Schwarzenbach, Bauermeister and Pfahler playing more shows soon. Roll on through the hippest spot in Providence’s west end for a screening that shouldn’t be missed.
Tickets: ticketfly.com/purchase/event/1585498
Film web site: dontbreakdown.com
Album of the Week: The Monsieurs – Deux Deux by The Monsieurs
If there’s anything that the 21st century has taught us about music so far, it has to be that bands with unconventional lineups often pack the most punch. The White Stripes, The Kills and Death from Above come to mind. In Boston, there’s a garage punk band known as The Monsieurs who don’t look like your typical rock ‘n’ roll trio but they surely know how to get amped. Their second album Deux was released Dec 1 via the Reno, NV, label Slovenly Recordings, and it’s unapologetically raw and extraordinarily intense. It’s a beautiful style reminiscent of the rambunctiousness of The Stooges and the swagger of The Ramones.
Frontman Andy “California” Macbain, who also has a respectable solo career along with being in fellow Boston act The Mardi Kings, is totally wild on the mic. Drummer Erin King brings the thud without sitting down, while guitarist Hilken Mancini shreds riffs that sound like they’re from the depths of hell. There’s a devil-may-care attitude and a captivating party atmosphere. A no-frills approach is evident. Each song on the new album has the power to melt brains and excite nerves.
Usually with a band like The Monsieurs, there’s always at least one music snob who’ll ask the question “Where’s the bass?” If a band is loud enough, then they most likely don’t need a low end because no one’s going to hear it, anyway. There are also different pedals and chord structures for the guitar that can make up for the lack of a bassist. Saying that this band from Boston is loud is a gross understatement. Turn it up to the max, wake up the neighbors and tune into my top tracks off of the Album of the Week:
King’s seismic skills on drums shines in “Suburban Girls,” while the crashing of the cymbals and the consistent beats provides a backbone; the chorus is bound to get stuck in the head with an old school pop aesthetic. “At The Hop” is bound to bring a dancing sensation with fast-paced rhythms and endless amounts of energy. An excellent example of the swagger and rambunctiousness is “High School Star,” where Macbain is a screaming maniac while King and Mancini add to the coolness with their drumming and guitar playing.
The Monsieurs don’t have any shows announced at press time, but they did rip it up at Great Scott in Allston, MA, on the night of Deux’ release with fellow Bostonians Nice Guys and Earthquake Party. They often play the Providence area, so be on the lookout the next time they roll into town. For now, grab a copy of the new album. It’s a rabble-rousing banger that’ll make you go crazy.
Stream: slovenly.bandcamp.com/album/the-monsieurs-deux-lp
Facebook: facebook.com/TheMonsieurs
Ripe Funks Up The Met, Dec 2
Ripe
When it comes to up-and-coming acts from New England, Ripe has to be near the top of the heap. These funk-soul party starters from Boston have been drawing huge audiences all around the region and they’re about to explode. From the first note, people immediately start dancing and jumping. These guys have an infectious sound that’s contagious. On Saturday, Dec 2, Ripe will be keeping it fresh with hot jams at The Met, and local alt-soul act Bochek opening things up. [Tickets: etix.com/ticket/p/7393894]
Frontman Robbie Wulfsohn and I had a chat ahead of the upcoming show about the band’s origins, whether Berklee is that important or not, getting their message out and the debut album that’s on the horizon.
Rob Duguay (Motif): How did Ripe start out? Was it by a few chance interactions, or have all you guys been friends for years?
Robbie Wulfsohn: It’s kind of a combination of the two, the seven of us met when we were all in college. The first people of the band to meet each other were the guitarist Tory [Geismar] and the drummer Sampson [Hellerman] who met years ago when they were in middle school in New York. In terms of how it started to come together, that was in the beginning of freshman year at the Berklee College of Music in Boston. We all ended up coming together and writing together and partying together, which is a big part of how Ripe started and a few of that group is still in the band today.
RD: What was the experience of going to Berklee like for you guys? Some folks I know who’ve gone there say they’ve learned more after they’ve left than they did while going to school. Do you feel the same way or do you feel that going to Berklee was vital to the band?
RW: If I hadn’t gone to Berklee, I wouldn’t have pursued music in my life. I came from a very non- musical background. We didn’t have music programs in the school that I went to. All my learning happened in a few lessons and outside of the classroom. With that being said, if I hadn’t gone to Berklee I wouldn’t have met any of the guys in Ripe and this wouldn’t have been my path. In terms of the experience of being a band at Berklee, it can feel like you’re balancing the musical work that you want to be focused on and the musical work that you’re working on for your degree.
I can tell you that the level of academic vigor that we brought to our studies was a variety, some members of the band were very dedicated students while some were delinquents. I won’t tell you who was who.
RD: Hahaha!!!
RW: At the end of the day, being into the styles of other musicians, and most of them are equally passionate and have other skill sets, while we feed off each other within the vital community in Boston that we have, has shaped the way that I look at music. With every single hour and every single class that I took at Berklee, I find it to be valuable but I don’t think everyone can say that about the college they went to. If I didn’t go to Berklee, I wouldn’t be here so that’s as far as I’ll go with that.
RD: Yeah, I totally see where you’re coming from. The band has an infectious sound that encompasses funk, soul and a constant amount of energy. What do you consider the main influences when it comes to Ripe’s music?
RW: The one thing about having seven people in a band is that you rarely have a band where all seven members are having a huge intellectual role in the sound. I think that the only band we can compare all of us to is Earth, Wind & Fire and even then the greatest gift from them is the funkiest music we can all get behind. We’re into the jam band stuff too but we work on incorporating different elements to submerge people into this world that we try to create. To us, what we listen to isn’t as important as capturing the moment. What I like about hip hop is that everybody in the room is strutting their stuff, jumping and exerting all of their energy to what’s happening on stage.
The moments of jam band music that I enjoy are when the band is peaking and everyone in the audience is dancing and taking in the moment. I think that everyone in the band has a very different musical background between what they grew up listening to and what they listen to now but we all connect on that ecstatic release. It’s all about the moment, no matter what genre we’re listening to. Even if it’s like Bon Iver, which is like a chilly mess, or something more energetic, it has a draw to that moment with whatever we listen to.
RD: It’s about capturing a moment and embracing a feeling within a song.
RW: Exactly. RD: You guys seem to get really big crowds wherever you go. Especially on this current tour that Ripe is on. For a new band, that can be a bit nerve wracking. How do you handle the pressure of playing in front of large crowds of people all over the country?
RW: The amount of people we’re playing for took me a lot of confidence to have in the ideas that I had putting forward. After a few years, we’ve been finding our sound, our message and what we want to be as a band, as musicians and as part of the cultural conversation. We’ve been finding what we want to say and, for the first time, whatever is happening and how big this gets, we know what we want to say. Rather than having a feeling that we’re hoping that we’re ready for these crowds, we want to connect with the people and have them listen to what we’re saying. I’m not as concerned as whether people will like it or not but I feel that it’s more important to help change the things that are important to us and put our message forth for a positive change.
RD: There’s a great confidence you have when you go on stage. You want to bring your message to people and be unapologetic about it and that’s very respectable. Ripe has their debut album coming out soon, and you guys recorded it in Toronto. Which studio did you guys use there and what was it like being in Canada while making the album?
RW: We were at Noble Street Studio in Toronto. I was born and raised in Toronto and I actually interned there the summer after my freshman year at Berklee. I lied and said that I finished my Berklee degree so that they would let me be an intern and they found out two weeks after hiring me that I didn’t have a degree. They kept me on board fortunately but I was a fly on the wall pretty much and they let me stick it out for the summer. I had a relationship with them that went on for five years and then we cut the record in that room.
That time in Toronto was very comfortable for me: It’s my home. For me to bring the band members up to Toronto for the first time and to have them stay at my parents’ house and have them in that culture, it meant a lot. I consider where I come from and the experience of growing up in Toronto and the family I was raised around to be very important. That’s where I’m coming from when it comes to the experience of being in the band. Immersing the rest of the band in my hometown felt super, super meaningful to me. You would have to ask the other band members about what it was like for them to be in Toronto for the first time, but for me it was truly an honor to introduce them to my hometown.
RD: It’s cool that you got to go back home along with going full circle with the studio where you got in trouble and now you recorded an album there. Is there a release date set yet? Or is that still up in the air?
RW: We’re right at the end of the process where we’re finishing up mastering right now. We also spent a long time making 100% sure that the album is ready, the world is prepared and everything we can to get this release right. We only get one first album and I’d much rather take the time to get it right than arbitrarily settle for a date and just push for it. I know that we’re playing the Paradise Rock Club for two nights in February and we want to have that be the kick off for the record. Around that time during early spring and late winter of 2018, we’re aiming to put it out.
Event page: facebook.com/events/271726083347312
Web site: ripetheband.com Album of the Week: Latvian Radio – Pick Your Poison, Pick Your Blues
Pick Your Poison, Pick Your Blues by Latvian Radio
New York musician Patric Westoo brings a stellar take on the powerpop style whenever he writes a song. His lyrics have a unique substance to them that maintain a slight catchiness while riding a groove. He also isn’t afraid to try different things in each song, there’s no redundancy involved and there’s an entertaining listening experience. His band Latvian Radio put out their sixth album Pick Your Poison, Pick Your Blues on Nov 28 via the Swedish label Belpid Records with a clean, more straightforward approach. It fuses old school alternative rock and vintage punk with new wave and mod.
One thing that makes the band’s new record different from their previous material is the larger presence of horns in various songs. It complements the pop-tinged grit very well in sneaky ways. A few other tracks have a ballad vibe to them but not to the point that they become unbearable. Pick Your Poison, Pick Your Blues is an album with a lot of heart. Westoo sings from the soul without any filler from beginning to end.
Powerpop at one point could have been considered a genre of music for the middle-aged. It had its birth thanks to Alex Chilton and Big Star during the ‘70s, and the influence it had on alternative rock during the ‘80s and ‘90s is very noticeable. Around the turn of the century, it became something of remembered lore without any new acts popping up. Recently that started to change slightly but only time will tell if it can be maintained. Will Latvian Radio’s new album play a part in that? Perhaps, but let’s delve into my top tracks off of the Album of the Week in the meantime:
“Paranoia” starts the album off with a driving guitar riff from Westoo; there are also nice harmonies that glisten off the song. The ears can really hear the horns while checking out “Blood Orange Blue” and its unplugged tone. Veering towards punk is “Shake The Tree” with a fast-paced ripping structure and a forceful aesthetic.
Latvian Radio doesn’t have any shows announced as of this writing but they’ll probably be playing around the Big Apple sometime soon. Before the next time they take the stage, grab a copy of the new album. It’s music with feeling that’ll sooth the senses and ease the mind.
“Paranoia” streamable: soundcloud.com/latvian-radio/latvian-radio-paranoia
Facebook: facebook.com/Latvian-Radio-178659225495335
Night Before Thanksgiving in RI: 5 Things to Do
[Although all information is believed accurate at time of publication, everything is subject to change, especially pricing. – Ed.]
Dusk Nightclub, PVD
The holidays are a wonderful time of the year. There’s stuffing your face full of food, catching up with family and enjoying new gifts from loved ones. There’s also the night before these holidays where people go out, run into old friends and have fun while probably seeing that scumbag from high school whose maturity level still hasn’t gone past age 17 even though in reality they’re pushing 40. The night before Thanksgiving is one of the biggest bar nights of the year – closing time is 2am in PVD – and there’s plenty of stuff going on in Rhode Island to induce the hangover you’ll most likely have the following morning. To give you some tips on what to do, I narrowed down a list to five in no particular order.
Thanksgiving Eve Rockathon @ News Café, 43 Broad St, Pawtucket
Over at one of the coolest dives in the Ocean State, there’s going to be an abundance of amplified hard rock invading the News Café. A lineup consisting of post-apocalyptic rockers Blackletter, punk rock phenoms The McGunks and Newport rock ‘n’ roll ragers We Own Land will be getting loud. There will most likey be a special cocktail or two available at the bar along with a nice and friendly clientele being present. The News always provides a great atmosphere for live music. Also, make sure to wear earplugs to this one. 9pm / 18+ / $6
Friendsgiving @ The Grange, 166 Broadway, PVD
Along with being a great place to eat delicious and healthy food (especially if you’re vegan or vegetarian), The Grange has also become a great place to see live music. The entertainment database blog PVDLive will curate a night featuring four immensely talented singer-songwriters: Steve Delmonico from The Quahogs, Rachel Jorgensen, Russ Connors and Nashville artist Zach Schmidt will be performing. If you like folk music and intimate settings, this show is for you. Also don’t forget to try the seitan wings. 9pm / all ages / free
The Silks, The Little Compton Band, Gumption and Glory @ The Café at Parlor, 200 Broadway, Newport
For a heavy dose of blues, head on down to the heart of Aquidneck Island as three of the best bands around take the stage for what should be a fun night. The Silks have become one of the most sought after live acts in New England and sooner or later their popularity will go beyond the region. With a groovy jam vibe reminiscent of The Grateful Dead, The Little Compton Band has a pristine sound that’ll make anyone gravitate to them. Gumption and Glory will be playing their soulful music in between sets and their horn section is magnificent. If you find yourself in downtown Newport while this is going on, definitely stop by. 9pm / 21+ / $10
Funksgiving 2017 @ The Parlour 1119 N Main St, PVD
If you’re familiar with The Parlour, then you know that every Wednesday night there’s funk played by The Phunky Autocratz. This amazing band is dynamic and incredible, and they’ll be doing it all over again to ring in Thanksgiving. Shzz Mack will be spinning records all night long, and the party will be poppin’ off from the get-go. Wednesday nights at The Parlour are always fun and you should stop by if you’ve never been. Take advantage of the delicious food and wide assortment of beer and spirits while you’re there. 7pm / 21+ / $5 after 9pm Night Before Thanksgiving Dance Party @ Dusk 301, Harris Ave, PVD
Ty Jesso, John O’Leary and Studs Jerkel are three of the best DJs in Rhode Island. Jesso is exquisite in his knowledge of soul, R&B, garage rock and the Motown sound. O’Leary is a savant when it comes to ‘60s British rock, new wave and Britpop. Jerkel has such a wide assortment of records that he can go from calypso to ‘80s alternative rock in a matter of seconds. At Dusk, they will unite to put on a party that can only happen at this specific location. It’s a time to put the groove shoes on and shake it up. 10pm / 18+ / free
Album of the Week: Joel Gion
Joel Gion
It’s funny how a musician can go from playing tambourine for one of the most talented psychedelic rock acts of the century to putting out a legit solo record. That’s exactly what Joel Gion did when he put out his self-titled second release on Nov 17 via the Brooklyn indie label Beyond Beyond is Beyond. People might know him from his time as the percussionist for the San Francisco psych-rock act The Brian Jonestown Massacre. His solo material has a similar psychedelic vibe but it borders on dream pop while encompassing jazzy techniques. It makes for a calming listening experience that’ll set the mood for a positive environment.
Gion’s vocals are very reminiscent of the folk singer-songwriter Rodriguez. It gives the record a retro aesthetic while the production quality maintains a modern tone. There’s nothing dull about the album either, as there’s something different in each track. An entertaining musical voyage follows with an immense variety of dimensions. Unapologetic coolness oozes out with each note, and by the final song a lasting impression will be made.
When a member of an established band goes solo, it can have different results. It can be a disaster, like Pete Townsend after The Who initially broke up in the early ’80s. It can also be a stunning exhibition of talent like The Joe Perry Project when he left Aerosmith before rejoining the band. Gion shines with his debut having a lot to offer the ears. Take a closer look and check out my top tracks off of the Album of the Week:
The jazz leanings are best exemplified in “Come to Light” – there’s an array of flute and laid-back beats that revolve around Gion and his acoustic guitar. “Divide” has an elegant feel due to the guitar and piano feeding off each other; it’s uniquely pristine while the flute anchors a harmony that’s contagious throughout the entire song. The black sheep of the album is “Mercury in Retrograde,” harking back to The Brian Jonestown Massacre’s edgy brand of rock with electric distorted guitars.
Gion doesn’t have any shows announced but he’ll probably do a tour in support of his new album sometime next year. While we all wait for that happen, grab a copy of the record either online or at your local record store. It’s mellow, cool and rad all at the same time.
Spotify: open.spotify.com/album/2AsXleQ1KacvVq4qPbUL4Z Bandcamp: joelgionbbib.bandcamp.com/album/joel-gion Facebook: facebook.com/joelgionjoelgion Web site: joelgion.com
Album of the Week: The Dayoffs
The Dayoffs’ self-titled debut album
New York City is such a widely diverse place that there’s a good chance any two people from different backgrounds can come together to create something. For example, a Russian punk rocker can collaborate with a Japanese sound engineer and start a shoegaze band. That’s what happened when Vladimir Komarov and Atsuo Matsumoto got together to start The Dayoffs nearly a year ago. The duo released their self-titled debut album on Nov 10 via the German futuristic pop label Emerald & Doreen Recordings, and it’s a diamond in the rough. There’s an exploration of various soundscapes within a tight structure.
The foundation of the album is steeped in Komarov’s layering guitar riffs and the beats and rhythms supplied by Matsumoto. Rock ‘n’ roll is at the heart of each track but there are electronic and atmospheric elements as well. Distortion and feedback alternate with each other, building a lot of noise. The Dayoffs’ debut isn’t your typical post-punk record. There’s a lot to offer through melodies and amplification that can’t be ignored.
When it comes to the state of indie rock these days, it seems like garage rock, post-punk and shoegaze are running on parallel tracks against each other and, once in a while, one style crosses over into the other. There has been a vast influx of bands and artists that can be classified into one of the three, but among that influx are a few that push the boundaries where the musical lines cross. It seems The Dayoffs are doing that with songs that lean toward shoegaze while a handful of others are legit post- punk. To look further into this abyss, dive into my top tracks off of the Album of the Week:
“Love Love Love” is speedy and rambunctious; Komarov’s guitar drives through each note while Matsumato’s beats energize at a fever pitch. Sergey Kiselyov does guest vocals on “I Can’t Believe I’m Dead” and the force exuded is astounding; it’s another great example of Komarov’s excellent shredding on his six-string. Commentary on modern New York City life is conveyed in “State of Madness,” incorporating the unlikely presence of a melodica to add a different dimension.
Unfortunately the band don’t have any shows announced in the imminent future. With that being said, be sure that Komarov and Matsumoto will be playing around the Big Apple in the coming months. Hopefully they’ll grace New England with their presence sometime soon. Until that happens, grab a copy The Dayoffs’ self-titled debut album. It’ll give you a shock and then put you at ease.
Stream: soundcloud.com/thedayoffs/sets/thedayoffsemeraldanddoreen
Twitter: @thedayoffs