Category Archives: general

Wednesday night: Starlight Mints + Source Victoria

It figures that the night Source Victoria unveils a new lineup – well, drummer Scott Hessel (Let Go, Gloritone) and bassist Justin Entsminger (Limbeck) are new – I’m going to be out of town. But I have a good excuse: We’re going to Los Angeles to see Elbow at the Wiltern. My brother can’t be too mad at me.

In any event, Source Victoria is one of two openers for Starlight Mints at Rhythm Room on Wednesday night. (JP Inc. is the other.) Tickets are $12 day of show and can be purchased right here.

Our pals at the Phoenix New Times blog Up on the Sun had some words about Source Victoria, too.

If you haven’t already, you can still cop SV’s The Fast Escape at no charge at www.sourcevictoria.net in one handy zip file. Starlight Mints are touring in support of their new release, Change Remains (Barsuk).

Alvin Band: Temple Pressure (video, mp3)

Rick Shaier is the mustachioed, polyester shorts-wearing drummer of Phoenix band Miniature Tigers. He’s also the brains behind Alvin Band, a solo project he’s been working on for the past five years. On Sept. 22, his work will see a national release with the debut album Mantis Preying coming out on Intelligent Noise Records.

Part of the official press release reads thusly: “Rick holed up in a friend’s bathroom with a microphone and a Powerbook and went to town. The end result is the 9 song ‘vocal composition’ coined ‘Mantis Preying.’ … Bjork’s ‘Medulla’ served as the predominant inspiration behind Rick’s writing and layering vocals without the use of instruments.”

A more recent comparison for the work – at least from the small bits I’ve heard – would fall under the Animal Collective/Panda Bear school of vocal harmonizing. If you’ve seen Miniature Tigers in the past year or so, chances are you’ve heard an Alvin Band song. The last time I saw them they opened with Glowing Tree (stream it at MySpace).

The Mantis Preying release will include a six-song bonus EP called Lady Portrait, which Schaier had made available as a free download via MySpace a few months ago.

Incoming: The Cool Kids, Aug. 14 (?)

I haven’t found any information on this show other than a listing by a our friends at Silver Platter, but if it’s true, The Cool Kids (assuming we aren’t talking about another group with the same name) are booked for the Clubhouse in Tempe on Aug. 14. That would be about nine months since they played Marquee Theatre with Q-Tip and the Knux as part of the 2K Sports Bounce Tour.

There’s still no release date for the Kids’ debut LP, When Fish Ride Bicycles, but it’s supposed to perhaps/possibly/maybe come out this year. I’m not holding my breath.

In the meantime, they released the free mixtape Gone Fishing, featuring Don Cannon, whose name is blasted ad nauseam throughout the mix.

Related:
The Cool Kids: Pennies (video)
The Cool Kids: Gold and a Pager (live in Atlanta)
The Cool Kids: 2K Pennies
The Cool Kids: Delivery Man (9th Wonder remix)

Phoenix: Live on The Interface

Some friends have been posting favorite albums of the half-year, and if I had to pick, I’d say Phoenix’s Wolfgang Amadeus Phoenix is floating near the top for me (along with Mos Def’s The Ecstatic, Neko Case’s Middle Cyclone and Jason Lytle’s Yours Truly, The Commuter).

Phoenix stopped by to record a session for The Interface – sans drummer, though his importance to the band cannot be overstated … for example. Sorry, a canned drum beat sucks all the vital energy out of what makes this album great. And is it just me or does singer Thomas Mars always look a little out of it while he performs?

Lisztomania:

1901:

The Gaslight Anthem + The Boss: The ’59 Sound

A friend posted this performance from Glastonbury up on Facebook and correctly points out that Bruce butchers the chorus by singing, “Did you hear the old gospel song” and not “old gospel choir.” But it seems like by the end of the song, Gaslight frontman Brian Fallon is saying “song,” too. So influential is The Boss that he’s making bands change lyrics mid-song. You do not question The Boss when he’s wearing aviator sunglasses.

Still, pretty fucking cool.

(Thanks, Luke.)

Best Coast: The Sun Was High (So Was I)

If I didn’t like contributor Jason Woodbury so much then I might have killed him for not telling me he was going to mention Wavves. Just this once.

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OK, so while the whole mess of “Psychedelic Horseshit on Wavves plus Black Lips on Wavves plus Wavves on Wavves” is starting to feel pretty overcooked, it’s undeniable that in the wake of the Pitchfork-stoked hype fire of Wavves and Vivian Girls, people have rightly been asking if substandard tunes covered in tape hiss and fuzz deserve to lauded as “Best New Music.” Bands given the “lo-fi” tag run the gamut from the remarkable (Ganglians, Woods and Crystal Slits) to underwhelming (No Age, the aforementioned offenders), linked less by their songwriting than by their aural presentation.

L.A.’s Best Coast certainly run the risk of being lumped into the whole thing. The signifiers certainly do little to distance the project from the glut of like-minded acts: the blown-out drums, scuzzy guitars, and, of course, plenty of hiss, as well as gigs at L.A.’s ubiquitous The Smell. But Best Coast, current project of ex-Pocahaunted (“the Olsen Twins of Drone”) member Bethany Cosentino, breaks from the herd with a liberal dose of pure pop at her side. Best Coast hasn’t actually released anything, but the songs on the MySpace go a long way in cultivating anticipation for her upcoming 7-inch on Art Fag Recordings. All six tracks hosted are the kind of breezy, gentle power-pop that is tailor made for beach listening, at once wistful, engaging and elemental. And her fan base (cult?) is a quick-moving one. Standout track The Sun Was High (So Was I) is weeks old but has not one, but two excellent fan-made videos making the inter-tube rounds. Scuzzy and “lo-fi” for sure, but most importantly, awesome jams.

Previous posts by Jason:
Kissing Cousins: Pillar of Salt
Review: The Hold Steady, A Positive Rage
Anni Rossi, Modified, 2/9/09
Stephen Steinbrink: Ugly Unknowns
Obi Best/Towncraft, Modified, 1/22/09

Kissing Cousins: Pillar of Salt

Contributor Jason Woodbury – he of Hands on Fire and Cardiac Party – returns to discuss a Richard Swift-produced project.

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A couple months ago, I had the extreme good fortune of catching the fantastic Richard “Dickie” Swift in Tucson, opening for Jason Lytle at a pre-SxSW gig. Swift and the boys put on a stellar show (though they outdid themselves a couple weeks later at Modified. After the show, we chatted and he informed me that he had just finished up producing and recording a record by a band called Kissing Cousins. He described the record as the Shangri-Las-meets-Black Sabbath. I was instantly curious.

Thanks to the good folks at Velvet Blue Music, my curiosity has been sated, and well rewarded. Recorded straight to tape using a Tascam 8-track purchased from Jeff Tweedy of Wico, Pillar of Salt makes good on Swift’s description, with fuzzy riffs smoldering under girl group vocals and reverb heavy tambourines, while lithe flutes drift overhead, recalling the dark psychedelic approach of Black Mountain.

The sinister vibe suits the girls well, as singer/songwriter Heather B. Heywood wraps her tales of snake handlers and being “slain in the spirit” – nods to her charismatic Pentecostal upbringing – in plenty of sultry swagger, somehow making Judgement Day sound impossibly sexy. First in the Fire marches with ominous, thundering percussion, while Red Lamb employs shoegaze guitars and a soulful, Berry Gordy approved melody. The record ends with a devastating double shot, Don’t Look Back, featuring a finger-wagging, spoken bit that simultaneously sounds like a benediction and slow dance request, and the instrumental Snake Handler (Part II) closes the record with a graceful note of redemption.

With any lucky, the girls will tour a bit more in support of Pillar of Salt. The drive from Silver Lake to Phoenix isn’t that bad, and this stuff begs to be heard live.

You can pick up Pillar of Salt directly from Velvet Blue Music.

Previous posts by Jason:
Review: The Hold Steady, A Positive Rage
Anni Rossi, Modified, 2/9/09
Stephen Steinbrink: Ugly Unknowns
Obi Best/Towncraft, Modified, 1/22/09

Phoenix on KCRW’s Morning Becomes Eclectic

Phoenix stopped by KCRW’s Morning Becomes Eclectic on Monday for a set, and I’m so glad the band didn’t resort to an acoustic set. I don’t ever wanna hear 1901 in acoustic form again; it just doesn’t do the song justice.

And I’ll agree with Casey that Lisztomania is quickly rising as one of the year’s best songs. No surprise it’s the first song Phoenix plays here, but they immediately follow it up with older tracks Long Distance Call and Consolation Prizes. (And, yes, three years qualifies as “older.”)