Concert review: This Will Destroy You (with Amen Dunes, John LaMonica and Key Grip) stretch out at the Firebird, Tuesday, January 31

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St. Louis improvisational jammers Key Grip opened up the night at the Firebird with space-bent ambient tunes. From what I could gather, their entire set consisted of a single continuous song.

Due to my inability to navigate downtown well, I was only able to catch the last twelve minutes of Key Grip’s set. Vocals were scarce from the band, but when present reminded me a bit of Thom Yorke. The brightest moments in the song came from an occasional explosion of noisy keyboards. The tune never seemed to wander much away from its root notes, but the audience already gathered swayed metronomically with the droning beats.

Next up, John LaMonica out of Lawrence, Kan. helmed a solo electronic set. Relying heavily on vocal effects and tracks played from his laptop, LaMonica performed multi-layered glitch songs. I was expecting more of a singer-songwriter set, but instead LaMonica was more akin to a DJ with all original material. His music was chilled out, in rare moments rising and breaking off to leave a trailing, effects-laden vocal loop. A few of LaMonica’s tracks dabbled with hip-hop beats, while others felt right at home with bands such as Washed Out or Baths. The repetitious and differing levels of intensity felt cathartic live, but I feel LaMonica’s might suit me better coming through a pair of headphones.

When I came back indoors from enjoying the awesome evening weather, Amen Dunes had taken the stage. I immediately started humming along to the first song, although I had never heard it before that moment. A two piece out of New York, the band left me searching my mind all night for a similar artist. Amen Dune’s music has a certain familiarity to it, always just on the edge of bursting out from under echoing waves. Utilizing only a guitarist/vocalist and a drummer, the band touched on cheery psychedelia and repressed pop. Frontman Damon McMahon used his voice to blend in with his wonderfully drawn-out chord progressions. The drummer’s parts were more atmospheric than driving, which worked well with the band’s vibe. Absorbing the tunes created a kind of a body buzz, just a few steps away from a stoner-rock show.

Going into the show, I had some concerns as to how This Will Destroy You‘s studio albums would translate live. Their particular brand of sweeping post rock is the type of music I would usually put on to wind down for the night or write a paper. This Will Destroy You demolished those concerns upon launching into their first song “A Three Legged Workhorse,” which is also the first track off their first self-titled release. Bass rumbles and savage tom thuds reverberated throughout the room, encapsulating the venue before dropping into drowsy, airy openness. The two guitarists worked together magnificently, with a seated guitarist playing long, held notes as the other controlled dynamics with delayed tremolo picking.

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Posted by | February 1, 2012 | Concerts | Comment 

Concert review: Ryan Adams and Jason Isbell fill the Peabody Opera House with solo songcraft, Tuesday, January 31

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It was an evening of pure, solo-acoustic sound and songs at the Peabody Opera House last night with Ryan Adams and opener Jason Isbell.

The newly-renovated and recently-reopened venue is beautiful, with great acoustics that rival even the “acoustically perfect” Sheldon Concert Hall. The interior is spacious and ornate, with a large seal of St. Louis prominently displayed over the stage. This was my first visit to the Opera House since it reopened last year, and it was a pleasure; the venue was ideally suited to Adams’ solo acoustic performance.

Adams took the stage a bit late, with an intimate set up affording him a chair, two guitars in the red, white and blue hues he favors, and a small upright piano. His attitude was that of a guy just hanging out in his living room, playing a few songs for a group of close friends, rather than that of a man playing to a near capacity crowd in an intimate, early 20th century theatre.

He opened with his standard show opener, “Oh My Sweet Carolina,” from his classic album, “Heartbreaker.” What song he would do next on this (or any) night was anybody’s guess. Although shows are similar from night to night, his set list is largely improvised. A mercurial performer, he relies on notebooks and his own whims for inspiration. He likes to mix it up, improvising on songs as well as the set list, and, as he says, making it up as he goes along. It’s not all as off the cuff as he likes to make it seem, however. I recently saw his extended performance from the Ed Sullivan Theatre online on “Live on Letterman.” There he performed several of the same songs, and included some of the same banter. So, it definitely takes work to make it all seem as effortless and spontaneous as Adams does.

He was perfectly at home in this environment though, showcasing his songs, and sharing some amusing anecdotes and jokes between tunes. The crowd was hushed, and even occasionally shushed each other, as Ryan worked through a set emphasizing his latest release, “Ashes & Fire.” Every note and nuance of the performance could be heard, although the drawback to those wonderful acoustics is that every noise from the audience could be heard as well. Adams was both funny and engaging as he moved about the stage, deciding what to do next. He began seated, center stage, guitar in hand, occasionally adding harmonica and consulting his notebook for inspiration. He then moved to the piano to perform a few numbers; eventually he moved to another mike, set up on the other side of the stage, to perform standing. “Nothing’s gonna change,” he said as he moved over to the other microphone. “I’m just gonna stand — so large portions of my ass won’t fall asleep.”

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Posted by | February 1, 2012 | Concerts | Comment 

Concert review: The Life and Times (with False Moves and Echo Bravo) intertwine joy and sorrow at the Firebird, Saturday, January 28

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St. Louis band False Moves opened up at the Firebird last night with a set of skillful, pulsing, rhythmic tunes that featured two guitars, a bass and core-rattling drums.

The crowd stood back from the stage and adjusted their earplugs as False Moves’ loud rock came unhinged from their instruments.

After False Moves, Echo Bravo, also from St. Louis, took the stage and played about four freeway-influenced, distorted, motorcycle-bar tunes. Sadly, their set was cut short when a tube blew on the head of the guitarist’s half-stack. Despite the woefully truncated set, the band’s energy supported their punked-out, power-rock vibe and warmed the room nicely.

Echo Bravo’s drummer, Bryan Pollard, held the audience’s focus with wild, over-stated rhythms. Never have I seen a man drum like a monkey whose arms are about to fly-off and catch fire. I remember my jazz band instructor telling the drummers to conserve energy by keeping their arms under control and close to the set. Pollard is clearly an exception to this advice, as he made Donkey Kong drumming seem like a viable way to play, and if not, at least fun as hell to watch.

Kansas City-based headliners the Life and Times opened with “Pain Don’t Hurt,” from 2009′s “Tragic Boogie.” Lead singer and guitarist, Allen Epley cut loose with a darkened tenor that hovered above the instrumentation like a streaked, wasteland sky above a lost survivor. The slow, celestial rock played off the light show the band installed before their set.

On “Confetti,” also from “Tragic Boogie,” Epley sang about monsters and lovers: “They’ll catch you and eat you and stuff you inside.” The crowd closed in and threw their heads back and mouthed the lyrics. Drummer, Chris Metcalf, beat out syncopated rhythm for the massive chorus.

Next the band broke into songs from their 2012 release, “No One Loves You Like I Do.” Each track is titled simply by a different numbered day. The ten songs on the record run (out of order) from “Day One” to “Day Twelve,” and curiously, not all numbers are represented. Epley’s heartbreak vocals, searing guitar and some tragically-pure drumming enriched the record’s narrative pull and complex stance on happiness and love.

The crew kicked into “Day One” with a wall of reverb from Epley who sweated profusely and sang about his desire to possess an elusive woman: “I’ll slip my fingers through your fingers, just like lovers.” The detail of the lyrics juxtaposed nicely with the pain lurking beneath the up-tempo arrangement.

“Day Six” began and the crowd cheered as the song teetered with squealing guitar and wobbly drum and bass. “Don’t let yourself get tempted,” Epley advised. “I am the one, be good to me.” The scope was fantastic.

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Posted by | January 29, 2012 | Concerts | Comment 

Concert review: The Lemonheads (with Meredith Sheldon) party like it’s 1992 at the Old Rock House, Saturday, January 28

Evan Dando of the Lemonheads at Old Rock House St. Louis - January 29, 2012

Abby Gillardi

I had some concerns before this Lemonheads show, most notably wondering whether we were going to get the Evan Dando we all know and love or the Evan Dando that shuffles onstage and half asses the set in a daze.

Fortunately, last night at the Old Rock House, we got the former. By the time he came out with guitar in hand and broke into “Being Around” I felt like a traitor for not being dressed in ripped jeans and a plaid flannel shirt.

Massachusetts native Meredith Sheldon opened the proceedings at the Old Rock House around 8:15 p.m. with a solo tune before her band joined her onstage for a 25-minute set. The first thing I noticed was that Meredith’s vocals were buried in the mix and blending in with her guitar, making her very hard to hear. Once the band kicked in, her vocals became mostly inaudible. The music itself was the slower side of mid-tempo with a heavy bass/midrange presence. During a trip to the loo, I noticed that the speakers in the men’s room were highlighting the vocals so I took a minute to listen to Meredith’s voice.

She has a fantastic alto and a lot of strength in her voice. The combination was a lot like listening to a copy of the Breeders’ “Pod” from an alternate universe where Julie Doiron was singing lead. All in all not an unpleasant experience, but it would have been a lot better if the vocals had been louder in the club itself.

Around 9:30 p.m. Dando took the stage with his acoustic guitar and ran through a six-song acoustic set before being joined by the newest incarnation of the Lemonheads, consisting of Taking Back Sunday bassist Fred Mascherino and former Bad Brains drummer Chuck Treece. Once the band hit the stage, they immediately launched into “Rockin’ Stroll” and ran through the entire “It’s A Shame About Ray” album with a mercifully-short new song that Evan interjected between “The Turnpike Down” and “Bit Part.” The song was a basic 12-bar blues tune that sounded very out of place and forced, almost as if it were a Chappelle’s Show skit about white guys playing the blues.

The “Ray” set ended with the band leaving the stage and Evan crooning out an a capella version of “Frank Mills,” the last track of the original pressing of the album. He then strummed the first few chords of “Mrs. Robinson” before stopping, mumbling something into the microphone and laughing as the rest of the band rejoined him. They proceeded to run through another handful of tunes from the Lemonheads discography along with a few covers before ending the show with a fantastic rendition of “Style” from the album “Come on Feel the Lemonheads.”

Although there were a few times where Dando looked confused or had to refer to a notebook on stage for chords and such, the show was non-stop action from beginning to end. I did notice that he avoided a lot of the higher parts in the songs, either by changing to a lower register for the “hope in my past” chorus of “Rudderless” or just not singing as with the “Hells Angels” line from “Frank Mills.”

As far as the “It’s A Shame About Ray” portion of the show, the songs sounded like they did on the album — only with a harder edge. It makes me wish I’d have seen the original lineup back in ’92 when the album was released.

I went to the show with low expectations since the bands of my youth never seem to sound as bright as they did back then. Evan and company played a set that was as fresh and original as the first time I threw “It’s A Shame About Ray” in the CD player after having received it for Christmas 20 years ago. Evan’s voice doesn’t seem to have changed at all, and neither have the memories it brought back.

Posted by | January 29, 2012 | Concerts | 1 Comment 

Concert review: Railroad Earth and the Pernikoff Brothers bring a summer festival vibe to the Pageant, Friday, January 27

Joanna Klein

Under the increasingly-crowded shade tree of a small hill, the 80-degree weather and cool breeze perfectly matched the sounds drifting from the side speakers. Such was the scene of my introduction to Railroad Earth four years ago.

But even in the chills of January, the inside of the Pageant last night felt nearly as perfect as that summer dreamscape. Railroad Earth is a band whose name is clearly justified by its sound. Forward moving and steady, the band uses traditional folk instruments to have a pleasant musical conversation.

Local act the Pernikoff Brothers were first to take the stage. Bringing funky acoustic sounds in the style of Dave Matthews Band, the trio invited attendees to leave their worries at the door for the sake of a good time. The group also hinted at traits reminiscent of another, more southern, set of rock ‘n’ roll brothers. Yes, that’s right: Kings of Leon echoes expanded just as the crowd did throughout the set. However, it would take more than passing pigeon problems to send these guys packing. Their three-part harmonies were perfect and the crowd was wowed as bassist Rick Pernikoff blew an outstanding harmonica solo as he steadied an intricate and funky bass line.

By the time Railroad Earth took the stage the crowd had doubled in size and the familiar smell of cigarettes and beer had been washed over by a patchouli tidal wave. All six members of the band were miked and calmly took their positions as they waved to the crowd. Beginning with a smooth bass line and spacey mandolin tones the band eased into the night with a deep breath that would later be released in a shout.

Everything began to work together. The sights, sounds and smells meandering throughout the building removed the weights of the week and freed shoulders to sway along. From the view at the back of the bar, the crowd in the packed pit looked like coconuts floating on gentle ocean waves. These waves kept in motion with the music as the band transitioned from song to song and offered up both older favorites and more recent tunes throughout their two-part set.

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Posted by | January 28, 2012 | Concerts | Comment 

Concert review: Pomegranates, Volcanoes and Men Working in Trees take over the Firebird, Wednesday, January 18

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Wednesday night at the Firebird was similar to the recent wave of awesome weather days this winter in St. Louis. I went into the Pomegranates-headlined show knowing their set was sure to leave me smiling and bouncing a bit the next day.

What hit me like a 63 degree day in January was the sheer energy of opening act Volcanoes, a St. Louis buzz band and newest Afternoon Records signee. The bass, drums and sometimes synthesizer-welding duo of Jon Ryan and Eric Peters exuded a sweaty, post-punk weirdness that lived up to the hype. Their set felt like an indie dance rock song run through an electronic grinder, sending pieces of screaming vocals and peaking bass riffs all over the place. Volcanoes first song “Omnivore” was loud, fast and aggressive — everything a punk song should be. Peter’s vocals fell somewhere between screaming and talking, complemented by delightfully dark lyrics.

“The Creature” showcased Ryan’s thick fuzzed bass lines with Peter’s frantic snare fills, recalling the attitude of French band Death From Above 1979. Third song “And Then We Destroyed Each Other” killed it with hard-hitting pauses and skittering hi-hat hits, causing some of Volcanoes highly-energized fans to hardcore two-step in the punk tradition.

Midway through the set, Ryan took to the drums while Peters manned the MicroKorg. The second half of the set found Volcanoes performing less screamy dance numbers but nonetheless still intense. Volcanoes asked the crowd to “pretend we’re way cooler than we are” before launching into a gritty cover of St. Louis band So Many Dynamo’s “Progress.” Set closer “With Black Gloves” was haunting like an ’80s B-Side horror flick, blurring the lines between noise and rock ‘n’ roll.

While the Firebird is an excellent venue, Volcanoes shows find full effect in basements or small rooms. I feel like the best way to take in their sound is being in the midst of a pushing crowd and no stage to separate the band from the audience. I’m definitely anticipating the re-release of their debut full length “Heavy Hands” on Afternoon Records later this month.

Men Working in Trees, another St. Louis local, performed jangly indie rock with more subdued vocals akin to Real Estate. The band’s strong suit came from the guitar and bass interplay. Subtly catchy, Men Working in Trees stayed right under the surface with light distortion and guitar noodling. The band’s brand of moody indie rock smoothly bridged the heaviness of Volcanoes and the dreamy pop of Pomegranates.

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Posted by | January 19, 2012 | Concerts | Comment 

Concert review: The Civil Wars and the Staves charm the Pageant, Sunday, January 15

Nate Burrell

The Pageant may not be the ideal space for musical duos and trios with stripped down acoustic arrangements, but last night’s Civil Wars show proved that even a bigger venue can be transformed into a setting for an intimate musical experience.

Part of this was due to the type of fans drawn to the Civil Wars. The sold-out crowd for this KDHX-welcomed show seemed to connect with the music in close personal ways, enthusiastically embracing the musicians and their work. Building these types of relationships with the music imparts the live setting with a palpable energy even when the majority of the music is of the quieter variety. Although both groups work on a small scale utilizing simple arrangements of guitar, ukulele and piano, their vocal dynamism and strength kept opening act the Staves and especially the Civil Wars from becoming overwhelmed by the space.

The Staves are a charming trio of British sisters with a lovely knack for vocal harmony. It is decidedly difficult to not be wholly enchanted by Emily, Jessica and Camilla Staveley-Taylor. Just one week into their first tour in the States, the group is unabashedly excited to be in the country playing alongside the Civil Wars. Between the soft beauty of their gently moving music and their humorous observations of American regional vocabulary, the Staves were immensely entertaining and proved to be a perfect complement to both the music and on stage repartee of the headliners.

Working in a fairly traditional vein of folk rock, the Staves bring captivating warmth to their music. Songs build around the interplay of the three singers voices with basic but pretty guitar and ukulele accompaniment. There is a touch of whimsy to their music which elevates what also seems to be work deeply rooted in the personal. There is something very satisfying about watching three singers interact on stage to produce beautiful harmonies which you can only experience in concert. Highlights from the set include “Mexico” and “Icarus,” both songs from their new EP, “Mexico.” I think it is safe to say the Staves gained quite a St. Louis following last night.

Setting the stage with delicate vocal work and thoughtful narrative pieces the openers made it easy for the Civil Wars to plug directly into the emotional engagement of a crowd that was ready to bask in the aching beauty of Joy Williams and John Paul White’s music. The group themselves seemed a little surprised at the eager response. Coming out of Nashville, the group straddles the line between country and folk with a little bluesy kick thrown in for good measure. Together for just under a couple of years the Civil Wars are enjoying a fair amount of popularity and watching them live it is not hard to see why.

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Posted by | January 16, 2012 | Concerts | Comment 

Concert review: Kishi Bashi and the Hibernauts rewrite rock formulas at Off Broadway, Saturday, January 14

flickr.com/photos/phillymostlyvegan/5806476270 / Brandee Nichols

As a rule, I’m a comparative thinker. As a writer, I construct parallels and employ juxtaposition all the time. As a critic, I see comparison as a means towards a more accurate definition.

The Kishi Bashi/Hibernauts show at Off Broadway this Saturday afforded me an opportunity to indulge in a study of contrasts.

First, let’s dispense with the obvious. The Hibernauts are four very white guys from the local area and Kaoru Ishibashi (AKA Kishi Bashi) is an American violinist of Japanese descent from Seattle. In the words of Kishi Bashi’s sexually charged anthem — which some on Saturday may have remembered from the Luminary’s of Montreal show from last June — that’s “just the tip.” There’s other glaring contrasts that set these musicians into singular categories and points towards their respective fates.

The Hibernauts’ brand of South Side gritty is a classic example of a post-punk paradigm. What do you do when you grow up in the Midwest and make music? If you are a band by the name of the Hibernauts, you adopt the classic two guitar, bass and drums formula and hope to break out of formulaic results. To their credit, they bring energy and verve to the enterprise, and what kept this band together, even when only sporadically doing live shows or recording new music over the years, is what makes them fun to watch — a palpable synchronicity and the ability to play off one another.

That’s fine if you play the odd Off Broadway gig or jam out for the happy hour crowd at Maggie O’s, but in this era of music-by-demand and cloud-driven social phenomena, a band has to work something else: its network. The Hibernauts have fans, and the turnout this Saturday was respectable and lively, but I’m starting to see why they are “retiring”: They just didn’t create the kind of buzz that makes you heard above the fray, and when they played, it sounded familiar and catchy, and sometimes, regrettably, well — too familiar.

With no single vocalist’s voice pulling the band out of the norm, they seem almost destined for comparisons to other more successful bands. Which is too bad, since while it was billed as a review and featured an old setlist that stretched back to the early oughts, the best stuff they played was the newest. Indeed, “Backburner” should have been moved to the front.

If the Hibernauts represent a classic, tried-and-true formula, Kishi Bashi is a mad scientist tinkering with new elements and new recipes. Classically trained on the violin at the Berkeley School of Music, his instruments double as input devices to a series of loop and effects peddles. It’s no wonder he studied film scores, cause there’s a majesty in his music, and enough depth to inspire the imagination and fill in any gaps that might be left by the lack of a full band.

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Posted by | January 16, 2012 | Concerts, Local | Comment 

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