If memory serves, I first stumbled across Hoots & Hellmouth at a show -- Why was I there? Who was I with? -- four years ago at Off Broadway.
Charlie Parr is a Duluth-based country blues musician, a juxtaposition of location and genre which is only surprising if you haven't heard of Bob Dylan.
With the not quite over-night success of tUnE-yArDs, it appears that the immediate forecast calls for more chopped and drizzled rhythms, the clink and clatter and whirring whiz bang of more-is-always-never-enough lo-fi sample upon sample.
I'm sucker for a good stereo mix of doubled or tripled drums -- see every other track on "Soft Bulletin" and "Yoshima" -- and also a pushover when it comes to the bass stating the hook -- see jazz -- but I'm on the fence when it comes to blowing bubbles in music. I suppose there are some days when I just really need to hear "Octopus' Garden," but it's been a while.
The new of Montreal single has everything you'd expect from the Athens, Ga. band -- that is if you've just returned from a month-long cruise where the imperial ballroom house band plays nothing but ELO, Steely Dan and David Bowie covers -- sign me up for the next departure -- and the weather was gorgeous with intermittent showers of flutes, Fruit Loops and cherry cola.
Cover songs usually take the form of tributes to the fallen or the famous or infamous; sometimes they're just back-room, borderline-Soprano paybacks.
The Dirtbombs, one of the greatest live rock & roll bands you've never seen -- all right, some of you have -- are going techno. This can't be good.
Of all the bands who have played Twangfest over the last 14 years, the Deep Vibration is one of the most controversial. Not because it took the stage and preached politics (that would be another band), berated the audience (yet another band) or destroyed the backline (one mic stand fell over, not a crime).