Hollow Wood, Psycho Adorable and Ancient Psychic Tandem War Elephant @ the Crux (11/3/13)

A few days prior to this show, my now ex-girlfriend Jenn (long story, don't wanna get into it here) heard a song by Hollow Wood on Radio Boise and loved it.  She couldn't believe that a band like that was local, she said.  So when I told her about this concert, she readily agreed to check it out.  This worked out well all around, since the show gave me the chance to see Psycho Adorable's first performance back from their 11-week tour and to see the fantastically named Ancient Psychic Tandem War Elephant for the first time.

I counted over 50 people when I arrived at the Crux.  I saw some of my now former Exposition/Noisefan Music News colleagues (short answer: my connection with the Weekly made my continued association with NFMN untenable), Aaron Christensen (Mt. Joy), Samwise Carlson (Woodwind) and various scene regulars.  Jenn showed up midway through APTWE's set.

While I waited for the music to start, Amber Pollard's daughter Aubrey (possibly one of the most adorable children in the Treasure Valley) ran past me.  "Hi Ben!" she said.  She circled around and ran past me again.  "Hi Ben!" she said again.  Thinking about this now, I still smile.

Ancient Psychic Tandem War Elephant--which turned out to be Brett Hawkins's solo act backed by his brother Taylor on drums and Sun Blood Stories' Ben Kirby on bass--opened the show.  I liked Hawkins fine with just a guitar, but he got farther with a little help from his friends.  With Taylor Hawkins' steady beat and Kirby's viscous bass giving them support, Brett Hawkins' droning riffs had greater force and his vocals greater confidence.  Also welcome were Judah Claffey and Austin Lucas' maudlin violins (that there Lucas can play).  The set's earlier songs took me back to the days when "Creep" played on MTV.  The later songs sounded like Daniel Johnston having a drink with Jimmy Reed.

Psycho Adorable played next.  Their debut performance back in August left me with mixed feelings; it certainly wasn't bad, but it wasn't the fusion of styles and spirits I'd hoped for.  The bond between Bronwyn Leslie and Kelsey Swope felt much stronger here.  Even their outfits seemed to complement each other--grandma-ish blue house-dress and white mesh sweater for Leslie, grandpa-ish short-sleeve blouse and baggy gray trousers for Swope.  Also, while she's never seemed like a pushover (I saw her one time dressed as Kathleen Hanna), Swope gave off a much tougher vibe than last I'd seen her.  On the numbers where she took lead, her vocals sounded rougher.  On the ones where Leslie took lead, Swope stood and hovered (protectively?) over her partner while singing backup.

I'd be interested to hear more about their experiences on the road.  And I'll definitely be interested to hear what they come up with from here, together or individually.

Hollow Wood closed out the night.  Speaking of tougher, this group rocked a lot harder than last I saw them.  I don't know if Adam Jones was trying to channel Clint Eastwood with his poncho, but between the grinding guitars, the vrooming bass and the bubbling beats, the music almost channeled Zeppelin at times.  The vocals and the lyrics were edgier too ("OMG!" I thought. "Did they REALLY just say, 'I could f*ck a virgin'!?").  For me, everything came to a head with the dance-y number about 100 years full of pain and fear.  Instead of sounding trepidatious or despairing, the band barreled ahead as if they couldn't wait to enter the fray.  Sounded as melodious as ever too.  God bless 'em.  And Godspeed.

You can find info on these groups on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Duck Club Presents.

The Blaqks, Super Water Sympathy, Hollow Wood and Glimpse Trio @ the Red Room (5/8/13)

This TO Entertain U show caught my interest because it featured the Blaqks, whom I'd wanted to see again for a while, and Super Water Sympathy, whose songs I'd liked quite a bit.  Also, I found the concept of Hollow Wood playing the Red Room intriguing.  Not only had their opening set for Hey Marseilles blown me away, I wondered if the band would actually fit onto that stage.

There were about twenty people at the Red Room when I arrived.  By the time that Super Water Sympathy played, the crowd had grown to about forty-five.  Very respectable for a Wednesday night.

Glimpse Trio opened the show (they really are a trio; for some reason, their bassist just wasn't there).  This Oakland group got added to the bill at the last minute.  Talk about happy accidents: between Mike Sopko's friendly bark and quick, dexterous fretwork and Hamir Atwal's fluid, rock-steady drumming, they made me think of what the Minutemen might sound like if they'd stretched out past the two/three-minute mark more often.  This applied as well to their playfully disorienting tempo shifts and touches of atonality.  A most pleasant surprise and a fine start to the evening.

Hollow Wood played next.  As it turned out, they did indeed fit on that stage and probably would've done so even if cellist Danika McClure and violinist Katelynne Jones had made the gig.  But leaving that aside, this group impressed me once again.  Their gorgeous harmonies, propulsive beats and natty arrangements showed considerable polish and assurance, but their music and stage presence still felt surprisingly fresh and free of self-consciousness.  Adam Jones's jokes and patter struck a similar balance of savvy and candor ("'Are you straight edge?'  And I said, 'I'm buying cigarettes!  What do you think?'").  Here's hoping that they can maintain that balance once they get old enough to stay in the bar after their set.  In any case, the group cast the same spell here that they did at the VaC last month; the audience stayed almost completely silent during each number and burst with applause afterwards.

Boy, you gotta love this Jimmy Valentine lighting.

Super Water Sympathy played next.  With their muscular vocals, anthemic pop-tunes and elaborate, well-honed stage show (smoke, lasers, flashing lights), I'll bet that this Shreveport group was dynamite when they played with Matt Hopper at the Knitting Factory.  By cramming everything into this more modest venue, this became one of those oh-man-you-shoulda-been-there sets.  Ansley Hughes's warm, massive voice soared above Clyde Hargrove's ringing guitar, Billy Hargrove's driving basslines, Jason Mills's airy keyboard and Ryan Robinson's smooth, intricate drumming.  At once tender and powerful.

The Blaqks closed out the night.  I still find their studiously decadent image disquieting, and part of me wonders whether their getting 86'd from the Knitting Factory as well as Jayne Black's departure might portend some ugly scenes down the road.  For the time being, however, there's simply no denying that this is a damn good band.  Danny Blaqk a.k.a. Cary Judd ably stepped into the role of frontperson while Jonny Blaqk a.k.a. Jeremy Coverdale served as the resident Keith Richards.  Their rough vocals put the smart lyrics and well-crafted tunes across winningly.  Meanwhile, the other Blaqks backed them up with snarling riffs, shrieking solos and sturdy, dance-worthy rhythms.  Their strong onstage rapport gave this performance a most welcome collegial if not familial feel.  This group may have some question marks attached to them, but they've got more than their share of exclamation points too.

You can find info on these groups and TO Entertain U on Facebook and elsewhere online.  Special thanks to Wes Malvini and the Red Room.  If you like what you've read and would like to help keep it going, click the yellow "Give" button and donate whatever you can.  Every little bit helps.

Hey Marseilles and Hollow Wood @ the VaC (4/13/13)

I didn't get to see Hollow Wood at Treefort, but their opening set for What Made Milwaukee Famous had impressed me very much, so I was eager to check them out again.  Also, I liked the handful of Hey Marseilles songs that I listened to, so I marked this show down on the calendar.

I counted about seventy-five people when I arrived at the VaC.  During Hey Marseilles's set, I counted over a hundred.  The crowd seemed split evenly between twenty/thirty-somethings and forty/fifty-somethings.  I'd hazard a guess that most of the former were there for Hollow Wood while most of the latter were there for Hey Marseilles.  In any case, it was nice to see so many folks staying out late.

Hollow Wood opened the show.  When I step back and think about this group, they puzzle me.  Why should I like them so much when I have so little patience or regard for Typhoon, Bon Iver, the Last Bison and their ilk?  After all, they clearly draw from the same synthetic folk well.  It might be hometown chauvinism, but I don't think so.  Maybe they just do it right.

Not only will their melodies and harmonies bring tears to your eyes, their intricate, infectious beats dare you not to dance.  The polish and assurance of their songwriting and arrangements would be impressive coming from musicians twice their age.  Their friendly, all-embracing, high-energy stage presence kicks any hint of false gentility to the curb.  While Adam Jones--with his gravity-defying hair, manic strumming and goofy banter--is the clear focal point onstage, each band member feels like a vital part of the whole.  Sure, the vocals and the lyrics get a little corny, but so what?  People like corny.  I like corny (sometimes).

I try not to make predictions.  Still, when I think about this set--how the music ebbed and flowed, how a hush fell over the crowd just seconds into the first song, how people got up and moved forward right when Adam Jones invited them to, how Brian Bays from the Deadlight Effect came up to me afterwards completely blown away--I can imagine Hollow Wood playing to larger audiences in larger venues.  I can imagine them becoming one of the groups that people talk about when they talk about Idaho.

Hey Marseilles closed out the night.  This Seattle septet kinda came off as Hollow Wood's older, more settled-down brother.  Their steady waltzes, bright guitar, tinkling keyboard, comforting cello and violin and gentle tenor vocals called to mind Automatic For the People-era R.E.M.  Between their music, their clean-cut look and their discreet, polite stage presence, I could imagine these guys being in a spunky little power-pop band back in their college days before settling down to a life of mortgages, NPR, 2.3 kids and a couple glasses of wine on the weekends.  They still had some fire in the belly, though: their keyboard/accordion player climbed onto a speaker during their rousing closer, and the second song of their encore featured some rumbling drums and a nice rocking riff.  Not bad at all.

You can find info on these groups on Facebook and elsewhere online.  Special thanks to Sam Stimpert and the Visual Arts Collective.  If you like what you've read and would like to help keep it going, please click the "Give" button in the upper right-hand corner and donate whatever you can.  Even $5 can go a long way.

What Made Milwaukee Famous, the Blaqk Family Band and Hollow Wood @ Neurolux (2/19/13)

When a band has a name like What Made Milwaukee Famous, they could be really good (cf. the Old 97's) or really icky (i.e. they could lay on the cornpone so thick that I choke).  Either way, I figured that it'd be something to write about, so I marked this Radio Boise Tuesday show down on the calendar.

There were already about thirty-five people at Neurolux when I arrived at 7:15.  By 8:40, I counted over eighty.  Pretty fantastic.

Local group Hollow Wood opened the night.  On paper, I really shouldn't like this band.  This bio (which, I believe, used to be on their Facebook profile) cites as influences two groups I can't stand, Typhoon and Bon Iver.  Which, I guess, just goes to show how manure can help produce a good crop.  Hollow Wood's soaring, folk-tinged melodies and harmonies sounded closer at times to Walt Whitman's barbaric yawp than to Justin Vernon's lullabies to his navel.  That expansive spirit carried over into the rest of their live performance.  Whether chanting as one or laying down some rousing beats (via drums, shaker and tambourine) to go with their steady basslines and their soothing keyboard drones and guitar jangle, this group evoked a sense of compassion and community--of folk, in other words--that Typhoon aimed for at their November VaC show (I think) and missed.  And so what if the lyrics got a little corny sometimes?  Everybody oughtta have a little bit of corniness in them.

Up next was local act the Blaqk Family Band, who made their live debut.  As excited as I am over this year's Treefort lineup, I'm disappointed that the Soft White Sixties won't be returning.  It's okay, though: should I feel my 60's hard-rock jones coming on, this group should feed it very nicely.  Jayne Blaqk's high, strong vocals rode atop Zeppelin-esque stomps, rubbery basslines and terse, snarling guitars.  They worked hard to convey that whole sex-drugs-and-rock-'n-roll vibe (this set featured some swirling, psychedelic lasers and a bouncy, Lou Reed-ish ditty about abusing medications), but their playing was too tight and focused for the drugs part to be convincing.  Hell, I've always preferred the other two parts of that combination anyway.  Watch out for this group.

What Made Milwaukee Famous closed out the night.  I've come to consider it a mark of quality in a band when they have to constantly tell themselves not to cuss on the air.  But regardless of that, while this Austin group's poppy tunes, gliding vocals and smooth groove called to mind the Old 97's, their slashing, stinging guitars and thoughtful, class-conscious lyrics called to mind the Drive-By Truckers.  Their performance got some good whoops, cheers and dancing from the crowd.  What Made Milwaukee Famous definitely didn't make losers out of us.  (Sorry, couldn't resist.)

You can find info on these groups on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Radio Boise.

Geographer, On An On and Hollow Wood @ Neurolux (1/16/13)

Up until this show, I'd never heard of Geographer or On An On.  Also, I remember that Hollow Wood played Neurolux last August on my birthday, but... Well, let's just say that I wasn't able to make a proper assessment at that time.  Anyway, these two facts gave me sufficient reason to check out this show.

I got down to the Neurolux late, but happily, quite a few others didn't.  I counted over ninety people, half of whom were up close to the stage.

Hollow Wood opened the show.  I only caught the last few songs of this local folk-ish group's set, unfortunately, but what I heard didn't sound bad at all: yearning melodies, gorgeous harmonies, intriguing lyrics, pretty good beats (courtesy of Lyndsay Wright and Shelby Juri), welcoming vibe.  Lead singer Adam Stip sounded a little hoarse at a couple of points, but judging from the band's recordings, he may have just been a little under the weather.  In any case, he still pulled out a pretty sweet falsetto here and there.

On An On played next.  This Chicago group's dreamy vocals, supple basslines, post-punk dance beats and synths of many colors washed over the crowd.  The geometric shapes, whorls and spirals projected on the wall behind them augmented the hallucinatory feel of the music.  I know that it's pretty damn lame to say that I wished that this set could've gone on an on, but... well, there's just no way around it.  The rest of the crowd seemed to feel the same: I saw the people closest to the stage do some swaying and bouncing.

Geographer closed out the night.  I'll admit that I feared the worst when I saw this San Francisco-based band set up their electric cello.  However, they won me over well before they broke out some charmingly cheesy 80's synth riffs and hip-hop beats.  Mike Deni's gliding, souful croon combined with Brian Ostreicher's lithely pounding drums and Nathan Blaz's moaning cello and beguiling synthesizer tracks to create a sound that was at once massive, dramatic, playful and strangely wistful.  Atmospherics weren't all that they had going for them either: their quirky songwriting showed as much pop savvy as any group I've heard in the past few months.  And boy, they sure knew how to work the crowd.  People were doing plenty of dancing and clapping to the beat on their own, but between his bouncing around the stage, crowd-surfing and hopping down to sing among the audience, Mike Deni had them eating out of the palm of his hand.

You can find info on these groups on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Duck Club Presents.