Author: jon.wagner

Gogol Bordello – Transcontinental Hustle

Leave a comment

Rating: ★★★½☆

Gypsy rockers extraordinaire Gogol Bordello moved to South America in search of inspiration. What emerged is the group’s latest and 5th studio release Trans-Continental Hustle.  As hard as it is to capture the pure unadulterated mad essence of a GB live show, this release comes as close as you can get. It’s angry and loud and more than anything excites me for a hopeful reprise at ACL this October.  This is festival friendly music and after blowing me away on the great lawn in 2008, I hope they return with the raw energy of their live show and the addition of wonderful South American accents in full swing. Indeed, they come back stateside with 2 additional members; Pedro Erazo, an Ecuadorian percussionist and Thomas Gobena, an Ethiopian bassist.  As Gogol Bordello plays havoc on my spell-checker, the music pummels my speakers. There’s no other way to enjoy it; the louder the better.

Undeniably, they prove this right off the bat with the opening track ‘Pala Tute’. It is vintage, blasting accordion and violin along with the ever present howling vocals of Eugene Hütz. Next, “Immigraniada” is a raucous ode to the immigrant lifestyle and I can’t think of any band that convincingly covers the topic better. The listener doesn’t even have to make it half-way through the release to realize what kind of trip the band is taking them on. There’s no secret to their success. It’s just full-frontal, unmitigated, sweaty authority. There is no better dance number on the release than “Uma Menina Uma Cigana”; where Erazo’s Latin percussion influence shines through Hütz’s raspy vocals. The resulting vocal track is as angry as ever, but the music shows some subtlety, which was obviously something they sought after when moving to Brazil.

As much as I tried to stay focused on writing, I couldn’t contain myself and had to dance like a mad-man during “In the Meantime in Pernambuco”. The group has concocted a recipe for exhilaration and while listening there is no way out from under the control of their spell. This segueing nicely into “Break the Spell” with a different nearly hip-hop-esque rhythm in some spots, though they never stray too far from the up-tempo Gypsy punk they know so well. The title track, “Trans-Continental Hustle” finishes off the record with a Hütz guitar/vocal solo before the band thrashes into more vintage gypsy punk.

Following up 2007’s Super Taranta! was no doubt a difficult task for the group and a tricky situation. If they continued the route they took, they run the risk of falling into a monotonous trap. On the flip side, they could not stray too far from what has gained them so many fans in the first place.  Luckily for us, the group varies their sound just enough to keep it fresh and interesting. Followed by no-doubt extensive touring, Gogol Bordello should pick up many more fans with Trans-Continental Hustle. C3, bring them to Austin!

Caribou – Swim

Leave a comment

Rating: ★★★½☆

Remix artists rejoice! Daniel Snaith is back and he brings with him a fresh palette of sublime beats for you to disassemble. Continuing to add to his extensive discography, his latest Swim was just released via Merge Records, his first full length since Andorra, released in 2007. Snaith, hailing from Ontario, utilizes a full band on the record, and the product sounds like a digital and electro production alone. In fact, it’s stunning what kind of layering Snaith accomplishes using traditional instruments like soprano sax, flute, and trombone.

The opening track “Odessa” is a good intro to the record and holds one of the more catchy bass lines. The tambourine throughout is sometimes distracting on first listen, but quickly fades as your ear dissects different angles. Immediately upon the first listen, one thing is certain. This is party music. Straight ‘get off your ass and dance’ music. Actually, it’s the best kind of party music; the type that sneaks up you. You know the feeling; the party is still young and you want to make it a little livelier. This is a good scenario for Swim. It’s the kind of music that doesn’t dominate the room, but politely sits in the corner, simmering like Boeuf Bougiuignon. When you least expect it, you find yourself tapping your foot or nodding your head. That’s right where Snaith wants you. He plays with moods in the simplest way possible, but it’s nothing flashy. Think Ghostland sans Capes; but with harmonies instead.

The next track “Sun” shows a more melodic side than the opener, but continues the simple electro beats. The rhythm builds to a vast crescendo, and if you don’t move at least some part of your body during which; you should probably check your pulse.  For all I enjoyed on “Sun”, “Kalli” quickly brought me down. It is perhaps the most intrusive track of the album, like a jazz improv going horribly wrong. Maybe I don’t understand the nuances of Caribou, but this was like fingernails on a chalkboard to me. Luckily, “Found out” gets the groove back with some of the best songwriting on the release.  “Bowls”, the longest track on the album has showcases disharmonious chimes played against harp strumming. It’s an unusual instrumental, but that segues into a stripped down beat that might have you looking around the room thinking you tripped over a cord and unplugged a speaker. It’s not the catchiest song on the album, but here Snaith shows off his ability to layer every sound imaginable into a somewhat literate dance number. For me, I’ll stick to the vocal tracks.

“Leave House” and “Hannibal” get the party vibe back, as Caribou channels his inner Hot Chip on the former. And as always, you can always add more cowbell as heard on the latter. The shortest track “Lalibela”, could be considered transitional, leading into the final track, but in its own right, it is a gem.  Finishing on a very strong note, no doubt my favorite track on the album “Jamelia” is sublime. The subtlety, the beat, the vocals, the instrumentation; it’s like a difficult jigsaw puzzle and you just found the last piece. It builds to a massive extended crescendo before trailing off slowly. For me, it quickly prompted a second listen to the album as a whole. I can’t say that about many release so far this year. Overall, it’s a short release, but it shows what Snaith does well in no uncertain terms. It’s straight forward, but dense, utilizing layering in unique ways.  Next time you have a party, be sure to grab this one.

ATH Interviews: Bonobo

One comment

Coming through Austin this Wednesday is Ninja-Tune artist Bonobo hailing from Brighton, UK. Following the release of his 4th full length album, Black Sands, DJ, multi-instrumentalist, and producer, Simon Green (aka Bonobo) took a moment to answer some questions for us. Follow the jump for the interview.

Read more

Bonobo – Black Sands

Leave a comment

Rating: ★★★★☆

4 years ago, Simon Green (better known for his moniker Bonobo) changed directions. What emerged was 2006’s Days To Come; what many critics believed to be the high water mark for the project.  What these critics were unaware of at the time, is that it was just Green becoming comfortable in his own skin.  The release showed a different side of Green’s DJ and producing style relying on more bass heavy tunes and the obvious influence of vocals as an added element. The latter was the biggest stretch for many fans, but no one will doubt its immediate impact.

Following the world-wide acclaim from that release, Green has taken a few steps back and one huge step forward in the process. His latest from Ninja-Tune, shows the Brighton DJ honing his craft in a way that would make any producer jealous. The result is smooth, like silk covered in butter. His latest, Black Sands is a combination of every influence from his past 4 releases and is no doubt his most fully developed release to date and his best all-around effort.

The layers produced here are no strain for the listener to grasp and this makes Black Sands without a doubt his most accessible release. It’s clean and flows from beginning to end with little effort and the addition of sublime vocalist Andreya Triana is the cherry on top. Vintage Bonobo down-tempo beats begin the album in classic form with ‘Kiara’ and ‘Kong’ displaying simply, the rhythms Green has been so successful over the past decade of producing. We get our first taste Andreya’s silk smooth voice on the first single ‘Eyesdown.’ Right away it’s obvious that Green has found the voice he has been searching for to compliment his sound. He uses the vocal in a unique way, not highlighting the lyrical element, but using it as another music element. Every level feels perfectly compiled and the rhythm and vocal are viewed as one.

Directly following ‘Eyesdown’, Bonobo cuts back into their instrumental numbers with obvious proficiency. ‘El Toro’ is a playful number with a strong bass line with strings and horns playing back in forth in an audio tennis match and ‘We Could Live Forever’ continues the trend but with a little more electronic influence thrown in for good measure. Green slows things down a bit for the intro to ‘1009’, but not for long pushing through to one of my favorite cuts on the record, ‘All In Forms’. The record keeps a pretty solid tempo from beginning to end in a very cohesive manner until ‘The Keeper’ where we get our second glimpse of Triana. The introduction of piano and bass line in the intro is foreboding and plays unbelievably well against Triana’s seductive vocals. If this record has a climax it is in these next 2 tracks, ‘Stay the Same’ and ‘Animals’, which spread the best of what Bonobo has to offer in full view.

Many will argue that Green didn’t take enough of a drastic step forward from his last, but in four years, I feel it’s obvious he has reflected on where he has been and then some. Many artists can learn from this philosophy, as you can’t move forward without knowing where you came from. He builds upon his strengths, removes his weaknesses and creates some of the best jazz fusion in the world today. Bonobo will be at the Parish Wednesday, April the 14th with the full band.

Seabear – We Built A Fire

Leave a comment

Rating: ★★★★☆

It’s heating up around Austin with SXSW right around the bend and with spring weather here, wildflowers across the state spring to life.  Nevertheless, Seabear is coming through town to cool things down a little. Icelandic septet Seabear, led by soothing songster Sindri Már Sigfússon, is set to release their nature-infused sophomore album, We Built A Fire. Iceland is renowned for its otherworldly landscapes and ethereal musicians (i.e. Bjork and Sigur Ros), but this record hits a familiar chord closer to home.

The release is premium indie-folk and shows the “Icelandic Beck” at his whimsical, yet haunting best. Although based in Iceland, Seabear’s lyrics are all in English; which makes it a surprise that this year marks the band’s first trip through North America, starting with SXSW. Beginning as a lo-fi solo project for Sigfússon, Seabear has expanded to a full 7-member band with the emphasis on the collective creative process. Their first release, The Ghost That Carried Us Away, was a much more intimate release with delicate, orchestral arrangements containing many indie-folk gems. Similarly on their latest, there’s no shortage of them. This time around, mutual input in the writing process was the modus operandi and what materialized is an improved confidence in all the parts. This translates into a stronger sound and superior effort as a whole.

Sigfússon songwriting talents (whose last solo effort came under the moniker Sing Fang Bous) is in full bloom starting with the opener, ‘Lion Face Boy’. His voice is a force, both full and soft simultaneously, driving the tempo throughout the track and ultimately the extent of the record.  ‘Fire Dies Down’ is a more up-tempo and moving track, displaying the rest of the group’s expanded instrumental vocabulary.

The pseudo title track and first single ‘I’ll Build You A Fire’ is a stand out track with wonderful harmonies. On Sigfússon’s 2009 solo tour, he was joined by headliners and fellow Icelandic indie poppers múm, and it’s obvious that a little rubbed off. ‘Cold Summer’ begins with a poignant piano intro. Then the vocals and cello drift in and out like a summer breeze over an Icelandic meadow. The depth and soothing nature of his voice prove to once again be the driving force followed by the country influenced ‘Wooden Teeth’; which is one of the more joyful moments on the record. This country influence continues into ‘Leafmask’ with a guitar intro displaying true country roots, before Sigfússon slows things down and emerges with one of the more impressive vocal tracks on the album.  After ‘Softship’, the album loses a little momentum and becomes more introverted before the back and forth crescendos and decrescendos of ‘Warm Blood’.

Seabear brings the tempo back up for the final track ‘Wolfboy’, completing one of my favorite releases of the year. We Built A Fire is thought-provoking music while physically moving to boot, and we can only hope their tour is so successful they return with more dates for years to come. Amazingly, this time around Austin gets 4 (yes 4!) chances to see them. You will not want to miss at least one of these free sets:

March 17th @ Epoch Coffee (221 W North Loop) – 7:15pm

March 18th @ Scoot Inn (1308 E 4th st.) – 1pm

March 18th @ The Hideout (617 Congress Ave.) – 1am

March 20th @ Cafe Mundi (1704 E. 5th st.) – 2:45pm

[audio: https://austintownhall.com/wp-content/uploads/2010/03/Seabear-03-Ill-Build-You-A-Fire.mp3]

Download: Seabear – I’ll Build You A Fire [MP3]

Broken Bells – Broken Bells

One comment

Rating: ★★★★½

If you’ve been living in a cave for the past 10 years or so, here’s a music tip: There’s an indie rock band from New Mexico called the Shins and there’s a music producer from New York named Danger Mouse (aka Brian Burton). They are both good at their respective positions and have enjoyed very lucrative careers. Well the romantic tale begins in 2004 in Denmark when Shins front-man James Mercer met with Burton and they discovered a mutual respect and fandom.  After years of playful collaboration in a secret, bunker-type studio, the result is virtually seamless.

The resources of Mercer and Mouse blend together in a way that is well thought out and intriguing as first, but it’s not life changing music. (For me, Chutes too Narrow changed my life) It is, at the least, very enjoyable. The record is no doubt a candidate for best album released so far; however just ask me about it at year’s end.  If you listen to the radio, chances are, you’ve heard the first single, ‘The High Road’.  The group also just began their tour with a stop at the Late Show with David Letterman (AKA How can anybody stand him?) performing the single live for the first time to great success. The group isn’t going to blow you away with their live performances, but no one should find that surprising.

The track ‘Your Head is on Fire’, pulls a page from Animal Collective with very Panda Bear-esque vocals and samples mixed in. This simple but effective layering technique falls away displaying some of the best of Mercer’s lyrics on the album and I find myself going back to this track in particular for repeated listens. ‘The Ghost inside’ sounds like the next Gnarls Barkley single/ Gorillaz until Mercer’s lyrics come back in about half way through. (How ironic that the Gorillaz new album was also released the same day?)

‘October’ and ‘Citizen’ are about as vintage Shins as we find on the new record, circa 2007. On both tracks we find intriguing lyrics of which Mercer is well known, though the latter, it is the only track that feels over-produced.  It’s really the only track that feels significantly different from the rest, though the final third contains wonderful musical dénouement.

‘Mongrel Heart’ with a good hearty bass line that drives the track and ‘The Mall and the Misery’ finish off the record strongly, but fall to make any real lasting impression for me. It is a smart record that holds a good tempo throughout, with each track holding an infectious beat which is becoming something of a Danger Mouse calling card. So at your next party,  if you were wondering  how to make the Broken Bells ‘cocktail’: Take one part Shins, one part Gnarls Barkley, and one part Gorrilaz, mix with ice and strain (for a smooth consistency), garnish with a little Panda Bear and serve in a high-ball glass (Nothing too classy). Repeat as needed.  Your buzz may not last as long as you’d like.

Austin gets 2 chances to catch the group at SXSW:

Wednesday March 17th @ Stubbs – NPR’s Official Showcase

Friday March 19th @ Lustre Pearl – Dickie’s/Filter Party

[audio: https://austintownhall.com/wp-content/uploads/2009/12/01-The-High-Road-1.mp3]

Download: Broken Bells – The High Road [MP3]

Black Rebel Motorcycle Club – Beat The Devil’s Tattoo

One comment

Rating: ★★★★☆

Over the last two decades, San Francisco’s Black Rebel Motorcycle Club has found itself in the midst of an ever changing identity crisis. Well, maybe crisis isn’t the right word; uncertainty fits better. After several years of back and forth infighting between original drummer Nick Jago and guitarists Peter Hayes and Robert Levon Been, it seems the strings have at long last been cut; for now at least. Joined now by the Raveonettes’ drummer Leah Shapiro, Black Rebel Motorcycle Club releases their sixth studio album, Beat the Devil’s Tattoo, their first since their 2008 instrumental record The Effects of 333 and 2007’s Baby 81. This is also the first release from the band’s own label Abstract Dragon. The emergence is a return the sound the band enjoyed during the early years with pound-it-out style rock and roll with a healthy mix of folk gospel induced melodies thrown in, akin to 2004’s Howl.

After the first listen of the opening and title track, ‘Beat the Devil’s Tattoo’, it’s the first time I’ve been excited for a BRMC album since Howl. That album carried mixed reviews and from a purely economic standpoint, was a disappointment. However, it marked a turning point in the band and produced some of the best songwriting thus far. That is, until now. The first track is just the tip of the ice-berg followed by the one-two knock out blows of ‘Conscience Killer’ and ‘Bad Blood’ Here, Hayes and Been are relentless in the attempt to regain their momentum. The former, a powerful pounding, psych-rock trip reminiscent of the Stroke’s at their height of popularity, the latter which relies more on the group’s distinctive vocals.

‘War machine’ explodes from the outset exhibiting a White Stripes-esque guitar riff with the kind of authority that makes groupies swoon. This is one track I am looking forward to hearing live next week during SXSW. This power fades into ‘Sweet Feeling’ displaying the group’s versatility drawing from their big bag of influences. This soft emotional side doesn’t last long before the ironically titled ‘Evol’ smacks the listener across the head with traditional BRMC drawl and slow building instrumentation we have become use to over their two-decade career. This release is an ‘evolution’ of the sounds produced throughout their 6 album releases and combines the best of all of them.

We get our first good examination of the addition of Shapiro with her raging, pulse pounding rhythms on ‘River Styx’. It’s at first obvious that she was a good choice to fill the void left by Jago and brings the stability of which Hayes and Been have been searching all along. The hypnotic brogue of Aya, building to a strong raucous ballad and the impressive 10-minute jam session of ‘Half State’ close out the record with a strong note. Black Rebel Motorcycle Club has been waiting their entire careers to construct an album like Beat the Devil’s Tattoo and it’s no surprise that based on where they’ve come from, they have many more to come. I am certainly back on the bandwagon.

Catch their SXSW showcase March 19th at 11:00 at La Zona Rosa and they are also playing the free Filter Day Party the same day at 4:20 pm in the Cedar Street Courtyard. 

Titus Andronicus – The Monitor

One comment

Rating: ★★★★☆

“Good morning class and welcome to your American Civil War lesson. Today we will be discussing the fledgling US Navy and the Ironclad battle ship, The Monitor. Hey, WHO THREW THAT!? Titus! I know it’s you, damn trouble making teens with your loud rock and or roll music.”

After the roaring and ironically tame named debut, the Airing of Grievances, the New Jersey-based indie punk rockers are back with their sophomore album, The Monitor. With the new release, the band is taking a stab at the Civil War era, with the release serving as a period piece of sorts.  The title is in reference to the USS Monitor, which was the first commissioned warship by the US Navy during the Civil War.

That in no way means the group has changed their sound, so that means there’s plenty of low-fi, shoe gaze still involved, with a healthy dose of the ever-present fervent lyrics from front-man Patrick Stickles.  The moniker by which the young quintet refers to themselves is obtained from an obscure Shakespearean tragedy, known for it’s over the top drama and violence. Over the top, dramatic, and violent is a good way to describe the group and similarly their amazing live shows, which is providing much buzz for the group across the Country and abroad. In addition to that reputation, it’s obvious that these young men are cultured and know their history and that’s refreshing in itself.

Known for their raucous live shows in small, intimate venues, Titus Andronicus is set to have a very busy Spring Break.  The band has positioned itself to be one of the busiest bands around during SXSW which will give us a good great chance to hear the new album where it is best heard, in its face-melting, ear shattering, sweat-inducing live setting.  The new release also features appearances by members of Wye Oak, Vivian Girls, and The Hold Steady amongst many others, which according to the record label XL recordings, all play a specific role as Civil War-era personalities.

The opener, ‘A More Perfect Union’, begins with the significant Abraham Lincoln quote, ominously stating “if destruction be our lot we must ourselves be its author, and finisher.” Quickly, the group picked up where they left off in their debut, pounding into a seven minute jam with impressive melodies complimenting Stickle’s ‘agitated Oberst-esque’ lyrical stylings with fantastic results. Its good foot stomping Americana, proudly heralding “Rally around the flag!”, and proclaiming “I will not retreat a single inch, and I will be heard.” Not truer statement can be said about Titus Andronicus.

Throughout the record are more sound-bytes from the Civil War era, which hold much intrigue alone, but are especially portentous when heard alternate Spickle’s vocals and Eric Hold’s percussive fervor. The record is more or less about the conflict and subsequent unresolved misfortune followed by the ideals from the relationships forged nearly 150 years ago continuing today. However these principles have shaped our modern society, “you’ll always be a loser” quips the self-deprecating theme ‘No Future Part 3: Escape From No Future’, “and that’s ok.”

The two-part single, ‘Four Score and Seven’, which is set to be released on a 2-sided LP, is a great meditation on the subject of war and its absurdity. This track marks a turning point in the album, with the entrance of a brass section and beautiful interlude into the second half of the track which less introspective and more irate at the horrors of conflict more often seen.

‘To Old Friends and New’ displays a new side of the band with a touching duet with the Vivian Girl’s Cassie Ramone, which slowly builds to a crescendo proudly proclaiming “It’s alright now”. This touching moment is unexpectedly followed by ‘…And Ever’ which seems out of place at its ninth spot due to the drastic segue from the former’s tenderness and overall tone. Finally, the band finishes off the record with a powerful message of acceptance, liberation, and ultimately death. Per the band, the release is their way of celebrating the 148-year anniversary of the ship and much like the USS Monitor, this lengthy album fights a first-class battle and proves its worth in a great lyrical clash; only to sink quietly into rough waters following the afore-mentioned closing track, ‘The Battle of Hampton Roads’. And as we have all learned today, this battle served as the height of the Monitor’s service career and fittingly is a high water mark for the band. Any questions? Very well, class dismissed.

[audio: https://austintownhall.com/wp-content/uploads/2009/12/Titus-Andronicus-Four-Score-and-Seven-Part-One.mp3]

Download: Titus Andronicus – Four Score and Seven (Part One) [MP3]

[audio: https://austintownhall.com/wp-content/uploads/2009/12/Titus-Andronicus-Four-Score-and-Seven-Part-Two.mp3]

Download: Titus Andronicus – Four Score and Seven (Part Two) [MP3]

jj – n° 3

Leave a comment

Rating: ★★½☆☆

If you know anything about jj, please tell me. The amount of information is limited, but is slowly emerging. We know they’re Swedish girls, so that’s a start. (pro-tip: That Google Image Search is NSFW, which I suppose is a good omen) Maybe this stereotype is exactly the reason for the group to withhold their identities, but I digress. The illusive Swedes now follow up their critical acclaimed previous release n° 2 and debut single n° 1, and while continuing their trend of numeric releases, n° 3 lacks the mystery and intrigue of the former. I wonder how long it took the group to name their newest release. However, this secrecy can only take you so far before your followers grow tired of this cat and mouse game. Prior to this release, jj had emerged from complete obscurity and seemed to thrive with their lack of human qualities. Only recently, did we finally catch a glimpse of the band in their first music video for Let Go. The video is beautifully shot, although it seems to be meaningless other than art for art’s sake.

Don’t bother looking for their MySpace, or a website for that matter. In addition, what resembles a website of Sincerely Yours, the Gothenburg-based recording label, is as basic as basic gets, with little to no information. (You can however buy a bullet-proof vest) In a world where the prospective seller has to go to the buyer, jj has the music blogs to thank. They obviously revel in their anonymity and seemingly don’t concern themselves with any sort of fame (state-side at least), which is refreshing in an annoying sort of way. On the other hand, it almost seems overconfident that the group can rely on their music to speak for itself, especially as I don’t think their music speaks very loudly. It’s the mystery following the band leading to this wave of popularity. I sense that the group rushed to release their second full length quickly following their debut, to not fall into obscurity in our rapidly evolving musical climate. To me, there’s not much substance to hold my interest following one spin of the record, and a forced second spin.

Their debut took many blogs and listeners by surprise when it showed up very high in best of lists last year, but paint me as ignorant or biased, but I’ll stick to the Icelandic pop; which seems to carry with it so much more weight and depth. It’s a very short sophomore release coming in at just over 27 minutes, similar to n° 2, whose 9 tracks spanned roughly the same length. The tone of n° 3 is distinctive from their last, where the previous was a summer anthem; this is a winter lover’s theme music, conjuring images of Swedish chalet roofs draped in ice and snow.

The constants are there, with dream pop and synthesizers as the overwhelming attribute. The group displays more dissonance, especially within the opening track My Life. It’s soft and airy much like the previous release, but is more distant and less touching. Let Go, with its distant harmonica is really the only highlight for me on a record with virtually every other track sounding remarkably similar. From their previous release, they have retreated from the drum driven rhythms to the more ambient and guitar lead melodies. The only exception is shown with the tribal percussion of Into the Light that reminds me of the title track to Ferngully.

When the denouement of the final track No Escapin’ This hits, I for one am glad that it’s just a song title., but maybe that is unnecessarily mean.  It’s not that I completely dislike it, the release holds some intriguing melodies which float in similar patterns to n° 2; however, it has lost its gleam. For you Austinites who gush over Pitchfork reviews, you’ll be happy to see jj on the schedule for SXSW. Here, you can catch the group in its physical form and here’s hoping they put on a good live show. Somehow, I think they’ll disappoint. They are also currently on tour with fellow buzz artists the xx. It’s no doubt that they’ll gather together at some point during the tour to discuss their loathing of capitalized letters.

[audio: https://austintownhall.com/wp-content/uploads/2010/01/03-let-go.mp3]

Download: JJ – Let Go [MP3]

2/24 Akron/Family @ The Parish

Leave a comment

Admittedly, walking into the newly refurbished Parish Wednesday night, I was a bit unaware of the events set to unfold. Through the front doors, we entered into a strange, Gothic bizzaro world where the old funky Parish, as I knew it, used to be.  It was my first visit there since the facility’s upgrade. Similarly, I was only a casual follower of the headliners Akron/Family with only their latest Set ‘Em Wild Set ‘Em Free in my playlist repetition pre-concert. The opening act L.A.’s Warpaint, was seen as a bonus due to the overwhelming buzz I was hearing throughout the blogoverse.  Follow the jump to see what happened.

Read more

1 … 4 5 6 7