Dale Earnhardt Jr. Jr. Announce Fall North American Tour Dates

imageDetroit duo Dale Earnhardt Jr. Jr. have announced the routing for their upcoming fall North American tour, which kicks off on October 17th in Seattle and concludes with two hometown shows at Detroit’s Crofoot Ballroom on November 22nd and 23rd. Tickets are on sale now.

The band, which is Josh Epstein and Daniel Zott, are touring in support of their current album The Speed of Things, featuring the single Run,” which Paste named one of the “50 Best Songs of 2013.” The magazine also selected the band as one of “The 25 Best Live Acts of 2013.”

A new remix of “Run” by cosmic Brooklyn-based disco ensemble Midnight Magic, premieres today at AV Club. Listen HERE.


Dale Earnhardt Jr. Jr.’s upcoming tour dates are as follows:

07/12  Lansing, MI               Common Ground Music Festival
08/24  Monterey, CA            First City Festival
10/17  Seattle, WA              Tractor Tavern
10/18  Vancouver, BC           Biltmore Cabaret
10/19  Portland, OR              Doug Fir Lounge
10/23  Solana Beach, CA       Belly Up Tavern
10/24  Los Angeles, CA         The Regent Theatre
10/25  Flagstaff, AZ             Orpheum Theater
10/27  Salt Lake City, UT      Urban Lounge
10/28  Boulder, CO               Fox Theatre
11/07  Austin, TX                 Scoot Inn
11/08  Dallas, TX                 Trees
11/09  Houston, TX              Fitzgerald’s Upstairs
11/11  Atlanta, GA               Terminal West @ King Plow Arts Center
11/13  Brooklyn, NY              Music Hall of Williamsburg
11/14  Washington DC           9:30 Club
11/15  New York, NY             Bowery Ballroom
11/16 Cambridge, MA            The Sinclair
11/19  Columbus, OH            The A&R Music Bar
11/20  Cincinnati, OH            20th Century Theatre
11/21  Chicago, IL                Metro
11/22  Detroit, MI                The Crofoot Ballroom
11/23  Detroit, MI                The Crofoot Ballroom

Death From Above 1979 Announce New Album Details; World Tour Happening This Fall

imageGlobally revered and highly influential dance-punk duo Death From Above 1979 have revealed a plethora of details about their eagerly anticipated new album, including the title, cover art, and track-listing. The Physical World will be released by Last Gang Records / Warner Bros. Records on September 9th, 2014. The digital pre-order is now available on iTunes and the exclusive album bundles are available from the band hereThe first single, Trainwreck 1979 is now available for sale and streaming at all participating online retailers.

Produced by D. Sardy (Red Hot Chili Peppers, LCD Soundsystem, Wolfmother, Oasis), The Physical World comes a full ten years after the release of the band’s universally acclaimed debut album, You’re A Woman, I’m A Machine, which made Jesse F. Keeler(bass, synths, backing vocals) and Sebastien Grainger (vocals and drums), an underground /over ground sensation. DFA 1979 broke up in 2006 while the first album and subsequent remix album continued to sell inexplicably. They decided to reunite in 2011 and began to perform live picking up where they left off without missing a beat. Their rabid cult has only continued to amass just as inexplicably. Jesse and Sebastien sat down with the NME to talk about the new album release and reuniting. Earlier this spring, DFA 1979 released various clues, tidbits and sonic allusions surrounding a possible new album on deathfromabove1979.com. This will also be your exclusive portal into the wormhole world into all things DFA 1979 now and in the future.

In addition, Death From Above 1979 have announced they will hit the road this fall for an extensive European and U.S. headlining tour. Tickets are on sale now.

European tour dates:

10/7                  Koln, Germany               Luxor
10/8                  Paris, France                 Badaboum
10/9                  Brussels, Belgium          Botanique                              
10/11                Amsterdam, Holland       
Melkweg
10/12                Hamburg, Germany        Hafenklang
10/13                Berlin, Germany             Cassiopeia
10/15                Vienna, Austria              Flex
10/16                Munich, Germany         
Orangehouse
10/18                Zurich, Switzerland        Mascotte
10/20                London, UK                   Electric Ballroom
10/21                Manchester, UK            Gorilla
10/22                Glasgow, UK                 The Garage

North American
fall
 tour dates: For every pair of tickets purchased, you will receive one download of the album.

09/6-7              Toronto, ONT, CAN        
Riot Fest Toronto
11/01               New Orleans, LA            Voodoo Music + Arts Experience
11/03                Atlanta, GA                    Buckhead Theatre
11/04                Nashville, TN                 Marathon Music Works
11/06                Houston, TX                  Warehouse Live
11/07               Austin, TX                     Fun Fun Fun
11/08                Dallas, TX                     Granada Theater
11/10                Tempe, AZ                    Marquee Theatre
11/12                San Diego, CA               House of Blues
11/13                Santa Ana, CA               Observatory
11/15                Las Vegas, NV               Brooklyn Bowl
11/17                San Francisco, CA         The Independent
11/18                Portland, OR                  Crystal Ballroom
11/19                Seattle, WA                   Neumos
11/21               Salt Lake City, UT          In The Venue
11/22                Boulder, CO                   Fox Theatre
11/24                Minneapolis, MN            First Avenue
11/25                Chicago, IL                    Rivera Theatre
11/26                Detroit, MI                     Crofoot
11/28                New York, NY                Terminal 5
1129                 Philadelphia, PA             
Union Transfer
12/01                Washington, DC             9:30 Club
12/02                Boston, MA                   House of Blues

Single Review: “Man of Means” by The Screaming Thieves

imageMany people have probably been waiting a good long while for Brandon Callies to return to fronting a rock band. Black Tie Vendetta — the band that made him a staple of the North Texas music scene — hasn’t played regularly in years (though they say the band will never actually break up), and while his newest project, the Brandon Callies Band, has some rock elements, it’s equal parts country.

So, it was a pleasant surprise when people learned the other day that he has put yet another iron in the fire, and this one’s being called The Screaming Thieves (which just so happens to be made up of many of the members of the Brandon Callies Band).

They cite influences like Black Sabbath, Muddy Waters, Black Rebel Motorcycle Club, and MC5; a rather eclectic mix of groups whose styles are heard in The Screaming Thieves first track: “Man of Means”.

It’s a semi-bluesy rock number that is brimming with raw, unbridled rock sounds. The guitar tones and solos have a very magnetizing affect, and are completely pure. That’s to say, it’s just simple, good ol’ rock ‘n’ roll. The drums provide a solid backbone for the track, and while the bass and keys are a little less prevalent, they do edge in here and there.

Aside from all that, you get further proof of Brandon Callies’ superb ability as a songwriter. Take for example the line, “…A burden breeds a stronger back to bear a heavy load…”. It’s not all that complex, yet is quite profound.

All of that is condensed into a little under three-minutes; and it sets up a band that is ready to take the Texas music scene by storm. The fact that they are already a part of the Hand Drawn Records family should give them a boost, too.

The Screaming Thieves is:
Brandon Callies – Lead vocals and guitar
Zach Arrington - Vocals and guitar
Omarr Escoffie’ - Vocals and bass
Jason Myers - Vocals and keys
Christina Comley - Drums

Listen to the song on:
Reverbnation

Visit The Screaming Thieves websites:
Facebook / Reverbnation
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Wednesday, July 9th, 2014 – Alexander Webb Packs Out Opening Bell Coffee; Annalisse Nutt Amazes

It had been eleven days since I had last been out to a concert. The last time I went more than a week without seeing a show was probably about six months ago.

Yeah, I was kinda jonesing for a fix; and Opening Bell Coffee seemed like a good place to go to get it this night.

I may not often go to the cozy coffee shop located on south Lamar Street in Dallas, but I make sure to keep an eye on the calendar; and all the acts playing this night sounded good, based on what I previewed online, at least.

It was probably around 7:50 when I walked in, making me pretty late given the seven-o’clock start time. So late, I actually got one of the last available chairs.

Opening Bell was packed! More so than I’ve ever seen it (granted, I’ve only been here on weeknights).

Alexander Webb was on the small stage that takes up a corner of the room, and the Dallas native had a bunch of friends and supporters out to catch him while he was town.

He was in the midst of his set, finishing one original when I walked in, and afterwards told the crowd he was going to do something that might be familiar to most ears. He finished tuning his guitar, then unleashed a spectacular rendition of The Beatles “Come Together”. His voice had a smooth, even soothing quality to it at times, though he belted that track out with a fury, earning him rave applause from the entire room once the song was finished.

“I used to… Well, I still am pretty opinionated…” Alexander stated, setting up his next song, before mentioning this was the second show of a Mid-West tour he and Annalissa Nutt were doing. He also informed the audience that this next song, “All I’ve Come to Know”, was the last one he completed before hitting the road just days earlier, so it was still very fresh. He used a harmonica at times throughout what will surely be a highlight track on his next record; and afterwards invited Annalissa Nutt on stage to help in singing the next number.

It was another cover, specifically “Bloodline” by Matt Morris. It was the best song of his set (at least what I caught of it); and he sang the first little portion on his own, before Annalisse began to add her voice to it, harmonizing with him, and the result was jaw-dropping. It’s a great song in the first place, but the way they did it, it was astounding.

She left, and Alexander chatted with the crowd as he got ready for his next song, saying he hoped everyone was ready for a song that sounded kinda hopeless, but then got really hopeful at the end. He was quite for a moment, as got the capo just right, before he gave a heartfelt thank you. “A lot of years have gone into this music, and being able to share it with you is very valuable to me.” he remarked before “Enough” — the final track from the “Up Ahead” EP. He was clearly a great singer, but now he got a chance to let his skills as a guitarist shine, using both hands to pluck the strings up on the guitars neck in a very intricate manner.

That spiritual song was rather lengthy (lasting a little over five minutes), yet it passed by quickly, and then he wrapped up his time on stage with another song from that EP, which I believe was the title track, “Up Ahead”.

I’m glad I got to see at least a portion of Alexander Webbs’ set, as he is a very talented singer/songwriter.

Apart from his voice, the emotion that was poured into his songs was also striking, and depending on the content, you could tell they were born out of a deep personal experience or something that he strongly believed in.

He has released four albums so far, and the way he talked this night, another one should be coming sooner rather than later. But for now, check out his past ones in iTUNES. Also, if you live anywhere in the Mid-West, check out his current show SCHEDULE. This tour will be lasting through early August, so he just might be coming to a town near you.

The Arkansas born Annalisse Nutt was next, and it didn’t take her long to fill the space Alexander had just vacated. “I’m gonna play some music for y’all!” she exclaimed with a smile on her face. Her 50-minute long set was a mix of old and newer material, as well as some covers, and I’m guessing it was one of those newer songs she opened with. “If these walls could talk, they’d speak in tongues…” she softly crooned on the first line.

She may have been lacking the strong fan base that Alexander had, but many of them had stuck around, and Annalisse quickly won them over with that tune. Following it was what I think was her first cover of the night. I don’t listen to much Rihanna, but what Annalisse sang at the beginning matched up with “Drunk On Love”, albeit a retooled version that was better suited for an acoustic setting. Regardless of what it was, though, it was with that track that she firmly established herself as a vocal powerhouse, one who had completely captivated everyone in the room.

“I played here a couple years ago.” she remarked, adding, “I love this spot.”, before informing everyone this next song was more of a spiritual one. She talked about how it was about there being about a place with God where nothing else matters, and also pointed out it was on her “7 Song Sampler” album she released a couple years back. It was titled “There’s a Place”, and on it she was able to show off an even wider vocal range, nailing some terrific higher notes at times, while a certain forcefulness and intensity was heard throughout.

“I played this at a friend’s wedding last year…” she told everyone of her next cover, saying the way she does it gets a little darker at the end. No one really knew what she was talking about, but I don’t imagine anyone would have guessed it was The Turtles’ “Happy Together”. Some semi-dark vibes were incorporated, but nothing too bad; and it was still a song about being with the one you love. A fitting follow-up to that self-described darker song was “Lavender-Magenta Praise”. She again spoke of her faith, saying that no matter how dark things got, be it physically or spiritually, “…the color always comes back…”. She then said that Alexander happened to send her a video of himself harmonizing to the song. “…And I loved it!” she finished, as she brought him back on stage to help her out. She gently plucked the strings of the guitar she was using, better allowing her voice and his to be the main focal points of the track.

The stage was then given back to her, and Annalisse did what was arguably the best song of her set. She mentioned that when she got back to Nashville, she was going to start working on a new record, and this one, “My Storm”, would be on it. The chord structure was often soft and haunting, and there were several occasions she hit some utterly gorgeous notes that sounded like they were in the soprano range. Everything about it was absolutely amazing.

“You’ll probably recognize this one, too.” She said after the applause and cheers subsided. She showed off her pop side by putting her spin on “Radioactive” by Imagine Dragons, managing to make it sound very catchy with just an acoustic guitar, and also in the way she sang it. It was engrossing. “Thank you kindly.” she said, seeming a little taken aback by the warm reactions she was getting. “…Is everybody having fun?” she asked, following that with, “Is everybody ready to get sad with this one?” There were no objections to it, and “I’m Sorry” was indeed a very poignant number.

Earlier in the night, she had pointed out that her parents were in attendance, and while she noted this next song was one she doesn’t do often, she wanted to this night, and dedicated it to her “mama”. There were some very powerful moments during it, when her voice surged, being very compelling.

“That about does it.” she said smiling once the song came to an end, leaving everyone a bit saddened by the abrupt end. “No, I got one more…” she then added, checking on time to make sure she was good. She moved over to the keyboard that was on stage, only using it for maybe the first half of this final song, before stopping. The last bit was sung a cappella, and it was absolutely beautiful, even moving.

Annalisse Nutt is an exceptional singer/songwriter, and this night she proved to be a pure, refined talent.

Her breathtaking voice was certainly her biggest charm, but she’s equally as good in the field of songwriting, and not a bad on the guitar or keys, either.

I’d highly suggest you check out her “7 Song Sampler” record on BANDCAMP, and if you have the opportunity, go see her live. She’ll be on this tour with Alexander Webb for the next few weeks; and she will not disappoint.

Rounding out the show was an actual band. A newer one at that; at least new to the performing side of the business.

The three members of Northern National got their stuff setup, ran through the sound check, and then lead singer and guitarist (he used an acoustic for the first part of the set) Michael Rossi introduced himself, and then band mates Michael Allen Wilson on the electric guitar and keyboardist Michael Kanne.

Rossi later mentioned they did a lot of love songs, something that was evident from the get go, what with lyrics centered around love, while the music was softer, more relaxing, fitting the tone of the tracks. He earned some cheers after that first number, when he mentioned he had been with the same girl for nine years, a reaction that made him grin. “I actually just got her pregnant, so we’re having a baby.” he told the audience, which had dwindled to a dozen or so people.

He went on to say their next song, the title track from their debut album due out this fall, was one he wrote about her. It was called “Young and in Love”, a sweet love song about being completed by the person you’re with. Kanne used his mic to chat with the onlookers during the next break, saying they had spent two years writing stuff for their album, and “You’re the One” was one he seemed quite fond of, saying it was more of a soulful tune.

It made great use of the group vocals they were capable of, and the instruments even mostly cut out at one moment to highlight that. A more acoustic based song came next, and Rossi joked that it was as close to country as Northern National got, saying it was about leaving the Lone Star State, and then wondering why you did that in the first place. They did manage to capture a slight country sound — in the Nashville vein of the genre — and it had a low-key vibe to it, something I liked.

Rossi got a break from playing on their next one, and while he sit his guitar down, Kanne continued the storyteller like atmosphere they were giving this show, saying that “I’ll be Okay (Crazy World)” was one of the last songs they wrote.

That was the last one I stuck around for, and after hearing they only had two left for the night, I decided to go ahead and duck out.

Not that I wasn’t enjoying it, although the music was a little more sappy for my tastes. I just wanted to go ahead and get home.

They’re really good at what they do, though, and for anyone who likes pop music, then Northern National is one you must check out. All three of ‘em are equipped with some very good voices, and they mix very well together.

Their album will be dropping on September 2nd, and they’ll no doubt be doing at least a few more shows between now and then. Actually, they’ll be back at Opening Bell on Friday, July 18th.

It was good to get back out and catch some live music, especially from some touring acts. As anyone would, I do tend to stick with seeing the same bands I know I like, so it was good to get acquainted with some of the other talent out there. Another plus? I was home shortly before eleven.

Album Review: “Loss Leaders” by Loss Leaders

imageLoss Leaders has only been around a couple of years, born from the ashes of Calling All War, after Lynyrd Stogner and Millard Hasbrook decided to continue making music together. As I said, it’s only been a couple of years, but it seems like the trio has been around a little longer than that (that’s a good thing).

A small handful of demos were released over time, whetting fans appetites for a real record, a record that took some time to make, because unlike most local bands, they jumped right into it with a full-length.

The record gets off to an unexpected start. It sounds like a line from a commercial, as a voice salivates over “…Cheese sauce, and oh, the gravy… And then the biscuits.” It catches you off guard the first time around; and then “Sugar Pill” instantly fires up as soon as it has been said. “I’d hate to have to break your pretty bones…” Lynyrd sings on the first line, using a hushed voice then and periodically throughout the track, making it sound all the more threatening. As for the song itself, it’s a monstrous track about the darker sides of a co-dependent relationship, teeming with emotion; and I don’t see how it could fail to capture anyone’s interest.

That intense number is followed by one of the shorter offerings on the self-titled record: “Brazen Bull”. The rhythm section comes out swinging on it, hitting hard, before the bass, drums and guitar find just the right mix to complement each other as best as possible. Some stellar guitar tones get laced in along the way, too, making it all the more enjoyable.

“Heavy Leg” is one of those demos they released probably a year or more ago. I really liked it, but man, this polished studio version is phenomenal. It’s an incredibly tight song, with strategically placed lulls — where the bass shines — before assaulting you with soaring guitar riffs. It’s one of the best cuts from the album, and no argument can be made otherwise.

That heavy pace then gives way to “Serpent” —a song about betrayal — where the members of Loss Leaders show off their softer side. “I used to run, before I crawled away…”Lynyrd croons on the chorus, toning down his voice from the previous tracks, showing the listener the impressive range he is capable of. It’s quite good, and the angelic backing vocals that are lightly tossed in on the choruses, harmonizing with the primary vocals, creates a lovely effect. Despite all that, though, it still retains a rocking mood.

The trio gets back to what they do best: intricately written rock numbers, with “The Boxer”, which lasts a little under two and a half minutes, but is more than enough time for it to get its point across.

“Long in the Tooth” has a finely crafted music bed, complete with screeching guitar chords and an instrumental break that lasts just long enough for the trio to really show off their chops on their weapons of choice. It’s followed by “Retrogradus”, a tranquil, rhythm heavy instrumental jam that really calms you. That relaxed feeling doesn’t last long, though, and “Amnesia” once again provides something you can bang your head to, while the guitar riffs are often so sweet, you just might find yourself practicing your air guitar skills.

I seldom make comparisons between bands (I know it may help people relate, but it’s just not something I like doing, because I believe every band as their own style). However, I have to say, “Smut Hammer” has many elements that remind me of one of Austins’ best metal bands: The Sword. There’s just has an epic feel to it, with some more technical pieces thrown in. They saved one of the best for last.

The job of closing out the album goes to “Brick”, and while many records seem to end on a softer note, Loss Leaders keeps the furious pace that has lasted for almost the entire length of the record going. It ensures this debut release is a rip-roaring experience from start to finish.

I have to say, I’m rather astounded at how exceptional “Loss Leaders” is.

The first record for any band usually is about finding who you are as a group. I mean, there are plenty of bands out there who, when you compare their later stuff with what they did right at the beginning, you can clearly tell they weren’t firing on all cylinders in their early days.

Loss Leaders may not be firing on all cylinders yet, either, but it damn sure sounds like they are.

They mesh well on all of these songs, and come across as already being a tight knit outfit who knows just what they want; and what they want seems to be to make quality, captivating rock music that the masses will listen to.

They’re headed down the right road, ‘cause this first release, well, most bands could only dream of releasing something this solid their first go-around.

Loss Leaders is:
Lynyrd Stogner – Vocals and guitar
Millard Hasbrook – Bass and vocals
Paul Pace - Drums

Purchase the album on:
Bandcamp

Visit Loss Leaders’ websites:
Official Website / Facebook / Reverbnation / Twitter

Current Shows:
Saturday, July 26th at Gas Monkey Bar & Grill in Dallas (FREE)

Single Review: “Straight Line Impala” by The Phuss

imageThe rhythm section isn’t always the most prevalent part of a song. Often, it lurks in shadows of the guitars and vocals, creeping out when it can. That’s not the case with “Straight Line Impala” — the first single from The Phuss’ new album, and debut on Magnetic Eye Records.

Trey Alfaros’ drumming is swift and heavy at the start, before the track suddenly explodes into one of the ballsiest songs the trio has churned out.

The bass (wielded by Forrest Barton) adds a pulsating effect throughout the three-minutes and eighteen-seconds the song lasts; a song that has singer and guitarist Joshua Flemings’ voice sounding even more devilish than before, and somewhat demented, too.

It’s a powerhouse number, mixing equal amounts of rock and punk (something the outfit has better perfected since their self-titled debut a couple years ago), and it’s filled with a barrage of wicked guitar licks and tones.

In listening to the gritty “Straight Line Impala”, you’re shown that the rock mantra of sex, drugs and rock ‘n’ roll is very much alive; and if you’re not banging your head for every single second of it, then you’re not enjoying the track in the way you should be.

The Phuss is:
Joshua Fleming - Vocals and guitar
Trey Alfaro - Drums
Forrest Barton - Bass

Visit The Phuss’ websites:
Official Website / Facebook / Twitter

Single Review: “The Charade” by Alterflesh

imageAlterflesh has been around for a little while, but last year they started hitting the North Texas music scene hard, seeming to arise from out of nowhere; and making a name for themselves in a hurry.

They quickly became a staple at venues across Dallas and Fort Worth – playing those cities and elsewhere fairly often. It didn’t hurt that they had several singles recorded, too. A total of eight made their way onto the bands Reverbnation page, and while they were demos, the quality was still good, giving anyone who listened a solid idea of what Alterflesh was like.

Still, demos can only suffice for so long, and then you need something more professional. The band turned to producer Alex Gerst and his Empire Sound Studio (to say he’s one of the best in the region would not be an understatement); and before heading into the studio, they grew, adding Andrew Lewthwaite into the fold as another guitarist.

So, to better showcase this new era in Alterflesh history, they didn’t release a polished, professional recording of one of their older songs. Instead, they released a brand new tune.

The pulse-pounding drumbeats that start “The Charade” sound better than anything they’ve done yet, and they instantly let you know you need to buckle up for the ride. It blows everything they’ve released thus far out of the water, with roaring guitar riffs that can become quite catchy at times, while the bass compliments the drums insanely well.

The lyrical content is also up to par with what fans of the band have come to expect. “…Soak in the sponge of awareness…” Dayvoh sings in the later part of the song, a song that has a few different messages within it, one being that there is always more to know in this world, and you should constantly be expanding your horizons (and be aware of the goings on in the world around you).

Along those lines, Dayvohs’ voice sounds as great as I’ve ever heard it on this track. Our paths recently crossed while out at shows in Deep Ellum, and he was telling me had taken some voice lessons; voice lessons that have clearly made him an even stronger vocalist. He’s already set apart from the rest of the pack in the way that he is more of a spoken word artist, and he brings that style with him in his singing; and if you’ve ever seen the band live, then there’s no way you could question his prowess as a singer. You couple his unique style of vocal delivery with a voice that packs a more powerful punch and one he has greater control over, and the result is a force to be reckoned with.

Overall, “The Charade” showcases a completely new Alterflesh. One that is more confident than before. Perhaps even a little more self-aware, too; and striving to be the best they possibly can be.

Alterflesh is:
Paul Kubajak - Bass, backing vocals
Ben Schelin – Guitar
Kevin Mills – Percussion
Andrew Lewthwaite - Lead Guitar
Dayvoh - Vocals

Download the single for FREE on:
Reverbnation

Visit Alterflesh’s websites:
Facebook / Reverbnation / Twitter / Youtube

Current Shows:
September 13th at O’Riley’s in Dallas / October 11th at Hailey’s in Denton
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Album Review: “Seasons Change” by Dark Avenue

imageAfter being a band for more than ten years, it’s understandable that you could start feeling stifled creatively. So, when Dark Avenue was announced — a band that featured four-fifths of Pistol Whippin’ Ike — it was easy to see why they were starting a side project.

The hard rock sounds they have perfected were traded in for a more metal style, as they flexed their musical muscles. There was a lot of hype leading up to their debut, and after a one-off gig down at SXSW, they made their debut Dallas show an even more memorable event by also having it be their CD release show. Yeah, they came out swinging… Hard.

Right from the lead track, “Seasons Change”, the band proves why Dark Avenue is a fitting name for them. It is dark, even semi-haunting, atmospheric metal, and this song exemplifies that. The rhythm section bears down on you, the bass and drums complimenting one another very well, while the smooth, unmistakable voice of Mario Cadena offers some balance, providing some harmony to it all.

“In Memory of Me” sees the band demonstrating equal parts of metal and hard rock, complete with more pulse-pounding bass riffs and some heavy guitar licks. Then you get to what may be the best offering on the five-track EP, “Another Day”. Lyrically, it paints a vivid picture of the dissension a relationship (of any sort) can take. The opening verse, “Taste the life you’ll never have and for a second my deception looks a lot like your reflection: the life you built for me.”, says a lot about the tone the song has. It’s honesty in its most brutal form; and the guitar solo that’s thrown in is nothing short of epic.

“Sober may well be the hardest hitting song on the album. It’s quite reflective, too. Take, for example, the line, “…I have wasted so much time. The man I use to be has died. This addiction fuels my fire…” No doubt, some people will be able to connect with it on some level, and aside from perhaps being relatable, it’s real. And after all, isn’t that what music is supposed to be? It’s supposed to draw from some personal experience, which in turn makes the song into something far more emotional, as is the case here.

This all too short listening experience (the EP clocks in at not quite 20-minutes) goes out on an explosive note thanks to “Aftermath”. It’s another charged track that boasts some thunderous percussion, which actually tends to stand out more than the riffs. It’s a great one to end with, wrapping up the EP well, but it also leaves you eager to hear more from the Dark Avenue.

The thing with EP’s is (most of the time) it allows the band to put forth their best, most solid material. Such is the case with “Seasons Change”, as not one of these five tracks is lacking.

As someone who has been a fan of most of the band members for a while, too, it’s also nice to hear them trying out something new, and even Mario does some slightly different things with his voice on this collection of songs.

As stated in their bio, the goal of Dark Avenue is to set themselves apart from the rest of the herd. To standout. “Seasons Change” goes a long way in proving that is possible.

Dark Avenue is:
Barry Lorberbaum - Guitar
Barry Townsend - Bass
Jeff Hathcock - Drums
Jonathon Barnes - Guitar
Mario Cadena – Vocals

Purchase the album on:
iTUNES

Visit Dark Avenues’ websites:
Official Website / Facebook / Reverbnation / Twitter / Youtube

Current Shows:
August 22nd at Tomcats West in Fort Worth / September 6th at The Rail in Fort Worth / September 20th at Curtain Club in Dallas / October 10 at RBC in Dallas / October 11th at Hailey’s in Denton
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Saturday, June 28th, 2014 – Night Gallery’s Revival

This night was ladies night at The Curtain Club. Something that doesn’t often happen. In fact, I don’t remember them ever doing a ladies night in the eight plus years I’ve been going there. That’s not to say it hasn’t happened though (I mean, my memory’s not perfect.)

It was more than that, though. This was the night the yearlong hiatus Night Gallery had taken came to an end. They were just one of several great bands playing this night, though, and everyone was headline quality.

Around 8:30 isn’t usually late to get to a show, but it was this night, and when I walked in Agents of Solace was finishing up their first song.

It had been awhile since I last saw the band, after first stumbling across them here at the Curtain sometime about a couple years ago, probably.
imageThe group’s female vocalist, Macie — who did most of the lead singing this night — chatted with the crowd for a second before the alt/rock band tackled another song, one that was quite good at that. “Are there any Halestorm fans out there?!” Macie asked after it was over, getting a reaction from some of the people. “Familiar Taste of Poison” was the track they tried their hand at, and it sounded amazing. Everyone, old fans and those who were hearing of Agents of Solace for the first time, were in total awe of Macie’s voice. They put their own little twist on the song in some ways, and it was one of their best ones of the night. It wasn’t the only cover they did, either.

Macie mentioned they had a Youtube channel, and on it, they had a video for their next song. “It’s kinda freaky. Whatever freaky means to you.” she said, as they began “Voyeurs”. Jeff Williamson had been adding some backing vocals here and there throughout the first couple of songs, though his guitar had been his primary focus. However, he showed off his voice much more now, as they split the vocal responsibilities, even harmonizing at times. It was a beast of a song, too, with Jeff and Tom Williamsons’ guitars roaring to life, then eventually tapering back off, while Keith Watson delivered some vicious beats.

That won them some more rave applause, and once it subsided, Macie mentioned they were going to do an older song, one off their debut, self-titled record, per a fan request. It was switched up from the recording, and again showcased Macies’ voice more than Jeffs’, though he did chime in at times on “City of Man”. Chip Kohr seemed to get into it, too, and was rocking out on his bass quite hard.
imageUpon finishing it, Jeff unplugged his electric axe and swapped it out for an acoustic, as Macie informed everybody they were going to do a new song, one they had just learned the week before. “Actually, just last night.” she joked. It was called “Gravity”, and the outfit’s softer side was on display during it. Every act needs a song like that, and it added some diversity to the set. I’d say the track is a keeper, too.

Macie noted their last song was all about having fun, and some audience participation would be required. “So you better fucking participate!” she said, before threatening to slap those who didn’t. It didn’t sound like a threat to be too afraid of, though. I’ll admit, I knew that I knew this cover, though it took me forever to place it, which is kinda bad, since I’ve seen The Pretty Reckless twice in the last month. Agents of Solace put their own little spin on “Heaven Knows”, complete with a clap along at the start and other points throughout the track. They even got the audience to sing along with them on one of the later choruses, “Oh, Lord, heaven knows we belong way down below.”

Thus ended their time on stage, and I have to say, AOS was better this night than I remembered them being.
imageHonestly, I can’t remember if Macie was in the band when I first saw them, though I don’t believe she was. She adds a remarkable dynamic to the group, though. Apart from that, these seasoned musicians make some excellent music. I mean, “Voyeurs” has a pretty original sound to it; and they put on a highly enjoyable stage show as well.

As of now, it looks like their next show is going to be on September 27th at Andy’s in Denton. Regarding their music, you can grab a couple of free downloads on their REVERBNATION page, and pick up the full record in iTUNES.

After them you had The Circle, who had not played Dallas since back in January, when the Curtain Club was celebrating their sixteenth year in business.

At 9:33 their intro music started, and drummer Marc Berry, bassist Kenneth Henrichs and guitarists Craig Nelson and Alan Sauls quickly ripped into their first song. “We thought we’d start off with a new on! Is that alright?!” frontman Don Mills asked as he walked on stage. People seemed game for it.
imageThey came out swinging with that new number, “Break This”, which was one of the most impressive songs I’ve heard The Circle do. It was heavy, it was loud and it was in-your-face. The performance that accompanied it was rather savage as well, as the five of them went all out; and towards the end Don, who had been standing atop one of their boxes with The Circle name and logo on it, jumped off it, landing close to the drum riser. It gave everyone quite the rush, including them.

“So, I was saying to Jordan earlier, next time there’s a ladies night, we need to call it guys night out.” Don joked. Yeah, as he and I had said earlier in the night, it was kind of a sausage fest, especially early on. I blame another show that was happening elsewhere in Deep Ellum, featuring an acclaimed Dallas act. That was probably where most of the ladies where choosing to spend their night at. But I digress.

Don’s statement was made over the transition his band mates made into their next number, “Save Me”, which was one of a few songs they did this night that seemed to pack even more of a punch than it has in the past. Honestly, until they got to the chorus, I was thinking it was another new one they were debuting. Don used a break he got during the song to dedicate the show and the night in general to all the beautiful women who were in attendance.
imageThe last time I saw The Circle, their show had a nice flow to it, and that applied for much of this night as well, and now Craig segued them into “What Do You Say?”, showing off his skills later on while playing a killer solo. Don used his breaks to have some fun, saying that they don’t lip sync their songs. “…You don’t do that in Dallas, Texas!” he roared, which I believe was a jab at Puddle of Mudd and their debacle of a show a few months back where they were caught faking it. “I don’t care who you are, you sing your damn songs!” Don declared at the end, while his band mates rolled them right into “My Trip to the Desert Sucked”.

Kenneth was his usual highly energetic self during the track, screaming into his mic as he aided Don on parts of the chorus, while tearing it up on his bass, and even jumped atop the box on his side of the stage at times. At the final chorus, Dons’ mic stand fell apart on him. He grabbed the stand and carried it over to the staircase, then returned for the base, singing the whole time he was getting it out of the way.

“I got told this was my last show as the singer.” he said during the first break they took this night. “If you saw Agents of Solace, you know why.” Don added, mentioning how amazed he was by their set as he piled on the praise. As he spoke, the intro for “Failure” suddenly started to play, signifying they were ready to move on (and finally get to the debut EP they released about a year ago.) It was pretty action packed, and Kenneth spent the last bit of the track up on the drum riser, while Marc let loose the thunderous beats on his massive drum kit.
imageRight as it came to an end, Dayvoh, of the band Alterflesh, approached the stage, carrying several shots he had bought for his friends. “You know what I’m going to say…” Don said after they all had one in hand, as he made is typical, “Local music is the greatest music that never gets heard” speech. Truer words have never been spoken, and it’s a sentiment everyone always agrees with. He went on to say that, they had a song that they had retired some time back. Then it got rewritten, and then it made a comeback to the live show. The song in question was one that has become a favorite of mine over the last few times I’ve seen The Circle, and it’s called “Monster”. It sounded like a brand new song this night, though. It had an even harder edge than what I recall from the past few times, and Don did a hefty amount of screaming on the track, something that he doesn’t do often, but he can pull it off with ease when he needs to. It ended with Alan and Craig each stepping onto the boxes, spending some time on one before alternating, brandishing their axes in the air.

I think they were warmed up by now, and they drew a sudden startled look from the crowd when a piece of techno music began to play. “We’re gonna start going techno.” Don said rather matter-of-factly. Another toast was then made, again going to the woman. “…Deep Ellum have some of the most beautiful woman around.” he remarked, something else everyone there agreed with. Out of nowhere, the techno track broke into the sample intro for “The Other Side”. I must say, it was strange not hearing them open with that one, though the choice they made was a good one, and it worked well at the tail end of the show. Actually, I had been waiting all night for them to get to it.

With fifteen minutes left, they broke out “You Wanted This”, which, in comparison to some of their other stuff, I thought was a slightly chill track. Still rocking, though it wasn’t as hard and heavy as some other songs. It did feature another solo from Craig, though, a solo that was comprised of some incredibly cool notes. “Are you with us?!” Don bellowed as they moved right into the next track, “Tonight”. It was another new one, and one he said they had written about a week ago.

“There’s a huge list of who’s who here tonight.” Don mentioned as they geared up for their next song. From band members to other media outlets, there were a lot of people there, and too many to name.
imageTheir 41-minute long set began to wind down with the two remaining songs from their EP, like the powerful “I Am”. “…Every time I see your face you’re bringing me down. Turn your back on me, like you did that day…” goes the start of the chorus of the song that has a message of acceptance with it. They whipped it right into their single, “Sleep On it”, and as soon as it began, Don began joking with the guitarist of Solice, Juan, asking if he’d catch him when he jumped off the stage. It didn’t stay a joke for long, and soon a group of a dozen or more people formed, just waiting for Don to make his move. It came after he invited Kenneth’s nephew, Tyler, on stage, letting him sing part of the bridge. Don then got his mic back, walked to the edge of the stage, turned his back to everyone and fell backwards. He was caught, and the group carried him back just a few steps before walking back towards the stage, lifting him up and back on it to finish out the show.

This was an incredible Circle show. Maybe it was because I hadn’t seen them awhile, but still, this one of the best performances I think they’ve put on. They were as tight as I’ve ever seen them, and the near constant pacing of music ensured there was never a dull moment.

It was also nice hearing some new music from them. New music that with any luck will be recorded soon so we fans can have more than just four tracks to listen to.

Go grab the “Who I Am” EP in iTUNES. It’s cheap and it’s worth the price tag. They also have a show lined up at The Rail in Fort Worth on July 18th, and then a show at RBC in Dallas on August 10th, where they’ll be opening for Saving Able.

The turnaround time this night really surprised me. The bands were doing an amazing job of getting their gear off and on stage incredibly quickly, and as much as I love Curtain Club (as I’ve said countless times in the past, this is my favorite venue), quick turnarounds is something the place is known for.

So, around 10:30, the curtain began to open. Then close. Then open again. The members of Night Gallery were having some fun (hence, why the worker wasn’t sure if the curtain should be opened yet or not.) Frontman Patrick ”Otter” Gonzales was walking back and forth on the drum riser as if it were a tightrope, teetering on the edge. The audience (which numbered more than a hundred from the looks of it) was surprisingly quiet, and just stared at them. Then Otter threw his hands in the air, as if to say, “Come on, aren’t you more excited to see us than that?!”

Of course, people were, and now the noise level spiked.

The five guys shared a brief look at one another, making sure they were ready for this, and then, the new lead guitarist Brian Manly began the old, familiar sounds of “My Friend Pretend”. Three-fifths of the band may have been new, but the song sounded just like it always has. Well, maybe a little better, ‘cause as they say, absence makes the heart grow fonder.

Opening with the single from the “Loud as the Sun” record made it feel just like old times; and it didn’t take long for Otter to get back in his lead singer role, dragging his mic stand with him all around the stage. The mic stand that had a Cookie Monster plush toy taped to the bottom (along with tape over his mouth) and a small plush Incredible Hulk fixed more towards the top of the stand. Oh, how I had missed that one-of-a-kind mic stand.
imageThe crowd was given little time to applaud, as drummer Mikael Aguilar and the rest of the group launched into “Dirty Side”. “And I don’t want to speak to you, unless you want to speak the truth. I wipe the sand from eyes, and I see your dirty side.” Otter belted on the chorus, clearly feeling the rush of adrenaline that came with being back on a stage and performing these songs in front of people. “Those who know this song, feel free to sing along.” he remarked afterwards, as they went directly into the next track. “It’s called She Runs.” he mentioned. The only other old member, Jeremy Root, was also in the zone, quickly strumming his guitar on the chorus, getting caught up in the moment. As it neared the end, during the instrumental break before the final line, Otter spun and stamped around the stage, bringing the mic stand with him, as if it were a dancing partner.

Another fan favorite came next, and their fans rejoiced when “Crazy Brave” got underway. It was also the song that made me miss the old drummer, Randall “Duckie” Etherton, the most, because this was always one song that heavily featured him with backing vocals. “You feel the need to push the weak around; now you’re praying as your knees hit the ground. The time has come to break you of your ways, so lay down your arms and begin to beg.” Otter sang, while leaving the mic stand at the center of the stage and removing the mic from it. He dropped to the floor, gradually raising his voice each time he sang, “Beg”. That part still sounded good, though there was a definite forcefulness lacking without the additional vocals.

The way they had been going, I wasn’t sure if they were even going to stop, but now they did. “…We’ve burned through four songs and I haven’t even said anything to you yet…” Otter remarked, adding his usual sense of humor to the banter, saying that while it may have been ladies night, he would not be taking his shirt off. “…That’s too much sexiness…” he joked. However, they did have a couple songs for the ladies, the first of which was the ever so gorgeous, “Lynne”.

“I feel alive! I feel tickled down in my neither regions!” Otter exclaimed once the song was over. “Without Regret” came next, and I was more excited to hear that song than I thought I would be. Actually, it was probably my favorite of the night. “Shhhh.” Otter whispered into the mic during the soft instrumental break towards the end, and action I had forgotten he did every time. “This time there’s no safe bets, so let’s love without regret.” he crooned when the track came back to life.

“Feel free to sway.” he instructed, as Mikael led the charge into their next song. It wasn’t until Jeremy started his part that people knew it was “The Tide”. Something about the song made it sound even better this night than I think I’ve ever heard it. The rhythm section, which was completed by bassist Trey Williams, sounded great, but the biggest difference came after Otter repeatedly shouted, “Hey!” Brian then ripped into a guitar solo, something new that they’ve worked in during their time practicing. The solo itself sounded incredible, and it was a fantastic addition to the song. Another guitar solo spiced up “Separation Anxiety”, a tune that I wouldn’t have thought could possibly get any better, but they somehow found a way to improve it.

Given that it was ladies night, their song about Jack The Ripper, “Mr. Ripper”, seemed quite fitting, and it is another track that everyone of their fans love. Especially live. Despite the murderous content, it’s actually a very fun song. It was also the third straight that featured a new guitar piece, as Brian ran his finger along one of the strings, starting down on the body and going up the neck. Otter again danced about with his mic stand, succumbing to the music; and as it ended, Mikael stood from his seat to deliver the final drumbeats.
imageTheir 39-minute long set was nearly over, and Otter thanked everyone for coming out and for not forgetting about them. “The Signal” was one song that would have worked just as well as an opener as it did a closer. It’s a song that, on select occasions, has had more of a personal meaning to it. One of those was their CD release show a couple years back, and this was the second time I’ve seen them where that has applied. “…They tried to conform us, phase us out. Through shutting us down…” Otter sang on the first verse, before reaching the chorus, “They can’t stop the signal now…” The boxes belonging to The Circle had been left on stage, and at the bridge, Otter hopped on top of the one on stage right. “With one single voice, we resonate choice. Fight till the end, to overcome trend. Now coming in clear, no more static you hear. So take it from me, we’re not changing, you see?” That sums the band up perfectly, especially on a night like this.

I guess I’ll start by saying both Otter and Jeremy deserve some kudos for actually keeping this thing going. I can only imagine having to find three new band members is a daunting task, but they persevered, and it paid off.

This was one of the best Night Gallery shows I’ve seen. Were certain people missed? Yeah. Mikael’s a great drummer, though, and I thought he did a good job of filling the large shoes that were left. He was energetic and precise with his drumming; and I already mentioned how much I enjoyed the solos Brian had worked in, and when he needed to, he could shred. As for Trey, he was a solid bassist.

They meshed well with Otter and Jeremy, and even made it look like they actually had some live experience with one another under their belt.

Speaking of Jeremy, he really is a great guitarist, and he makes it all look pretty easy; and Otter, who for personal reasons has lost some weight in the last year, was more fiery than ever. Even he later said that made jumping and running around much easier to do, and he did more of it.

It was five years in this month of June since I first heard of Night Gallery, happening across them when I went to the Curtain Club to see a band who hasn’t been together for years now. They’ve been through their share of hard times in those five years. If memory serves correctly, Brian is the fourth guitarist they’ve had since I heard of them and Trey’s their third bassist. Night Gallery is no stranger to lineup changes.

But on the flip side, they’ve celebrated a lot of victories, many of them on this very stage. They got a plaque up on the Wall of Fame before they even had a CD out (June of 2010); they released their debut EP here in late 2010; they released their debut full-length here almost two years to the day of this show; and this night, this night they celebrated yet another rebirth.

As “The Signal” ended, Otter sang the final words as usual. “They! Can’t! Stop! Us!” he bellowed. The last notes filled the room and resonated; and then, in a defiant tone, he added, “But they sure as hell can try.”

Yeah, they’ve got a bit of a resilient spirit.

Night Gallery won’t play again until August 22nd at Tomcats West in Fort Worth, and from what I heard, some fall dates are already booked as well. But while we wait for more shows, be sure to pick up “Loud as the Sun” in iTUNES if you don’t have it.

Mad Mexicans were closing out the night, and personally, I’m just not a fan. I saw them a few years ago, I know what they’re like, and it’s just not a style of music I’m into.

So, I didn’t stick around too long after Night Gallery finished. Well, at least not inside. I was out on the patio mingling for a while, though.

The Music Enthusiast Podcast returns for the June installment of the show (I’m aware it’s July. I didn’t get this edited as early as originally planned. Sorry, folks.)

Episode 81 is made up of twelve awesome songs, beginning with City Will Shake (https://www.facebook.com/citywillshakeband), Dead Twins (https://www.facebook.com/deadtwins), Little Sisters of the Poor (https://www.facebook.com/littlesistersofthepoorband), Madisons (https://www.facebook.com/madisonsatx), and Gollay (https://www.facebook.com/gollaymusic). Then, for the second half, there’s Alterflesh (https://www.facebook.com/Alterflesh), Ishi (https://www.facebook.com/ishimusic), SpaceCamp (https://www.facebook.com/SPCCMP), Jessie Frye (https://www.facebook.com/jessiefryeband), Shapes and Faces (https://www.facebook.com/shapesandfaces) and Smile Smile (https://www.facebook.com/smilesmileband).

Single Review: “Pancho and Lefty” by Exit 380

imageCovers are a staple of many bands. One might be thrown in for the fun of it (I know some hard rock groups who have covered Katy Perry and Lady Gaga before), while other bands might find a song that fits with them and then leave their mark it, making it entirely theirs and a staple at every show.

It’s something that nearly every band does or has done, however, it took Exit 380 about fifteen years to decide to record a cover. I don’t think I’ve even heard them play one in the seven or so years I’ve been seeing them (at least not until very recently). Instead, they always choose to show off their vast array of original songs.

But today, the first single off Photomaps (an album that has been two years in the making) was released. It wasn’t “La Rosa Carlina”, which has been hyped for a year or more now. Nor was it any of the other seven original tracks. The single is the final track on the record: a cover of Townes Van Zandts’ “Pancho and Lefty”.

Over the course of their fifteen-year run, Exit 380 has established themselves as one of the best storytelling bands in the area, thanks to frontman Dustin Blocker, and even guitarist Aaron Borden (who has been known to write some songs here and there), each of whom certainly have a way with words. In turn, that makes “Pancho and Lefty” a very fitting song for them to try their hand at.

The promise with Photomaps has been that the band will further embrace the country side they discovered on their 2011 album, as well as adding a Spanish flare to the mix. A Spanish flare that is readily heard on their rendition of Van Zandts’ classic.

They’ve retooled the song completely, and the piano intro (guest musician Andrew Tinker, who also produced the record) establishes the ethereal quality that lasts for the duration of the track. The bass, drums, the lap steel guitar and the guitar, and even the harmonica intertwine so harmoniously. I dare say this song, even simply focusing on the music bed, is one of the most pleasing and calming things I’ve heard. To top it all off, Blocker’s voice is as smooth as whiskey, and I swear it only grows better with age.

If Townes Van Zandt were alive today, I have a feeling he’d be happy with this take on his song.

If a new track weren’t enough, the lineup for their August 8th vinyl release show at the House of Blues was also announced, and both Jessie Frye and Andrew Tinker will be supporting Exit 380. I already wasn’t going to miss that one, but those two singer/songwriters provide even more of a reason not to skip it. So, you might want to go ahead and circle August 8th on your calendar, ‘cause it’s going to be an exceptional night.

Exit 380 is:
Dustin Blocker - Vocals, keys, harmonicas
Aaron Borden  - Guitars, lap Steel
Jeremy Hutchison  - Guitars
Jon Hutchison  - Bass
Bobby Tucker - Drums

Purchase the single on:
Bandcamp

Visit Exit 380’s websites:
Official Website / Facebook / Twitter / Youtube

Current Shows:

July 12th at Lola’s Saloon in Fort Worth / August 8th at House of Blues (Cambridge Room) in Dallas.


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Album Review: “Motherfolk’nrock’nroll” by The Rye Boys

image“…These days, the Rye Boys have become organized, honing their hellish skills into an inhuman force of good times and alcohol. The term “band” would not be an accurate portrayal of these fellows, as they have also been known to rake yards, and give mighty fine handshakes…”

That’s an excerpt from the current bio for The Rye Boys, and I think it sums up the band quite well.

They’ve been around for a few years now (forming in 2009), but just within the last couple of months released their debut album, “Motherfolk’nrock’nroll”, which, by its title alone, should also be very telling of the folk/rock/country outfit.

The album takes you all over the place and covers a variety of emotions, though it begins with a low-key tune revolving around love. “If I lie awake she could sing me to sleep. When she’s not around I see no need to dream…” goes the first line of “Lucy Song”, with trace amounts of heartache bleeding through in the vocals not just on that portion, but the entire song. It’s a great song, and personally, I’m quite fond of the whistling thrown in, which is incredibly brief, though makes for a nice effect, before they create more of a rip-roaring raucous at the end.

The pace escalates quickly with “Yellabelly”, which is a fascinating hybrid of not just country and folk music, but also some punk. It’s all condensed into almost exactly one minute, showing just how vivacious The Rye Boys can be, and they pull off the gin-soaked sing-along type songs very well.

There’s a slight degree of lo-fi quality to both “Follow Me, Pt. 1” and, to a lesser extent, “Follow Me, Pt. 2”, that makes for a nice sound. It’s mainly found in the unison singing — which is featured most heavily on the first part — but it’s a nice effect, showcasing the vocals in their rawest form. In some ways, they sound better on those two than any other track on the record.

The album throws another twist at you with “Candidate”, which finds The Rye Boys exploring their rock side. It’s a side you’ll get sucked right into, thanks in part to the thicker, heavier percussion, while the guitars easily take center stage with some catchy riffs on the song that deals with not always being cut out for the game of love. “I am the worst candidate… I can’t help you or myself…” goes part of the chorus, which could easily be a fan sing-along.

“Yesterday” may mark the halfway point of “Motherfolk’nrock’nroll”, but with it, the band shows they still have some tricks up their sleeve, and this one happens to be in a form of a solo acoustic song. It’s possibly the best song on the album, and touches on some social issues that can really get the gears turning in your head. “Is it a sin to murder for your country? The Bible says I’m unclean, but the president assures me that God is on our side…” goes the chorus, which is executed in the form of some nice crooning. It’s a song about someone who is struggling with the process of war — having trouble with killing — and perhaps the best part is how the first two choruses are sung more pondering that line mentioned a moment ago, as if trying to become okay with that fact. However, the final chorus is filled with anger and rage about having to do something that is surely so hard to condition yourself to do.

The mood becomes much lighter with the upbeat and fun “Nickels & Dimes”, which can get you moving with ease — even if you’re setting in front your computer speakers listening to it. In fact, you’ll probably be a somewhat sad that it only lasts a little under two minutes.

“Misery Keeps” is another bare bones song, which also stands out as being one of the strongest on the album, and is just solid all the way around, from the lyrics (“…when he learned what love was, he tried to push away his own…”) and storytelling, to the way the intensity grows the further along it gets.

Said intensity then peaks with “Aeroplane”, which is another party-style folk number that evokes some movement from the listener. Then you have “Mama”, which shifts that energy around slightly, and thanks to the heavily featured piano, sounds reminiscent of an old-timey Western tune.

Out of the twelve songs on the album, the only one that really fails to capture my interest is “Yard’s On Fire”. I can’t say that it’s a bad song, nor can I pinpoint anything that could have been done better. It really is as simple as it doesn’t appeal to me.

“Motherfolk’nrock’nroll” then concludes with the howling (in both senses of the word) “Good Time”, a joyous song whose title pretty accurately describes the listening experience of this record.

“Motherfolk’nrock’nroll” is indeed a marrying of the folk/country/rock genres. Not necessarily on every song, but occasionally, and you can bet on hearing at least two of those genres woven together on each track. Above all else, they’re nearly all vibrant, fun songs that you and some friends can jam to, to get ready for some hell-raising good times.

The Rye Boys are (and key members in making the record were):
Clayton Smith -  Vocals/Guitar
Nic Harper - Vocals/Banjo
Jobie Ritchie - Bass
Kraig Zirnheld - Drums
Denver Graves - Producer/Arranger
Mixed by Salim Nourallah

Purchase the album on:
iTUNES

Visit The Rye Boys websites:
Official Website / Facebook

Friday, June 27th, 2014 – Long Sword Spectacular Let’s the Rock Flow at Wits End

This night seemed like a good one to go out and catch some bands I like, but don’t often see. Luckily, Wits End was hosting such a bill; and it kicked off around 9:30, when Long Sword Spectacular took the stage.

It had been a little more than a year since I had seen the trio, who was now armed with some new songs, and opened their 38-minute long set with one of them.
imageIt was a surprisingly soft start for the typically noisy rock band, as Doug Jones lightly struck one of the cymbals on his drum kit. Soon, singer and bassist Josh Harelik added the bass to the mix with some intermittent riffs, and eventually Daniel Reid did the same with his guitar. It was certainly creative; and then Daniel’s picking of the strings grew much faster, as the track really came to life. His skills on the axe were highlighted throughout the track, like at one point when the drums and bass cutout right as he started using the whammy bar, while they all killed it on the powerful end.

“We are Long Sword Spectacular! Welcome to the show!” Josh shouted in his devilish voice, as they rolled things right into their next number, “Manhunt”. It was one of only a handful they did off their debut album this night, but they hit the highlights from it, and that song is pure LSS, being a heavy rock song that’s also rather fun. Speaking of fun, you could tell that was what the group was having, and during the instrumental interlude that followed, Doug was seen smiling at is band mates. Daniel then ripped into a solo, while Josh thrashed around with his bass before returning to his mic on stage right. “One, two, three, four!” he yelled, as they whipped it into “Firewalk”. That aggressive track brought them to their first break of the night, and they quickly got ready for their most recent single: “Died in the USA”.

Their fans cheered when Josh announced it was next; and after the instrumental lead in, he began to sing, “What the hell is going on? Is this supposed to be our Babylon?” Perhaps the best part of the song came when they were all jamming, with guitar solos flying left and right, while the rhythm section was absolutely dynamic. They didn’t allow for much downtime after, and Josh proceeded to play some dark notes on his bass, which proved to be a lead-in to “Dead Soul (Down the Hatch)”. Parts of the song were changed to better fit where they were at for the night, like the first line, “I was playing Wits End, the coolest bar in Deep Ellum…” You could tell it was a fan favorite, but now, their focus shifted back to their newer material, and Josh again led the charge with some low and thick bass lines.

It was another interesting song, the pace changing enough to keep you fully captivated. It was pretty standard for LSS at times, and after a second or two pause in the middle of it, they tore back into the song, with Daniel attacking his guitar. While the end featured some more placid notes from the guitar, and while the bass was low and loud, it didn’t have the punch it had even just minutes earlier. It was just different for them in some respects, and it was nice seeing/hearing a different side of the band.

“Let’s go on a threat display!” Josh suddenly roared, before orchestrating a clap along, which their old and the new fans were more than happy to help out. “Threat Display” was their last oldie of the night, and when throwing in the title of the next song during a momentary pause, Josh created his own little echo effect, repeating the title as he stepped away from the mic. “You guys having a good time?!” he asked during the track, a question that was answered with some loud cheers. “Damn straight!” he responded.
imageAnother lengthy instrumental break was thrown in during the next number, during which Josh jumped on to the drum riser, standing next to Doug and his drums for a bit as he rocked out to the music. They bridged it into another jam, before announcing they had one more left. “How many minutes do we have left?” asked Josh, the sound guy answering with “Seven.” “You heard him, boys!” Josh screamed, as the trio fired up their final song “Kills Witch”. It was an incredible song, and one of the most intense things they’ve produced. It was definitely worthy of being the closer.

“We are Long Sword Spectacular! Good night!” Josh finished, as they bid the people a farewell.

I haven’t seen LSS much, and I always forget how amazing their live shows are. They pack copious amounts of energy into each performance, and it didn’t matter that there were only a few handfuls of people watching them this night. They played like they were performing for hundreds, and you could tell they were having a blast doing it.

I’ll say this, I felt bad for the other bands who were tasked with following LSS, because it would not be an easy feat.

Their show schedule is a little light right now, and their next gig currently planned is August 22nd at The Boiler Room in Dallas. Pick up their LP and latest single, too. They’re available in both iTUNES and BANDCAMP.

After them was Public Love Affair, a band I hadn’t seen in a couple years, and one who has changed in that time.

They’re a three-piece now, and singer Justin Russell has taken up bass duties (he used to be the second guitarist). He’s apparently not the only singer the group has now, either.

Guitarist Caleb Ditzenberger sang lead on their opening number, the first of many songs that were new to me this night. They had room for some oldies, though, like the title track from their debut record: “Get You Some”. That was when Justin took over, as they alternated for the first few songs. That latter tune still packed a punch, even without the additional guitar, and there was a certain swagger Justin had as he sang, stepping back from the mic when he could, as he rocked out on the bass.

They delivered another song, after which Justin asked those watching to give it up for their drummer, Aaron, who apparently was just filling in for the night. At the angle I stood at, I couldn’t see him much, but the glimpses I did catch, I never would have guessed he wasn’t their permanent drummer.
A lot of their music has a sort of bluesy rock quality to it, and a couple tracks later, they did one that was steeped in it. Caleb was again handling the singing, and while he brought some different qualities to the table as far as how his voice sounded, it still had a tone that could pull that genre off with ease.

I didn’t catch much more, as I happened to see Dayvoh of the band Alterflesh and struck up a conversation with him.

Still, I had seen more than enough of Public Love Affair to get an idea of what they’re like now. To be honest, I was on the fence about the two vocalists at first, but that quickly grew on me. It’s an easy way to keep the crowd engaged, as well as giving a fresh feel to everything. Caleb has a fantastic voice as well, and they’re certainly set apart from most of their competition in the fact that they have two lead vocalists.

It was very good seeing them again, and seeing what they’ve evolved into. You can get Public Love Affairs records in iTUNES and BANDCAMP, and with any luck, a new one will be out sooner or later so they can better showcase this new format.

Next up was another band I hadn’t seen in a little over a year, and when I happened to stumble across 26 Locks in the first part of 2013, they were just getting started.

Since then, they’ve quickly built a strong fanbase, and earlier this year they released their debut EP.
They had the most supporters out this night by far, all of whom gathered around the stage as they got their 39-minute long set underway with a song that was a little more low-key in comparison to some of the others. It was slightly jazzy with a definite lounge vibe to it, which made the perfect environment for vocalist Catrina Rincon to fully show off her impressive voice. She was quite in tune with the music, too, at times waving her hands about in the air, doing little fluid motions with them in time with some of the beats Jeff Fendley was producing.

“Thank you. We’re 26 Locks and we’re happy to be here.” she told the crowd once it was over, before the quartet moved on to their next jam. There was a little more rock flare to it; and towards the end, Catrina took the microphone out of the stand, allowing her to move around a little more. They bridged it right into one of the cuts from the “Velvet” EP: “Inside”. They were in full rock mode, now, and the catchy notes guitarist Jerry Bolden was playing confirmed that. It only got better as the song peaked with some deafening drumbeats, heavy bass and soaring guitar riffs, prompting some explosive cheers once it was over.

“How’s everybody doing?” Catrina asked once things subsided, before asking the questing again, this time getting a better response. “I’m just making sure everyone’s awake…” she said, before noting they were just going to “splash” right into the next one, as it was a softer number. It was, and at the start, Jerry took a seat on the floor of the stage, staying there until the pace picked up some. Bassist Brandon Kirkpatrick provided some backing vocals at times, slightly harmonizing with Catrina, which gave the song a knockout punch. It didn’t alter the song much (if at all), but a smaller cymbal on Jeff’s drum kit had worked its way loose, and in the midst of that one, it fell to the floor. He fixed the problem afterwards, while Catrina checked on how much time they had left. “An hour and a half!” one fan yelled, which I think summed up how everyone watching them felt, ‘cause no one wanted it to end.
They kept the lighter pace going with another track from the EP, “Remain Unknown”, which saw Catrina spinning around and dancing at times (fitting actions, since one of the lines is “I keep spinning around…”), while Brandon again added some killer backing vocals.

Catrina called their next two songs “juicy”, telling the audience to get ready for them, before taking a moment to thank everyone for being there and supporting them. “We wouldn’t be anywhere without you guys. I know it’s cliché, but it’s true.” she said, before they tackled the title track of their EP. Simply said, “Velvet” is epic. It’s around nine minutes, which is unheard of these days where people’s attention spans are lacking and even a four minute song is considered long. The thing is, it didn’t seem to last that long at all. That’s how enjoyable it was. Once it amped up, most of the people in the room were jumping up and down; and at its height, Jeff was downright wild on the drums, as he banged about on the kit. The way fans reacted afterwards, you would have thought they had just seen some arena rock band play their oldest hit, the one that had anxiously been awaited all night. It was something else. Not just the reaction the crowd had, but live, the song is a masterpiece.

“That’s super sweet. I like that.” Catrina said, referring to the rave applause they had received, before saying they had one more. It started with Jerry taking a seat on the drum riser, but it wound up becoming a highly intense song, and made for a good note to end on.

Oh, the difference a year can make.

When I first saw 26 Locks, they got my attention. I thought they were great then, but, as with anyone, there was room for improvement. Looking back and comparing that show to now, I’d say they were a diamond in the rough then. One who has polished up quite nicely.

They were nothing short of a well-oiled machine this night. The performance was incredibly tight, and the chemistry they had with one another made it all the better. Basically, I was blown away.
You can get their EP for free on their REVERBNATION page, and I’d suggest doing it. Keep an eye on FACEBOOK, too, for upcoming gigs. They do have one on August 16th at the Curtain Club in Dallas.

The job of closing down the night went to a slightly newer band from Denton called Church Loves Devil.

They were a rock band, plain and simple. A really good one at that. Jason Pyles held down guitar and singing duties for the first half of the show or so, before they did one track where bassist Mark Bledsoe sang part of the lead, before drummer Aaron Pyles took over.

They all had pretty good voices to boot. There was some humor thrown in, too (albeit unintentional), like at one point when Mark thanked those who had made it out and stuck around for them, though much of it was hard to understand in his thick Southern accent. People started laughing once Jason looked at him. “The hell’d you just say?!” he asked, somewhat joking with his band mate.

I ducked out before the last two songs, but I really enjoyed them. Like I said, they were a rock band. Harder rock at times, but aside from that, they didn’t get caught up in all the sub-categories that exit. The world can also use more bands like that.

This was a fun night. It was refreshing to see yet another show (my third straight) of catching some bands I don’t often see, and some that were new to me. It rekindles the fire so to speak.

On another note, the sound here at Wit’s End was great this night. I haven’t been here much. In fact, the last time I was, was last fall, and there were some issues here and there that night with the sound. Tonight, tonight it was on par with most of the other venues down here in Deep Ellum.

Single Review: Swindle Boys Strike Back with “Comeback”

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It hasn’t quite been a full seven months since Swindle Boys (the Fort Worth-based rock/pop outfit formed by brothers Joey and Matthew Swindle) released their latest EP. The long-awaited “Motion” EP was the first record to capture the band’s newest sound, but even at the CD release show they were looking towards the future and threw a new song or two in the mix.

Their current plan is to release one single per month over the course of the next few months, and the first hit digital store shelves in the wee hours of this morning (right as the clock struck midnight).

It’s an astounding track titled “Comeback”, which perhaps captures the group’s style better than anything else they’ve released thus far. The keys give the song an electronic sound at times, though it’s mixed in well with the other instruments, and never dominates things. The guitar contributes what is often an ethereal quality, before rushing to life, and the drums are, without question, the backbone of the song, providing a steady, yet forceful beat at times and springing into action on the vigorous chorus.

What gets my attention the most, though, is the sheer emotion that is packed into every last word. “…You and I, you know, we’re not the same. But I can love you like you’ve never seen. You know, it wasn’t my choice to leave, but it has to be done…” Joey sings as the tune goes into the first chorus (and throughout it), mixing feelings of both longing and heartache in the delivery.

“Comeback” is one of those songs that gets your attention the moment you first listen to it. It commands it, and it should quickly work its way on repeat on whatever medium you’re using to listen to it. It also gives you hope, hope that if more pop music can start sounding like this, then maybe the genre won’t be as disregarded as it seems to be these days.

Swindle Boys is:
Joey Swindle
Matthew Swindle
Josh Brown
Chance Cochran

Purchase “Comeback” on:
Bandcamp / iTUNES

Visit Swindle Boys websites:
Official Website / Facebook / Twitter

Current Shows:
Friday, July 4th at Shipping & Receiving in Fort Worth

image(Photo credit: Shanna Leigh Tims)

Wednesday, June 25th, 2014 – Oh, Be Clever Casts Their Spell On Dallas

The Dallas-based radio station 102.1 The Edge had put together a nice little concert at the House of Blues this night. It was one of their “Low Dough” shows, with tickets being a mere five dollars, and the cheap price coupled with the standout talent ensured a sellout. Sure enough, about a week prior to the event, all the tickets were gone.

Even before eight, quite a few people were there. Anywhere between eighty to a hundred, probably (I’m horrible at estimating, though), many of whom had already staked out their spots in front of the stage.

Tove Lo and Semi Precious Weapons were the main bands billed. They were the only two acts whose name appeared on the ticket. Even the House of Blues website had just them listed. However, a third band was a part of the action.

Cory Scott Layton and Brittney Shields took the stage to a lukewarm welcome at best. You can’t blame the crowd, since I don’t think anyone had heard of them before. That didn’t affect the band, though; and Cory took his spot on stage right, behind some keys/synthesizers, while Brittney rushed to the center, exclaiming that they were Oh, Be Clever from Salt Lake City, Utah.

It took no time at all for the crowd to perk up, being completely captivated by the duos sexy electronic sounds, during which Brittney was seen pressing herself against the mic stand, grinding with it rather seductively, before removing the mic at the second chorus as she became more mobile. The song itself was spicy, too, with one of the early lines saying something about “…taste my scent…”.

It was followed by one of the handful of singles the band has released: “Next 2 U”. Brittneys’ voice was on fire as she belted out the chorus, “I feel alive next to you…”, and on a later line, she conveyed a strong feeling of desperation, in regards to wanting to know someone. I’ve got to say, it was nice to see a band who was doing more than just playing a song, they were feeling it. She even tried to make it into a sing along, asking everyone to help them out as they got to the last chorus, and some people had picked up on it enough to do just that.

“How’s everyone feeling?!” Brittney asked afterward, getting a strong reaction from the ever growing crowd. It hadn’t taken them long to make an impact on Dallas. Their softer side was highlighted with the gorgeous “Someone Better (Move On)”, and then they returned to their high-energy self with “Lost You”, another beast of a song that was wrought with emotion. It left the new fans screaming, and Brittney thanked them for the response. “This is not our first time to Texas, but it is our first time to Dallas and the House of Blues.” she said, meaning that everyone here this night was witnessing a small piece of history. “I’ve also picked up on saying y’all. So if it sounds very Utah, I apologize.” she added, which prompted some more shouts of people who were happy she was using the Southern term (and it didn’t have much of a Utah accent to it.)

Their next number, “Chest”, was one of my favorites from the show, ‘cause it was just so damn catchy, and it made you want to move around. Something several people were doing. It ended with Brittney stretching her arms out to her sides; as if she were soaking in the love they were being shown.

Already, they had reached the end of the line, though Brittney pointed out this final song of their 22-minute long set might be one some the audience had heard before. A sea of phones suddenly arose, as members of the crowd wanted to capture part of “My Religion” via pictures and video. The track was ultra sultry, with a stage show to match it, with Brittney sauntering around the stage, singing the often repeated part of the chorus, “Your sex, my religion.”

They may not have had many fans when they pulled in to Dallas this day, but now, people were visibly upset that they were done. However, once Brittney again stated how much they were loving being here and promised they would get back to Dallas, the crowd was calmed slightly.

Perhaps it was because I had absolutely no clue what to expect from Oh, Be Clever. I didn’t know what they sounded like or anything, but they blew me away.

Their music and performance was often dripping with sex appeal, but it was executed in a elegant manner. Britneys’ voice was astounding, and easily one of the best I’ve heard, while her prowess as a frontwoman was also superior to most, and she had no trouble getting all eyes on her and keeping them there. As for Cory, he may have been fixed in front of the keys, but he really got into the music, banging his head about when he could and dancing at other times.

Let’s hope their return trip to Dallas happens sooner than later, ‘cause I know I’m not the only Dallasite who can’t wait to see Oh, Be Clever again.

You can find their singles in iTUNES, and while they don’t have any shows booked right now, keep an eye on their TOUR PAGE.