Hometown Sounds

Live Picks! with Tony Porreco

Who: Bethany and the Guitar / Young Summer / Owen Danoff

What: EP Release Show at IOTA

When: Friday May 3 / 8:30 p.m.

Song You Must Hear Today: “Trainwreck”

I first saw Bethany and the Guitar in the fall of 2011 at the annual H Street Festival in Northeast.  It was an accident.  I wasn’t really even into the local music scene at that point, that day I was just shoving barbecue into my face and killing time before Clap Your Hands Say Yeah! at the 9:30 Club that evening.  I don’t remember exactly what their lineup was, but I don’t really need to talk about their music: It was acoustic.  It was female-fronted.  A drum kit was eschewed in favor of a cajon.  There was some kind of short scale guitar involved.  (Maybe a baritone ukulele?)  All in all, it was kind of twee.

You read that word. And you might have rolled your eyes.  You might have gotten annoyed.  But hey, I like twee.  I like cute.  There was a sweetness to their act I wasn’t expecting to run into that day, and accordingly, I remembered them.

I’ve kept tabs on Bethany and the Guitar every now and again since then, just to make sure they still exist, and I was delighted to find when browsing IOTA’s calendar that they’re headlining an EP release show there this Friday.  It also turns out the new EP (entitled Songs for the Road) is already on Spotify.  (I was pleased to discover this so I didn’t have to hassle them for an advance copy in writing this piece.)

A review of their previous release, 2011’s Sparrow reveals that there are actually a couple different sides to Bethany and the Guitar.  There’s the previously described indie pop angle with its unusual percussion (e.g. steel drums, handclaps [SO MANY HANDCLAPS]), but also a pop-country angle that made up about half the album’s songs that I admittedly didn’t care for as much.

The new EP leans more toward more toward the latter, but this time around, the songs are stronger, and feature some really excellent arrangements and production. This is most evidenced by “Free”, which I could play for my tween Taylor Swift-obsessed cousin without objection, with the added bonus of being able to show her just how awesome fuzz bass is.

“Trainwreck”, the EP’s opener and standout track begins with a reverbed banjo.  Given Bethany and the Guitar’s both indie pop and country leanings, it’s sort of the perfect instrument for them to employ in some capacity, as it swings both ways, genre-wise.  The song features considerably more muscle and sheer momentum than previous offerings from the band, and includes some great piano and violin touches before the fantastic pop explosion at the 2:36 mark.

Perhaps my favorite element of are the wordless backup vocals that grace four of the EP’s five songs, with the only track without lacking being the out-of-leftfield cover of Passion Pit’s “Sleepyhead”, which transforms the tune into a cheery indie pop hoedown.

I am beyond excited for this show also on account of the bill’s supporting acts.  Young Summer’s “Fever Dream” might be my favorite track released by a DC artist so far in 2013 (sounds like Beach House after Victoria Legrand drank one too many cups of coffee), and I will conclude with some facts about opener Owen Danoff in list form:

(a.) His music is frequently charming (see “Never Been Kissed” from his 2013 The Strathmore Sessions).

(b.) We went to the same high school.

(c.) His dad Bill was in Starland Vocal Band (“Afternoon Delight”), and my bandmate took music classes from him at Georgetown University.

It’s gonna be a fun night; Imma see you there!

Live Picks! with Tony Porreco

Who: Black Hills, The Mean Season, Badknight

Where: Velvet Lounge

When: Friday April 26, 9 PM

Song You Must Hear Today:  “Quiet Ghosts”

I’m incredibly curious to see Black Hills live this Friday, and for so many reasons.  The outfit is the electro-pop project of audio production mastermind Aaron Estes, who sounds like a pretty interesting guy himself.  1. The dude teaches trapeze.  2.  He also one of the sound guys at the Black Cat, so I feel like I already have some kind of connection to the man, as he’s undoubtedly been responsible for the sound at dozens of shows I’ve been to at that venue over the years.

The project’s one EP, Black Gold, was released in October of 2011, and contains a scant four tracks.  That’s not a slam on the EP, as each song is of an immensely high caliber.  First cut “In My Dreams” sounds less like an album opener in that the listener is immediately dunked into the twirling interplay of cycling acoustic guitar arpeggios and chirping keyboard lines before Estes’ vocals make an abrupt entrance.  But the real fun begins at the 30 second mark when Estes turns on the synth-jacuzzi hot tub.  “Quiet Ghosts” has all the electronic squalls and jittery percussion sounds of late aughts-era Of Montreal.  Then there’s “Glass”, whose big beat/creepy-cool intro simply oozes cool.

I’m also excited to see how one guy’s bedroom project gets transformed into a live act, a la chillwave big boys Toro y Moi.  The act’s Facebook page lists 6 other musicians being involved in the live execution of Black Hills.  Now, I have no clue how many of those will be in tow on Friday, but Black Hills makes pretty layered music, so I doubt the extra manpower will go to waste.

In sum, everything I know about Black Hills leaves me feeling teased from afar.  I’m really looking forward to Friday’s show because (a.) I’ll get to hear at least a few new Black Hills songs and (b.) Estes’ development in the last year and half since Black Gold will be on display.

Last night, I almost let my curiosity get the best of me.  Almost.  A couple of weeks ago, Estes performed at The Hamilton as part of Brightest Young Things “DC Emerging Artists” showcase and someone shot some video of Black Hills’ set.  Intrigued, I clicked the play button.  An ad began to play before the video started, so I had a moment to consider the ramifications of what I was about to do.  Did I really want to eat from the Internet’s Tree of Knowledge, glimpse the future, and spoil my Friday night show experience?  NO.  I Xed the vid, and went back to my Buzzfeed photo reel of dogs being bad at hide-and-seek.

Note: Local three piece The Mean Season headlines the show this Friday.  They play contemplative, mellow female-fronted indie rock that’s quite tasty (I saw them in March), and their drum kit includes an empty Jameson bottle.

Live Picks! with Tony Porreco

Who: Alex Vans & The Hide Away

Where: The Dunes

When: Friday, April 12

Song You Must Hear Today: “Wait”

I first learned of Alex Vans and his band The Hide Away from a Facebook ad they purchased to promote one of their shows.  So hey, maybe those kinda work?  Anyway, I’ve spent a ton of time the last few days with DJ Booth, the full length Vans released in January, and there’s really a lot to love.

Let me unpack that a bit: According to Vans, one of the themes running through the album involves the routinely erratic nature of taste and pop culture.  On album opener “Good Enough”, Vans admits that this capriciousness is equally true of not only his audience but also himself when he divulges, “I wish I had a passion / I want to have beliefs / My obsessions that just change from week to week”.  This fickleness benefits both parties, as DJ Booth is full of enjoyable twists and turns.

“Good Enough” has all the strut and swagger of a good Spoon number, in addition to being dotted with scuzzy synths and bleep-bloops that lend the song a fun, futuristic sheen.  “Faith” begins with atmospheric solo electric guitar section before the mid-tempo track builds to include some very pretty piano, curious chord changes, and enormous percussion sounds.

Then there’s the single, “Chase the Night”, which is Vans’ stab at party time dance rock.  We actually featured the track a couple months ago when the group made the smart decision to release a music video to go along with the track.  To be honest, I’m really happy that we already covered “Chase the Night” as a news item so I can say a bit about what’s actually my favorite tune on the album, “Wait”.  An ode to the inner monologue of talking yourself out of approaching a pretty lady, the number is delightful alt country pop built on an ear wormy riff that’s pinged out first via cute glockenspiel, and then sung full voice by the gang.

Alex Vans & The Hide Away take the stage this Friday with Andrew Leahey & the Homestead (Richmond country) at The Dunes, which is located in the northern end of Columbia Heights.  If you haven’t been before, catching a show at The Dunes is another reason to make it out: Part art gallery, part performance space, its blonde hardwood floors and warm lighting provide an uncommonly sophisticated show-going experience.  Alex and Co. have been touring in support of DJ Booth extensively since the winter, so expect a seasoned band to deliver you a great set as they make a stop in their hometown.  I’ll be flying home from Portland this Friday, and I’m royally ticked I can’t be there.  So head out, get your groove on.  I’m not jealous at all.*

*Actually, I’m really jealous.  If someone will live stream the show, I’ll shell out for the in flight WiFi.  I’m not even kidding.

Live Picks!

with Tony Porreco

Who: The 27s

Where: Rock n’ Roll Hotel

When: Friday Feb. 8^th

Song You Must Hear Today: “Temporary Love”

For fans of classic 1980s power pop, listeners will do themselves a favor giving a listen to local quartet The 27s.  A reference to the age when a surprising number of rock legends (e.g. Cobain, Hendrix, Joplin) met untimely deaths, the band’s name speaks to the group’s awareness of rock n’ roll’s history and culture.  There’s a bit of irony here given that The 27s don’t feature the genre molding posturing of trendsetting rock icons.  You might even say that there’s nothing especially original about their sound, but that doesn’t bother me in the slightest.  Rather, their tracks possess an inviting sense of nostalgia.  Interestingly enough, this successful manufacturing of nostalgia is actually one of D.C. punk poobah Ian Svenonious’ (supernatural) strategies for making a rock n’ roll group, so they must be doing something right.

What sounds are we actually talking about here?  The 27s sound more than a little like The Replacements, and it’s awesome.  (I don’t think they’ll take too great offense at this, as the band’s ReverbNation page reads, “Sounds like: The Replacements”.)  With their bright, clean riffs and snake-y guitar leads, the group demonstrates themselves as keen students of ‘80s college rock.  The band has a five song release they recorded at Arlington’s Inner Ear Studios in the summer of 2011 with noted producer/owner Don Zientara that’s available to stream/download (for free!) on their ReverbNation.

By and large, the EP is filled with quick, sticky guitar pop and the gruff, sometimes muttered vocals of singer Adam Raley.  “Complicated” sports an instrumental break with a squirming guitar lead and especially deft playing from drummer Ahmad Asi, and the refrain of “On Again, Off Again” just blooms into sheer goodness.  The most compelling track of the bunch, however, is “Temporary Love”, which features a rousing, arena rock outro centered around the chorus’ repeated guitar hook.

Anyway, they’re headlining this Friday Feb. 8^th at the Rock n’ Roll Hotel on H Street.  Openers include The Courtesans (1 cup proto-punk, 1 cup straight-ahead rock, stirred) and Davey Brown (bluesy country punk), who are also both from D.C., making for a night of solid local music.  You should go.