Rock

Live Review: The Beards at Bodega, Wellington

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The Beards

Bodega, Wellington

Friday 15 April 2016

The Beards are a novelty rock act from Adelaide who sing about facial hair. They are both funny and musically interesting, making them comparable to other bands like Tenacious D and Flight of the Conchords. One difference though, is that The Beards only have one joke, and that joke is that every song is about beards. Only beards. Beards, beards, beards. Somehow they’ve managed to stretch that joke across four albums and 11 years of playing together as a band.

You’ll think that they’re either idiots or geniuses, depending upon your stance on beards. They sure are dedicated to their theme, but the joke could get tired quickly if you’re not into it. I think they do brilliantly to keep the same joke fresh and varied, and there is no denying that they play well and put on an entertaining show.

For their first set they treated us to a “classy” semi-acoustic performance, dressed in formal wear and perched on stools at the front of the stage. It wasn’t full throttle, but this didn’t stop the crowd singing along at full volume. The highlight of this set was “The Beard Accessory Store”, partly because of its rousing nature, and partly because the lyrics were so repetitive that anyone who wasn’t familiar with the band was able to join in the singalong after a few lines. Another treat was a cover of ZZ Top’s “Sharp Dressed Man”, because obviously if The Beards were to cover any other band, it’d have to be ZZ Top – the band with the two best beards in rock, and to top that: a drummer named Frank Beard.

The second set was more energetic, with the full rock band set up. They may be a comedy act, but the members of the band can still play well. There were vocal harmonies and guitar solos aplenty. Some less conventional instruments like keytar and kazoo made appearances, and even saxophone got added to the mix fairly often.

I saw The Beards play at Bodega last time they played in Wellington, and had wondered if it was just going to be a repeat of last time. Thankfully, the banter between sets seemed spontaneous, unlike last time, which was funny, but clearly rehearsed. They introduced a new segment called “Beard Facts”, complete with a jingle that the band had composed during sound check that day. The band immersed themselves in their onstage personas, using the pseudonyms Johann Beardraven, John Beardman Jr, Nathaniel Beard, Facey McStubblington. They encouraged the audience to stroke their beards, and even invited especially hairy member onstage to be presented with a prize of signed posters of the band (in various stage of undress).

Most of the crowd were in on the joke. I guess anyone who didn’t get it would have left fairly quickly. There were many burly men with fine facial foliage, and some of the girls in attendance had crafted fake beards out of wool, so kudos to them for effort. One man with long dreadlocks had tied them across his face to feign a beard, and a few guys sported some costume style fake beards.

Disappointingly, both the merch guy and the stage hand were clean-shaven. But the band explained themselves: “We couldn’t have bearded men serving us! That wouldn’t be right! But it’s fine to have someone who shaves doing the manual labour!” Members of the crowd kept buying rounds of tequila for the band. When that got to much for them, they gave a shot to their roadie, before promptly “firing” him for drinking on the job.

The Beards are a polarising band. You’ll either think that they are incredibly lame, or incredibly good. I side with the latter opinion. Rousing rock songs, sensational solos, brilliant banter and a funny material all combine to make one hell of an entertaining night. It’s amazing that the band managed to last 11 years when so few people took them serious, and I applaud them for ending on such a high.

Throw away your razor and make sure to go and see The Beards play on their final tour if you get a chance.

 

Set list from the second set

Joseph James

Album Review: Tancred – Out Of The Garden

Tancred Out Of The Garden
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Kooky, folky and poppy: Now, Now is a delightful listen, somehow being both calm and upbeat in one. Take the cute and quirky Kimya Dawson and add a shoegaze feel and you may land on something similar sounding. Odd drone bits and some deadpan singing create an indie feel that simultaneously offsets and complements the powerpop songs.

Jess Abbott is one third of Now, Now, sharing duties as guitarist and singer. This review is about her side project, Tancred. Out Of The Garden is the follow up to 2011’s Capes and 2013’s self-titled album.

Despite being the third full studio Tancred album, this is the first that feels fully formed and cohesive. It was written over a two year period outside of Now, Now’s touring schedule, when Abbott found alternative work at a liquor shop in a rough part of town. Abbott used the writing process to make sense of her feelings, at first feeling vulnerable, and then defiant as she walked home alone at night in less desirable areas.

Abbott hired two producers for this album, the first being That Dog vocalist/guitarist Anna Waronker – whose influence is unmistakable. The second producer is OFF! bassist Steven McDonald. I saw OFF! open for the Red Hot Chili Peppers several years ago, and I’d wager that they are as close to a modern day Black Flag as you’re going to find. For her band, Abbott recruited Walking Oceans sticksman Terrence Vitali to lay down beats, and Terrence Vitali to round out the trio on bass. Between them, these five capable musicians have enough attitude, skills and experience to make one very exciting record. (They all have vocal parts on the album as well).

The crunchy guitar riff hook that starts off album opener “Bed Case” foreshadows a fun listen ahead. The distorted guitar – coupled with the catchy hand clap styled chorus – makes for a perfect pop number.

 

I must say that the album seems a bit formulaic. And although somewhat predictable, don’t confuse formulaic for bad. The structure seems to involve lots of palm-muted strumming to build tension, before launching into a chorus that reminds you why Tancred is so worth listening to. Next we hear plenty a guitar solo in the bridge that dies down just before a triumphant end chorus.

This is not to say it all sounds the same. Trashy drum tones and aggressive grungy distortion give attack and attitude to an otherwise quite sweet sound. “Hang Me” stands out from the rest of the album, with a stripped back melancholy feel, with “Sell My Head” bringing the mood back up at ripping pace with a cutesy disjointed guitar solo. I also love how “Pretty Girls” channels the same sound as the rest of the album, but seems stripped back, with acoustic sounding bass, and drumsticks tapping on drum rims in a linear pattern.

 

Tancred by-Chloe-AftelLyrically, Abbott sounds unsure of herself and where she fits in, with lines like “I’ll just never be cool/ I’ll never be one of you”, and “I would kill to be one of the boys”. However she certainly sounds bolder, with more exciting playing, and stronger vocals than I’ve heard from her previously, verging on showing off with plenty of gorgeous “ooh’s” and “ahh’s”. It’s a bit of a dichotomy, with self-assured music disguising underlying insecurities. It is as Abbott says, “sugary, but when listening closely, unsettling.”

Out Of The Garden is a tale of finding confidence, or at the very least, projecting it. Abbott selected some great collaborators to help her create this record, and this is her best work to date. Go ahead and listen to Tancred, and you’ll be rewarded with half an hour of deliciously fun indie powerpop.

Album Review: Into It. Over It. – Standards

Into It Over It Standards
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How does one describe Into It. Over It? Sometimes a solo folksy singer-songwriter, sometimes rocking pop-punk band. Always kooky. And the “E” word gets thrown around a lot. Does “really good” suffice for an accurate description?

Into It. Over It. is Evan Weiss, in the same sense that Nine Inch Nails is Trent Reznor. Weiss is extremely prolific, having released countless compilations and splits around his IIOI studio albums, as well as playing in a number of other projects (Stay Ahead of The Weather, Their/They’re/There, Pet Symmetry). He usually rocks the stereotypical folksy/hipster combo of a beard, thick glasses, and checked shirt, and most of his lyrics are introspective and poetic. And did I mention that his music is great?

I first heard IIOI featured in split EPs alongside the likes of Such Gold and Koji, and on a Fake Problems tour sampler. Later I fell in love with the adorable Daytrotter sessions. Discovering Weiss was so rewarding, because there were so many avenues to explore. One project, 52 Weeks contained a whopping 52 songs, written at the rate of one per week for an entire year. And all of the music is so diverse, yet irresistible.

Despite being so incredibly prolific, Standards is only the third full studio IIOI album. The first, Proper (2011), was lovably addictive upbeat pop-punk. Follow up album Intersections (2013) was less accessible, partly because Weiss chose not to include choruses when he wrote the album. And Standards? Read on to find out.

into It Over It Even Weiss The Rev Melbourne

Look back through Weiss’ previous work, and you’ll notice that he is a man obsessed with location and environment. Many of his songs are named after places and towns. It is interesting then, that for this album he choose to go to the middle of nowhere in Vermont. Isolated in a cabin in the woods with drummer and collaborator Josh Sparks, surrounded by snow and little else, they had no choice but to write.

We are introduced through “Open Casket”, with lightly picked guitar and xylophone, but become antiquated with the energetic IIOI sound in second track “Closing Argument”, which brings in the attitude in the second verse.

Lead single “No EQ” centres around a mantra that reminds me of a doorbell my parents had when I was a child. The drumming is frantic and busy, while Weiss sings calmly in the verses, with more urgency in the chorus. Sparks’ style of urgent, hurried drumming is noticeable in a number of songs on the album “Vis Major” sounds straight up punk, with added flourishes of complexity, and “Adult Contempt” follows suit with highlights on cymbal bells and plenty of wash. “Bible Black” also standouts as a drumming track due to the odd trashy percussion that punctuates the song with attention grabbing tones.

Tracks four and five signal a slump in the album . The slow burning “Your Lasting Image” seems to drag for almost 5minutes, full of swirling swells and echoing accents. Weiss sadly sings “I can’t remember your touch”. The dreamy hazy music runs seamlessly into “Old Lace and Ivory”, which keeps the mood low, but sounds more hopeful than forlorn. There’s a lovely extended bridge of guitar picking over simple drumming, slowly building up and gaining fuzz to lead us back into the more energetic songs on the album.

“Who You Are ≠ Where You Are” has a delightful bouncing riff that stops abruptly while a hi-hat beat dances merrily in the background. For a man touted as the figurehead of the new wave of emo, this album sure sounds upbeat. He does show versatility though. Weiss rates “Anesthetic” as one of his proudest moments. It’s another soothing slow-burner, rich in atmosphere and layered with distant vocal tracks.

This is truly an album, not just a handpicked selection of songs. You can tell by how the transitions between tracks sound so flawless. Weiss commented on a recent Reddit AMA that he had been inspired by “mostly instrumental ambient stuff when it came to most of the textures. brian eno. harold budd. yes. michael hedges. 60’s prestige and blue note stuff.” You hear the fuzzy tones, odd percussion, quirky doorbell riffs. You hear distorted acoustic guitar, moog synthesisers, and a range of effect pedals – weird sounds, textures and tones that all add to the appeal and make the album cohesive. There’s also a lively feel that could be attributed to the less-than-perfect analogue method of recording the album, at the insistence of  producer John Vanderslice.

With Standards, Into It. Over It. still defy clear genre definition, with the tender songs full of folksy finger picking somehow fitting seamlessly next to punk belters.

Urgent. Intimate. Upbeat. Quirky. Perfect. Evan Weiss, the emo revival figurehead, went reclusive with his drummer and together they churned out some of their best work to date.

 

Joseph James

Interview: Jim Lockey of Solemn Sun

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Solemn Sun Jim Lockey (4)Solemn Sun are a fairly new band, reincarnated from their previous project Jim Lockey and the Solemn Suns. I was thoroughly impressed by their 2014 debut EP, § [here’s my review] and have eagerly waited for new material ever since.

Now the wait is over. Solemn Sun have just dropped their new single, “Bloom”, an outing that shows a different side to the band. I tried to set up an interview, and despite being busy on tour with Crooks, frontman Jim Lockey found time to answer some of my questions.

Will Not Fade: Tell me about the decision to change your band name and sound?

Jim Lockey: We’d reached the end of where we could take the old band and we wanted to explore new avenues and new artistic freedoms that aren’t achievable when you’ve built a reputation that precedes you. I think we could have carried on making records like the old band but it would have been forced and false, we’ve never been about that. We need to believe 100% in what we’re doing, we love to create and constantly evolve as a band which is why we moved forward as §.

I live on the other side of the world, so have been unable to attend any shows that you’ve played in the past few years. I’ve read that you no longer play material from your previous era. So how do you manage to fill in a set when your recent release has just over 20 minutes worth of music? I can see that being enough for an opening set or festival slot, but what about your headlining tours?

We have more material than that of the EP. Things that we’ve been working on for some time now. Despite keeping a section of our previous name this is an entirely new project, it shifts between so many styles from song to song we have the opportunity to play anything we want as part of the set, this tends to include interludes of stand alone instrumental pieces as well as songs from the EP and new material.

What kinds of feedback have you been getting from old fans who liked your folky sound?

We’ve had a huge amount of support and its continuing to grow . I think if you were interested in our band before because of how that album sounded you’d feel a little out of touch with where we are now.

There was a lot of squealing guitar feedback on the last EP. Can we expect more of the same guitar heavy approach on the new release, or is it going to be more electronic sounding like on “Bloom”?

Its quite honestly shaping up to be an equal mix of both sides to our sound. We’re not too concerned with staying rooted in a particular genre for this band we just make music and if its good we put it out.

Tell me more about the new album. I’ve been following your Facebook posts, and it looks like you’ve had something in the works since at least April last year.

We’ve been solidly working on new material since the last EP. We’re very selective about the ones that make it out though and we’re In no rush to produce a full length record until its ready and we’re proud of how its shaped up. You can certainly expect drops of new music throughout this year that will hint towards where we’re headed.

Have you been trying anything new in the studio?

We like to not be your average guitar band and that’s certainly reflected in the way we produce our records. Taking a lot of influence from hip hop we use a lot of organic samples, looping and editing to give it texture as well as sound. Production can take a song in so many directions so we focus on it as much as we do writing the song.

From what I can tell, Xtra Mile are a great indie label who look after their artists. What prompted you to start istartedthefire? I assume your last EP was independently distributed, because I cannot find any info about record labels on it.

Istartedthefire was born out my want to support a number of artists that I really loved and thought weren’t been given the attention they deserved. Unfortunately the label has taken a back seat in recent years to focus on my own projects but I hope to bring it back soon with a fresh bunch of records. The Solemn Sun EP was self released and not part of ISTF.  We’re going to continue down that path until we find someone who shares our vision for the future of the band, it gives us more control over it and means we can invest more in what we’re putting out.

How do you allocate your time between the band, the label, family, work etc…?

We all work extremely hard day to day so its difficult to juggle everything all the time and still make time for the band, we’re committed to it though and use any opportunity to write new stuff and plan ahead. Its calmer now working to our own timelines, so while we’re slower to release new music than full time bands we’re fully invested in what we make and have a stronger sense of achievement that we built it ourselves.

Solemn Sun Jim Lockey (2)

You started a label to support artists that deserve more attention. Here’s your chance to plug an underrated artist that readers need to hear. 

There’s almost too many to name so I’ll choose Andy Oliveri, he’s a an amazing musician who released stuff on istf in the past. He’s been writing and recording new material for his 2nd album and its truly mind blowing, though its not planned for release until the end of the year there’s wonderful shades of early Radiohead in there that are great.

Your videos and press photos are all stark black and white grey scale. Even my vinyl copy of the latest record is a gorgeous grey/white/black splatter. How far does this black/white aesthetic extend? (Stage backdrops, instrument colours, the clothing you wear, merch etc?)

Its all black and white. Everything. It not only fits our music but it’s a good visual representation of our sound too, black and white, light and dark, mellow and heavy.

Jim Lockey Solemn Sun LP Turntable Record
Speaking of the vinyl record, the inside sleeve bears striking resemblance to Deafheaven’s Sunbather album. Is this deliberate or coincidental?

We laid our logo out that way for the inner of the EP. We hate the idea of ripping someones creativity off for your own gain so I can assure you this was an unfortunate coincidence. The logo and icon were designed by a good friend of ours who based the concept on the idea of light and dark and the casting of shadows.

You have been able to tour with some incredible bands, and even played at the Olympic opening ceremony. What are your career highlights to date?

With this band, the highlight was releasing our first EP – for all we had to give up to pursue our new direction, and the time and effort we put into making it what it was.

Who is on your wish-list of artists that you’d like to tour or collaborate with?

I think we’d most like to be given the opportunity to play with bands that reflect each side of our influences, to have the chance to play in front of fans that don’t usually see guitar bands and rock fans that don’t listen to hip hop usually would be great. Collaboration wise it would be the same deal, we feel we can take this anywhere so if there is a chance to release songs with rappers and singers from other bands we’ll take it.

What are your upcoming plans?

Currently we’re working on new material for our next release and will be touring the UK before the end of the year, with a view to return to the EU next spring.

 

 

Solemn Sun are currently touring the UK supporting Crooks.

Solemn Sun:     Bandcamp        Facebook        Instagram         Twitter

 

Joseph James

 

Live Review – Thundercat at San Fran, Wellington

Thundercat San Fran Wellington
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Thundercat

w/ Orchestra of Spheres and Thanks

San Francisco Bathhouse, Wellington

Wednesday 3 February 2016

Thundercat is the stage name of virtuoso Stephen Bruner, most famously known for his work playing bass with acts such as Kendrick Lamar, Flying Lotus, Suicidal Tendancies and The Red Hot Chili Peppers. None of these are acts that I listen to often, including Bruner’s own music,  but I knew that it would be foolish to miss this show. Why? Because Thundercat has a reputation for being insanely good at playing the bass guitar, and with that much talent, the show promised to be good regardless of what he played.

Thundercat songs are smooth, soulful R&B styled tunes sung in falsetto. Bruner played his six string bass like a guitar, eliciting mellow tones that juxtaposed beautifully against his high singing voice. Jazzy, bluesy, and eccentric all in one, the vibrant fusion songs pulsated and writhed as the three musos onstage played off each other. They would coast along nicely, before breaking loose into chaotic tangents and solos that showcased the talents of the trio playing.

Thundercat San Fran Wellington, Ben Stewart Photography (2)

Image: Ben Stewart Photography

Bruner was at home on stage. He wore an unassuming black tshirt and pants, with a red five panel hat showing a Japanese flag on his head, and white Birkenstock sandals and long grey socks on his feet. He would approach the mic for banter, pause, and just giggle to himself before gaining composure to say something. He discussed the merits of drinking water, having recently sworn off alcohol. He also dedicated a song to Peter Jackson, commenting on the Lord of The Rings installations he had seen at Wellington Airport. “What would you do if you actually saw an eagle that big?” he asked, before giggling and answering himself: “Die. Just die”.

He would hunch his shoulders forward and grimace with his eyes closed as he played. Hands like thick legged spiders scurried up and down his fretboard with finesse, churning out the groovy dancing melodies. He usually either bobbed up and down on the spot, or did a stationary strut, like a cocky rooster nodding it’s neck back and forward.

Thundercat San Fran Wellington, Ben Stewart Photography (1)

Image: Ben Stewart Photography

Like Mitch Mitchell (of Jimi Hendrix fame), drummer Justin Brown not only held his own, but sometimes overshadowed his frontman. Having two snare drums allowed him to play both open handed and cross handed with ease, not that having just the one snare would have slowed him down at all. He coloured the sound with lightning quick fills and busy ghost notes, tirelessly playing with unmatchable energy and talent. The one slip-up I noticed was met with applause, as he lost grip of his drumstick and dropped it, only to pick up a spare and continue without missing a beat. As a drummer myself, I rate Brown as one of the most impressive drummers I’ve seen live, on par with The Mars Volta’s Thomas Pridgen.

Dennis Hamm rounded out the sound on the keys, giving more treble to a mix dominated by low-end. His spacey effects added to the swirly cosmic sound. The three were clearly well rehearsed, but you could tell that they had flexibility in their playing, because now and again Brown or Hamm would play something that sent Bruner into small fits of laughter over how monstrously talented they were.

Thundercat San Fran Wellington, Ben Stewart Photography (3)

Image: Ben Stewart Photography

 

I attended the sold-out show expecting to be impressed by some slick playing. Well, I got that in spades. Awe-inspiring, mind-blowing – choose a hyperbole and it probably applies. I expected to see a world class musician show me his skills. Not only did I get that, but he had a world class drummer and keyboard player to match.

Joseph James

 

Thanks to Ben Stewart Photography for supplying the photos. Go ahead and like his Facebook  page to see more.

The above video was uploaded by In The Nick Of The Rhyme, another new Wellington  based music site. As you can see, Thundercat kept punters happy by playing some Kendrick Lamar and Flying Lotus material.