Built to Spill

For the Week of July 26 through August 1st:

Wednesday July 28
Legowelt @ Brillobox (sponsored by Garfield Artworks)

Friday July 30
Bear Cub, Chad Stipes Stereo & Triggers @ Brillobox
The Triggers – Ready Or Not

Kaiser Cartel @ Schenley Plaza
Kaiser Cartel – Ready To Go

Sunday August 1
Built to Spill @ Mr. Small’s
Built to Spill – Goin’ Against Your Mind

Yo La Tengo @ Hartwood Acres
Yo La Tengo – Beanbag Chair

For the Week of July 19 – 25:

Tuesday, July 20
- The Flaming Lips & Fang Island @ The Amphitheater at Station Square

Flaming Lips – Worm Mountain

Fang Island – Daisy

Wednesday, July 21
- Rogue Wave @ Andy Warhol Museum

Rogue Wave – Solitary Gun

Thursday, July 22
- Hammer No More The Fingers @ Garfield Artworks

Hammer No More the Fingers – Nobody Knows

Friday, July 23
- Lightning Bolt @ Belvedere’s (sponsored by Garfield Artworks)

Lightning Bolt – Colossus

If you really think about it, the chances of any concert in a smaller club (like the Brillobox with its 150-250 capacity)  featuring three bands of consequence on the same bill are undeniably slim.  And while I understand “bands of consequence” is a subjective term, I feel safe in stating my opinion that the show Opus One Productions lined up for the Brillobox this coming Saturday is packed, literally packed, with talent.

Neon Indian (a.k.a. Alan Palomo – primary torchbearer for the whole chillwave movement whether he likes it or not) brings his national tour through Pittsburgh for the first time in his young career supported by the two extremely promising up and coming bands: Wild Nothing and Light Pollution, both of which have released their debut full-lengths in the past two weeks.

It’s an intriguging lineup considering Palomo is inching his way toward the indie mainstream (which included a stint as Jimmy Fallon’s lapdog for a hot minute), Wild Nothing’s debut album Gemini was recently anointed “Best New Music” status by Pitchfork a week ago and Light Pollution’s Apparitions dropped this past Tuesday supported by their fever dream of a video for their track “Drunk Kids” that’s been making the rounds on the interwebs since Monday.  What I’m trying to say is this: the show has a ton of well deserved hype surrounding it, and with the potential to kill from start to finish, I doubt it will disappoint. Tracks after the jump.

Palomo and his pseudonym Neon Indian have been riding waves of adoration since Psychic Chasams made scores of top ten lists for 2009.  ”Deadbeat Summer” along with Washed Out’s “Feel it All Around” basically set the template for the glo-fi genre: layers of analog synthesizers and drum machines, gauzy production and vocals, and so much 80′s nostalgia you had to brush it away from your face. “Deadbeat” in particular encapsulated the summer of 2009 with its opening synth line alone; a distorted, warped organ riff that sounds like a melted Erasure tape that’s been stuck in the dash of your mom’s Volvo since 1986.  His latest single “Sleep Paralysist” cleans up some of the murkier production methods, but still has the new wave/analog disco vibe stamped all over it.  Everything Palomo puts to tape can bump a dance floor, so let’s hope Brillo’s new black and white checkered tile on the second floor can take the punishment.

Neon Indian – Deadbeat Summer

Virginia natives Wild Nothing embrace the 80′s unabashedly as well, churning out stunningly beautiful melancholy new wave richer in atmosphere than contemporaries Pains of Being Pure at Heart but less austere than the dance heavy Cold Cave. Gemini’s heart and soul lies with  ”Chinatown,” a wistful but robust getaway song that is ripe with longing without being urgent, “we’re not happy till we’re running away,” lead singer Jack Tatum croons, “clouds in your eyes.” It’s more of a daydream than an actual escape, and the fleeting nature of that illusion is palpable.  ”Summer Holiday” is the album’s  rocker, propelled by noodling guitar lines and a wordless harmonized chorus. It’s the hardest thing on Gemini, sure, but by the time the last verse arrives with only a baseline, handclaps and gorgeous ”Oooh’s” in the background, you’re once again grasping at ephemeral clouds of vapor.

Wild Nothing – Chinatown

Last but not least, Chicago’s Light Pollution take all that hazy atmosphere of 80′s nostalgia and filter it through The Arcade Fire’s sense of theatrical statement, pushing aside the cloudy puffs of synth to charge forward with anthemic choruses and rousing percussion.  Apparitions’ side one, track one ”Good Feelings” does this exactly, beginning with an ambient interlude of  distant keyboards and spiraling acoustics before splashing down with base drum hits and crescendos of electric guitars.  The grandeur is sincere and earned rather than melodramatic, which is a refreshing change of pace from the current slew of new-new wave’s stifling insouciance.  ”Oh, Ivory” picks apart the mid-tempo new wave of the Cure’s Disintegration, opting again for a larger than life finale that delivers on it grand promise.

Light Pollution – Good Feelings

If you can’t tell already, I’m excited about this show.  And while I’m convinced Wild Nothing and Light Pollution will bring the goods, a headlining Neon Indian’s walloping drum machine smashes are poised to crush the whole damn thing.  Bring your dancing shoes for Saturday night, I swear you will need them.

Just as the post-holiday, winter doldrums, snowy-cold malaise begins to truly take hold, the exhilarating prospect of a new year worth of quality shows begins to materialize.  None more promising than the solid line up the Brillobox has ready for Saturday as Pitchfork darlings Bear in Heaven make a mid winter pit stop in the steel city along with orchestral pop manufacturers Freelance Whales, and local scene mainstays Mariage Blanc.

While there really isn’t a shortage of shows across the city, there does seem to be a shortage of quality national tours making there way through the northeast, mid-Atlantic, and rust-belt regions that would make Pittsburgh a target. Regardless, the next few months seem to be heating up concert wise (can you say St.Vincent at Diesel on the 21st of February), and Saturday’s show is a great place to start.  Tracks and write ups after the jump.

Bear in Heaven – Lovesick Teenagers

Bear In Heaven takes the spartan, marching synth lines of Krautrock and runs it through a contemporary indie-prog filter, formulating a sound that can shimmer with chemically enhanced harmonies while harboring nihilistic undertones.  The group’s latest Beast Rest Forth Mouth is a bit of an opus, cashing in on highlights like “Lovesick Teenagers” and the simmering coda “Casual Goodbye.” I’m expecting a lot, this concert has a chance to be epic even within the friendly confines of the Brillobox’s second floor. Sound tech guy, don’t let me down.

Freelance Whales – Generator ^ 2nd Floor

Freelance Whales are cut from an entirely different cloth, starting with their indie folk by way of world music, not unlike the sound that Devotchka became known for, incorporating harmoniums, banjos, glockenspiels, synthesizers and waterphones while crafting waltz-like compositions.  The Queens, NY natives have released their latest album Weathervanes online, with the physical LP coming on March 16.  “Generator ^ 2nd Floor” is a great example of the band’s strengths, especially lead singer Judah Dadone’s voice that has a youthful but cunning tone, polished and ready to impress.

Mariage Blanc – Contrary to Popular Belief

The crowd for the Jay Reatard/Kim Phuc show this past Monday night at the Brillobox was a little more, how should I say this, meaner than the usual mix of indie kids the Penn Avenue mainstay is used to. A large, enthusiastic crowd, sure, but they had a bit of an edge. It’s a welcome change of pace from some of the more precious crowds I have seen at shows lately.  I will say this  was probably the direct result of a local concert promoter (and by that I mean OPUS ONE) facilitating the perfect union between a local band and a national tour.

I don’t think any Pittsburgh band could even begin to approach the pure viciousness of a Kim Phuc live show and for all those who have seen Jay Reatard in concert already know how similar their musical philosophies are. Between Jay Reatard’s pocket rock opuses disguised as shotgun blasts of hardcore rage and Kim Phuc’s zombie Stooges swagger,  the show, simply put, did not fuck around.  It was a heaving sweaty mess of the loudest music ever to come out of the Brillobox’s monitors, deliriously beaming with something too many Pittsburgh bands seem to lack: attitude.

It was the second time I saw Kim Phuc at the Brillobox, the first being their opening gig this summer for The Obits and…(sigh)… can I admit something? Kim Phuc scare the living shit out of me. Their bassist is like eight feet tall and basically pummels anything in his path using one of the heaviest, most distorted bass lines I have ever heard.

Lead singer Rob Headfield usually divides his concert presence between stalking through the crowd like a pissed off bulldog, slowly climbing the 10 foot speaker stack, and wrapping his shining paw around that kitchy little chandelier right above the stage (that detail was from the first Kim Phuc show this summer, this time around the chandelier was conspicuously absent).

The maliciously loud three minute riot that is “Wormwood Star” closed the show and rattled my insides without discretion. As the song ended, I was grinning like an idiot, trying trying to remember the last time I felt my ribcage vibrate that violently.

Jay Reatard is a freak of nature.  He music embodies an arena-rock level virtuosity crammed into a 1:30 jerk-off punk blasts.  Watching the full frenzy of his live show, I finally realized how tight his compositions were : stop and starts on a dime, insanely precise guitar solos, three-part harmonies, the guy does it all.  Even after his entire backing band quit on him a month ago, his new group hasn’t seemed to miss a beat.

The jarring, faster than light combo of “Blood Visions” and “It’s So Easy” opened the show as Jay kept his trademark of launching into the next song milliseconds after the previous had concluded.  A transition that was handled with no more than a ‘”It’s So Easy” Let’s go!” shout ushering in the next track.  Watch Me Fall standouts “It Ain’t Gonna Save Me” and “I’m Watching You” came to life with striking passion, the latter of which actually resembles a thrashing Irish Pub anthem that wouldn’t be out of place at a drunken Dublin wake.

Jay’s confrontational streak, something that has made headlines on numerous occasions, made an appearance as he hurled a couple insults at a slightly over zealous member of the front row, even dedicating the next song as a “fuck you” to the guilty party.

I began to think about the entire show in general, and how the communal aspect of a concert might be an overrated experience.  Is it more exciting to be in an adversarial position to the performer? I can’t say.  I will say that this show had balls. It was threatening, edgy and confrontational, but also exhilarating and impassioned. Jay Reatard and Kim Phuc weren’t afraid to piss people off and blow them away simultaneously.  Isn’t that what rock and roll is all about?

Jay Reatard – It Ain’t Gonna Save Me

Jay Reatard – I’m Watching You

Kim Phuc – Wormwood Star

Upstart Pittsburgh indie dance swingers Big Hurry plan to release their first EP Silver Screens this Saturday at the Brillobox along with local rock stalwarts Landline and Casino Bulldogs.  I’ll monitor my hyperbole for the rest of the article, but I can’t help mentioning I’ve been waiting for new tracks from Kelly Tobias and co. since their live show way back in February.

And with “Paper Trails” Big Hurry may have released their most accomplished production yet.  The track showcases a tumbling, slow motion percussion section, cascading guitars and Tobias’ trademark croon flooding in from various angles.  Similar to “Tell Me” from the group’s Myspace page, “Paper Trails”‘ tempo is set in a lower gear, a bouncy throb climbing toward a heavy conclusion.  Lust and intrigue, as usual, are present and smoldering, but the atmosphere is sagacious rather than sinister, with the chorus soaring into the stratosphere.

I think a casual observer of speed of the pittsburgh sound could argue that Big Hurry gets a fair amount of ink and I won’t deny it.  I often trumpet the importance of witnessing local bands settle into their blatant musical talents and Big Hurry are doing just that with grace and potency.  Can’t wait to hear the rest of the EP.  And as for you Pittsburgh, start paying attention.

Big Hurry – Paper Trails

Ball of Flame Shoots Fire's Jess Tambelini and Peter Henry

Kind of an interesting pair, I’ll admit.  While Luke Temple’s pseudonymical, lo-fi indie folk project, Here We Go Magic, presents quite a counterpoint to the bombastic sprawl of Ball of Flame Shoot Fire’s latest opus, Jokeland, the convergance of the groups’ styles is definitely a welcome experiment.  I’m already imagining the benefits of charged up Lawrenceville crowd, still beaming from the operatic grandeur of Ball of Flame in full swing, treated to a smoldering set by Temple and Co., which will probably feel more like a somber bedroom recording session than a full on rock show (that’s a compliment). As a fairly consistent showgoer, I can’t imagine a better combination:  grand, epic sweep meets intimate, fragile beauty.

Luckily, Ball of Flame have gotten back into the thick of the Pittsburgh scene with more than a few shows around the area, and with the band finally all together for the first time in months, expect no time to be wasted. With a couple choice opening slots (Wednesday’s show, and the Yeasayer bill with Ponytail at Mr. Small’s later this summer) the band gets a chance to flex Jokeland, an album almost screaming for a victory lap around town after hibernating in iTunes libraries since the CD release show back in January.

BOFSF with Here We Go Magic on Wednesday at the Brillobox along with Camera Obscura at Mr. Smalls tonight  makes these few days leading up to the fourth of July weekend all the more explosive. “Any thing is possssible.”

Thanks to HughshowsRedux for the quality picture.

Here We Go Magic – Tunnelvision

Ball of Flame Shoot Fire – Wishthroat

In a time when Pittsburgh’s conscious and responsible neighborhood development is a top priority for city officials, local non-profits and communities themselves, its nice to get some reinforcement that Pittsburgh is blazing an important new path amidst such economic blight. Along with John Fetterman, progressive mayor of Braddock, PA, just getting a ginormous profile in Rolling Stone, the Brillobox is getting some recognition it rightfully deserves.

Article link:

http://www.nytimes.com/indexes/2009/05/17/style/t/index.html#pagewanted=0&pageName=17epicw&

What was so special about seeing The Headlights, touring mates The Love Language and local power poppers The Triggers at the Brillobox last Sunday night was that the restlessness from weeks on the road pitched the show into a kind of euphoric fervor. With The Triggers aside (not because their show was subpar, far from it, but because they were exempt from the grueling tour schedule) The Headlights and The Love Language looked like they were made to play on the same bill, over lapping each others sets by bringing up band members on stage and incorporating a house party intimacy.

With a night that brought dreary rain after a weekend of exuberant, summer like weather, the crowd was not sparse, but smaller compared to more packed nights at the Brillobox, affording almost everyone in the room to get as close as they wanted to the stage.

The Triggers put on their usual sensational set, pumping out tightly wound cuts from their latest album, Smoke Show, with an energy few opening acts could replicate. I saw them at the Westiminster Coffee House in Mt. Lebanon last summer, a homecoming of sorts as they were playing a free show, and both sets throbbed with an infectious bounce that had both crowds tapping and dancing along. In terms of how a local act should perform in front of a national tour, this should be the gold standard.

Stuart McLamb, lead singer and songwriter of The Love Language,  recorded most of the group’s self titled debut album by himself.   He managed to put his seven piece band together, comprised of family, friends and musical acquaintances from Raleigh and Chapel Hill, NC,  just two weeks before playing their first show, but, during this performance, the seams were all but invisible.

The most telling moment of the group’s chemistry came in the enduring, a capella harmonization for the first moments of  “Manteo,” which brought the entire venue to a quiet halt before breaking into a sandy waltz of eclectic percussion and subdued organs.  The barn burning pace of “Lalita” saw keyboardist Missy Thangs shuffle into the crowd with a tambourine, joyously skipping back to the stage to join Stuart’s brother, Jordan, for the earth shattering chorus.  The Love Language put on a set similar to a basement show, with band members just happy to be jamming along side one another, swigging beers and smiling, dancing and shaking their heads.

The Headlights built off this generous atmosphere by stomping along with a heavy beat, and bringing out some seriously gorgeous songs from their latest album, Some Racing, Some Stopping. The most gorgeous of which is “Cherry Tulips,” the softly sweet ballad which brilliantly showcases keyboardist Erin Fein’s delicate vocals.  I didn’t realize how intently I was watching her sing until a friend of mine causually pointed out, “dude, I saw your heart breaking when she ended that song.”  I’ll confess, I was lost in the moment, cheesing on some serious sentiment and melodrama, but I am more than okay with that.

“Market Girl” pounced along untill the entire room was shimmying to some cruising guitars, and of course, a highly overactive tambourine.  Various members of The Love Language slowly sauntered on stage through out the set, setting up shop in different corners of the stage, some grabbing a piece of their disassembled drum set to keep the collective rhythm section loud.

Talking to Headlight’s guitarist Tristan after the show, he admitted how much the two bands enjoyed touring together, even after only two weeks, and it was obviously apparent.  They enjoyed playing music together, simple as that.  It was well worth the price of admission to see two bands with some palpable happiness getting on stage together and loving every minute of it.

Headlights – Market Girl

Headlights – Cherry Tulips

The Love Language – Manteo

The Love Language – Lalita

The Triggers – Ready or Not

This image obviously always asserts “sex” whether it’s plastered on an album cover, cut up into nano seconds for a music video or put on grand display in concert.  The perception of fleeting desire is extremely easy to nail, the sound of fleeting desire, however, is an entirely different beast.

Pittsburgh band Big Hurry have managed to bottle up the reverberating vibes of  temptation and cram it into a mysterious and exciting package.  Syrupy bass lines, drums black as tar and a glittering vein of synth run through their songs with a slow and engulfing fury. 

Their sumptuous sound fell across the Brillobox’s second floor last Wednesday night like ink spreading out over cloth as lead singer Kelly Tobias’ voice changed gears on dime.  With every verse, Tobias seemed to be giving the audience a tour of her range, traversing the scales with ease, hitting notes higher than expected and returning gracefully to the ground.  Throw in guitars that hustled with a swagger worthy of The Rapture’s Echoes and you have quite the simmering pot of intrigue.

“Save your breath for my mouth and stop all those bitter words,” Tobias sang on the dance floor burner “Save Your Breath” which oozed with a type of seduction that is so frequently and easily feigned.  But even as this lush moment of intimacy is realized, Tobias allows it (she is calling the shots by the way) to evaporate like steam, “remember this one night she said, our lies sting and burn.”

The raging tantrum of “Found Out” began with drums being plumbed from the depths of reverb, only to snap into clarity with a Zeppelin like menace.  Its beat is slower than “Save Your Breath” but has more purpose, with churning guitars and bass mutating into a hypnotic march.  Both songs howl, scratch and groove, leaving little room for contemplation or rational thought.  This music intuits the patterns of passion, celebrating impulse as cathartic release. This is not the illusion of seduction, it is the document.

You can’t help but appreciate how Big Hurry allow pleasure and pain to coexist so closely within their songs, knowing very well that temptation is best when its unstable, prone to smokey disappearing acts on a nightly basis.  It was exhilarating to hear this kind of hotness remain potent even after their show had ended.  Between “Save Your Breath” and the absolute stomping glory of  “Found Out,” Big Hurry have carved out a sound that  vibrates at the frequencies of desire, tapping the listener to remember those things they know they shouldn’t want, but crave nonetheless.  They have now left me intrigued as to where they will go from here, I will be eagerly awaiting their next move, anxious to see if they can keep the heat cranked up over the course of an entire album.

Big Hurry – Save Your Breath

Big Hurry – Found Out