Tuesday, November 24, 2015

New Music: Beekeepers / Deadbeat Beat

Beekeepers II Album Release Party
Saturday, Nov 27
Kelly’s Bar (2403 Holbrook St, Hamtramck)
featuring Deadbeat Beatand Sros Lords$5

First, some thoughts on the Beekeepers latest: Beekeepers II
“What are these thoughts? Where are they coming from…?”

That saxophone comes in with that organ and I’m already feeling haunted. Nightmare jazz a-go-go and circus rock groove… The Beekeepers II

I’ve said it aloud, once or twice, that I relish the opportunity to write about the Beekeepers music.
The local quintet has been conjuring sublime pop storms and a strange breed of punk-twisted Tin Pan Alley standards for more than seven years now. Now, it’s typically not a fun task to attempt “writing about music” because it’s not only a futile effort to elucidate, in words, just how an instrument, whether keys, drums or strings, can swell in such a way with its eerily bent tone to match the more honeyed hum of a human’s voice… Or, worse, the music you are trying to write about lacks depth or liveliness…

Not with the Beekeepers, however. Depth? It’s a never ending rabbit hole, a never ending, ever-winding swirly slide…Liveliness? The Beekeepers evoke a sense of disorientation akin to stumbling onto the stage in the middle of an off-Broadway musical, a basement production lit by strobe lights with backdrops redolent with fresh latex paint, and you’re dodging elaborate cardboard set pieces and actors dressed as trucks pantomiming motorboat-sounding engine noises… At least, that’s what I see when I hear this  music…

If I haven’t yet gotten the point across, the Beekeepers spark a stimulating strangeness; the imagination of this music is marvelous…with meandering lyrics teasing and tip-toeing around rambling saxophones and shuffling jazz percussions, a spacey, soulful organ and a guttural punk guitar. The melodies match the melodrama and gravitas of supernatural operas and Tolkien-esque odes. Danny Elfman and Tangerine Dream and Low might each love a song like “Distant Lands,” while Mark E. Smith and Ornette Coleman and Mark Mothersbaugh would love a song like “Normal Dressed Man.”

There’s theatricality in each note, be it the wobbling wail of the organ, the excitable mustering of those drum fills, or the dynamic emoting of those vocals. And the time signatures shift whenever they damn well please; from a steady shuffling beat, to a sharply hooked refrain, to an inebriated-sounding slithery spill…. And then you have a song like “Billboards,” with its free-for-all bridge, inviting each player to improvise whatever kind of mischievous noise they can meld onto the piece.

But then there are true ballads here, too… like “Evil Is Real,” a poignant and unsettling show-stopper with a vocal delivery that almost demands a single spotlight for that vital 3rd Act Opener… Is this a musical? The pianos settle like dust after an explosion, the bass groans like a toad and the drums are so mindful of when to patter and when to pummel… Is this the soundtrack to a hallucinogenic dream you’ve been trying to piece back together?

Wait… Is that a hip-hop beat on the closing track? Is he actually just singing about gum that got stuck to his carpet? WHO…? WHO ARE the Beekeepers?

And why do they keep making music that drives me delightfully delirious?

Listen: http://bzzbzbzzzbzz.bandcamp.com/


And then some thoughts on Deadbeat Beat’s latest: Only Time Will Tell

“Everybody’s….everything’s happening fast / and everybody’s talking loud…”

Alex Glendenning and Maria Nuccilli started making some indie-tinged power-pop together way back in 2007 as The Decks. And it probably embarrasses them for me to bring that up, since they’re demonstrating a lot of progression (and mastery of a delicate discordance) with Deadbeat Beat…But the roots that they laid down with The Decks, a swaggering kind of Kinksian tear into garage and bubblegum pop with a bit of noise-pop and surf-boogie, have blossomed with the thorny sweetness of Only Time Will Tell. It’s way too easy and reductive to call this punk/pop since there’s something a bit more subtly psychedelic going on in tracks like “When I Talk 2 U” and something more groovier and grungey going on in a song like “I Wonder.”

Are there earwormy bah-dah-daahs and swirly-slide guitar riffs? Are there splendid harmonies and strutting beats…? Yes…so call it pop, sure. Are there sheets of dissonance and a broken radiator-esque hum of feedback? Are there backhanded barbs and unsparingly graphic scene setters in the lyrics even as they shimmy along a half-pipe slaloming melody? Yes…so you can hear that punk element coming through. Ya know… maybe we should just listen to “I Don’t Wanna…”

I know Maria doesn’t have any vocals here, but I still think it’s her most dynamic drum part… And there’s confidence as much as there’s catharsis in Alex’s voice…Not to mention the stellar guitar solo at the 1:07 mark… But there’s always a growl underneath the grin.

Saturday, November 21, 2015

Dear Darkness - 12/5 - Be Nice Honey

Dear Darkness
Album Release Show ~ December 5
PJs Lager House
(1254 Michigan Ave)
w/ Mountains and Rainbows
& Sex Police 

Honey, Be Nice 

Dear Darkness has such a splendid snarl to it... The local duo features Stacey MacLeod on guitar/vocals and Samantha Linn on drums. It's a steady-tempo'ed punk, not the speedy throttled stuff you might expect, yet equally as venomous; indulging in minor key murk and raw guitar churns, foot-stomp, snare-punch drums and empowering/cathartic sing/scream exertions that trill over the riffs.

But it isn't all minimalist thwomp and headbangability; the duo experiment with some graceful time-signature switch-ups and vocal acrobatics on the opening "Pale Blue Ribbons" and showcase some of their sweetest melodies during the opening verses of the bittersweetly barbed "Hey, Mister" You'll find similar-ish ingredients from forebears like Bikini Kill, Royal Trux, or maybe even some hints of Siousxie-esque new wave with a mean left hook packing brass knuckles. I know the word "extreme" was getting thrown around a lot in soda commercials and skater vernaculars during the early 90's, but it occurs to me that, with a subdued elegance beneath the coarser punk veneer, MacLeod and Linn are exploring the extremes of whats capable with just the guitar, the human voice and a couple of drums and drum sticks... Gnarly, yet pretty. Demolishing, yet delicate... That's the blend... Dear...and Darkness. 

Wednesday, November 18, 2015

Barter Boys - Doc Waffles x Goldzilla


Just when I thought I'd nearly had my year-end list of local albums completed, tallied and typed up...

Doc Waffles and Kwe (Goldzilla) come and up and heave my whole system off the desk, open the windows and turn up the stereo and start haggling me for a trade, a typewriter for a Hawaiian shirt... or pawning off a pair of white tigers, like what am I gonna do with those?

But these guys, they're just Warhol-enough to win me over with their sophisto-snark satires and pop-art articulations.

I've been waiting for Goldzilla to get another batch of raps out for a couple years; dude really spun my head with that album he put out with his DJ SomeKid (Paul Wilson). Every time I ran into him at a rap show, he'd remind me that he was still writing lyrics...but....strangely...whenever we started shooting the shit, the convo would always coast toward the subject of Doc Waffles...with the talented young lyricist intoning that it was Waffles who was his biggest inspiration...

...now...they're powers combined! With production by Jaws That Bite, Eddie Logix, Sheefy McFly, Pastel Arsenal, and Crate Digga.

Goldzilla x Doc Waffles bring you Barter Boys...an evolution for both of these quirky hip-hop commentators, fusing their unique sensibilities for dense verbiage suturing scenes of suburban ennui and pop-culture's disconcerting hollowing-out...along with indictments of idolatry for long-gone/half-forgotten basketball stars, moment-of-clarity-esque ruminations wrought between anti-climactic parties and underwhelming space explorations, splicing of self-referential mythologies mingling local icons like James Linck or anthems about Broncos with dome lights running all the time...

Indeed. Each rapper gets a couple of singular tracks to strut their surrealist stuff. Doc Waffles nearly breaks the mystical weirdo wonderland mold when he goes on his rant during "Rites of the Honey Vapor Princess..." Goldzilla, meanwhile, kills it on the punchy, swaggery "Da Vinci Code..." (wherein J. Walker illuminates us upon the versatile compatibility of tortillas).

That said, we should draw attention to the aural atmospherics melded by this supergroup of producers, embracing some fresh flairs of dark new-wave glam and spacey krautrock crypticism during the middle sections of this record with those eerie synthesizers and sparse percussion. Per usual (and, again, with an even more refined intricacy,) Doc and Kwesi are shrewdly cinching re-looped thematic lyrics and recurring locales to create an interlocking universe of imagery, iconography and lore.

"Illuminati Snacks?" "boats to ice-cream island...?" "...interesting spoofy commercials with satisfied customer testimonials?"

"Pass the jug... Barter Town / every single day is a holiday..."


The wordplay on "Look Who's Bartertown 2" alone.......

Monday, November 16, 2015

Echo Fest VI - Saturday

Limited 3D posters available at ECHO FEST VI
When I first interviewed Sisters Of Your Sunshine Vapor seven years ago, they admitted feeling a bit outside of "...the scene." At that point, things like pop, hip-hop and garage-rock had a bit more magnetism because those are inherently more popped-and-kicking kinda music.

The Sisters were making something more psychedelic, sludgier, dissonant. It wasn't shoegaze, but it wasn't blues...it wasn't druggy metal and it wasn't dream-pop... It was somewhere in a nebulous middle-ground. Seven years later, they've found a burgeoning batch of bands subscribing to the same mindset of defying genre-boundaries. And, seven years later, they're now celebrating the sixth occasion of gathering these bands in one room and under one roof for ECHO FEST. The 6th installment of this local music festival is this Saturday in Ferndale.

The lineup of bands each demonstrate unique sensibilities for applying decorous effects (echo, delay, reverb, distortion, fuzz...) to their sublime and evocative blends of guitar-based adventurism. So, what began as a means of making their own "scene," has blossomed into a new community of bands and fans... 

Check it out.... attendees are promised 3D visuals, fuzzed out guitars, and "...so much delay that time travel may become possible..."


Saturday -- The Loving Touch -- (22634 Woodward, Ferndale), 5:30 pm / $12

--- Red Stage ---
12am - Sisters of Your Sunshine Vapor
11pm - Heaven's Gateway Drugs
10pm - Electric Retro Spectrum
9pm - Killer Moon
8pm - 800Beloved
7pm - Isles of ESP
6pm - Senna Rise
---Blue Stage ---
12:45am - Mexican Knives
11:30pm - Heaters
10:30pm - Moonwalks
9:30pm - Oblisk
8:30pm - Friends of Dennis Wilson
7:30pm - Duende!
6:30pm - The Red Plastic Buddha
Live 3D visuals by Waynewoodward

Monday, November 9, 2015

Flint Eastwood - Small Victories Release Show

Did I tell you that I started hosting my own Talk Show? It's called the Milo Show and I recently had Jax Anderson on as a guest, talking about Flint Eastwood's upcoming EP Release Show for their latest, Small Victories. 

Flint Eastwood's latest can be streamed here...
And the release party is this Saturday -hosted by Assemble Sound 

Click HERE for more Milo Show

Wednesday, November 4, 2015

Duendesday w/ The Oscillating Fan Club, Carjack, Los Sueltos & Duende

So I've been involved and implicated, supportive and sympathetic, inspired and encouraged  in/to/by  this music scene...for more than a decade...

If my presumably exciting life as some subtle scenester, as a 21st century music journalist, were a movie... then the opening credits sequence would be happening at the nightclub once known as Mephistos, on Florian in Hamtramck. We'd be upstairs, the third floor of this house retrofitted into a dance club...and Carjack would be opening for The Oscillating Fan Club...

That was ten years ago. It was almost nine years ago, now, that Duende played their first show. And, while it's at this point in the blog post that I treacherously tip-toe near the frothy tides of nostalgia, I'd rather remark upon the unique opportunity we have, tonight..., to experience, observe, enjoy... the respective evolutions of these three bands, Carjack, Oscillating Fan Club & Duende. That, or you'll at least be able to feel the resonance of ten years' worth of musical friendship, conveyed in loud, fast, boisterous song form... This concert, just as it was 10 years prior, has Duende drummer Laura (The Boom) Willem's birthday party at the center of it... And, original OFC drummer Robin Veresh has returned to do the graphic design for the show poster.

If you're nearabouts Ferndale, it's Duendseday tonight...& this could just be the show of the month! Los Sueltos will be opening up and it's free admission.

Thursday, October 22, 2015

Small Victories by Flint Eastwood

I know “album reviews” are irrelevant to a streaming culture, but we gotta talk about this new Flint Eastwood E.P.

Small Victories sticks a tricky landing with unfound poise; sweeps its toe across an otherwise all too easily muddled line and backflips onto the balls of its feet, let’s talk about sincerity and message-music and let’s also talk about potent pop production and invigorating mixes of triumphal tones. Let’s talk about toeing that line: celebratory yet sobering…, anthemic door kickers and soul-pumping striders yet also with these poignant, heart-on-the-sleeve asides and vital impartations of guidance, encouragement, commiseration and sincere wisdom, which, honestly, must feel, to this generation, like the wrung-out droplets of fresh, revitalizing springrain after a season of Internet acid.

More than five years ago, when I first heard about Flint Eastwood, it was a brother-sister pair, the songwriter & performer Jax and the producer & musical mad scientist Seth. They called themselves POWER, initially… And it’s always been about that, hasn’t it? Empowerment. The wary & thoughtful & contemplative pop song that invites you to lose yourself in that dancing-like-no-ones-watching-fit that you’ve fallen into and yet bends your ear open to those confessional, relatable lyrics…the lyrics of a folk ballad but the energy of a ceiling-shaking dance-pop powder keg.

Flint Eastwood’s latest EP, Small Victories, started streaming earlier this week but it’s officially available on iTunes FRIDAY.

We’ve heard music that’s about excess, we’ve heard music that’s about telling everyone to go fuck themselves…we’ve heard music that’s about self-celebration, but this is not quite that… And we’ve heard the tragically tender and the hauntingly beautiful stuff of the 90’s and the cynical strychnine indie-rock contrivances that pocked up the post-Millennia and this stuff…Flint’s stuff…Jax’s songs…obliterates that, obliterates cynicism, obliterates any self-consciousness over being to sincere. And after it does that, then it starts to stir you to dance.

So, I just thought we should talk about all that…

And then, the actual tracks: “Find What You’re Looking For” is marvelously produced, multi-tracked vocals jetting this goosebump-bursting harmony over a subtly explosive, stop-start drum pattern hitting with primal energy; the guitars start to sizzle through the second verse and fresh percussion starts overlaying the original drum hits leading up to the bridge. This song displays a keen sense that prevails throughout the EP, a sense for stripping it all back, for giving silence vibrancy and using it to augment the breathy voice, the solitary singer, backlighting her words, almost. The poignancy punches even harder, at these points.

And the harsh fuzz around those synth keys striking at the opening of “Glitches…” The sledge slam of the drums and the tension of those bass lines… They represent the noise and anxiety of the every day, the commotion of the big media machines and the whirlwind of the cars and neon lights and billboards and oh did you see about that thing on Twitter? Glitches… And yet, “I will stay with you… I will follow you…” Through the glitches, through the distortion, through the disorientation of the senses through all the dangers real and perceived, live-threatening and self-inducing… This song might have one of the heaviest messages and thus it fittingly has the most measured tempo, a slow jam, really…in the form of a throttling electro-rock gospel thrum.

 “Oblivious” opens with spaghetti-western style guitar and it harkens back to Late Nights In Bolo Ties, while Jax’s lyrics bring the dividing line between the digital and the natural worlds into stark relief, shaking you out of your complacency. With “Monster,” we need to reiterate the production’s sensibility for accentuated sparseness, with that buoyant-yet-barely-there-bass blip like a groovy heartbeat. With “God Only Knows,” we can hear the influence upon the Anderson “syblings” from having being raised in a religious household and producing their music inside churches…because it begins like a hymnal, only to metamorphose into what might be the most kinetic pop track on the whole E.P., with a percussive & synth hook that all but cartwheels into jumping-jack exuberance. And yet…those heavy lyrics…unloaded:

“This year, got a new perspective / this year, things are gonna change / I wanna talk about it / when they say: How ya been? / Where to begin? / God only knows…” Refraining… “…that I’ll be alright / I’ll be just fine.”

Sometimes you just have to unload, unpack, unwind, get it out, get it off your heart, your head… But take those heavy sentiments, those frustrations, those observations, sculpt it to the unique architecture of an electro-pop aria…

From title track,“Small Victories…” 
“Me and my friends / we forecast dreams that just aren’t clear…”

….but one day you will find a way…just don’t lose your head. For now, and for the foreseeable future, until you get there…wherever it is, …you’ve got to rely on small victories… (In that way, as the song surges, you’re “…a champion…”)

Now, who wouldn’t feel consoled, enthused, rejuvenated, after hearing that kind of advice, set to an irresistible beat?  That’s a rhetorical question, obviously, because the cynics feel we don’t need album reviews. But I thought we should just talk about Small Victories for a second… Enjoy listening…


Monday, October 19, 2015

Midwest Fest VIII

Midwest Fest returns this week, hosted at Hunter's Ale House in Mt. Pleasant, MI

We see festivals, miniature, medium and massive..., all throughout the Detroit, Ypsi and Ann Arbor regions throughout the year, but this Fest reaches its web strands out to every corner of the Mitten (I'm aware there's no corners to a mitten-shape) and beyond, to northwestern IL or throughout Ohio, and brings them all toward a central location in the name of celebrating the great music of the Great Lakes.

There are 15 bands on the bill, with five performing each night throughout the weekend ($5/night - $10/weekend).

Big Sherb
Lady Ace Boogie
Gosh Pith
Pleasant Drive

Elliot Street Lunatic
The Cardboard Swords 
Heavy Color

The Go Rounds
Walsher Clemons
Luxurious Vegetation
Strawberry Heritage
the Mudpuppys 

More info 

And... a new music video from one of the three headliners
The Go Rounds

The Go Rounds - Shock n Awe from Symmetry Films on Vimeo.

Wanna read more about the Go Rounds? 

Wanna learn more about Midwest Fest? 

Thursday, October 15, 2015

ONO / Nyodene D / White Christian Male / Something Cold -- Nov 5 @UFO

Don't be afraid...

Think of it as a mantra...albeit a menacing-sounding mantra. Churning, swelling, conjuring... It'll sound like a music devoid of charm, lacking shape as much as subtlety...

Someone told me to anticipate "...noise..." for this show...but nothing like the typical "noise" I might imagine based upon previous experimental progenitors... There is, of course, the storied noise-funk group ONO as the headliners, but the opening groups are quite astonishing in their own right.

Nov 5th at the UFO Factory
ONO (from Chicago)
Nyodende D (from Cleveland)
White Christian Male (from Detroit)
and Something Cold DJ's (also Detroit)
2110 TRUMBALL AVEDETROIT, MI 482169:00 p.m. /  6$ / 18+

This music can detach you...shunt you into the void...surround you and yet still sneak up behind you. The disorientation is rejuvenating in a way, albeit somewhat disturbing in one sense of the word...

This line up, in fact, is an excellent showcase of contemporary experimental doominations and marvelous manifestations of the raw dread plaqueing up our collective unconscious... An exorcism, a throttling dance ritual, a re-possession, an elemental fervor wherein you're liable to be struck by an errant lightning bolt or be sucked into the next quarry, crevasse or black hole...

White Christian Male starts from darkwave techno and then busts open the old manor's rickety windows to let in all the digi-ghosts of noise-trance past for a hypnotic seance...

Nyodene D's music might actually be a living organism; I'm still studying its habits and cataloging the various groans and malevolent purrs it emotes...But it might actually be its own dimension... A place, in songform, where I lose my footing, where I may be submerged or I may be airborne, where I may be stalked by sharks or dragons or my own doppleganger... It is invigorating. It is terrifying.

ONO, meanwhile, have been around since 1980, pioneering/re-defining this thing called "noise..." The avant-garde collective are releasing one of their most profound and provocative albums to date... Spooks via Moniker Records... on Oct 30. ONO is at their most primal and yet their most nuanced... Blending faint apparitions of jazz and funk into a primordial deluge of discordant sonic emanations under a poetic cadence of sing-speak-scream vocals embodying narrators fearlessly exhuming our deepest, darkest thoughts and fusing them to the tempestuous here-and-there-and-gone-again-only-to-return rhythmic arrangements... It is dizzying, it is ponderous, it is profound, it is.... noise. But yet, so much more....




All this...plus the transportive renderings of Detroit's own Something Cold spinning throughout the evening... November 5 @ UFO

Tuesday, October 13, 2015

High Arrow present Cloak & Whisper

Halloween and rock ‘n’ roll go hand-and-hand… Or should we say claw-and-claw? High Arrow is a high energy psych-rock trio that was forged in Detroit back in early 2013 and they’re coming back home this month to throw us a sensational masquerade party.

You can find this article in the print edition of the FERNDALE FRIENDS NEWSPAPER 
Info: https://www.facebook.com/events/714078212061478/ 

High Arrow’s lead singer and bassist Tracy Olane Thomson and lead guitarist Adam Thomson recently relocated to west Arizona, but their most formative experiences (including all of their studio work) have been here in Ferndale and Detroit. Cloak & Whisper is the name of their masquerade party on October 23rd (at PJ's Lager House). As of now, they’re set on returning to Michigan as much as possible (meanwhile, setting up a footprint over in Las Vegas). High Arrow’s rock is a vigorous storm of psychedelia, with soulful, soaring vocals, wickedly whipped guitar riffs and intricate drum patterns stirring up furious thunderclouds. Suffice to say: you can anticipate quite an exertion for their homecoming Halloween party.

Cloak & Whisper pays homage to iconic filmmaker Stanley Kubrick’s final work Eyes Wide Shut. The Thomsons have curated a variety show featuring a blend of band’s and performance artists. There will be a theatrical skit featuring all the artists on the lineup along with custom theme music composed by High Arrow, along with local songwriter/producer Jon Berz (from Woodshed Studio) and songwriter Eugene Strobe (of Cosmic Light Shapes).Strobe’s band, along with Berz punk duo (Counter Elites) are performing, along with a dance performance by Charley Crystal and her Kittens.

“We both love Halloween,” said Tracy. “It’s creative, fun, dark, glitzy…sugar-fueled….and, as adults, we still haven’t grown out of it. We still look forward to attending theme parties like Theater Bizarre (in Detroit). Bringing Halloween themes into a rock ‘n’ roll show can make for an excellent complement and a treat for the senses.”

Growing up in metro Detroit, Tracy was the “fine arts kid” through school, eventually attending undergrad at the College for Creative Studies in Detroit and then the University of Michigan. She got into poetry in the early 2000’s, along with art exhibitions which combined art, music, and dance. “In terms of music,” said Tracy, “I specifically pull toward psychedelic, acid rock. As a kid I can remember playing The Doors on my Fisher Price record player and being confused, yet attracted to that experimental style.”

Adam Thomson, meanwhile, grew up in St. Clair Shores, having started on guitar when he was 10-years-old. “I always loved playing music live and riding the energy waves between the music and the audience,” Adam said.  For years, he had collaborated with a slew of other rock bands, but he always wanted to form a group of his own. “High Arrow became the right opportunity for me to lead.”

“When (Adam) wanted to form his own band,” Tracy said, “I energetically volunteered to write poetic lyrics. He taught me how to play bass and the rest is history. (High Arrow) was the chance for us to work together as a married couple, take our music and our backgrounds in art and merge those into something unique.”

The band is essentially a trio, with the Thomsons having collaborated with a handful of drummers over the years. Their first two records, a frenetic batch of bluesy psyche tunes on their 2013 self-titled debut along with a dynamic psych-rock odyssey called Venus Is Rising, were recorded in downtown Detroit at producer Jim Diamond’s Ghetto Recorders studio. Last summer, they released Hot Love, an exhilarating blend of cerebral and atmospheric rock trips and punk-tempo soul rock ripped right from the seminal sounds of 70’s sludge.  

Hot Love was mastered by Jim Diamond and recorded over at Woodshed Studios in Ferndale. They recall how Berz, a Ferndale local, encouraged them to “push further into the creative abyss.”

“The motor city is our foundation,” said Tracy, “(metro Detroit) is our roots and our family. We will never forget where we grew up and first got started. We plan to visit annually; stay connected with our musician community and return there to play shows.” The first opportunity to see High Arrow in a homecoming performance is Cloak & Dagger at PJ’s Lager House.

High Arrow’s first show, ever, was here in Ferndale at the Loving Touch back in May, 2013. “We’d whipped ourselves for months,” Tracy recalls, “rehearsing these poetry/experimental songs in Scott (Boyink)’s basement and couldn't wait to finally see if it did anything to the audience. No matter how good you can possibly get a song sounding in practice, playing it live is a whole other beast. We saw responses within the first couple songs. We were playing on the floor and the audience kept coming closer, closer as we played on…” Two years after that, both Adam and Tracy look back upon their first two years around the Ferndale scene with reverence. “At the end of our recording journey, four drummers participated in our madness, they include: Charlie McCutcheon, Mark Tabor, Scott Boyink and Adam too.”

At the end of the day, High Arrow aimed for a unique and exciting variety show. “But, combining it with Halloween takes the experience to a whole new level,” Tracy said. “We’re really excited, and we know this show will be a lot of fun.”
High Arrow perform Friday, October 23 at PJ’s Lager House
9 pm / Ages 21+ / $ 7
featuring The Counter Elites, Charley Crystal and Cosmic Light Shapes
1254 Michigan Ave., Detroit / pjslagerhouse.com
More info: higharrow.bandcamp.com/ 

Thursday, October 8, 2015

Fallout Fest 3

Saturday, Oct 10
The Loving Touch (22634 Woodward, Ferndale)
8 pm / $10 / all ages 

This Fest is not a Fest...
I mean, you think "Festival" and you see large crowds, greasy food, scant parking, (threatened citations,) jutting tents and over-priced beer...

This is more like an Autumn-time party, a pre-Halloween hootenanny, a post-summer soiree, a Fest without all typical exasperating auxiliaries...

Two rock band dudes, John Morgan and Jesse Shepherd-Bates, started this festival two years ago ostensibly in reaction to (or as a lighthearted parody of...) how ridiculously vibrant and active this local music scene had become, in both the sheer number of bands but also in the present range and variety of genre.

Why not have a music festival forged to celebrate the bands -themselves, the music -itself... A night to let their already-long-hairs-down and raise a pint or two to all the work that goes into this tacit fun of rocking and rolling... And why not curate a killer lineup of talent? Shouldn't be hard in a scene like this...

The lineup is split between two stages, named in accordance with the theme of nuclear fallout...
...Co-headlined by The Muggs and Bars of F'-ing Gold, also featuring The HandGrenades (with Bates as a contributing member) and one of my new favorite bands, Earth Engine... (so get there early)

12:30 - BARS OF GOLD (Wasteland Stage)
12:00 - The Muggs (Bunker Stage)
11:30 - The HandGrenades(Wasteland Stage)
11:00 - MPV (Bunker Stage)
10:30 - George Morris & The Gypsy Chorus (Wasteland Stage)
10:00 - Valley Hush (Bunker Stage)
9:30 - Siamese (Wasteland Stage)
9:00 - The Vonneguts (Bunker Stage)
8:30 - Earth Engine (Wasteland Stage)

$10, All Ages. Doors at 8 pm

Info: https://www.facebook.com/events/1484719211848225/