I am not a metal fan. Let it be known. If anyone really gives a shit. So how is it that last night I ended up at Durham's premiere metal band, Tooth's Animality CD release party at Duke Coffeehouse? I was influenced by the media. That's how.
Ross Grady amped up this CD in his Triangle Rock ibiblio post. Sometimes I agree with Ross Grady. Then the INDY ran a full-page article that was highly complimentary. Both described an eclectic metal and decreed this CD a local success, and worthy of a listen. So I went.
Before I went I had several expectations:
1. I was not going to like it.
2. I would not understand any lyrics.
3. It would be so unbearably loud my ears would bleed and my head would hurt.
4. I might get injured by a flying bottle or a rampant thrashing mosher.
5. There would be no women at this show.
How am I going to say anything about a metal show. I don't know how to describe metal music. There are so many distinctions to metal: heavy metal, thrash, death, doom, hardcore, nu-metal, glam. Goth, speed, Viking (what the f* is that??) Grindcore goregrind, gorecore. What do I know about this.
This is the second recent CD release I have attended at the Duke Coffeehouse since this blog was created (remember Hammer No More the Fingers) and one of many Duke CH local lineups I've been to in the past few months. I have to say, I am learning to really like this venue. It's a good sized room, it takes on the energy and persona (and often smells) of the bands playing, it's unassuming in that way. But best, the local bands are packing the place. Last night, I'd estimate 125-150 people. Enough to heat the room without claustrophobia, enough to allow for movement without pain. Great crowd, more than I expected. Convinced me of the metal market in Durham.
The lineup was: The Wigg Report (last minute addition, they were supposed to play guerrilla sets outside in between bands, but ended up filling in for cancelled band), The Chest Pains, Gun Metal Black, and Tooth.
Completely missed Wigg Report. This is the least metal of the bands, if they have any metal in them, it's aluminum, soft, and pliable. Arrived for 1/2 of Chest Pains punk set, with some almost bluesy 70's influenced guitar riffs. Then Gun Metal Black's rapid fire thrash metal set. Both high energy, left people sweating. Good performers. Fast fingered guitar solos, Angry bass. Palpitation-inducing triple quadruple kick drum arrhythmias.
It's the vocals. That's what I can't deal with when it comes to metal. The screaming, the guttural, man-possessed monster voice-inator. Not that I need to know the lyrics. I can't understand the lyrics of MOST of the bands I hear for the first time. But I cannot distinguish words here. I hear sounds. And noises. And it's not really singing. Because I am missing the melody. This is my problem here. So I tried to ignore the vocals, nearly impossible, but just listen to what's behind the vocals.
Here Comes Tooth. This is a bunch of young bearded guys, apparently all have known each other growing up for a while. Frontman is long haired, bearded, Dry Heathens Tshirt on. I think I've bought beer from him before. He acknowledges his parents who are there. And then dedicates the show to Satan.
The music is powerful, fast, with wild rearing gallops, like a Stallion one of their songs is titled. They all got their rock faces on, angry, wild-eyed, heads nodding with each kick drum. The bassist is crazed, looks like one of those New Zealand Maori dancers, eyes bulging, tongue out. Bass is held straight up, out in front of him, firing shots into the air. Guitarist are blazing through the frenzied fingered solos, together separate. Frontman has his hair spinning, propeller, in his face growling through his Cousin It do. And then it happened. I understood a lyric. It was something about an oyster that opened up.
That's what it was like, something opened up. It all sort of fit together. It was a pearl in an oyster, finding my own sense of joy in metal. Maybe it was the undeniable good time these guys were having up there. I just let it take over, I nodded my head to the insanely fast kick drum (sore neck today to prove it). I heard the melody through whacked up guitar distortion. I stayed the hell away from the moshers, who were getting more frenzied as the set went on. At some point, the shirtless guitarist mouth-sprayed beer on them, adding stench and wet to the sweaty chaos.
The amp stacks were near as tall as the ceiling, yet the volume was tasteful. It was not so loud that earplugs were required (although still recommended). My ears did not bleed. And there were women there. Lots. Mosh chicks too. I left with my disk, happy I went, new appreciation for metal. Not a convert, just appreciative. And again reminded of how supportive the local musicians are of each other, noticing many musicians from different genres there. Another win for the Durham scene.
bzzzzz
Saturday, December 8, 2007
Wednesday, December 5, 2007
"and We ARE The Dirty Little Heaters"
It's a declaration. The Dirty Little Heaters that were, no longer are, and the new lineup is. Is what, well, I'll get to that.
There was something intriguing and intimidating about two bad-ass, tough rock chicks who kick the shit out of their songs, and DLH had that schoolyard dominated. Their frenzied quick sets captured you and you'd keep giving them your lunch money. Together Reese Gibbs and Melissa Thomas brought some super-power woman stomp rock that left you wanting more. Some breakups are better than others, but most are no good. When something sounds so good, you wonder what happened. I thought the dissolution of the DLH last year was the end of that and was terribly sad for that loss.
But they are back, without Melissa Thomas, and with a new power and attitude that whomps. A new testosterone infused line-up. Rob Walsh (Spinns bassist) on the bass and ubiquitous drummer Dave Perry have joined Reese Gibbs for the new-formed Dirty Little Heaters. Same band name, some same songs, some new ones. The new sound is fuller with more melody and undiminished intensity.
They debuted at Local 506 mid-November with the Loners and Adult Filmmakers. They all (except maybe Dave) seemed a touch nervous, Reese downing the water, "I got cotton-mouth" she kept saying. And why wouldn't she be? It's like introducing the first boyfriend after the divorce to your parents... will they like him and accept him?
Well, I like em. The songs are still fun and pounding with lots of guitar feedback, in fact the songs are mostly the same, "Cherry Van" and "who's got the blow" . The addition of a bass adds a richness and melody line not present prior. The drums are still central and intense. Rob adds the bad party boy smokin, both a cigarette and his bass-playing. Clearly they are having fun with each other. There were some new slower songs, melodic, and Reese promised we'd learn to like them too. (I already did.)
The major force of this band remains the pipes of Reese Gibbs-McHenry. There aren't many voices in this town that can do what she can with hers. Her voice is Janis-y, rocknroll, it's blues, it's gospel, it's got more power and tone than a Marshall amp. It can be sweet and quiet too, still directed and intense. Its the bigness of this voice that makes this band's music and energy unique.
Constructive criticism. Too much down time between songs. To me, this diminished the energy that revved up with the music, gets all your cells jumping. Then have to recalibrate when it gets turned off then on again. Got to keep those neurons hyper-firing.
It was a great comeback, and I'm looking forward to them honing their show, and more songs. It's only going to get bigger and better.
bzzzzz
There was something intriguing and intimidating about two bad-ass, tough rock chicks who kick the shit out of their songs, and DLH had that schoolyard dominated. Their frenzied quick sets captured you and you'd keep giving them your lunch money. Together Reese Gibbs and Melissa Thomas brought some super-power woman stomp rock that left you wanting more. Some breakups are better than others, but most are no good. When something sounds so good, you wonder what happened. I thought the dissolution of the DLH last year was the end of that and was terribly sad for that loss.
But they are back, without Melissa Thomas, and with a new power and attitude that whomps. A new testosterone infused line-up. Rob Walsh (Spinns bassist) on the bass and ubiquitous drummer Dave Perry have joined Reese Gibbs for the new-formed Dirty Little Heaters. Same band name, some same songs, some new ones. The new sound is fuller with more melody and undiminished intensity.
They debuted at Local 506 mid-November with the Loners and Adult Filmmakers. They all (except maybe Dave) seemed a touch nervous, Reese downing the water, "I got cotton-mouth" she kept saying. And why wouldn't she be? It's like introducing the first boyfriend after the divorce to your parents... will they like him and accept him?
Well, I like em. The songs are still fun and pounding with lots of guitar feedback, in fact the songs are mostly the same, "Cherry Van" and "who's got the blow" . The addition of a bass adds a richness and melody line not present prior. The drums are still central and intense. Rob adds the bad party boy smokin, both a cigarette and his bass-playing. Clearly they are having fun with each other. There were some new slower songs, melodic, and Reese promised we'd learn to like them too. (I already did.)
The major force of this band remains the pipes of Reese Gibbs-McHenry. There aren't many voices in this town that can do what she can with hers. Her voice is Janis-y, rocknroll, it's blues, it's gospel, it's got more power and tone than a Marshall amp. It can be sweet and quiet too, still directed and intense. Its the bigness of this voice that makes this band's music and energy unique.
Constructive criticism. Too much down time between songs. To me, this diminished the energy that revved up with the music, gets all your cells jumping. Then have to recalibrate when it gets turned off then on again. Got to keep those neurons hyper-firing.
It was a great comeback, and I'm looking forward to them honing their show, and more songs. It's only going to get bigger and better.
bzzzzz
Saturday, December 1, 2007
Salt to Bitters
A few Wednesdays back I headed out for some dinner. Saw a free show at Local 506. I missed out on the opener, Gambling the Muse, who I'd seen previously at Troika, and really enjoyed. But saw Salt to Bitters.
Salt to Bitters is a band that seems to be dedicated to the practice of consuming, imbibing, vomiting, recovering from, apologizing for and celebrating alcohol. The flyer for the show portrayed a body hugging the can presumably puking, the pertinents for the show printed over her back. Foreshadowing for the night.
Tony T. Raver, lead singer is baby-faced, with a weathered look, his guitar looks haggard, beaten. You can almost look at the guitar and know how the music will sound. The music gets started, and it's boozy, wild. Tony is all over the stage, careens wildly, spitting and slamming his pick into the strings. His hair is in his face, and he's stumbling, but in control. Maybe. The drummer is Jenny Tonic, bassist from Jimmy and the Teasers, and she's just plain hot. The rhythms careen as well, with a regular irregularity, jerky stops, that makes you feel like you just might fall over if you try to dance to them, like one too many shots of tequila. There's a violin too. That seemed a bit disconnect, but it lent the perfect hint of whine to the raving emo lyrics. And the violinist was energetic, and moving.
The song content was about love, lost love. Booze, drinking. Sex. Morning after. Great friends, and how they're drunk. It's acoustipunky bar brawl music, makes you feel like swaggering and making inappropriate comments to strangers.
And that's what happened. Just before the cops came. Drunk and disorderly conduct encouraged, next thing you know, the audience is fighting. Apparently the alcoholic disinhibition lead to an over-step of a comment, then the female recipient of the comment hauled off and punched the commenter in the face. Well, when you're drunk, and just got hit by a woman, what's the recourse? You call the police of course. I dunno, did the music make him do it? The glory of the sauce. And that was the end of that.
It was all vertiginous and bombastic. Next time I think I have to drink more to really let loose. I like it though. I was left feeling a little anxious and worried about something I couldn't quite put my finger on. Maybe the music just triggered a little of that swerving, slightly deviant, violent side that I typically suppress.
bzzz
Salt to Bitters is a band that seems to be dedicated to the practice of consuming, imbibing, vomiting, recovering from, apologizing for and celebrating alcohol. The flyer for the show portrayed a body hugging the can presumably puking, the pertinents for the show printed over her back. Foreshadowing for the night.
Tony T. Raver, lead singer is baby-faced, with a weathered look, his guitar looks haggard, beaten. You can almost look at the guitar and know how the music will sound. The music gets started, and it's boozy, wild. Tony is all over the stage, careens wildly, spitting and slamming his pick into the strings. His hair is in his face, and he's stumbling, but in control. Maybe. The drummer is Jenny Tonic, bassist from Jimmy and the Teasers, and she's just plain hot. The rhythms careen as well, with a regular irregularity, jerky stops, that makes you feel like you just might fall over if you try to dance to them, like one too many shots of tequila. There's a violin too. That seemed a bit disconnect, but it lent the perfect hint of whine to the raving emo lyrics. And the violinist was energetic, and moving.
The song content was about love, lost love. Booze, drinking. Sex. Morning after. Great friends, and how they're drunk. It's acoustipunky bar brawl music, makes you feel like swaggering and making inappropriate comments to strangers.
And that's what happened. Just before the cops came. Drunk and disorderly conduct encouraged, next thing you know, the audience is fighting. Apparently the alcoholic disinhibition lead to an over-step of a comment, then the female recipient of the comment hauled off and punched the commenter in the face. Well, when you're drunk, and just got hit by a woman, what's the recourse? You call the police of course. I dunno, did the music make him do it? The glory of the sauce. And that was the end of that.
It was all vertiginous and bombastic. Next time I think I have to drink more to really let loose. I like it though. I was left feeling a little anxious and worried about something I couldn't quite put my finger on. Maybe the music just triggered a little of that swerving, slightly deviant, violent side that I typically suppress.
bzzz
Friday, November 30, 2007
Back in Action
Got some shows to review, coming up soon. Got sick, then Thanksgiving flurry. Coming soon: Salt to Bitters, Dirty Little Heaters.
Friday, November 16, 2007
Shows this Weekend 11/16
Great music to be had this weekend:
Friday 11/16
Duke Coffeehouse- 8:30pm The revived bill from the previously cancelled Troika show. Now at music lovers price, $5!
-Polynya
-Cantwell Gomez, Jordan
-Veronique Diabolique
-Des Ark -- Aimee solo
James Joyce Pub FREE 10pm
Local 506- 10pm $6
-Dirty Little Heaters-- new lineup, but the long-awaited return of Reese Gibbs!
-The Loners
-Adult Filmmakers
Saturday 11/17
Hillsborough Road Coop-- 621 Hillsborough Rd, Carrboro-- $10 all you can eat/drink
This is a house party eating and drinking pre-Thanksgiving festivity.
-Hammer No More the Fingers
-The Bronzed Chorus
Nightlight 10pm $5
-Future Kings of Nowhere
-The Payola Reserve Baltimore
-American Aquarium
-The Black Austin, TX
Sunday 11/18
Local 506 9pm $8
-Rat Jackson
-Red Collar
-The Blakes- Seattle, WA
Sunday, November 11, 2007
Still reeling
To be cliche, I got Hammered last night. I had the distinct pleasure of attending Hammer No More the Fingers CD release "Orgy" last night. It was a great night of music, energy, and I definitely got my $5 worth.
The show was at the Duke Coffeehouse, a medium sized venue, box-shaped with random furniture strewn about. There was food, pizza, beer galore, BBQ. It was celebratory upon entrance. There were more than a hundred people, by my rough estimation for the first band, who went on at close to 10. And that crowd easily doubled as the night wore on. There was an outdoor firepit set up, and this hosted a regular crowd through the night. This was the biggest crowd I've seen at the Duke Coffeehouse for a local show, and the most appealing lineup from beginning to end that I've seen there, even better than what I saw at Troika.
The lineup was supposed to start with Dead to Society. This is a punk band, headed up by "Ill Bill" who really was ill, apparently was sick, so the band canceled. I still want to hear them sometime.
The night kicked off with Future Kings of Nowhere. I've seen these guys before, and tonight was one of the best shows I've seen from them. The lineup was smaller, fewer band members than I've seen, and Shane, the band's frontman was on fire. He was on the tip of his toes, shaking and quaking, whining passionately, and pounding frenetically on his blue acoustic. The drummer was right there with him. A new bassist looked non-plussed, and either nervous or put-out, but hit the notes. The usual horn suspects, a composite of Midtown Dickens, and Eberhardt (2 Durham mainstays) joined and belted out off-note brass that adds to the off-kilter fun and energy of this band.
Next, Red Collar. This is NC's most high energy performing bands. They play melodic punk, banging on guitars, jumping all over the stage, sweating, and audience singing in unison their cynical anthems of hard work and survival. But something was not quite right. At least that is what Jason Kutchma kept telling us during the show, but I wasn't sure what he was talking about. It sounded good to me, and the rest of the crowd didn't seem to notice anything off. And then both guitarists had their instruments on the ground, Mike Jackson being passed overhead through the crowd. Despite no guitars, the audience was still riveted, singing and not a hiccup in the energy. These guys really have it.
I Was totally Destroying It followed. They are fairly new around here, busting onto the scene with a new CD and their own CD release party only a month or so ago. Despite having one of the longest, most difficult to remember or say band names ever, they play a great pop song. The chemistry is there, and rumor has it the lead guitarist/singer and most-talented keyboard/vocal/guitarist Rachel have a thing going on... love a little band love. The visual focus for this band flits between the sweet young Rachel, and the wild, open mouthed arms flinging and flying drumming of James Hepler, arguably one of the most enthusiastic drummers in town. They kept the audience high until the highlight of the night finally hit the stage.
Hammer No More the Fingers, oh, another long-ass silly name. But this gets shortened in many ways, to HNMTF, Hammer, Hammer No More, etc. These guys have been playing together for almost half their lives, and it shows. The guitar playing of Joe Hall is impeccable, his oddly, but so right chord progressions are never covered up by over-distorted pedal effects, just clean beautiful guitar notes. His huge hands look like spiders climbing up and down the neck, making it look easy. The tone is full and complements the melodic bass lines perfectly. Duncan's bass lines are both rhythmic, and catchy melodically, weaving together addictive fun pop songs with a rough crunchy edge. And this is all held together with the confident strong even drumming of Jeff Stickley, smiling wide the whole time. These guys create a perfect musical balance. Their performance is infectious, with the entire crowd singing along, jumping up and down. I felt the floor moving below me, and momentary concern that the Duke Coffeehouse might actually collapse. Joe contorts and bends so far backwards at times, it looks like he might hit the back of his head on the stage. They threw blown up rubber gloves at the audience, and these hands and fingers bounced overhead through the songs. After a rousing set, the boys of Hammer left the stage, and moved mid-floor with the audience for an acoustic version of "Concrete", with the entire audience joining in for the chorus.
Hats of to Hammer, they have created a giant momentum, and I expect to see them launched nationally over the next year. Don't miss their upcoming shows-no doubt they will be playing these smaller, more intimate venues for long. Catch them while you can.
Bz
The show was at the Duke Coffeehouse, a medium sized venue, box-shaped with random furniture strewn about. There was food, pizza, beer galore, BBQ. It was celebratory upon entrance. There were more than a hundred people, by my rough estimation for the first band, who went on at close to 10. And that crowd easily doubled as the night wore on. There was an outdoor firepit set up, and this hosted a regular crowd through the night. This was the biggest crowd I've seen at the Duke Coffeehouse for a local show, and the most appealing lineup from beginning to end that I've seen there, even better than what I saw at Troika.
The lineup was supposed to start with Dead to Society. This is a punk band, headed up by "Ill Bill" who really was ill, apparently was sick, so the band canceled. I still want to hear them sometime.
The night kicked off with Future Kings of Nowhere. I've seen these guys before, and tonight was one of the best shows I've seen from them. The lineup was smaller, fewer band members than I've seen, and Shane, the band's frontman was on fire. He was on the tip of his toes, shaking and quaking, whining passionately, and pounding frenetically on his blue acoustic. The drummer was right there with him. A new bassist looked non-plussed, and either nervous or put-out, but hit the notes. The usual horn suspects, a composite of Midtown Dickens, and Eberhardt (2 Durham mainstays) joined and belted out off-note brass that adds to the off-kilter fun and energy of this band.
Next, Red Collar. This is NC's most high energy performing bands. They play melodic punk, banging on guitars, jumping all over the stage, sweating, and audience singing in unison their cynical anthems of hard work and survival. But something was not quite right. At least that is what Jason Kutchma kept telling us during the show, but I wasn't sure what he was talking about. It sounded good to me, and the rest of the crowd didn't seem to notice anything off. And then both guitarists had their instruments on the ground, Mike Jackson being passed overhead through the crowd. Despite no guitars, the audience was still riveted, singing and not a hiccup in the energy. These guys really have it.
I Was totally Destroying It followed. They are fairly new around here, busting onto the scene with a new CD and their own CD release party only a month or so ago. Despite having one of the longest, most difficult to remember or say band names ever, they play a great pop song. The chemistry is there, and rumor has it the lead guitarist/singer and most-talented keyboard/vocal/guitarist Rachel have a thing going on... love a little band love. The visual focus for this band flits between the sweet young Rachel, and the wild, open mouthed arms flinging and flying drumming of James Hepler, arguably one of the most enthusiastic drummers in town. They kept the audience high until the highlight of the night finally hit the stage.
Hammer No More the Fingers, oh, another long-ass silly name. But this gets shortened in many ways, to HNMTF, Hammer, Hammer No More, etc. These guys have been playing together for almost half their lives, and it shows. The guitar playing of Joe Hall is impeccable, his oddly, but so right chord progressions are never covered up by over-distorted pedal effects, just clean beautiful guitar notes. His huge hands look like spiders climbing up and down the neck, making it look easy. The tone is full and complements the melodic bass lines perfectly. Duncan's bass lines are both rhythmic, and catchy melodically, weaving together addictive fun pop songs with a rough crunchy edge. And this is all held together with the confident strong even drumming of Jeff Stickley, smiling wide the whole time. These guys create a perfect musical balance. Their performance is infectious, with the entire crowd singing along, jumping up and down. I felt the floor moving below me, and momentary concern that the Duke Coffeehouse might actually collapse. Joe contorts and bends so far backwards at times, it looks like he might hit the back of his head on the stage. They threw blown up rubber gloves at the audience, and these hands and fingers bounced overhead through the songs. After a rousing set, the boys of Hammer left the stage, and moved mid-floor with the audience for an acoustic version of "Concrete", with the entire audience joining in for the chorus.
Hats of to Hammer, they have created a giant momentum, and I expect to see them launched nationally over the next year. Don't miss their upcoming shows-no doubt they will be playing these smaller, more intimate venues for long. Catch them while you can.
Bz
Saturday, November 10, 2007
Troika Cancellation!?!?!
OK, more on the Troika bitchfest. This comes with a mix a chagrin, sympathy, and disdain.
Indy blog "reports" that Les Savy Fav cancels. But the show will go on, des ark still playing...... Today, I read on the ch-alt scene listserv that now Des Ark has cancelled too, and the show will be cancelled. What happened?
I feel bad for the local bands who were scheduled to do this show. Cantwell Gomez and Jordan and Veronique Diabolique. These guys should have had opportunity to play this festival, they provide some of the best, most unique music around this town. They got cheated, robbed.
I can only speculate as to what happened. My suspicion is it was money. I bet that the amount of revenue generated by the festival was insufficient to cover the likely hefty guarantee for Les Savy Fav. Zeno Gill's email says that Les Savy Fav and Des Ark cancelled for "opposite reasons". No reasons were stated however. harrumph.
There is this enigmatic sensation of swirling drama surrounding this whole festival, rumours, but really, not a lot of talk about this. In almost a familial protective sense. Don't ask, don't tell. But it leaves the music community befuddled... any chance of preserving this festival, or are we witnessing an implosion in progress?
Oh, and there are reviews coming of the music. So far I haven't even been able to get beyond the swirling vortex of chaos surrounding this fest.
bzzzzzzzzzzz
Indy blog "reports" that Les Savy Fav cancels. But the show will go on, des ark still playing...... Today, I read on the ch-alt scene listserv that now Des Ark has cancelled too, and the show will be cancelled. What happened?
I feel bad for the local bands who were scheduled to do this show. Cantwell Gomez and Jordan and Veronique Diabolique. These guys should have had opportunity to play this festival, they provide some of the best, most unique music around this town. They got cheated, robbed.
I can only speculate as to what happened. My suspicion is it was money. I bet that the amount of revenue generated by the festival was insufficient to cover the likely hefty guarantee for Les Savy Fav. Zeno Gill's email says that Les Savy Fav and Des Ark cancelled for "opposite reasons". No reasons were stated however. harrumph.
There is this enigmatic sensation of swirling drama surrounding this whole festival, rumours, but really, not a lot of talk about this. In almost a familial protective sense. Don't ask, don't tell. But it leaves the music community befuddled... any chance of preserving this festival, or are we witnessing an implosion in progress?
Oh, and there are reviews coming of the music. So far I haven't even been able to get beyond the swirling vortex of chaos surrounding this fest.
bzzzzzzzzzzz
Wednesday, November 7, 2007
Troika Bands that I got to see and hear...
The point of this blog is to provide raw show reviews, from the gut. So far I just complained about the set up of Troika. But let me be a bit positive, just for a second. There was tremendous music to be had at this thing. When I saw the entire schedule I was thrilled. I saw many favorite bands listed, but also saw many bands I'd not heard before.
Thursday's plan: Regina Hexaphone, Can Joann, Busy World, Ships, Maple Stave, Bull City, Hundred Air, Megafaun, Dry Heathens.
Friday's plan: The Pneurotics, Grey Young, Sawteeth McTweedy, Lam Lam, Sequoya, Citified, Beloved Binge, Soft Company, Noncanon, Fontana, Luego, and Grappling Hook.
Saturday, BCHQ full on binge (not of the Beloved, but a musical excess), again, fabuloso bands, but how's this gonna work?
What really happened. I saw 1/3 of the bands that I meant to see, and a few I didn't mean to. James Joyce and Alivia's were just too chilly for my blood. Couldn't handle the outside venue on a chilly fall night. My fault, totally, poorly dressed, went Friday for a quickie, but too sissy, couldn't handle it. Little did I know that Bull City Headquarters would be cold both on Thurs and Fri nights...
And I flat out didn't make it all the way downtown. For the Marvell, I didn't make it in time. And Ringside was high on the list, but it seemed once I hit a location, I locked down and planted. It was tough to move, I think due to lack of motivation to drive anywhere.
THURS: So let's start with Maple Stave. I wasn't there for long, but it seemed an off night for this usually great band. Their songs are so quirky, with time changes and odd signatures, and intricate rhythms, it seems if one person gets off, the whole rig cartwheels, and this felt a bit gymnastic. They still hold a special place in my list, and I'll keep on going and listening. I felt an odd tension in the air at BCHQ that night-from the bands, from the volunteers running the place (kudos to them for their time spent on this venue). It was like no one wanted to be there and that kind of thing just rubs off on the audience and it's my guess that Maple Stave felt this too.
Bull City: These guys do pretty good live shows. Jim Brantley is an excellent musician, a talented guitarist, got the chops, writes great songs. The guitarists together have great chemistry, and height. They get the licks out, and have the passion. The bassist seems a bit out of place, with the near-disco dance maneuvers, and corny off-the-stage prancing, nodding and flirting at the audience, girls and boys. But he keeps a good rhythm and is entertaining to watch. Although some of the songs sound like covers, thinking, "who did this song first?" only to hear that they are original, they are well-executed. But Jim Brantley makes this band and they are worth seeing and hearing.
Shakermaker: Haven't heard these guys before. They have a happy, poppy guitar sound, with acoustic and electric up front, switching up instruments and lead vox. Jesse sang initially with wild-eyed, head swinging and bouncing, big smiling enthusiasm, hard not to catch on. Then he was moved to the side, and the other guitarist got up front, with a different performance personality-- subdued and gentle. I found that the music fell to the background, pleasant, but I stopped watching after a bit, more interested in my conversation. Keep the bouncing guy up front-subtle may be good for a record but not so much when it comes after that much energy.
Megafaun: How is it that I didn't get out of the Duke Coffeehouse to see them. Time sense gone by then. Here's the report from afar- lots of audience participation, fun for the few who were there, and there should have been more. The Indy reports that these guys offered up their piano to NY musician Melissa St. Pierre, as the BCHQ piano was so bedraggled and out of tune it was unplayable. Lemons = lemonade.
Dry Heathens: The crowd moved to the edge of the stage for this one. Grinding guitar, thwomping basslines, and a new drummer all came together. It's punk, but it's got a melodic sensibility that makes it accessible. Lead singer has a snarky snarl, but smiles appreciation at his bandmates. Bassist lost a string mid-song and transposed well enough, until Shakermaker brought in a borrowed bass from the car, and the show went on. The night finished out with an audience-member-performed Ramone's "I wanna be sedated" with singalong.
It was an eclectic night at the Coffeehouse, fairly attended, a high of about 35, plenty of room to sit, roam and never a wait at the bathroom.
On to FRIDAY:
To the Broad Street Cafe:
The Pneurotics: I caught the last two songs. Rich Mclaughlin plays guitar like noone I've seen or heard. His twangly jangly licks are complicated and noodly, and the songs are interesting, both visually watching the band and listening. The bassist is his wife, and they seem to have fun together. Rich reported it was the drummers last gig with them, so we'll see what happens. There were a lot of people there for an early show, standing up against the stage, and seems they have a loyal following for a unique sound.
Then ran to Duke Coffeehouse to try to catch what I could-- got there during a break, seemed like a bunch of young Duke students, waited for a bit, then ran by the James Joyce/Alivia's combo to catch Sequoya or Sawteeth McTweedy or Beloved Binge. Or whoever I could. The Durham Duo, I love this, couples who share the songwriting, switching instruments, switching singing duties. All 3 of these bands have skills at this and it is impressive.
I saw a bit of Beloved Binge, what time is it getting to be??? I peeked out on the James Joyce patio, little raised stage, perfect for a duo. My favorite is when Rob Beloved plays guitar, and Eleni Binge plays drums. She appears to play drums with all parts of her body, both legs hopping, head nodding vigorously, and arms wailing, all independent of each other. But the song I heard, Eleni was playing the guitar. It was just too cold. I couldn't stay. No amount of Jameson's could do it. This ruled out Alivia's too.
So I went back to Broad St. And that is where I stayed. I missed Grappling Hook, and I missed Fontana and Luego. The Broad Street Cafe seemed to be run on a pretty tight schedule, and the bands had 45 min for playing and set change. This was unlike many of the other venues. Apparently Duke Coffeehouse was about 1 hr behind schedule. I could have caught everyone. Maybe.
Soft Company. Used to be Missy Thangs. I'm not so fond of either name. But I do love the band. Mostly I love Missy Thangs. She is frequently out of tune, perfectly so, and her rich tone and her hair flying and tapping leg, all add up to pure appeal. The band is so talented musically, been around this block a few times in other bands , each adds a layer of sound, but in Broad Street it was really, really loud. Lots of people actually had their hands over their ears, but they stayed front row anyway. My favorite song is this warbly funhouse almost funereal romp called something about a diamond. The men of the band look a little bored, but their sweat gives them away.
Gambling the Muse. This was a surprise. I'm not a huge country fan. This ventures into the realm of Alt Country. Lead man Daniel was charismatic, but I kept thinking he needed a tamborine, or something to hang onto, maybe a bottle of Jack or something. The harmonies were gorgeous, and the banjo/mandolin/guitar player so talented. A lap steel made its way to the floor about 75% of the way into their set. Apparently he played with Fontana at the Duke Coffeehouse, and hence the late arrival to the show. Ah, these musicians with multiple projects...
SATURDAY: BCHQ woohoo!
I'm gonna do this whole dingdang day here. I want to see just how it's done. I approach, and an evangelist with a bullhorn is making sure I know just who's near, above, and watching me, and on the next corner, I get an offer to pray with me. I think I might pray that the day goes off without a hitch, and the PA works, and there are people here for this, but not too many.I enter, and it was even louder than at Broad St. Everyone had ear plugs. It was standing room only. Because there wasn't anything to sit on. The room was split in half with a PA at either end. While one band played, behind you another set up. There were a fair amount of people there. Most are musicians it seems, but also it looks like the bands' friends and families are there: grey haired parental looking people, kids, smiling friends.
I enter to hear the last few songs by Betty and the Boys. I don't know this band, but I like the attitude. Betty looks snarky, and sassy, and I just like her. The music is spunked up distorted guitar. worth seeing again, but I can't recall any of their songs...
Simple, simply too loud, I had to go eat something. Don't count them out though, I think I was still dealing with a little of Friday night's chemical attempt to keep warm.
Fan Tan. This is a band I meant to go see a million times, and never made it for so many reasons, then they up and move to NY. But wow. My favorite of the day. Mostly because of Kuki. There are no drummers like Kuki. He's fluid and so interesting to look at. His rhythms are complex, but he makes it look so simple. He is daintily destructive, and intertwines syncopation with the bassist (who I think is his wife or girlfriend) who keeps a constant picked metallic thunkathunk bass. The lead singer is hip-80's NY tight leg jeans, white converse, beatlesque hair, and Cure-like vocals. And they pushed the 30 minute envelope, playing their "last song" at least 3 times. Turn around, and its....
Sweater Weather. I am not sure how many people were in the band, lots. They are so young and jubilant. They have an air of naivete, and sweetness to them. Their songs are built around the acoustic guitarists weaving vocals, that soar to a crescendo in a build of accordians, cellos, keys, and audience provided percussion. There's no lack of passion here, but the songs all seem to blend together, and I don't remember the songs.
I'd like to interject here that I hate earplugs, and there was no way to escape this show without them.
Next Eberhardt. They were the last band before the break. Rebekah's voice is the best thing about this band though her singing does seem to sound quite a lot like Des Ark. I think over time she will make her voice more her own.
And then I gotta go. I'm done. I'm tired of standing up, and doing the stand and spin for the day.
And then I got waylaid, and tired, and next thing I knew, Saturday was over... Anyone want to comment on any bands that I did not, please do.
So that's what I have to say about Troika. That is too much to see and too much to say. But what I do know is we have some talent here in this area that's unmatched. I wonder if I would say that if I lived somewhere else.
bzz
Thursday's plan: Regina Hexaphone, Can Joann, Busy World, Ships, Maple Stave, Bull City, Hundred Air, Megafaun, Dry Heathens.
Friday's plan: The Pneurotics, Grey Young, Sawteeth McTweedy, Lam Lam, Sequoya, Citified, Beloved Binge, Soft Company, Noncanon, Fontana, Luego, and Grappling Hook.
Saturday, BCHQ full on binge (not of the Beloved, but a musical excess), again, fabuloso bands, but how's this gonna work?
What really happened. I saw 1/3 of the bands that I meant to see, and a few I didn't mean to. James Joyce and Alivia's were just too chilly for my blood. Couldn't handle the outside venue on a chilly fall night. My fault, totally, poorly dressed, went Friday for a quickie, but too sissy, couldn't handle it. Little did I know that Bull City Headquarters would be cold both on Thurs and Fri nights...
And I flat out didn't make it all the way downtown. For the Marvell, I didn't make it in time. And Ringside was high on the list, but it seemed once I hit a location, I locked down and planted. It was tough to move, I think due to lack of motivation to drive anywhere.
THURS: So let's start with Maple Stave. I wasn't there for long, but it seemed an off night for this usually great band. Their songs are so quirky, with time changes and odd signatures, and intricate rhythms, it seems if one person gets off, the whole rig cartwheels, and this felt a bit gymnastic. They still hold a special place in my list, and I'll keep on going and listening. I felt an odd tension in the air at BCHQ that night-from the bands, from the volunteers running the place (kudos to them for their time spent on this venue). It was like no one wanted to be there and that kind of thing just rubs off on the audience and it's my guess that Maple Stave felt this too.
Bull City: These guys do pretty good live shows. Jim Brantley is an excellent musician, a talented guitarist, got the chops, writes great songs. The guitarists together have great chemistry, and height. They get the licks out, and have the passion. The bassist seems a bit out of place, with the near-disco dance maneuvers, and corny off-the-stage prancing, nodding and flirting at the audience, girls and boys. But he keeps a good rhythm and is entertaining to watch. Although some of the songs sound like covers, thinking, "who did this song first?" only to hear that they are original, they are well-executed. But Jim Brantley makes this band and they are worth seeing and hearing.
Shakermaker: Haven't heard these guys before. They have a happy, poppy guitar sound, with acoustic and electric up front, switching up instruments and lead vox. Jesse sang initially with wild-eyed, head swinging and bouncing, big smiling enthusiasm, hard not to catch on. Then he was moved to the side, and the other guitarist got up front, with a different performance personality-- subdued and gentle. I found that the music fell to the background, pleasant, but I stopped watching after a bit, more interested in my conversation. Keep the bouncing guy up front-subtle may be good for a record but not so much when it comes after that much energy.
Megafaun: How is it that I didn't get out of the Duke Coffeehouse to see them. Time sense gone by then. Here's the report from afar- lots of audience participation, fun for the few who were there, and there should have been more. The Indy reports that these guys offered up their piano to NY musician Melissa St. Pierre, as the BCHQ piano was so bedraggled and out of tune it was unplayable. Lemons = lemonade.
Dry Heathens: The crowd moved to the edge of the stage for this one. Grinding guitar, thwomping basslines, and a new drummer all came together. It's punk, but it's got a melodic sensibility that makes it accessible. Lead singer has a snarky snarl, but smiles appreciation at his bandmates. Bassist lost a string mid-song and transposed well enough, until Shakermaker brought in a borrowed bass from the car, and the show went on. The night finished out with an audience-member-performed Ramone's "I wanna be sedated" with singalong.
It was an eclectic night at the Coffeehouse, fairly attended, a high of about 35, plenty of room to sit, roam and never a wait at the bathroom.
On to FRIDAY:
To the Broad Street Cafe:
The Pneurotics: I caught the last two songs. Rich Mclaughlin plays guitar like noone I've seen or heard. His twangly jangly licks are complicated and noodly, and the songs are interesting, both visually watching the band and listening. The bassist is his wife, and they seem to have fun together. Rich reported it was the drummers last gig with them, so we'll see what happens. There were a lot of people there for an early show, standing up against the stage, and seems they have a loyal following for a unique sound.
Then ran to Duke Coffeehouse to try to catch what I could-- got there during a break, seemed like a bunch of young Duke students, waited for a bit, then ran by the James Joyce/Alivia's combo to catch Sequoya or Sawteeth McTweedy or Beloved Binge. Or whoever I could. The Durham Duo, I love this, couples who share the songwriting, switching instruments, switching singing duties. All 3 of these bands have skills at this and it is impressive.
I saw a bit of Beloved Binge, what time is it getting to be??? I peeked out on the James Joyce patio, little raised stage, perfect for a duo. My favorite is when Rob Beloved plays guitar, and Eleni Binge plays drums. She appears to play drums with all parts of her body, both legs hopping, head nodding vigorously, and arms wailing, all independent of each other. But the song I heard, Eleni was playing the guitar. It was just too cold. I couldn't stay. No amount of Jameson's could do it. This ruled out Alivia's too.
So I went back to Broad St. And that is where I stayed. I missed Grappling Hook, and I missed Fontana and Luego. The Broad Street Cafe seemed to be run on a pretty tight schedule, and the bands had 45 min for playing and set change. This was unlike many of the other venues. Apparently Duke Coffeehouse was about 1 hr behind schedule. I could have caught everyone. Maybe.
Soft Company. Used to be Missy Thangs. I'm not so fond of either name. But I do love the band. Mostly I love Missy Thangs. She is frequently out of tune, perfectly so, and her rich tone and her hair flying and tapping leg, all add up to pure appeal. The band is so talented musically, been around this block a few times in other bands , each adds a layer of sound, but in Broad Street it was really, really loud. Lots of people actually had their hands over their ears, but they stayed front row anyway. My favorite song is this warbly funhouse almost funereal romp called something about a diamond. The men of the band look a little bored, but their sweat gives them away.
Gambling the Muse. This was a surprise. I'm not a huge country fan. This ventures into the realm of Alt Country. Lead man Daniel was charismatic, but I kept thinking he needed a tamborine, or something to hang onto, maybe a bottle of Jack or something. The harmonies were gorgeous, and the banjo/mandolin/guitar player so talented. A lap steel made its way to the floor about 75% of the way into their set. Apparently he played with Fontana at the Duke Coffeehouse, and hence the late arrival to the show. Ah, these musicians with multiple projects...
SATURDAY: BCHQ woohoo!
I'm gonna do this whole dingdang day here. I want to see just how it's done. I approach, and an evangelist with a bullhorn is making sure I know just who's near, above, and watching me, and on the next corner, I get an offer to pray with me. I think I might pray that the day goes off without a hitch, and the PA works, and there are people here for this, but not too many.I enter, and it was even louder than at Broad St. Everyone had ear plugs. It was standing room only. Because there wasn't anything to sit on. The room was split in half with a PA at either end. While one band played, behind you another set up. There were a fair amount of people there. Most are musicians it seems, but also it looks like the bands' friends and families are there: grey haired parental looking people, kids, smiling friends.
I enter to hear the last few songs by Betty and the Boys. I don't know this band, but I like the attitude. Betty looks snarky, and sassy, and I just like her. The music is spunked up distorted guitar. worth seeing again, but I can't recall any of their songs...
Simple, simply too loud, I had to go eat something. Don't count them out though, I think I was still dealing with a little of Friday night's chemical attempt to keep warm.
Fan Tan. This is a band I meant to go see a million times, and never made it for so many reasons, then they up and move to NY. But wow. My favorite of the day. Mostly because of Kuki. There are no drummers like Kuki. He's fluid and so interesting to look at. His rhythms are complex, but he makes it look so simple. He is daintily destructive, and intertwines syncopation with the bassist (who I think is his wife or girlfriend) who keeps a constant picked metallic thunkathunk bass. The lead singer is hip-80's NY tight leg jeans, white converse, beatlesque hair, and Cure-like vocals. And they pushed the 30 minute envelope, playing their "last song" at least 3 times. Turn around, and its....
Sweater Weather. I am not sure how many people were in the band, lots. They are so young and jubilant. They have an air of naivete, and sweetness to them. Their songs are built around the acoustic guitarists weaving vocals, that soar to a crescendo in a build of accordians, cellos, keys, and audience provided percussion. There's no lack of passion here, but the songs all seem to blend together, and I don't remember the songs.
I'd like to interject here that I hate earplugs, and there was no way to escape this show without them.
Next Eberhardt. They were the last band before the break. Rebekah's voice is the best thing about this band though her singing does seem to sound quite a lot like Des Ark. I think over time she will make her voice more her own.
And then I gotta go. I'm done. I'm tired of standing up, and doing the stand and spin for the day.
And then I got waylaid, and tired, and next thing I knew, Saturday was over... Anyone want to comment on any bands that I did not, please do.
So that's what I have to say about Troika. That is too much to see and too much to say. But what I do know is we have some talent here in this area that's unmatched. I wonder if I would say that if I lived somewhere else.
bzz
Tuesday, November 6, 2007
Troika- Before the Music
Last year the Troika Music Festival was amazing. One great band after another. Big touring bands, the best of local bands. Hopping burgeoning venues, Jo and Jo's, 305 South alive, Duke Coffeehouse with a new breath. It's what I wanted to see and hear again this year.
First the Pin Projekt. Huh? Pin projekt? whazzat? I actually know noone who went... anyone got a report on this?
The buzz surrounding this festival this year was absent. An email went out that it was time to sign up, and bands had to do it through ReverbNation. Cool! It was time for Troika again. And then nothing. I had thought about helping out, but never heard the call for volunteers. My email bounced. I didn't hear or see another word until about 2 weeks prior, and the schedule was posted on their website.
And then the griping, very quietly, started. I kept hearing whispers of "no organization" and "organizers losing it" and "I'll be surprised if it even happens". I didn't see any promo, and couldn't find information about how I'd get a ticket until the Indy published a great layout with lineup and some streamed music online. Why the absence of promotion? I asked my friends if they were going to Troika. "When's that?" they'd ask, and they are the people who're supposed to be in the know.
So I started to talk to my band friends. Seems communication from the Troika folks was a bit lacking. Bands were not asked if they could play their given slots or even confirmed at all for that matter, venues were not confirmed either. SOme venues owners found out they were hosting Troika when the schedule was listed in the Indy. Emails weren't returned, questions left unanswered. Several bands dropped out. Hmm...
What's the story here? Too much festival for not enough volunteers? Another friend said they tried to volunteer, with more than one email sent and no email response. Other friends of friends who helped out last year steered a mile wide, last year left a bad taste for some reason. I never got the whole story on that- left me curious.
And the schedule. I looked at the schedule for Bull City Headquarters on Saturday. Impossible I thought. 17 bands, one band every half hour until midnight. In the very small, scantily equipped BCHQ... No beer, unreliable toilet, no food, big boxy sound, poor temperature control (toohot, toocold). Why this venue for the main day? I wanted to go just to observe the logistics of what was potentially a supreme nightmare. But the bands listed were fantastic. If I got to hear 3 of these bands, it would be a stellar music day.
look at this clusterf*. I can't even read it.
Bull City Headquarters723 N. Mangum Street, Durham, NCAll Ages — Alcohol-Free Space$10.00 • The Everybodyfields 11:00 pm • Bodies of Water 10:00 pm • Phosphorescent 9:00 pm • Ben Davis and The Jetts 8:30 pm • Bellafea 8:00 pm • Ex-Members 7:30 pm • Richard Bacchus and The Luckiest Girls 7:00 pm • New Dawn Fades 6:30 pm • On the Take 6:00 pm • Opening Flower Happy Bird 5:30 pm • Midtown Dickens 5:00 pm • (BREAK) 4:00 - 5:00 pm • Eberhardt 3:30 pm • Sweater Weather 3:00 pm • Fan Tan 2:30 pm • Simple 2:00 pm • Betty and The Boys 1:30 pm • The Drowsies 1:00 pm
The problem with the venues is they were so spread out. I remember maybe 3 years ago, when it was still the Durham Music Festival, hundreds of people were running (on foot) back and forth between venues, catching 15 minutes of each band, between the Armory, Jo and Jo's, Ringside, that club that I can't remember the name of... There were so many people out, and everyone so thrilled to hear all the music. Downtown was alive, a different place. But this year, you have to drive between venues (or bike), except with James Joyce and Alivia's.
Now let me bitch about the cost. The pass was $20, ok, I'd do that. But what's the story with this show 2 weeks later, for an additional $15... I think of a festival as a weekend affair. 2 weeks away is almost disconnected. I don'geddit. If you didn't want to buy a pass, each venue was $8-10! That gets pricey if you've just got a few bands you want to hear. I'd think if you're trying to appeal to music loving folks like me, to bring us in, you'd bring the cost down. Maybe a one-day pass, or punch card, or something like that. And where does all that money go anyways?
I wonder how the attendance turned out after all 3 days. I made it to all 3 days, and I'll write about the bands I heard next. Let's just say thank god it's about the music, and not about the logistics.
bzzzzzzzzzz
First the Pin Projekt. Huh? Pin projekt? whazzat? I actually know noone who went... anyone got a report on this?
The buzz surrounding this festival this year was absent. An email went out that it was time to sign up, and bands had to do it through ReverbNation. Cool! It was time for Troika again. And then nothing. I had thought about helping out, but never heard the call for volunteers. My email bounced. I didn't hear or see another word until about 2 weeks prior, and the schedule was posted on their website.
And then the griping, very quietly, started. I kept hearing whispers of "no organization" and "organizers losing it" and "I'll be surprised if it even happens". I didn't see any promo, and couldn't find information about how I'd get a ticket until the Indy published a great layout with lineup and some streamed music online. Why the absence of promotion? I asked my friends if they were going to Troika. "When's that?" they'd ask, and they are the people who're supposed to be in the know.
So I started to talk to my band friends. Seems communication from the Troika folks was a bit lacking. Bands were not asked if they could play their given slots or even confirmed at all for that matter, venues were not confirmed either. SOme venues owners found out they were hosting Troika when the schedule was listed in the Indy. Emails weren't returned, questions left unanswered. Several bands dropped out. Hmm...
What's the story here? Too much festival for not enough volunteers? Another friend said they tried to volunteer, with more than one email sent and no email response. Other friends of friends who helped out last year steered a mile wide, last year left a bad taste for some reason. I never got the whole story on that- left me curious.
And the schedule. I looked at the schedule for Bull City Headquarters on Saturday. Impossible I thought. 17 bands, one band every half hour until midnight. In the very small, scantily equipped BCHQ... No beer, unreliable toilet, no food, big boxy sound, poor temperature control (toohot, toocold). Why this venue for the main day? I wanted to go just to observe the logistics of what was potentially a supreme nightmare. But the bands listed were fantastic. If I got to hear 3 of these bands, it would be a stellar music day.
look at this clusterf*. I can't even read it.
Bull City Headquarters723 N. Mangum Street, Durham, NCAll Ages — Alcohol-Free Space$10.00 • The Everybodyfields 11:00 pm • Bodies of Water 10:00 pm • Phosphorescent 9:00 pm • Ben Davis and The Jetts 8:30 pm • Bellafea 8:00 pm • Ex-Members 7:30 pm • Richard Bacchus and The Luckiest Girls 7:00 pm • New Dawn Fades 6:30 pm • On the Take 6:00 pm • Opening Flower Happy Bird 5:30 pm • Midtown Dickens 5:00 pm • (BREAK) 4:00 - 5:00 pm • Eberhardt 3:30 pm • Sweater Weather 3:00 pm • Fan Tan 2:30 pm • Simple 2:00 pm • Betty and The Boys 1:30 pm • The Drowsies 1:00 pm
The problem with the venues is they were so spread out. I remember maybe 3 years ago, when it was still the Durham Music Festival, hundreds of people were running (on foot) back and forth between venues, catching 15 minutes of each band, between the Armory, Jo and Jo's, Ringside, that club that I can't remember the name of... There were so many people out, and everyone so thrilled to hear all the music. Downtown was alive, a different place. But this year, you have to drive between venues (or bike), except with James Joyce and Alivia's.
Now let me bitch about the cost. The pass was $20, ok, I'd do that. But what's the story with this show 2 weeks later, for an additional $15... I think of a festival as a weekend affair. 2 weeks away is almost disconnected. I don'geddit. If you didn't want to buy a pass, each venue was $8-10! That gets pricey if you've just got a few bands you want to hear. I'd think if you're trying to appeal to music loving folks like me, to bring us in, you'd bring the cost down. Maybe a one-day pass, or punch card, or something like that. And where does all that money go anyways?
I wonder how the attendance turned out after all 3 days. I made it to all 3 days, and I'll write about the bands I heard next. Let's just say thank god it's about the music, and not about the logistics.
bzzzzzzzzzz
Welcome!
Wall Fly is created out of the desire to deliver the Buzz about bands around the Triangle and beyond in NC, and particularly live show review. Anonymously, a fly on the wall. This will hopefully allow candor, less bias.
Who am I and what gives me the right to say anything about this? I'm a musician's friend, I'm a live-music lover, and want to promote the local scene as much as possible. Straight up, from the heart, un-minced.
Last weekend was a smorgasbord of NC music, all in one place. My first review(s): Troika, Durham's premiere music festival in it's 6th year.
coming up.....
Who am I and what gives me the right to say anything about this? I'm a musician's friend, I'm a live-music lover, and want to promote the local scene as much as possible. Straight up, from the heart, un-minced.
Last weekend was a smorgasbord of NC music, all in one place. My first review(s): Troika, Durham's premiere music festival in it's 6th year.
coming up.....
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