The Spin arrived at local house-show spot The Other Basement a bit late on Monday night — or so we thought. When we finally touched down around 10 p.m., the ground was literally ice and the backyard resembled a vast, frozen wasteland, save the dozen or so people huddled around the door. Upon walking inside, we were pleasantly surprised to find that the opening act, Casting Couch, had just begun, and that the basement was packed.
Bowling Green natives and current (partial) Nashville residents Cage the Elephant are still grinding along on their Melophobia album cycle — it's a cycle that began with a super-secret album-preview performance, continued with some dates opening for arena-progsters Muse and chugs along now with television appearances and dates with English indie rockers Foals. Last night, Cage chugged right on along to Jimmy Kimmel Live's Sony Outdoor Stage (hey, what label are they signed to again?), where they played a pair of Melophobia tunes: lead single "Come a Little Closer" (watch above) and album cut "Take It or Leave It" (after the jump). Points to that clutch auxiliary man over there in the wings, providing some extra instrumentation and doubled vocals. Sounding good. Enjoy!
The phrase “young coed folk-pop group” has the power to strike fear of “Ho Hey” retreads in the hearts of many. And while it’s technically an accurate descriptor of Wild Child, it’s also kinda misleading. Co-fronting the Austin septet is the songwriting duo of Kelsey Wilson and Alexander Beggins, who frequently serenade each other with conversational crooning. (And no, they’re not twee She & Him imitators either.) Borne on their wispy, playful melodies are subtly gleeful jabs. It takes close listening to their new Ben Kweller-assisted album The Runaround to pick up on the wryness of their dynamic, but it’s right up front when you see them live, bantering with the salty, vaudevillian affection of a new-school George Burns and Gracie Allen. Beggins’ main ax is a baritone ukulele, and Wilson’s a violinist who grew up playing bluegrass with Sarah Jarosz and now contributes lush string passages with the help of cellist Sadie Wolfe. There are jazz and piano-pop flourishes here and there, too. It all adds up to a very welcome and pleasing surprise.
Also performing tonight at The High Watt will be Nina Diaz (of Girl in a Coma) and Holiday Mountain. The show starts at 9 p.m. and costs $12 at the door.
From The Department of All Things Caitlin Rose and Holy Fucking Shit, Nashville’s favorite neo-country indie darling just got a gig to kill for — opening up for tireless mutton-chop champion and noted Canadian Neil Young (Crazy Horse included!) at London’s Hyde Park on July 12 as part of the imaginatively titled British Summer Time festival.
As you can see from the flier above, Rose appears alongside lovably mopey lit-rockers The National, fellow Southerners Phosphorescent, British indie-pop troubadour Todd Odell and equally limey up-and-coming indie funksters Flyte (who sound sort of like a modern-day Style Council and who are presumably not named after this local establishment) on the rock-solid bill. “Many more acts” are still to be announced for the four-stage festival.
In 2010, West Coasters Local Natives rolled through Nashville (The Basement) in support of their debut Gorilla Manor, and I called the band "blog darlings" who make "Afrobeat-fetishizing, harmony-rich, mildly folky indie-rock that Grizzly Bear, Yeasayer and Animal Collective fans will likely find most palatable." Last year, they came through town again (Marathon Music Works) in support of their sophomore release Hummingbird, which contributor Stephen "Goose" Trageser said "retains the complex but dance-friendly rhythms that marked their 2010 debut Gorilla Manor, as well as the big vocal harmonies that earned them justifiable comparisons to Fleet Foxes." Who's dying to know what we'll say about them next time they come through?! Well, you'll have to wait about four-and-a-half months.
Local Natives — continuing that trend of graduating to higher- and higher-capacity venues each time they come to town — have just announced that they'll play the 2,362-seat Mother Church of Country Music on April 30. Tickets — which will run you $29.50 plus service charges — go on sale right here Friday, Dec. 13, at 10 a.m. Watch a video of Local Natives none-too-subtly nodding to one of their primary influences after the jump.
Charles “Classic” Williams is back with a new single, the first look into his upcoming project. “The Fall,” along with its accompanying video, shows why the Nashville eccentric is one of the more original characters in the local hip-hop scene. Classic oscillates between rapping and singing as he croons a hook that begins to get more catchy with each repetition.
If you thought the cold, wet weather coupled with Sunday night’s show being rescheduled (for a second time) might dampen the enthusiasm for Animal Collective’s set, The Spin is happy to report that you’d be wrong. Local AC fans, who have waited literally all year for this show, were out in full force with broad grins and all manner of colorful garb. For their part, the quartet repaid the crowd’s patience in full with a sound-and-light spectacle that felt more like a religious ceremony than a concert. Among a generation of indie fans accustomed to shows in basements and tiny clubs, a concert at the 1,500-capacity Marathon Music Works is the equivalent of an arena date; with over a decade of experience brought to bear, few were surprised when the group nailed it.
The Spin showed up at local bike shop Halcyon’s fifth birthday party Saturday evening about an hour before the bands were scheduled to go on. We arrived to low-key vibes and a couple of beers on tap, courtesy of The Filling Station, which was more than enough to occupy the groups of two or three that were scattered throughout the shop. But by the time first act Super Shaker started setting up, a considerable crowd had arrived, spilling outside of Halcyon’s front and back doors and into the parking lot.
Eccentricity is the name of the game for Blanche Blanche Blanche. The Vermont duo’s catalog is piled with tapes and records that take a synth-pop approach to whatever other styles suit their fancy at the time — lounge, krautrock, New Wave, bubblegum pop — all of it sifted through a lo-fi, psychedelic, retro-futuristic filter. Calling BBB’s music “intimate” feels trite, but there really isn’t a better descriptor. Most of the songs sound like they were recorded in a closet, and you can feel the constraints of their equipment in every track. But like a lot of twee-leaning bands, that’s all part of the charm, and those self-imposed limitations give color and character to something that might otherwise sound pretty schizophrenic. On the opposite end of the spectrum, Guerilla Toss serves up discordant blasts of noise-rock that are just as tasty. Local math-rock duo Gnarwhal and the difficult-to-Google Casting Couch open.
If you can only watch one video, the Conway Twitty clip is pretty interesting. If…
Figure when the tour is played out and the line up blows. TN fairgrounds? weird…
There was a man named Jimmie Rodgers once.
PS#2: Gold, meant to ask, "Are you up to the task?" It does keep getting…
PS: I have already found another early influence on rock music. Folk music recording artist…