There was no dearth of good local action on tap Saturday night, but seeing as how it's been a year since The East Room began operating as one of East Nashville's bigger regularly operating event spaces, we figured we'd help them blow out the candles.
The festivities kicked off a bit earlier than the typical rock o'clock witching hour of 9 p.m. (or thereabouts), and thus we walked in having just missed surf-poppy husband-and-wife-and-friend trio Repeat Repeat (no worries, though; scoot down below to see our appraisal of their Monday night set). But we were greeted by Babe City, formerly known as Hannah Barbarians, a band featuring East Room owner Ben Jones on drums and local man-about-town Jeremy McAnulty on vocals. The Spin caught Hannah Barbarians on several occasions back in the Aughts, but our recollections of their charmingly sloppy dance punk are hazy at best. We can definitely say the current incarnation of Babe City sports strategically spastic vocal disharmonies and a fuzzy, loose delivery that falls somewhere between the eccentric pop of Animal Collective and the psych-rock influences of Butthole Surfers.
As for headliners The Features, The Spin would wager them to rank fairly high in the Top 10 Most Spun Bands in Scene history, if not right at the top. In the past 15 years, we've seen them in nearly every size venue imaginable — mind you, we haven't seen them play a room this small since the Cream's birthday party at Third Man Records a couple years back, or for a crowd this small since Murfreesboro circa 2001. While we weren't expecting such a meager turnout, the rest was completely predictable, in that tried-and-true-Features sense. Singer-guitarist Matt Pelham & Co. were a tightly wound, well-tuned rock 'n' roll machine with a rhythm section by which one could set a watch and songs as solid as only true power-pop masterminds with their experience could craft. Composed almost entirely of jams from last year's taut, New Wavy The Features, the set featured very few old-school deep cuts (one of The Spin's greatest pleasures is singing along to pre-Exhibit A fan favorites). Then again, it's hard to justify crowd pleasures/fan faves when there isn't much of a crowd there in the first place.
Did we mention seeing The Features play mid-set on a local bill was also maybe a first? Maybe it was. Afterward, Terry Price (formerly of Oblio) and his Photo Ops took more than a few minutes to set up. Anyway, The Spin is always game for a dreamy power-pop band sporting a set of catchy tunes with a sensitive core, especially when given such a smooth and tuneful delivery.
Two-piece garage-revivalist outfit and late additions Mystery Twins rounded out the five-band bill, but The Spin had since hit the bricks, because we're lazy fucks who like to annoy our editor*. A recent chat with Twins frontman Doug Lehmann revealed that despite frequent comparisons to '60s psych-rock and R&B acts (from Mickey and Sylvia to The Seeds), both Mystery Twins and the duo's previous band, The Clutters, really pull as much influence from '90s grunge and indie-rock acts than anything from the Vietnam era. Also, they play with an Edison bulb thingie onstage, and we like that.
The Spin scaled Cannery Row's icy peak on Monday night and hitched our tauntaun to the rail. We expected the crowd would be modest, but there were already quite a few adventurous souls meandering through the massive cloud of fog that filled Mercy Lounge. The time was upon us for 10 bands to battle for their chance to perform in a tent mere hundreds of feet from where Lionel Richie will be napping in an air-conditioned bus. Only one could claim victory — spoiler alert, it was El El. It was time for Road to Bonnaroo 2014, Round Two.
Pairing Echo and the Bunnymen's dark melodic sense and Depeche Mode's electronic grooves in one compact package, Future Unlimited opened the festivities, taking full advantage of the synchronized light show. If darkwave synth-pop is your thing, you won't be at all disappointed in this band. We're not sure about watching them at noon in a field, but their powerhouse set convinced us they should definitely open for Gary Numan when he comes through in a couple of weeks.
The Young International has never struck us as a potential favorite band. Their indie rock with its touch of emo wistfulness always felt competent and thoughtful, but never outstanding, and we weren't too surprised when last year's bid fell short of glory. This time around, a new harder edge to their sound caught our attention — maybe it's always been there and we're just noticing it, but they sounded more comfortable than the last time we saw them, more relaxed but more in command. Scale Model puts together a lot of things we enjoy: upbeat New Wave dance tunes, space dresses, guitars and keytars that light up, and our trusty freelance photographer Steve Cross on drums. With a forthcoming full-length mixed by local pop wizard Matt Mahaffey, they're sitting pretty close to the top of the world. Their first two songs felt like they were holding a little something back, but on their final number, they cut loose on a structured jam that filled the pit with dancing.
MC Jung Youth is a rare though not unprecedented hip-hop entry in the proceedings. He brought a top-shelf band, with guitar, keys, drums and keytar bass, who frankly outclassed him. He's got a solid sense of humor and has no problem going after a crowd, but his rhymes are not up to the bar set by other locals yet, and you can feel him putting his delivery together. There's a natural flow that Jung Youth is just getting a handle on, but there's good raw material here, and we don't expect he'll have any problem opening for Mobb Deep at Exit/In on May 1. Common Tiger was our biggest surprise of the night. They snapped into color for us on their second tune — it wasn't radically different from the first, but iridescent flakes of spooky rock 'n' roll à la Ty Segall Band's Slaughterhouse knocked us off balance in a good way. We would absolutely wake and bake to this, and we made it a point to snag their free CD from the merch table.
Repeat Repeat featured Jared and Kristyn Corder, the swell folks who bust their asses to put on the quarterly East Nashville Underground festival. We heard way more dance-oriented post-punk in their makeup than the surf that everyone talks about, though Jared's guitar tones are definitely surf-oriented. The texture could be a little thicker for our part — Kristyn's voice higher in the mix would help — but they brought their angsty A-game and earned some thunderous applause.
Backed by live video of themselves onstage, with the picture signal feeding back into itself, the cosmic Charlies of Music Band thundered through their set with house-show intensity. Recent tourmates of Those Darlins, Music Band nails the nifty trick of sounding loose as hell while playing extremely tight. We expected them to make a strong showing when all the ballots were counted, and we weren't at all surprised when they landed in the Top 3 at the end of the night. We'd have given Rebecca Rubion high marks just for delivering the easygoing, laid-back set our ears craved, but we got a lot more than we bargained for. Her voice is has an interesting bluesy lilt that isn't forced, her songs are engaging and not at all precious, and her band is sharp. We were startled to realize we'd already been through three songs, and left looking forward to seeing what other tricks she and her band might have up their collective sleeve.
Justin Kalk delivered his promised Orchestra, an eight-piece outfit with strings, keys, backup singers and a couple of stuffed giraffes thrown in for good measure. Kalk's stage presence has more than a little Jack White in it, and his guitar skills lie somewhere between White and Frank Zappa, which is to say, "Holy shit, can that guy play guitar." His bombastic performance, coupled with cool arrangements expertly performed and very vocal audience support, led us to believe he would at least place, if not carry the vote.
We were expecting some major stage antics from El El, as the band features two former members of Heypenny, who famously won Road to Bonnaroo with marching-band panache back in '09. Though we didn't get that, we did get an outstanding set that threw a ton of elements into the mix — guitar, bass, synthesizers, drums, percussion and horns — and kept them all balanced with style and grace. "Nailed it," we thought as we slipped out, and we were right: The final tally, combining fans' and judges' votes, put El El on top.
This is really sweet melody.
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