These United States continue to believe in Rock ‘N’ Roll

While last Thursday night may have meant the bright lights and free drinks of Fashion Night Out to many spending their evening in lower Manhattan, a sparse but fortunate crowd thirsting for a grittier scene was well rewarded at the Mercury Lounge. The warm glow of the historic rock club welcomes patrons through the intimate, if narrow, wood-clad bar to a dark, bare-bones venue that lets the music color the scene. We last met up with These United States when they came to see The Yes Way in Lexington and again at SXSW, but now it was the DC and Kentucky natives turn to paint our town with tremendous conviction.

These United States have proven to be a workhorse act since emerging in 2008, having released four studio albums in that time. Front-man Jesse Elliot sets the tone with grainy, off-cadence vocals that capture the soul of the Cold War Kids’ Nathan Willett and play well against the band’s twangy, garage sound in the same spirit as the Black Lips. Also deserving praise are the invaluable contributions of drummer Robby Cosenza. The band may indeed be at their best when Cosenza’s aggressive thumping drives their sound, as could be heard on the opening break-up anthem “I Want You to Keep Everything.” Cosenza even lent his talents to the harmonica for the southern-fuzed working man’s blues “The Business” — another highlight of the evening.

Though no new musical barriers will collapse, nor shall any daring creative endeavors be tested at the hands of These United States, they deliver fun, authentic, Rock ‘N’ Roll and appear to have a good time doing so… visible as Elliot cut loose and embraced the lawlessness of “Honor Amongst Thieves.” While the show did lull a bit during its third quarter, one had little time to mingle at the bar or head outside for a smoke before the band exploded into a tremendous two song finale that included a rocked-out “The Important Thing” and funk-fueled “When You’re Traveling at the Speed of Light.”

The impressive energy continued into an inspired encore performance of debut-album favorite “First Sight.” This final song of the night seemed to embody the simple philosophy of the band itself, as the audience was left with the words “we believe in Rock N Roll” echoing in their heads. My belief was affirmed as These United States offered some very compelling evidence.

Courtesy Tier… refusing to believe the hype

Last night I had the privilege to see Courtesy Tier at Cameo Gallery with Hollis Brown and Governor. I have actually spent extended periods of time on the road with all three of these bands and while I consider them all “friends” I consider myself a fan with random bits of nonsensical self-indulgent critique like a confusing authority figure with the offensive kind of tourette’s. I guess you can think of a Middle School janitor, you don’t necessarily HAVE to listen to him, but you can’t tell him to fuck off without some sort of repercussion either.

Hollis Brown just finished recording their new album that beams with brilliance and honesty that could find itself in the homes/cars/radios of everyone with a soft spot for the lost art of southern blues… or be another gem lost in the oversaturated Brooklyn music monopoly dominated by electro-pop and trust funds. Nevertheless, someone somewhere WILL care and that’s why they will forever trudge along with shit eating grins as if they know the joke is inevitably on YOU. Once ALBERT sends me some initial mixes I will have MUCH more to say…

Governor would be Cameo’s very own “house band” if they were to still exist from the Bowery era fallout. A throw-back or quantum leap to legitimate guitar dominated rock AND roll, they will forever be swimming against the current, current. A shirtless frontman whose only instrument is the microphone, one guitar and rock star swagger sans cheesy hair and makeup (I HATE those bands) they smartly refrain from power chord addiction and over indulgent solos. Governor have suddenly found a confidence, possibly via their new beast of a drummer, but most likely through a finalized lineup, growing fan base and residency supported by some of the most talented bands in recent years. I seriously look forward to seeing them develop further.

Nevertheless the apple of mines eye is Courtesy Tier. A small in stature duo that create a sound so massive and intense its hard to imagine their isn’t a bassist AND guitarist hiding somewhere in the venue. I have often described Omer’s ability to play the guitar like a madman foaming at the mouth: “You gotta see this guy! It’s like the nerves in his hand are separated right down the middle and information is feeding to them from two different parts of his brain!” Whether or not that’s true, I do watch him play and think of a freak show Lobster Boy or the Penguin. He plays the guitar as if it were a grand piano… a choppy lead fingered progression on the high and a rhythmic bass strum on the low, simultaneous yet individual.

It was mind blowing the first time I saw them at Spike Hill, by chance and through actual tragedy, they had replaced a very ill fated and talented band on a lineup a band I represent was also on. And like any tall tale it all begins with speculation and a feeling that the universe works in its own cynical deviant way. I immediately booked them for one of my shows and without really knowing each other we decided to team up on a tour down to Austin for SXSW. Quickly, the awkwardness of professionalism was replaced by the bro-code of the road and their enthusiasm for all aspects of being an independent musician shined.

For those not in the know, Courtesy Tier have received some of the grandest accolades Brooklyn bands so desperately strive for, that they hire every recent Wesleyan graduate with a “business” to obtain. Yet, Courtesy Tier are navigating the unforgiving music industry like Lewis and Clarke… no manager, publicist or handlers of any kind, just the occasional guide that most likely leads them down the wrong path in the end. They have been pursued by numerous “industry experts” but see past the bullshit of the talking heads and connivers. Rather, they trek endlessly but not aimlessly, just with a subtle wisdom and confidence that success takes time if it ever comes to fruition. Their is no hesitation to play the same songs night after night for two years, because they KNOW that it is the fan and not their own egos that dictate the set list.

I have learned quite a bit from Layton and Omer over the past year. They have set the standard for any band I will ever work with and have recently advised me “not to believe the hype.” Sound advise from a band who just so happens to live every moment according to just that.

Introducing: Lucius

This may be one of the best “discovery” stories I can personally attest to. This year at SXSW The Yes Way and I were grabbing some breakfast burritos from a truck on the other side of the tracks away from 6th Street. As we were eating there were these two beautiful voices coming from the empty lot behind the truck. Obviously I got up and was pleasantly surprised to see a little crowd gathered around a keg of beer bobbing their heads as Lucius stood atop what seemed like a milk crate stage.

Jess Wolfe and Holly Laessig are dual threat singer songwriters at the vocal helm of Lucius. Describing their voices is as delicate of a task as the songs themselves. Unlike other much more famous bands that utilize the multiple female vocals, Wolfe and Leassig never seem to be trying to one up each other. There are limited “ooohs and aahs” and zero squawking animal noises. Their voices actually seem to intertwine into one soft sonic element that if it wasn’t layered between the two of them it might not even be audible. Even more admirable is the songwriting and arrangements themselves. Very simple instrumentation allows the lyrics to cut you down to size especially with “Comatose” as they describe “a girl looking down the wrong end of the telescope… she’s gone comatose waiting for this thing to grow*.”

**Lyrics are solely the assumption of the author who asked for yet to be released tracks from the band because he’s selfish **

And with another yet to be released “Dolly” where they claim “I’m your Dolly, stuffed with extra baggage, lay me down to shut my eyes” before belting out “I DONT NEED YOU ANYWAY, GO HOME.” It can only be explained as a beautiful rage as the acoustic guitar, sparse percussion and occasional accapella bursts tear at the heartstrings.

I feel bad for writing about songs that you can’t quite hear yet, unless the band lets me post something… Lucius? Fortunately RethinkPopMusic has booked them for our FREE Northside Festival showcase 06/16 at Spike Hill and you can hear them in person for yourself.

And in the meantime enjoy their video for Shenandoah from their debut album Songs From The Bromley House.

Lucius Shenandoah from Jessica wolfe on Vimeo.

SXSW Tour Part 3… Austin

How do I describe SXSW this year? RethinkPopMusic hosted 3 showcases, booked 11 local Austin bands and all the shows were FREE for ALL! Can any other label, booking agency or media outlet say that? NOPE! We also saw our largest and most enthusiastic crowds to date… without free booze!

I actually had some time on Tuesday and Wednesday to check out a few bands before our SXSW actually started. So we set out on a loosely organized meander through Austin stopping at a few predetermined destinations and then did some impromptu street walking. To my amazement, $15 – $20 covers were almost the status quo for folks sans badge, though the venues were EMPTY!!!

Now these were not marquee acts, but up-and-comers with a bit of buzz. But why alienate potential fans? I understand that the venue probably prison raped you with the rental price, but this is where the whole system is flawed. Venues would much rather have hundreds of people there buying drinks enjoying the music and becoming potential return clientele. But you assholes host showcases with nothing but electro-pop bands from out of town in hopes that some asshat (including me) with a blog writes a glowing review. This is why you fail and have turned SXSW into something ugly. What about the locals?!

Alright, being critical of others is not our thing at RethinkPopMusic and honestly why would we want to share our common sense? I also realize that if you’re reading this you’re probably just saying: “Who the hell are you?”

RethinkPopMusic’s first showcase at SXSW was Friday afternoon at Fado’s for our third consecutive year. We were pleasantly surprised with the enthusiasm of the crowd and all the bands really rolled up their sleeves to make it a success (we had to rotate 4 different drum kits throughout the showcase). Since this blog is all about Austin the following locals played: Elaine Greer, The Eastern Sea, Zorch and The Sour Notes.

The Eastern Sea:

Immediately following Fado’s we relocated to The Belmont less than a block away in a mad scramble (Fado’s ended at 8pm and The Belmont started at 8pm) . The attendance exceeded all expectations thanks to Whalers, Sunset, Little Lo, Follow That Bird and The Sour Notes.

Littel Lo:

Saturday night we hosted our last showcase at Chupacabra Cantina for the second year. We featured Superlite Bike, The Handshake and Marmalakes

As you can see, you don’t necessarily need big write ups and overly hyped bands to enjoy SXSW, just don’t shit on the locals. Thanks to Keith and staff at Fado’s, Katie and staff at The Belmont and Jason (expert power napper) and staff at Chupacabra Cantina your continued support is invaluable. Last and CERTAINLY not least, this year was only a success because of all the incredibly hard work of Jared from The Sour Notes… thank you!

The Sour Notes:

“Psychological Thriller” Music Video from The Sour Notes on Vimeo.

Please check out all the Austin bands featured in this post, they are incredible! Until next year?

We’re back… SXSW Tour Part 2

After the Northeast gigs in NYC, Philly, Baltimore and DC we worked our way down the East Coast with great shows in Lexington, Asheville and Charlotte. Below is a video of The Yes Way performing “Handless” at the famous Milestone in Charlotte where greats such as Nirvana, Black Flag and The Violent Femmes have all thrashed.

Once deep in the South it was time to work our way West with a stop in New Orleans for The Foburg Festival. The Yes Way opened up for the amazing Sun Hotel (Park the Van Records) at Maison on Friday night. Quite a nice crowd considering Ra Ra Riot and Givers were down the street.

Now, we must admit that New Orleans did get the best of us…

until our detox patron saints Katie and Tommy came to the rescue. Tommy, who is an exceptional muralist decided that our self spray-painted t-shirts needed a little tweaking and the following is the result:

New Orleans is a strange town full of artists who refuse to do the whole “social media” thing. Don’t know if there is longevity in that, but it was refreshing compared to the whorish online activities of most “artists” in NYC.

Words can’t even begin to express how thankful we are to have met such amazing people who brought us back from the frazzled road warriors we had become. And just in time too, as SXSW was just around the corner.