The Buttless Chaps / Young & Sexy
The Red Room; Vancouver, BC

[02-23-06]

Like a solar eclipse but far less
random is the elusive double CD release party. Lo, here at the primarily
electronic nightclub The Red Room, Mint Records kindly bankrolled the release
of The Buttless Chaps' seventh album and the sick-of-being-compared-to-Belle &
Sebastian Young & Sexy's hotly anticipated third. I'd never been to this venue
before, and, to be honest, its close proximity to Hastings (crack central here
in Van) and the subsequent shootings outside had me a little nervous, but the
open dance floor area and cabaret-style seating sure puts The Red Room at a
level above Richard's On Richards peeling-paint banisters. Having built up a
substantial cult following over these many years, the combined hometown crowds
of each band obviously necessitated a venue of this size, but the class of
this more-recently-renovated-than-Dick's joint was the cheese in my grilled.
Hey, you can't go wrong with a $5 pint glass of peach margarita.

With the blossoming crowd inside by the time Young & Sexy hit the stage, there
was almost a birthday party atmosphere in the East side cavern (care of the
crazy dancing, post-punk, post-Barenaked Ladies opening locals The Doers),
which took a sudden turn towards a sullen, forgotten birthday once the sombre
interpretation of urban decay that is Y&S kicked in. Amid subtle monitor
problems, they didn't really hit stride till after "The City You Live In Is
Ugly," which was just in time for the harmonizing required by muse chanteuse
Lucy Brain and guitarist Paul Hixon Pittman for "Your Enemy's Asleep," a song
that took on more of a Shins feel live. I know, particularly with their first
album (2002's Stand Up For Your Mother) and its surrounding output,
that their emphasis is/was on alienated, morose seriousness--but I wasn't the
only one who thought Lucy's voice sounded more dynamic once she seemed to
lighten up a bit and let a few smiles across her face, coincidently when a
trumpeter/keyboardist showed up to make the band a sextet. I actually
preferred their earlier releases before this set, which picked a selection of
tracks covering all three records, but the live versions of their more
traditionally indie rock-sounding, newer Panic When You Find It tracks
brought them to life in a truly rewarding fashion right before my ears.

The assless ones took the stage without a word, launching straight into songs
mostly from their newest Mint album. While previously exploring the uncommon
dichotomy of new wave and country in great depth, the Where Night Holds
Light
-heavy set rested more on indie-tinged alt. country… so don't let the
country tag scare you. Garth "Dr. Pepper" Brooks, these guys ain't. This here
is a rare case of trumpet, accordion, banjo, and keyboards (among other
things) all together at last. This mêlée betrays an open-mindedness that is
crucial to the endurance of worthwhile independent music.

After five studio and two live albums, there's a pretty good chance you know
your shit. And so, the accurate renditions of the new Buttless tracks weren't
surprising. But while they didn't add too much beyond the studio, Dave Gowan's
off-the-cuff musing about "product" (hair gel), the obligatory Chaps cover of
Depeche Mode, and their live energy in front of a friendly crowd
unquestionably made the trip down worthwhile. They closed out the night on a
positive, laid-back note. You can probably tell from the tone of this review
that my mind wasn't exactly blown through the wall, but believe me when I say
it's nights like this that rekindle my faith in indie. Props to Mint Records.
Off the back of these releases and Neko Case's new one, this should be a
well-deserved big year for them.

  

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