{Zune @ Bowery Ballroom}
I think I attended one of the Zune showcases on Wednesday at the Bowery Ballroom. At least it seemed that way from the rampant cries of "Yeah, Sony BMG!" (douche chills, anyone?). Zune signs adorned the venue, and many concertgoers could be found in the downstairs bar playing Guitar Hero on the dozen or so Xboxes scattered around the room.
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- {Corey Chisel and The Wandering Sons}
Rock ‘n’ roll? Well, sort of. "We're here to acoustic rock!" announced Cory Chisel of Cory Chisel and The Wandering Sons. "I know what this week is really for," he teased, waggling his finger at the already half-sloshed audience. I myself was merely riding the coffee wave, but it seemed to be that kind of Wednesday night for most. This band formed in Appleton, Wisconsin, featuring Chisel as the frontman and five other members, including twin team Noah and Adriel Harris. Employing clarinet, banjo, acoustic guitars, and an upright piano, The Wandering Sons certainly lived up to their "Americana" billing, with Carter/Cash harmonies and boot-stomping beats that remind me of The Felice Brothers, though I'm partial to the latter.
My favorite moment of the set came when Chisel asked, "Do we have time for a sing-a-long?" and proceeded to lead a damn excellent cover of Loudon Wainwright's "One-Man Guy." The crowd enjoyed it, no doubt, but it also highlighted the fact that Corey Chisel and The Wandering Sons are riding a very well-populated surge of "good old-fashioned country/folk music" vogue, and I'm not quite convinced that they'll be able to set themselves apart as time goes on. Still, love that Gibson guitar. Corey Chisel and The Wandering Sons currently have an EP out on RCA Records entitled Cabin Ghosts.
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- {Shugo Tokumaru}
After relegating myself to the balcony like the old working stiff I am, I settled in to enjoy 28-year-old Shugo Tokumaru, a Japanese singer-songwriter who plays guitar like a motherfucking riot, so to speak. This was only his second U.S. show, having made his debut at The Mercury Lounge on Tuesday night. Remaining barefoot for his entire set, Tokumaru sang in gentle vibrato, breaking into ridiculously impressive fingerpicking guitar solos that drew awed applause. The muted trumpet, along with accordion, made his backing band sound somewhat like a silent film soundtrack at first, but later added a wood flute, child's piano, and banjo... because really, what self-respecting independent artist doesn't make use of banjo these days? A tiny ukulele snuck its way in there by way of the most burly band member, which was kind of endearing. There are plenty of chops to go around in this band, and Tokumaru remained shy throughout, responding with a quiet, smiling "thank you" after an audience member loudly declares her (his?) love, and ended his set with a deep, gracious bow. Tokumaru's third album, Exit, was released this year on Almost Gold.
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{Tee Pee Records Showcase @ Europa}
It may be New York, but I've found that it's not out of the question to go to a random venue and find yourself watching a band of dudes who grew up about half an hour away from you.
- {Hopewell}
Founder Jason Russo of Hopewell was already doing crazy shit like touring with Mercury Rev at the age of 19 before he started up a band named after his hometown: Hopewell Junction, New York. I walked in mid-set and got slammed with a balls-deep, primal wave of electric guitar assault, coupled with the distinct scent of patchouli incense. I spotted a gold chain and a v-neck white t-shirt, but fought my skepticism, which proved to be a good choice. The sound was... dare I say it? Psychedelic. I mean, given Russo's ties to the spacey Mercury Rev and the fact that it's a term I don't like throwing around, I think I can get behind that classification. Of course, it's also very easy to make "psychedelic" music that totally fucking blows, and Hopewell deserve congratulations for successfully using a spooky synthesizer in a manner that didn't make me burst out laughing. Remember the band that never got off the ground in Freaks and Geeks because Ken thought that all of the names Lindsay suggested to Nick were stupid? Oh, and because Daniel hated practicing? If they'd ever gotten their shit together, they'd probably sound something like this, right down to Nick Andopolis' taste for theatrics and denim. Vast, soaring, note-perfect vocal ranges don't hurt, neither. The latest from Hopewell is Beautiful Targets, recorded in upstate New York during 2006 and released in 2007 on Tee Pee.
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- {The Weight}
I found myself talking to a charmingly sloshed, long-haired guy as Hopewell broke down, and gradually realized it was Will Noland, bassist of The Weight who came on next. He told me a bit about their label, affectionately named The Colonel, and made a few jokingly disparaging remarks about lead singer Joseph Plunket, his nephew(!). I decided then and there that I would be very disappointed if their sound bore no resemblance to The Band song for which they were named. I was not disappointed. Plunket got sick of a rotating cast of characters for his band, and the group I saw on Wednesday was the result of what he rounded up upon a move to Brooklyn from Atlanta, Georgia. Guess he was picky, because The Weight are continuing my winning streak insofar as seeing bands that are just really, really damn good at what they do. Which, in this case, is rehab in a musical form for kids burned out on punk rock and looking for something earnest. The camaraderie and ragged discipline of The Band was definitely present here, right down to the Marshall Tucker cover towards the end of the set. Three-part, howling harmonies spurred on by their (very) enthusiastic friends and labelmates in the audience topped off a bang-up show. Don't be surprised if these guys end up at one of Levon Helm's Midnight Rambles someday soon. The Weight Are Men is out now on The Colonel Records.
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