Black Cat. Mainstage. Saturday night. It’s serious.

The entire DoS staff has been anticipating this one. Probably because, like some of you, we were witness to their amazing performance at our Spring Showcase this year. They played a fantastic multi-layered, bass-heavy, electronic rock set.

If you haven’t witnessed their live performance, read our interview, or checked out their MySpace (My ___ now?) page, here’s a sample of what you’re in store for:

And check out the video for “Brooklyn’s Nightmare” here.

Joining Drop Electric will be two very solid acts in the form of DC’s The Sweater Set, and Brooklyn’s Emily Wells. It plans to be a fantastic musical evening wrapped in a bow(ed guitar). Merry Christmas. Happy Holidays.

Drop Electric Album Release
Saturday, December 18th, 2010
Black Cat Mainstage
w/ Emily Wells, and The Sweater Set
$10 Advance/ $12 Door
9pm Doors.

*Please don’t sue me.

This Wednesday, December 15th will be the event held at The Rock and Roll Hotel. It features acclaimed Chilean director Francisco Campos-Lopez and his 2010 music video catalog. Featured for Francisco’s (that’s fun to say!) videos are DC artists, Modern Theives featuring award winning jazz recording artist Marcus Johnson, Practically Einstein, Flo Anito, and Alexis George. If the premiere of the videos weren’t enough, the artists will be there to perform directly after the debut! And if you’re still not convinced, proceeds benefit Toys for Tots. So if you can’t do it for your own eyes and ears, do it for the kids!

Wednesday, December 15th
Rock and Roll Hotel
Doors: 8pm, Show: 8:30pm
$10

Grab your tickets early here.
and check out Francisco Campos-Lopez’s work here.

Stripmall Ballads presents The Perfect Pipe Bomb – A Folk Opera. Yeah, you heard right. A Folk Opera. We’re talking 15 foot tall puppets, shadow art, narration, a full choir and the psychedelic rock of one of the best bands in DC.

And it all goes down this Friday, Oct 8th at the Mansion at Strathmore in Bethesda. Strathmore’s site calls The Perfect Pipe Bomb “A fusion of theatre and songwriting, old-time poetry and raw noise rock, virtuosic tradition and psychedelic experimentation, narrative and ecstatic performance – is the most ambitious performance attempted by any band in the DC area in many years.”

Buy tickets here – Advance Tickets $10, $12 at the door (which open at 8pm).

Read more about it from the band on the Facebook Event Page.

And thank us later when your mind is blown. No wait, thank Stripmall Ballads.

UPDATE 10/7: PBR is sponsoring the traditional Strathmore “Cocktail Hour” w/ $2 PBR’s to enjoy while you explore the Mansion before the show! I know! You’re sold!

Photo provided by Casey

Being a solo artist has it’s perks. You get to set practice times whenever you want, getting to a show is a cinch, and you, of course, get all the glory. But the thing is, you also have to have talent to be alone. And that’s something Northern Virginia artist, Casey has in spades. If you needed proof, just listen and you’ll agree. The folks over at The John Lennon Songwriting Contest did and made him a finalist in their 2009 competition. We catch up Casey and get some insight into him and his  single name approach to making some of the most compelling song writing this side of the Key Bridge.

Photo courtesy of the Unrest MySpace band page

It is funny how time works, bestowing age and decay on some, while others become better defined and more mature. For DC music favorites Unrest, time has smiled generously upon the band and brought them a more refined and rich sound that has enhanced their music. Last Saturday, the band reunited on stage at the Black Cat to pay homage to its once DC-based record label Teenbeat. The rare appearance was the band’s second performance in 16 years and it was worth the wait. Offering their fans songs from past albums laden with sugary pop flourishes and punk-spirited indulgences, the band proved that their songs are just as relevant now as they were when they were when they were first released more than a decade ago.

With a collection filled with numerous albums, seven-inch singles and one-off improvisational songs it was difficult to predict what the band would choose to perform that evening. The audience waited patiently for Unrest—in all its different incarnations—to take the stage. First, Phil Krauth and Mark Robinson along with early band members Tim Moran and Dave Park performed several songs, including a comedic interlude and 12-string guitar ballad. Next Phil, Mark, and Bridget Cross, the members of Unrest from 1991-1994, appeared on stage much to the delight of the audience. This trio released the critically acclaimed “Imperial f.f.r.r.” album, and later the “Perfect Teeth” album co-released with 4AD. What happened to this band you might ask? Like many great bands before them they broke up in 1994 and each went on to pursue other musical projects.

Photo courtesy of the Unrest MySpace band page

For this night at least the band was back together and the audience was there to relish each song. The band played a number of pieces from its “Imperial f.f.r.r.” album including one of the band’s most memorable songs, “Isabel.” The piece offers a sad lament built upon a deceptive foundation of optimism from within the melody. Soon you are overcome by Bridgette’s dark and ethereal sounding vocals about a “lovely child” who was “all alone from life’s beginning” and ended up drowning in a river. It doesn’t get much better than this.

After the song “June,” the band graced the stage with its fan-favorite “Suki.” Made purely of pop dreams and unicorns, the song evokes all the levity and light heartedness that goes hand-in-hand with love only to border on obsession in true Unrest fashion. Listening to the song evokes an involuntary response from your toes, fingers and head. Before long your body is bopping along to the rhythm and there’s nothing to do but succumb. Don’t be worried or embarrassed; one scan of the room and you’ll see that everyone is overcome by the same affliction. As long-time fan Gina explains it, her appreciation for Unrest is based on the band’s “super bouncy bass line that is fun” and lyrics that “have a nice tight quality to them that makes for a great mix.”

By the end of the evening the band managed to thank the audience with a set that resonated deeply with all the fans, both old and new. Take them along with you on your next drive downtown or run around the city and fall in love with them all over again of for the first time.

At first glance I found the accessibility of bands such as “Cursive.” They had a strong prog-punk glimmer that briefly winked at the alternative sound of the 90’s. However after the first two songs I saw the real substance of this band and that was pure melodic-hardcore. I am well aware of the district’s history of hardcore music and I am not going so far as to say that these guys are bringing it back, because let’s face it the time for that type of inventiveness has past. What GBIO does, and does so well, is revitalize the form in modern terms. Without claiming a strict formula they allow themselves to venture into ground that might not be new, but is still captivating and promising.

Enough with my scene deconstruction… the final point is that these guys rocked the hell out of Fort Reno. Zoey Rawlins has a voice that is just awesome, her lyrics are amazingly personal and give you more to chew on than most bands. Melding the coyness of Astrud Gilberto and the brash wisdom of Kim Gordon she could sing on one note the whole song then bust into a melodic whisper that was both haunting and memorable. One song I found particularly engaging was “Get the F Outta Reno.” The lyrics were about addiction and wasting away in the desert mirage for which Reno has become famous. I honestly felt like I was hearing an episode of the A&E show Breaking Bad.

A solid front woman is a key element of the band’s successful formula, but the band would not be much with out the skills of the rest of the band’s members. Ben Reese’s guitar work is solid and has just the right amount of shimmer. One thing that has always bothered me about some hardcore bands is the over use of distortion. I mean really what’s the point if you can’t hear the chords. Ben must share this same opinion because he balanced the natural sound of his killer SG with just the right amount of crunch. Being as this show was outside it was even more evident that he has a masterful grip on tone and this talent made the dynamics of the songs perfectly pitched.

Then there’s that rhythm section. At one point in the show Zoey commented that their drummer Matt Heden had arms like a gorilla in response to an impromptu drum kit break. He certainly had a forceful style of playing. Some drummers break sticks others break drum heads. I would venture to say that Matt would fit into both categories. Every strike was made with purpose and perfectly in time. Matt could strike just as well as he could finesse. The softer parts of the songs would never have worked if his strength were not accompanied by a great amount of restraint and thoughtfulness.

And then we come to Chris Verdak. I am guessing he grew up with bass strings instead of rattles because he is a master of the thick stringed instrument. Bassist’s often do not get enough credit, but Chris damn near stole the show with his phrasing and awesome stage presence. The highlight of the show for me was the song “Destroyer” in which Chris’s bass lines dance with Ben’s guitar to create a most engaging and surprisingly danceable tune.

So if you have gotten to this point in the review and you haven’t searched for them yet, here is the link. I recommend seeing them soon and make sure you get one of their stickers. It just might be the best piece of Star Wars art I have seen yet.

Till later stay cool and keep the noise alive!

Photo courtesy of Steve Hay

Dave Mann and his friends have a story to tell, one that started with Minefields (a vetoed band name) and ended at Mittenfields. Last Friday, after a year-long hiatus from performing, Mittenfields returned to the stage at the Velvet Lounge. Judging by the audience’s warm reception, it was clear that the band was missed. Original members, including Erik Sleight and Sam Sherwood on guitars; Dan Ramspacher on drums; and Dave Mann commanding vocals and the bass returned, along with new additions, Sadie Dingfelder on violin and Ron Storhaug on trumpet. The band was finally ready to officially make its return. During the set, the band offered an inspiring and enthusiastic performance that showcased its own brand of rock music with a friendly nod to hardcore.

Mittenfields opened with the song, “My Mind is An Avalanche” invoking passion and emotion into the vocals and setting an upbeat tone for the rest of the evening.  By the time they dove into their second song, I had already identified three fundamental things about the “new and improved” Mittenfields:  1) that they looked and sounded at home on stage; 2) that each of them are clearly talented musicians; and 3) boy are they loud—as Sadie so aptly noted while on stage, “Two songs in and I can’t hear a damn thing… must be a good show!”  Good show indeed.

Photo courtesy of Steve Hay

As the set continued, the band brought more energy, more heart, and even more wattage to its sound. The band however, was most notably consistent in its tempo, control and pacing throughout the evening—all while managing to keep the vocals lively and the performance unforced. Songs such as “Skinnydippin’” also highlighted the band’s ability to seamlessly layer intricate layers of instrumentals and vocals together as they performed various styles of what I can only describe as rock goodness.

Mittenfields proved to be a fun and engaging band with a genuine love for the music that they make. Their smiles on and off stage come across in the music that they share with fans, both old and new.  Be sure to catch Mittenfields at one of their upcoming shows for a homecoming unlike any other.

As part of DoS’ ongoing series about local DC music venues we interviewed DC9’s  owner, manager and resident DJ Bill Spieler about the club.

Talk with any local band from DC worth its salt and chances are that they have performed at DC9. Talk with any DC music lover and you can be sure that they have been there to see a few shows and have a few drinks. Since opening in 2004, the club has earned a reputation for being one of the best local venues for live music and has raised the bar for area clubs. DC9’s success relies upon a mix of good management and solid music bookings to keep patrons coming back.

Before DC9 was DC9, Spieler remembers that there was a need for a venue that fit somewhere in between The Velvet Lounge and The Black Cat. The moment he walked into the building that would later become DC9, he knew that they could make something great to fill that need. With years of experience managing local clubs and DJing, Spieler had the knowledge and good instincts to make DC9 happen.

Walk into the club and you’ll find yourself standing next to the long bar with regulars sitting on the barstools chatting up the staff.  Once upstairs you’ll see a cross-section of young DCers congregating in the cozy booths enjoying some drinks before the dance music begins. The atmosphere is casual and unpretentious—where bike messenger meets Hill staffer, line chef meets lawyer and intern meets guitar player.

Upcoming shows feature hot DC and national acts like New Rock Church of Fire, The Golden Filter, Villagers, Math Panda and Loose Lips. The club works with local booker Steve Lambert to fill the club’s calendar. Spieler notes that Lambert has the critical talent and “good sense” when putting together the right combination of bands.”  Every Friday night the Libration Dance Party takes over the club marquee and dancing to new music and videos ensues. Spieler himself takes the reins often and treats patrons to sets filled with British radio style and alternative music.

While you’re there, don’t forget to try some of the food or at least check out the club’s surprisingly robust menu. You’ll find the standard items sure to satisfy, but don’t overlook the fried pickles, hush puppies, and grilled cheese sandwiches (made with Gouda). Keeping with its DC roots, Spieler and team included a nod to DC bands by naming a few burgers after some local groups like The Jet Age.

DC9

1940 9th Street Northwest

Washington, DC 20001-4108

Photo by Lisa Boggs (lisaboggsphotography.com)

To the best of my knowledge Mike Boggs isn’t actually a pirate, nor is he more than one person. But when he picks up one of the multiple instruments that he has mastered and hooks up his laptop in his homemade studio, he becomes We Were Pirates. Let’s discuss, and I promise to keep the pirate puns to a minimum.

While the name “We Were Pirates” probably isn’t a misnomer on purpose (like a trio called Ben Folds Five), he does seem to do the job of many.  Arguably one of the hardest working men in DC, Mike Boggs is a one man wonder band. He writes, records and plays all by his lonesome. The project started off as a guy who had an iBook, Garageband and a love of music, and it has turned into a pure pop-adventure. Boggs has an innate ability to write and record catchy pop tunes that seem to pillage and plunder (sorry, I tried) their way into your brain and incite a feeling of toe-tapping and hum-inducing joy.

The latest release from We Were Pirates is called Cutting Ties and it has received some well deserved attention. A couple songs were recently used on episodes of the DC version of “The Real World.”  And it’s no wonder, because the album has infectious songs from front to back and includes everything from semi-grundgy guitars (used in a Fountains Of Wayne type of way) to hand-claps and voice doubling (used in a Beach Boys type of way). It’s quite the clever little album.

“Settle Down,” one of the songs featured on The Real World, is a perfect example of the infectious music Boggs crafts. The album also includes the cover “The Three of Us,” another wonderfully perfect little pop song. Other standouts on the album include “Restless” and “Little Monsters.”

While We Were Pirates does take on two more members for live shows (his live help coming in the form of Gabriel Fry and Ben Skinner), there’s a feeling that the music is fantastic because Mike Boggs does it all himself, not in spite of. If “Cutting Ties” passed you by last year without a listen, don’t let it pass you this time around.

Learn more about We Were Pirates here.