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.

On Wednesday May 19, 2010 WPGC 95.5, one of the District’s most renowned Hip-Hop & R&B radio stations, celebrated their annual Birthday bash.  Like every year the station did not sell the tickets for the event, but instead ask for public participation. Asking their listeners to call in and answer trivia questions about the artists performing during the event.   WPGC keeps up its reputation of being a great supporter of the talent found in the East Coast, by bringing artist such as TCB Band, DJ Khaled, T-Pain, And Trey Songz

This year the station chose Ibiza Night Club as their venue,  which was a great option considering that it is one of D.C.’s most frequented Club.  As we approached the location you could already tell the magnitude of the event was significant, for the line to access Birthday Bash was nearly three blocks in length.  After having entered Ibiza’s upscale lobby I heard the familiar sounds of T.C.B. Band (Total Control Band), which was surprising due to Ibiza’s strict “no go-go” policy.  T.C.B. Band is a group that originated in the streets of D.C. They set the tone for the night by playing songs that catered to their crowd. And ended it with a prayer by his band-mates , honoring one of their players who is currently in a comma known as Reggie Polo.  Overall their performance was nothing less than proper.

Trey Songz who claims Virginia as his home state, was the most anticipated act of the night especially among the female attendees.  He served his role well as the “panty dropper” of the night, while he serenaded to his female fans the greatest hits from his last three albums “I gotta Make it,” “Trey Day,” and “Ready,” being his latest album.

As expected, the celebration was live. The Birthday Bash is an opportunity not to miss out on.  You have your large crowd, famous faces, and a mind-set of everyone that says “I’m not worrying about tomorrow. I’m just here to have fun.”

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.

It was not until guitarist and vocalist Jess Matthews wrote and recorded several songs that she brought together the band. Mark Cisneros playing guitar; Olivia Mancini strumming bass; and Justin Moyer on drums complete this quasi-pop/Americana influenced group. Together, they keep America Hearts beating all across DC.

The band currently has an EP out titled, “Fond Regards.”  The four-song introduction to the band has a minimalist sound to be sure, but succeeds thanks to being grounded by strong instrumentals. The lyrics are worthy of a classic storybook or two, and the band displays their hearts on their sleeves for everyone to see making it pretty much impossible not to embrace their songs.

As Jess notes, “There are sort of two main themes—in ‘Heart’ and ‘Train Tracks,’ I’m narrating songs about love. One is about its development and the other its demise or unending dejection.  ’Home’ and ‘Breaking Glass’ are meant more to convey bitter/sweet feelings, one is about memories and the other is about ambition.” By presenting simple concepts that take listeners in very different directions, “Fond Regards” offers a light-hearted and entertaining playlist that leaves ample room for  individual thought and reflection.

These songs are a timely addition to your perfect springtime soundtrack. Be sure to get your heart beating to the same rhythm as America Hearts and check them out at their upcoming local shows on April 23 at Paper Sun and April 28 at The Velvet Lounge.

Album art by Andrea Clarke, edited by Lea Lynette

There’s a new face in the DC punk/reggae scene. Formed in late 2008, GroundScore released its debut album, Healthy Children, in December of 2009. The self-produced album is a 12-track mixture of reggae rhythms, ska guitar, upbeat upstrokes, and punk-style distortion. Heavily influenced by the ever-popular group Sublime, the band also adds in some psychedelic guitar solos and metered rhyme schemes, allowing them to break away from the standard punk/reggae template.

The first two tracks are solid melodic/upbeat/reggae fusion style songs. Then you get hit by “Ball Sweat & Tears.” The name says it all. This track is a short hardcore song that makes you say, “Where did that come from?” From then on, each song really encompasses a mass of different styles—from your traditional reggae off-beats and melodic singing like in “Later on,” to heavier guitar distortion and faster pace like in “See You All Tomorrow.”

My personal favorite track is “Hey Kidz / Real Love.” This seven minute song really showcases each member of GroundScore’s talents. Opening with distorted punk rock guitar and thrashing drums, leading into smooth vocals and a message about today’s corrupted youth, and then on to those heavy bass lines. This song also has more than several tempo changes and solos and for as complex as they are, each transition is as smooth as the first

With the release of Healthy Children, GroundScore is going live and playing many shows in the area and surrounding east coast cities. They will be playing with Silver Spring’s Lionize at the Rock and Roll Hotel on April 22nd. So be sure to head over there and check them out.

Forgoing some of there “creepy/twang” sound that has become sort of a trademark, they set out to make a more accessible album and the result is a welcoming and insanely catchy mix of Americana, punk, and alternative. Instrumentally they took the less is more approach focusing on the magic of a couple notes rather than cramming in everything they could. In “Greyhound” they picked out a few notes and made them into a head-nodding centerpiece ending with a Wilco like indifference to what most people feel a solo should be.

Vocally you can hear some Brian Wilson and even some David Byrne. Adrian Carroll is in the zone on this album and easily puts together haunting lyrics with a twangy warble. In “Reckless and Alive” his melodies and phrasing stand out as some of the best written by the band so far and the lyrics touchingly fit into the feel of the song.

The rhythm section is in full force here and keep the rolling beats tight which lets the songs open up so well when it comes time for an interlude. This trick is not new but pulling it off well is tough and these guys have perfected it, of course what do expect from a band that has played with each other for 10 years. “Here’s to Progress” is one of the most infectious songs on the album and that immediate accessibility comes from the bass and drums being so tied together there is no room to slip out of the groove. It reminds me of some of Ted Leo’s best songs.

In preperation for their Album Release tonight at the Black Cat (4/16/10) I was fortunate enough to catch up with Mike who plays bass in the band. Below is some insight into the past, present and future of Shortstack.

1) How has Shortstack’s sound transformed over that last 10 years and what does the new music have in store for us?

There’ve been a lot of changes to our sound over time, but the biggest is the move away from the country and rockabilly ideas that we started with. When we began as a band we were really in love with those sounds and worked hard to learn how to play that kind of music, but that was never the only kind of music that we listened to or were influenced by. In the past few years we’ve liberated ourselves from some of the constraints we began with and have let some other sounds into our music, like 60’s psych and classic rock. The Covers EP we did a couple of years ago was a step in this direction, and the songs on Please Leave My Mind are another step.

One of ideas that we really enjoy exploring in our music is harmony. We like to layer our voices, guitars, and bass to create thick, interesting harmonies. And the way we do this has been one of the things that we’ve changed over time. We used to do it by playing a lot of busy parts – lots of notes, really complex stuff. As we’ve grown as a band we’ve opened up more space in our music and it’s given us a chance to do some different, heavier things with harmony. It’s been really fun, too.

2) The DC music scene has seen a lot of changes, if you had to pick a time that stands out in your mind from the last 10 years when would it be and why?

Hmmm. I feel like this is a trick question. The time that stands out for me is the time when I moved to DC, in ‘96, which is obviously more than 10 years ago. The DC area bands that I really loved were all still playing – The Boom, The Sorts, Lungfish, Fugazi. And Shortstack got going just after a lot of these bands wound down. That’s not good or bad, it just is. I miss that time because DC itself was sort of different then – it seemed cheaper, everyone was living in group houses in Mount Pleasant, and there were a zillion bands. Even though most of those bands played Fort Reno then evaporated, there was a lot of energy being shared. Part of the difference between then and now is that we’re all older. I don’t want to live in a group house with 8 other people anymore. But part of it is also that DC itself is different. There isn’t the same community of people whose primary aim is to make art together. I truly believe that there is a lot of great music being made in DC right now, but I think that it’s also honest to say that times have changed.

3) Are there any more 7″s planned to be released in the future?

We’ve really been focused on getting this new LP out the door, s there aren’t any immediate plans for a new 7″. We may do another one in the future. We all really love listening to vinyl, and as a band, nothing is better than hearing your own music on vinyl.

4) While in the studio what was the most important or unique instrument that was played?

The most important instrument this time around were our voices. In the past we always buried the vocals a little, and this time we brought them out front, and we layered a lot of harmonies. Adrian and Burleigh have really amazing, and very different, voices and these songs are carried by the vocals more than anything we’ve done in the past.

We don’t tend to dress up our songs very much when we record them, so there aren’t a lot of unusual or unexpected instruments. Besides, I play double bass and that’s enough of pain in the ass to record well. This is the first recording we’ve done where I’ve been completely satisfied with the bass sounds. Burleigh did a really fantastic job on that.

5) What are you most excited for in 2010?

There are a lot of things that we’re excited about right now. We’re stoked that this record is coming out! We’re working with a really fantastic local record label, Free Dirt (www.traderootmusic.com)! We’re going to be playing some shows over the next few months, and we love doing that. And we’re writing a bunch of new songs! All of the things we like are happening right now, so we’re happy.

Go here for more on Shortstack. They have a slew of tour dates approaching and tonight at the Black Cat is going to be blast! See you there!

District of Sound’s Annual Spring Showcase from District of Sound on Vimeo.

First up for the night was Club Scout. With their energetic and buoyant pop-rock the crowd was swelling with excitement. By the time they were through with their first song the club was already packed!

Drop Electric followed with their entrancing melodies and danceable rhythms. The crowd stood in awe as they floated through a danceable-set of densely layered tunes. I was sure when they busted out the violin bow and started playing the guitar with it that everyone in the crowd was going to lose their minds!

Rounding out the night was Bellflur. I am not sure what more I can say about this band. If you read my show review last year, than you know they are one of my favorite bands playing DC right now. They take elements of Sigur Ros and combine them with Frank Zappa like inventiveness. The specialty gear they bring to the stage alone is enough to make any musician squeal with geeky delight. I highly recommend you check out their new album that is being released at Iota on April 30th!

In short this event was so much fun I can’t wait until next year! It was a great way to start the summer and I am sure there are plenty more memorable moments yet to be made in 2010. We will see you wherever the music takes us!