Photo by Carrie Wojcik

Take a classically trained vocalist, a handful of talented musicians, and a songbook filled with entertaining lyrics and there you will have Sweet Interference. “What most characterizes [their] sound is the classical and rock fusion,” explained the band’s singer, Moira. “We are a band that likes to play around with traditional music theory and use chord progressions and harmonies that are not the standard format you hear on the radio.”

Photo by James Burger

Do you remember the days when you had to wait for your favorite band’s new album to hit the store shelves before you could listen to it? It was of course, like all good things, worth the wait. The months leading up to that moment you got your hands on it only built up the excitement, anticipation, and resulting satisfaction. Now, we find ourselves in a decade characterized by instant communication and immediate gratification where music has become a different type of commodity. Consequently, our relationship with music—how we see it, and how we consume it—has changed dramatically. It was clear long ago that bands, fans, audiences and venues alike must all evolve.

Gist, a three-piece rock band from Arlington, VA, has been performing for the last 10 years and has weathered the changing musical landscape. They have witnessed the metamorphosis of the DC music scene, which has changed greatly from when they first began performing back in the 90’s and found their modern relevancy. Together, this triumvirate consisting of Nayan Bhula (guitar and vocals); Fred Burton (drums and percussion); and Finley Martin (bass) are keeping DC’s alt-rock traditions alive and well today.

The band’s performance earlier this week at The Black Cat was nothing short of awe inspiring. The show highlighted an undeniable confidence in their performance style and reaffirmed their place as a staple in the DC music scene. [This is a not-so-secret pun, check out their record label Red Stapler Records.]

Gist’s set was varied, entertaining and insightful. The songs showcased the band’s ability to master a wide variety of crazy tempos, time signatures and keys without missing a beat. They opened with a new track called “Run,” in which the band quickly set off with the audience in tow. Nayan’s vocals, reminiscent of a low growling, backed by Finley’s steady bass chords seemed to fill every inch of the room. Another highlight of the evening was “Hold On” off of their last album, “Conversations, Expectations.” The song was a treat—featuring catchy hooks and melodies only to be enhanced by Fred’s freefalling drumbeats. Listeners in the audience couldn’t help but channel their inner rock star. If you aren’t convinced by now of this band’s talent, then their performance of “Rock N’ Roll Ruined My Life” would leave you speechless. All three band members rose to new heights in this song inspired by a quote from a friend. The song resonated as a passionate ode to the one you hate, but desperately love—it doesn’t get any better than this!

The band is looking forward to working on a new album in 2010 and will have a few local shows coming up throughout the year. If the new songs the band performed at this show are any indication, the future album will be a must-have—definitely worth the wait. Lucky for us, you don’t have to wait too long for their next show however. Gist returns to the stage at The Red and The Black on April 23. If you haven’t gotten the Gist by now, check out www.myspace.com/gist for more details.

SEAS photo by Hatnim Lee

Every now and again you come across a debut album drenched (pun intended) in promise and talent. SEAS, a local music act from DC, is deserving of such categorization. The project began in 2006 and has evolved from “a collection of quiet, simple guitar-driven instrumental pieces” into vocally and instrumentally rich music that dabbles in a variety of genres including experimental, psych-folk, and indie rock. SEAS’s debut album, Now My Home Is A Beech Tree, stands tall among the many talented musicians in our fine city.

Ben Green, the core member of SEAS, explains the debut, performing solo vs. a collective, and his hardcore past to DoS readers.

Photo courtesy of RYO Records

Inspiration is everywhere. It’s in the sheer determination of our winter Olympians (U.S.A!); it’s in the hearts of our neighbors who lend a hand to those crossing icy streets or digging out snow-buried cars; it’s in the talents of our musicians and artists that keep us smiling or dancing when the weather outside is frightful. Recently, I was inspired by the young, yet incredibly talented musicians of The Neon Rush—a rock band that exudes promise and makes me kick myself for quitting those piano lessons in high school.

The Neon Rush is composed of Andy Andrade (Lead Guitar, 18 years old), Mark Andrade (Bass/Backing Vocals, 16 years old), Daniel Mears (Drums, 17 years old), and Collin Peterson (Rhythm Guitar/Lead Vocals, 18 years old). They hail from Kensington, Maryland and most of them have only been playing music for a few years before forming their band. In fact, Mears began playing drums only a few months before the band (then known as Metrophish) was formed in December 2007. But don’t let these stats fool you. They may be the same age as most MTV reality show “celebrities,” but they have the talent of music veterans that have been playing twice as long as they have been alive.

The band lists musicians such as Led Zeppelin, Jimi Hendrix, The Beatles, Radiohead, The Flaming Lips, and other legendary bands as their influences, but they don’t limit themselves. Quite simply put, lead singer Collin Peterson says that they are “always finding something new to get an idea from.” Their openness to influence and willingness to experiment has allowed the band to create a sound that is reminiscent of early 90’s pop grunge mixed with today’s alt rock. However, the band is able to maintain a sound that’s distinctively their own. Their music shines each time the melody pauses for an incredible guitar solo and Peterson belts lyrics so full of raw emotion you could swear he’s lived life three times over.  

After being discovered at a Battle of the Bands concert, the band signed with RYO Records and released its first full length album, Lines and Blurs, in the summer of 2009. The humble Peterson says “I’m not saying it’s the best thing since sliced bread, but I feel that a few of the tracks are relevant. It sounds like a band with something going on. It sounds like we are finding our feet after 2 years.”

A great break-out effort, Lines and Blurs showcases the pure talent of these young men and sets the stage for a bright future. Says Peterson, “Our musical dream is to show up in a random city we’ve never been to, unload our gear at the venue, chill in a hotel room, do whatever, have a drink, then show time. Walk out onto that stage, the place is packed with people that want to see us and that know our stuff. I’m not talking tens of thousands, I’m talking about a couple hundred people. That’s the dream, maybe one day it’ll be a reality, who knows, it just takes the perfect storm.”  

Check out The Neon Rush at http://theneonrush.com/ and/or download Lines and Blurs through iTunes.

Gordon

Much can be said about the DC music community; some are quick to dismiss it as elitist, while others love the close-knit scene. The gap that divides these opposing opinions often reflects people’s ideas of what DC music should be. Some believe that the hardcore and grunge era of the 90’s was the best time for DC music. With bands like Fugazi and Lorelei, the music scene represented a stark contrast to the straight-laced daytime politics of the District. Often a mirror of discontent with the system and distrust of the government, these bands shined brightly throughout the country representing a “thinking man’s” rebellion located right in the heart of the beast.

Times have changed bands have disappeared or fallen off the radar. Yet out of the ashes arose a promising scene that expands well beyond what DC music used to be. Pop, rock, dance, folk and country have all converged into the eclectic scene that we hear today. However, for those of you hoping that the good ol’ days will come again you need to see Drunk Buddies.

Kris

Hailing from College Park, MD, Drunk Buddies was hatched by two…well… buddies Gordon and Kris.They encapsulate the heart of hardcore without drowning their music in distortion and incoherent screaming. Melodic bands such as Modest Mouse influence their music and give them a fresh sound, but their songs are centered mainly on the unique angst of living within the District. They take a simple approach to their music, two people with a drum set and a guitar, playing trance inducing riffs with thundering rhythms. They don’t often sing/scream but when they do the songs come to a head in a wild frenzy that must be seen. Much to the delight of the crowd both switch seamlessly between drums and guitar with ease, and will challenge you and your friends to pick the more proficient player out of the two.

Now I know what you think when you hear the name Drunk Buddies, “That sounds like a shitty cover band from Central Pennsylvania.” You would be wrong, so incredibly wrong! Gordon had a few things to say about the name. “We were not trying to be ironic or anything…. We believe in the name and I feel that, you know, what is more awesome than having a drunk buddy to get into trouble with you?”

Regardless of the ironic nature of the name the music is solid and at the Velvet Lounge on a snow covered Wednesday they played an amazing set. Some songs didn’t have names, while other songs rolled into each other with little or no break. However, from the beginning to end all the songs had a cleverly simplistic and pure approach, which is their trademark. One of my picks of the night was “Cigarettes,” which had a blistering riff that immediately had the crowd up and around the stage.

One question that is often left in the minds of the audience is what if they had a few more musicians? Gordon said “they were not against adding more players to the band as long as the retained control of the writing.” I feel that the best part is the fact it is only two people. The stripped down and straightforward approach that Drunk Buddies takes, to me, is what gives them a unique quality. In a scene full of polished acts it is nice to see a band with enough heart and cleverness to stand out from the pack. Check out their upcoming shows and songs here and have a few beers with your buddies.

Photo by Luna Liu

If you heard that a band had named themselves after a stadium, what exactly would you expect their music to sound like? Something larger than life? Something you could bang your head to? Something, dare I say, you could fist pump to? Although Star FK Radium is somewhat named for the landmark of HFStivals past, you’re currently more likely to see them at Galaxy Hut rather than the Verizon Center. But the music created by this DC trio has a lot to say, even without lyrics, regardless of the venue.

Star FK Radium is the trio of acoustic guitar (Bill Martien), violin (Alissa Taylor), and drums (Matt Clarke). Their first full length release is entitled “Blue Siberia” which evokes a certain physical landscape of sorrow, beauty and solitude. The music obliges by painting emotion through every step of the album. So much so, the record’s producer, Jason Rubal (Dresden Dolls, Bitter Ruin) is quoted as saying “The music of Star FK Radium may be the most haunting I have ever done, while at the same time the most comforting.”

How do you classify haunting, yet comforting? Some have called their music “Chamber Rock”, while the band has taken to the label of “musicbox”. A living musicbox might be a closer description. All three of them are working moving parts and breathe their own life into the music making it less mechanical and more organic. The music isn’t one type of genre, but a multitude of them, blended as they flow and move from place to place. At times, it’s as if you’re witnessing a sonata being painted over an acoustic rock record.

The band’s Myspace page has a quote from someone saying their music would make a great soundtrack, and it’s true. I just happened to be listening to “Blue Siberia” during our recent snow storm (round 1) late at night as I looked out the window. There was a street, usually bustling with life, abandoned, and as the snow fell and the wind blew, the streetlights shown down on the snow, highlighting the emptiness of the area. I thought how fitting the two went together. And that’s the thing about this record, it can elicit feelings of discovery mixed with nostalgia. It’s a land not trekked by many. Haunting yet comforting.

Star FK Radium’s new album is now available online and they’ll be playing back in town in April after a March west coast tour. Visit www.starfkradium.com for info, live videos and more.

Photo courtesy of Andrzej Liguz, More Images

Thievery Corporation is arguably one of the most influential and successful music groups operating in Washington, DC, today. The internationally renowned DJ duo consisting of Rob Garza and Eric Hilton just completed a marathon series of sold out shows at the 9:30 Club this January—much to the delight of local fans.  Since their more humble beginnings in the mid 1990’s, the two have become a self-sustaining musical powerhouse. Headlining shows in major cities around the world, infusing important global messages into their music and cultivating businesses within their own community and beyond—Garza and Hilton are leading their own musical movement that begins right here at our doorstep.

The DJs frequently use their musical platform to voice opinions on some of the world’s most controversial issues. At times Thievery Corporation’s most vocal criticisms are directed towards those who influence world affairs from within DC itself. Often referred to by the two artists as “Babylon,” DC in part represents the vice and the greed that contributes to the world’s injustices.

In the midst of dramatic events at home and abroad in late 2008, Thievery Corporation released its fifth album—Radio Retaliation—to mixed reviews. The album reflected the current events from a tumultuous year through a series of verbal strikes packaged within a produced symphony of electronic down-tempo beats and synthesized instruments. Radio Retaliation ultimately reinforced Thievery Corporation’s musical production prowess and sound mixing abilities—redefining their style of down-tempo mixes. Perhaps more importantly, the album provided listeners (namely myself) with a fresh political lens through which they could see the world—back when it first debuted, and today, more than a year later.

Radio Retaliation Cover Art

In 2008 the world witnessed financial markets around the world spiral downward as fear of a possible US recession spread; a US intelligence committee concluded that President Bush and his staff had overstated evidence that Saddam Hussein possessed nuclear, chemical, and biological weapons; and of course Barack Obama was elected President of the United States of America.  It was time to officially “Sound the Alarm.” The first track of Radio Retaliation literally employs a siren with a command to “sound the alarm” and “order the attack.” The war had already begun at home and abroad. Continuing on, the following 13 tracks captured the world’s overwhelming disdain for the political players and false idols of change in power at the time. Sentiments such as, “I’m the president of a shadow government, the grand governor of the Federal Reserve, public enemy of the society, the one you cannot see…” in the song 33 Degree, underscored the fundamental problems within the American political system at the time. One thing was clear—it was time for a change and Radio Retaliation was the soundtrack for that change.

Following President Obama’s State of the Union address this week, the album once again proves its relevancy as an impactful critique on our society and the lengths to which we must go to affect change. Emerging from the modern day “Great Depression;” challenged by international climate control controversies; and witnessing the continuation of the war in Iraq and Afghanistan, it is no wonder there is a “deficit of trust” as noted by President Obama. In the song Vampires, one of Thievery Corporation’s most well rounded and critically acclaimed songs from Radio Retaliation, they warn, “They’ll gain the world, but lose their souls. Don’t believe politicians and thieves, they want our people on their bended knees.” Consider also, having just lost the supermajority in the Senate, the Democratic Party and President Obama are fighting to keep control of Congress. However, more importantly, we are all struggling to move the country forward. It is in this context that we see songs such as the upbeat “El Pueblo Unido”—which loosely translated refers to the Chilean resistance anthem of the 1970’s known as, “the people united will never be defeated”—become a rallying cry once more for a new cause. As the State of the Union address neared its end, President Obama proclaimed “I campaigned on the promise of change; change we can believe in, and right now, I know there are many Americans who aren’t sure if they still believe we can change…” It is clear that a unifying force is needed, and we can only hope that the coming year does not have us replaying this soundtrack, but rather takes us down the “Shining Path” towards the “Sweet Tides” of peace.

While Garza and Hilton are certainly not afraid to voice their beliefs and to hold our world’s leaders accountable for their actions, they are also two of the staunchest advocates and promoters of the entrepreneurial spirit and independent nature synonymous with DC. Embracing this self-starting attitude, Garza and Hilton have reinvested much back into the city in which they reside—starting with their DC studio fondly referred to as the “Thievery Consulate.”  Hilton also is involved with several other trend-setting venues including Eighteenth Street Lounge, Marvin, Gibson, and the new Patty Boom Boom club on U Street.

Take a spin with Thievery Corporation and start your own revolution.

Then there is of course, the Rock & Roll Hotel. In the midst of all the construction around DC and in the H Street corridor there was the Robert O. Freeman Funeral Services building. Ladies and gentleman…yes…this was the new location for what we now know as our beloved Rock & Roll Hotel. This venue has become an icon and an institution for live music in Washington, DC.

The hotel wanted to follow in the footsteps of some of the greatest hotels in history like the Savoy in London and the Inter-Continental Hotel in Paris. Both hotels have placed their own marks in history as two of the most welcoming spots in the world. The Rock & Roll Hotel wanted to take these characteristics and put it all in one place. This venue wants to make its mark as being the hub for a thriving creative subculture and has really placed a mark in local history. From the flying guitars in the ceiling to the antique furniture, the Rock & Roll Hotel gives the average music lover an experience he/she will never forget.

This rock venue has really changed the H Street corridor, not only for its commitment to live music, but the club hosts everything from private, non-profit events, leading music DJ’s on the 2nd floor, and everything from Rock & Roll Ping Pong to a Spelling Bee contest during the week. Since the club opened in August 2006 it has been the home for many big names in the music industry with performances this week alone by groups including Casper Bangs, Lissy Rosemont, Bonjour Ganesh!, and The Vita Ruins.

Now a haven for great music, and at the same time providing the community a place to stay and drink, Rock & Roll Hotel is truly a unique experience that you cannot get anywhere else.

Check back on District of Sound.com for a continuing series on DC’s best music venues!