Swans, 13 September 2011

I approached this show not fully sure what to expect. Swans were never one of those bands I'd have written down on some ancient scroll from my youth of bands I must see before I expire. Not until I found out they were coming to town - then it was instantaneously a deep rooted compulsion from my core. Anyone vaguely familiar with the no-wave scene out of New York, or the lineage that draws parallels from current alt-folk straight back to the early 80's neo-folk foundations have undoubtedly come across Swans and the swathe of their passion. The band's name evokes anything but what one would expect to hear - and that's part of the assault. As a result of this virtually transcendental evening, Maisy has been researching Swans members, and found that Michael Gira asks that the a/c be turned-off prior to their performance. Having been witness to the cacophony that initiated their set - it makes total sense. Layers of piercing, undulating soundscape coupled with heat and thick crowd created that delicate fringe where it's nearly riotous or an epihany. It's completely on purpose that this maintains for 20 minutes before the remaining members of the band take stage. And it's at this moment, the reality that the Swans are anything but pouty and brooding takes hold of your breath, your brain, and your heart. They quite literally beat you into believing that the frightening rollercoaster through Michael Gira's brain is quite real and quite in the moment. Gira captured the experience succinctly in labeling their show as a set of encounters. The idea of 'songs' was obliterated from the very opening to the passionate close. I was convinced that Gira was traveling the acid train - but he was completely lucid in the few pauses... I'm certain now that he was simply captured by the rhythms and noise and carried away into his core... he was in essence possessed by this procession that he was directing. There's really no words that could fully describe what I experienced, and it's rather pointless, because as I discovered on the ride home - Maisy was moved in even more meaningful ways. Swans created a personal journey for anyone that was willing to take part and allow themselves to be taken. How on earth this band, comprised of members in their 50s and 60s can find that passion and inspiration nightly and not just go through the emotions or have a massive embellism is completely beyond me. But I do thank them for the experience, and for not taking for granted that I was going to see the Swans and whatever they wanted to do was fine.

Vetiver, 22 March, 2011

Clearly - this night was a stark contrast to the previous night. We met two older ladies outside of the Social, and they talked about one of the opening acts, apparently she's the daughter of Arlo Guthrie and grew up on stage with him performing. The bands started rather promptly - which was quite a surprise... all 40 of us in the club were in for an intimate show. To say the opening band sucked would be a mis-characterization - but they heavily borrowed from traditional folk music and rock ala Neil Young. Members of Vetiver accompanied the group for about 2/3 of their songs, and they measured from standard fare to outright South-Western Desert Rock (a term I have coined to describe Los Lobos, The Sidewinders and Sand Rubies).

Vetiver came out and presented the crowd with their pleasing fare of Indie Folk, and if it had ever been muddled in my head the difference between traditional folk and indoe folk, it was quickly evident after but a few seconds into Vetiver's set.

As usual, The Social provided perfect sound. Vocals were strong and emotive, and not since Bill Callahan had I felt inspired creatively during a show. Vetiver invited 'the Guthrie' and friend back onstage to perform a couple of songs, it was enough to inspire two young lesbians to pull people out onto the dance floor. The show ended with high energy, and oddly early.
Another amazing show at The Social, and I will see Vetiver again.

Dum Dum Girls - The Social, 12 March, 2011

There were high hopes for this show. I had only recently discovered this all-girl band from California. I was lucky enough to get an original pressing of their debut LP and score the limited cassette through Sub Pop...so needless to say - I was full of anticipation. Doors opened timely, which was surprising, but the first band, Dirty Beaches, did not get started until 9:30.

Dirty Beaches was a one-man effort, Alex Zhang Hungtai to be more specific. From looks alone, which consisted of James Dean walking off the set of Twin Peaks, Maisy surmised we were about to be crooned. She was spot on with her assumption. Crooning may be too elegant a description for what we experienced. If Julee Cruise was an angry Asian male - she'd been standing on stage at The Social this night. Alex employed loop effects to deliver the soundscape, and layered that with his voice and guitar. The effect was absolutely mesmerizing. The only disappointment was (in retrospect)... he didn't play for the remaining three hours we were there. Little did we know Dirty Beaches was setting the precipice by which all other bands on the bill would fail to reach.


La Sera was second on the line-up. I'd call them an indie band, but nothing about them made them unique.Though proficient and solid as a band, they simply didn't manage to impress me. None of the songs connected with me lyrically or musically. The crowd seemed to enjoy them well enough, but for me personally, they played too long. I may simply be too old to appreciate this band.

Tennis was the third band on the bill. Apparently Tennis' roots are in Marathon, Florida, and it sounded like it. I imagine Marathon as sleepy, boring, and forgettable. This was a three-piece that had a tiny pixie at the helm and was keyboard-guitar-drum driven. Though significantly more impressive musically than Tennis - I still felt disconnected from them. I'd measure half the crowd as being here to see this band. Two of the songs would be something I'd own, but amid the blandness that was the rest of it - I'd rather pass. Their set was too long as well.

Finally, the Dum Dum Girls. While I will admit they looked amazing, and out-performed the previous two bands, they certainly didn't sound amazing. I was looking for the indie/lo-fi 60's girl-group pop revivalists I adored from their studio releases. What we received was a heavy dose of an indie band burning at both ends. I don't know if it's their standard fare, but they was zero chemistry between the members, and the hot mess that was the bassist looked like she was ready to walk at the drop of a hat. My favorite songs were nearly unrecognizable because the bass was too heavy, the vocals were too lifeless, and the delivery so aggressive. I imagined a band that played pop songs to be the life of the party - but all I felt was that even if one of these girls would give me the time of day, they'd stab me afterwards and then talk bad about me to my friends. The only mesmerizing aspect to watching the Dum Dum Girls performance was the energy and playing style of their drummer. She was absolutely captivating.


I'd go see Dirty Beaches again in a heartbeat. The rest of the bill - not on your life. Even the new material that the Dum Dum Girls presented was done so in such a poor fashion, I can't even envision buying their new e.p. This was the first of four shows we have this month, I hope it doesn't set a precedent.

Sleepy Sun, The Social, Downtown Orlando - 13 September 2010

Awesome show at The Social. This was the second time I've seen Sleepy Sun, this time they were sans female accompaniment on vocals. They still rocked the shit out of The Social. This venue is renowned for it's sound, and though this was only my second show here, they have not disappointed. The opening act was Feather Birds, a solo artist who had visual lyrics and a nice vocal delivery. Second up, Strangers Family Band. They were missing at least a half dozen individuals from the last time I saw them...but they rocked it harder than ever and didn't disappoint in the least. This was likely their last Orlando show for some time, as they are relocating to the L.A. area. I wish them all the best and I will miss their oil lamp! Sleepy Sun, if you haven't heard them are among the recent indie bands that are incorporating the psychedelia of the 60's, with the heavy thickness of early metal a la Sabbath, Deep Purple. Their energetic shows rivals the studio material 10 fold - so catch them live if you intend to check them out.