Beer and Pavement

Yards and Gods Ball

Posted in Live, Review by SM on October 20, 2014

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Saturday night, local label/collective Yards and Gods threw their annual ball at a sci-fi-themed watering hole downtown known as Eastside Tavern. The musical styles represented were diverse, but all of it was original and from the region. For whatever reason, I usually miss the ball, but this year I was able to sneak out to catch some bands.

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I walked in on Sea Machine mid-set. Brandon Michael plays lead guitar in this band and that’s the primary reason for me wanting to catch their act. He’s a cool guy who once played a benefit I put on for my kid’s Montessori school without knowing me at all. He typically plays a style of rock that contains loads of power-pop, post-punk, and 90’s indie influences. A friend commented that Sea Machine sounded like Dayton and I couldn’t completely disagree. Well, I thought maybe they sounded like what everyone thinks Dayton sounded like in the 90’s when everyone thought bands from the Gem City sounded like a cross between Guided by Voices and The Breeders. (However, the Dayton scene was much more diverse than this.) Sea Machine – sounding like Dayton or not – played straight power-pop with vocals provided by the drummer and some synth backing up the band’s sound. To me, the band sounded pretty young, but there was a confidence and craftsmanship that suggests they will mature and become more cohesive.

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Next up was C. Vadi, a friend of the Coalition and librarian currently residing in Iowa. C. Vadi uses no instruments other than her voice and a collection of loop and feedback gizmos. Her real name is Carrie Wade and she has a sharp wit and the best glasses of anyone I know. Carrie sent me a copy of her new album, In the Realm of her Dark Guardian. Off-kilter keyboards, a slight tape hiss, layer-upon-layer of vocals… In the Realm… is a haunting opus of what I assume winters in Iowa sound like. (Hell, summer’s probably sound that way as well.) Look for it on Carrie’s Bandcamp site. It’s music to read or work by, but if you want to get immersed in it, put on some headphones. That’s the only way you’ll catch all the subtle textures she puts to tape.

That said, a live C. Vadi show is pretty intense, almost surreal. Sure, Carrie’s not doing much on stage as she sings part-after-part and loops one on top of the other, but the sound that comes out is hypnotizing. It’s not all angular and literal like Your Friend or as pop-influenced as STL’s Syna So Pro. Rather, one gets a pretty clear picture that Carrie listens to a lot of Grouper, but even then, C. Vadi isn’t nearly as obvious as that. Still, it was a cool set, leaving a lot of the crowd speechless, wanting more.

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Farmington’s Mire Giants might have been the pleasant surprise of the night. Fronted by what I’d lazily call Frank Black’s bastard son in both stature and vocals, Mire Giants were a monumental blast that actually built on the intensity set by C. Vadi. This three piece was extremely tight and loaded with musicality. I’m not a stickler for musicianship always, but I can appreciate it when I hear and see it and Mire Giants was dripping with musicianship. The Frank Black offspring and bassist switched spots a couple of songs in and didn’t miss a beat. The drummer was on time throughout and tore through some skins like he hated them. They killed for 30 minutes but no more than how they finished as they tore the roof off Eastside, leaving smiles throughout the room.

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Jowlz was up next. If I were a lazy hack – which I am – I would compare Jowlz to a cross between Uncle Tupelo and Songs: Ohia/Magnolia Electric Co. I would also say that for a short set, Jowlz was just as good as those bands Saturday. I have no idea if their entire catalog stands up to that high praise, but those dudes were good. That probably says enough. But your should know that they finished their set with a ridiculously rousing rendition of “Bastards of the Young.” Yeah, that song kills every time and Jowlz nailed that shit to the wall.

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I was most interested in seeing friends in Enemy Airship – sort of the flagship band of Yards and Gods. Well, their set got off to a decent start. I have always appreciated EA (and their former incarnations) as they willfully attempt to ape Television, Interpol (Turn on the Bright Lights Era, of course), and Broken Social Scene. Those comparisons are not meant to cheapen what they do. That’s just what I think of when EA plays and I enjoy what they do in the same way that I enjoy those other, better-known bands. Sadly, the set could not keep up with the first song as there were mic problems – pretty severe problems. Still, I sort of wish the band would have either continued to just jam out, turning their songs into drawn-out jams or whatever until someone figured out the mic issue. I would have been cool with them screaming the lyrics. The music EA plays is so good, I can deal with imperfection. However, that’s not how it went. To jam on would have been tough to do on the spot and the vocals in an EA song don’t usually lend themselves to screaming. Add in the fact that such a packed lineup means very little time to fuck around, the band cut their losses and packed up.

I won’t bash Eastside too much as it is a place for a lot of bands to play. Plus, it is a unique spot in the middle of a shitty downtown being taken over by frat bros and corporations. Still, the mic issue was a house problem. To their credit, owner Sal Nuccio apologized and took full blame for the mishap. Of course, that doesn’t do much for Enemy Airship missing out a chance to play for their friends and fans. Maybe next time, guys.

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The night ended with a local favorite, Fliight. Imagine Pavement jamz (Crooked Rain era – California vibes, yo) with a Kathlene Hanna howl. Yeah, it was that cool. Double drummers. A steady groove, Full sound. A tamborine(!) It was a perfect ending for a pretty stellar night of local talent.

It’s good to get out again and see some local bands. For as much hubbub as I make for legendary acts or bands that are all over Pitchfork, the best part of any music scene is what exists inside of said scene. There’s nothing like the energy you get from local bands either playing their hearts out or even just fucking around. It’s often a lot more fun and surprising than seeing internationally touring acts. I’m glad I made it out Saturday. I may have to do it again soon.

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4 Responses

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  1. ZB said, on October 21, 2014 at 12:16 pm

    Thank you for coming out and for the kind words.

    Obviously it was deeply depressing for us to put that kind of work in, and to have rushed out the Kickstarter stuff in order to have it live in time to play it/talk about it in front of such a large and supportive audience, but it is what it is, and there are always more shows. Honestly, I’m glad that everyone else got a chance to absolutely kill it, and we are all truly humbled by the massive turnout and enthusiasm. Look forward to (finally) a new Yards & Gods comp in December with some new as well as familiar names.

    If you or anyone else in Columbia want to see/hear what you missed Saturday with Enemy Airship, we are playing at Café Berlin on Thursday, November 6th with a really excellent Lawrence band called High Diving Ponies, as well as some guys we all know in a band called St. Gnome (Barry Hibdon, David Korasick, Brian Coughlin, and Jared Smith). It should also be a really great show.

    In any case, thank you Zac and everyone else for being there.

  2. carriethewade said, on October 21, 2014 at 9:34 pm

    Thanks for coming out to the show!
    Personally, I’ve always likened Jowlz to a CSNY/Buffalo Springfield vibe, and Fliight is some condensed Can/Ash Ra Tempel-style Kosmische Psych freakouts, but your references are a product of your preferred decade (mr. 1990s–not a bad thing).
    Great write-up, and much appreciated. Glad you at least managed to make it through the record; I know it’s not necessarily in your strike zone. But I’m glad you liked the set and seemed to enjoy the night.

    • Zac said, on October 21, 2014 at 9:37 pm

      I did. It’s nice to see/hear good local bands now and again. And yes, I compare everything to nineties music because that’s when people figured out how to do it right.


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