2011 Holdovers

2011 Holdovers

• Freeze the Atlantic – “Colour by Numbers” (EP)
  Freeze the Atlantic sound distinctly influenced by grunge, and thoroughly convinced of their impending stardom. I kinda see ‘em as a British version of early Everclear.
• Gunning for Tamar – “Deaf Cow Motel” (EP)
  GfT explores a couple different stripes of indie rock on this EP: sometimes sorta heavy, sometimes mathy. The blend reminds me of early Minus the Bear; the concluding bleepy-bloopy remix evokes Depeche Mode gone experimental/mimimalist. Intriguing; look forward to hearing more.
• Katie Malco – “… and the Slow Parade” (EP)
  Unfailingly pretty indie folk that sometimes veers toward folk-rock. Malco’s voice reminds me a lot of Nat Johnson late of Monkey Swallows the Universe: not husky, but also not the least bit thin. “Get in the Car” is especially nice.
• Youth Lagoon – The Year of Hibernation
  Pleasant, but didn’t really command my attention. Could be a grower. Could just be not my thang.

Playing Saturday night (in alphabetical order)

Daylight Robbery’s more recent tunes find the band growing in subtlety and the use of space. The tunes on their recent 3-way split with Foreign Objects and Defect Defect sound as influenced by New Model Army as by X (for better or worse, Christine Wolf has a not-un-Exene-like timbre making the comparison difficult to avoid). Their whole discography is available at Daylight Robbery’s bandcamp. Note: The Daylight Robbery that released Cross Your Heart is different — some glam metal/hard rock act which I thought it was pretty dreadful. Beware.

Libyans employ hardcore tempos, guitar parts that aren’t the least bit cookie cutter (and afford more breathing room than most hardcore) and gloriously trashy drum sounds. Aces. (check ‘em out on Spotify)

Pet Milk sound like they wore out records by The Primitives and maybe Velocity Girl or Heavenly. Nothing whatsoever wrong with that as far as I’m concerned. The super-peppy “I Don’t Love Anyone” is especially nice, and how could I fail to love a band with a song called “Husker Dudes”? Hear it all at Pet Milk bandcamp.

Population evoke several of the post-punk pioneers — Chameleons and Echo, particularly. But they’re weirder. “Heaven Can Help” has a keyboard part that almost seems to belong to a completely different song — and I kinda love that about it. Available at Population bandcamp.

Siamese Twins have me seriously intrigued. This Siamese Twins tumblr links to tunes that fair dare me not to mention The Cure in describing their pop hooks and gothy mood (not to mention the basslines). This Siamese Twins bandcamp features spastic, herky-jerky noise-rock that reminds me of Parts & Labor’s “Escapers”, Ho-Ag, or Hands on Heads (and doesn’t appear to have female members). Normally I’d conclude they are two different bands — but both sites mention the Ladyfest gig! And I like the band in both modes. (Maybe it really is two different bands, and one of the sites associates show dates automatically?)

Sick Fix answers a question I’ve been wondering about: would anyone ever tag a band fronted by (or even fetauring) a woman with my all-time least favorite genre label? (That’d be “powerviolence,” beating out “shitgaze” by a wide oogie margin.) Sick Fix proves the answer is yes, which makes me hate the term a teeny, tiny, infinitesimal bit less. Not nearly enough to apply it, of course. As far as I’m concerned, this is hardcore (and at that, a bit less mathy than the stuff that usually gets called the TermIWillNotUse).

This Is My Fist’s slightly retro punk sometimes remind more than a lil bit of The Avengers; Annie Saunders’ vocals frequently me of The Muffs’ Kim Shattuck. The split single with The Marked Men from a couple years back is particularly good (and streamable on Spotify).

Playing Sunday (in alphabetical order)

Ampere are, holy carp pond, brutal. Almost all of the songs on last year’s Like Shadows get in and do their damage in under 90 seconds. They’re not quite as dense as John Zorn’s Naked City, but not far off. Drummer Andy Skelly was in Wolves. Another reason to love this: so far as I can tell, Ampere have a woman as a musician and creative presence in the band — but not as a singer. Given that Ladyfest welcomes co-ed bands at all, I’m kinda delighted that Ladyfest is including bands of this ilk. (on Spotify)

Big Nils singer is Coco Gordon Moore. Right, that Coco Gordon Moore. She’s yelpy in a not un-Jemina Pearlish way; the band is a comparatively-straightforward-rhythm-section-supporting-seriously-anarchic-guitar affair. Mom and Dad should be proud. Check it out at Big Nils’ bandcamp.

Girlfriends include a dash of surf in their pop-punkish indie rock. I’m frequently a sucker for male/female harmony vocals, a device Girlfriends frequently employ. The new EP (streamable at Girlfriends bandcamp) sounds terrific.

Hilly Eye predates Amy Klein’s departure from Titus Andronicus; on record, at least, it’s a guitar/drum duo (with vocals from both Klein and collaborator Catherine Tung. Check it out at Hilly Eye’s bandcamp.

Honeysuck also evoke Be Your Own Pet. But Be Your Own Pet gone hardcore. You can stream their new release at Honeysuck’s bandcamp. Can’t find a source to buy the tracks so I can keep them forever and ever. Boo.

Slingshot Dakota are drum and guitar duo, not typical punk instrumentation, but even if they don’t necessarily sound punk qua punk, there’s a clear attitudinal kinship with more aggressive music. (It probably doesn’t hurt that Carly Comando’s voice is not dissimilar to Rainer Maria’s Caithlin De Marrais.) (Slingshot Dakota have one tune on the Are You with the Band? comp which I mentioned yesterday, you can check that out on Spotify. You can sample/buy their previous album Their Dreams Are Dead, But Ours is the Golden Ghost! at eMusic. And you can count me among the many eager to hear the upcoming Dark Hearts.)

Thick Shakes play garage-influenced music that is transmogrified into punk via the application of insane amounts of fuzz, overdrive, and other forms of distortion. This sort of thing often strikes me as too self-consciously retro, but this has an infectiously fun spirit. Also I definitely like the “umami” pun that named their debut record.( Thick Shakes are on bandcamp.)

Titfit are unabashedly riot grrl — you can tell they love their Bratmobile — with a pleasantly lwo-tech, slightly garage-y vibe. Titfit bandcamp.

Playing Friday (in alphabetical order)
Beautiful Weekend don’t make it easy to preview their music.

Foreign Objects play short, hard-hitting punk tunes that are often quite catchy despite weird chords and screechy vocals. Nothing against “Words of War” but if you check ‘em out on Spotify you can hear “Pill Popper” and “One Made Two.” I think I played this record five times in the first 2 days after I bought it. (You can check it out on Spotify.)

Procession fit pretty comfortably in the shoegaze/dream pop genre. The “Fade” ep sounds cheerfully lo-fi and is enlivened by some energetic drum work. Check it out at Procession’s bandcamp site.

Shepherdess features Hilken Mancini of Fuzzy and about a zillion other bands, also Emily Arkin formerly of The Operators. Their EP a few years back did a great tightrope walk between fierce and pretty. Very glad to hear they are not defunct and that new material is trickling out at Shepherdess’s bandcamp site. (You can also find Shepherdess’s self-titled EP at Spotify, although it’s jumbled up with a completely different artist of the same name.)

Shoppers specialize in super dense & noisy punk. If you dig Mutators, White Lung, or Nü Sensae this might be right up your alley. It is sure up mine. Their most recent album Silver Year is sold out, so the Feeble Minds label has a link to download it. Or you can stream all their releases at bandcamp. Caution: cover image may be NSFW

Waxahatchee is Katie Crutchfield’s solo acoustic project, but it ain’t no easy listening joint. I love her new record American Weekend, on which she continues to write songs that remind me in mood and quality of the late Elliott Smith. At times it’s so trebly and distorted that it’s a bit tough on the ears. But worth it. (You can check it out on Spotify.)

Playing Saturday afternoon (in alphabetical order)

Aye Nako first came to my notice by providing the lead track on Are You with the Band? the slamming compilation of mostly poppish female-led punk acts curated by Lauren Denitzio (formerly of The Measure (SA) and now of Worriers). Aye Nako’s five-song demo (available at AyeNako.org reveals some stylistic breadth: mostly it’s probably closer to indie rock than punk, but I’d almost call “Good Grief” hardcore. Definitely eager to hear more from these folks.

Cotton Candy is Mark (”needs no introduction”) Robinson and Evelyn Hurley (of Blast Off Country Style). Top Notch & First Rate is a crazy mix of indie rock, sound collages, and (usually faithful) recreations of DC-area radio ads from the 70’s. God knows what it’s like live. But I’m sure curious. (You can check it out on Spotify.)

Tunabunny are from the noisier side of the lo-fi block of indie-rock street. Last year’s Minima Moralia was a huge leap beyond their self-titled debut — still with plenty of attitude, but with much more solid hooks, and vastly improved production — still lo-fi, but maybe harnessing the chaos instead of being overridden by it. (You can check it out on Spotify.)

Whore Paint’s “Menarchy” EP from last year is dark, angry, and a little murky (maybe by design, maybe by budget. But I think on balance it works). “Amen” drops the tempo considerably; “Second Shift” reminds me obliquely of Rid of Me-era PJ Harvey, if PJ Harvey had been in a hardcore band. The band experiments quite a bit with putting space between the noise, which is promising. (on Spotify)

2011 holdovers

• The Darcys – The Darcys
  Wanted a bit of context for their Steely Dan covers record. This is spacious and moody, indie rock. Not terribly uptempo, but baffled as to why listeners tag this “slowcore” (or “shoegaze”; “I Will Be Light” explodes into a swell effects-laden guitar freakout, but it’s a bit of an exception, mostly this more about the tension than the release). Singer dude frequently sounds more than a bit like Thom Yorke, which makes R——-d comparisons hard to shake, but I try. Perhaps more usefully, also reminds me of Calla.
• Xray Eyeballs – Not Nothing
  New one made me want to hear the old one. Never a bad thing. New one is better. Never a bad trend.

Cate le Bon – Cyrk
Unsettling folky stuff. Balances a (mild) sixties vibe with the sparse-but-exploratory spirit of early post punk. The last tune, “Ploughing Out, Part 2,” is a knockout.

2011 holdovers

Aficionado – Aficionado
Tremendous lyrics (“You don’t even like the things you like” might be my single favorite line of the year) and a restless, adventures spirit. I’d basically call this punk rock (or punkish indie rock), but it’s a very unorthodox variant of the beast, with some assertively, even defiantly, non-punk arrangement details. (Is it “punk” to be “defiantly non-punk”? The question is left as an exercise for the reader.) I don’t care, I think it’s flat-out awesome. I checked this out on Spotify and made it through less than 2 songs before deciding to buy a permanent copy. And then I bought their 2010 EP “When It Comes to Creation” before I made it through the album even once. Because I knew I wanted more, more, more. (If really you need a who-does-it-sound-like? try Mixtapes crossed with Human Sexual Response.)

Bastions – Hospital Corners
Somewhere between hardcore/grindcore/metalcore. I love the thick sludgy guitar tone, and I love that the band uses space and dynamics more than most working this territory.

Blanket – Rabbits We Chase Fish We Eat
Despite a band name and album art/title that collectively screams “twee!” not to mention song titles like “Hailey Fought the Law,” this is indie rock that wants to be taken seriously. Long songs with lots of dynamic shifts, fairly wrought vocal delivery. Hasn’t really commanded my attention so far, but may have earned another chance or two.

Dead to Me – Moscow Penny Ante
Multiple lead vocalists (and, I’m guessing, songwriters) is a definite asset for this melodic punk outfit. Makes for an engaging listen throughout.

Deep Sleep – Turn Me Off
Awesome retro hardcore. Only one song cracks the 2-minute mark. Aw yeah.

Fucked Up – David Comes To Life
How did I sleep on this great record for so long? It’s for sure modern hardcore, but catchy modern hardcore that evokes the Mekons and the Clash.

Heartsounds – Drifter
On the cusp of punk and pop punk: not always hooky enough for the “pop”; not always raw enough not to need it. Was lukewarm on this through the first half or so, but the end I was queuing up their previous album too.

The Horrible Crowes – Elsie
I was skeptical about this Gaslight Anthem side project — my aversion, not to say allergy, to most most modern blues is well documented. But strong writing, performances, and production won me over. Even in the identifiably bluesy songs.

Hostage Calm – “War on a Feeling” (single)
Hostage Calm – “The ‘M’ Word” (compilation track)
“The ‘M’ Word” (from the Run for Cover label’s Mixed Signals comp, which I generally endorse) is for my money the year’s best early Beatles-inspired track. The cymbals sound a bit trashy (even when I bought a high quality download), but aside from that I think it’s almost flawless: gorgeous harmonies, a short, sharp solo break, and a killer chorus hook (and I think it’s a little more harmonic sophistication than the usual for pop-punk that reads as so very Beatlesque). The two songs on “War on Feeling” don’t hit me as hard, but definitely cut from the same cloth. I am a fan.

Howler – America GIve Up
Everytime I think I’ve hit my absolute saturation point for low-fi fuzzed-out garage, some new band gets through my defenses. Howler’s the latest. This band has dashes of surf and shoegaze in the mix, vocals that remind me a bit of Calvin Johnson, and, most importantly, hooks that don’t sound half baked.

Kayo Dot – Coyote
In the same general skronk/rock territory as sextet-era King Crimson or The Book of Knots (although the prominence of reeds makes it feel maybe a little jazzier). I would prefer slightly more understated vocals. I liked “Abyss Hinge 2: The Stinking Armature” best.

Amanda Mair – “Doubt” (single)
Amanda Mair – “House” (single)
Indie-pop (on Labrador, I guess that’s indie?) that’s almost too smooth for me. But undeniably pretty, with a few interesting arrangement details.

No Problem – And Now This
I’ve been going through the punknews.org editors’ picks for best of 2011, a commenter complaining that this record had been overlooked jumped out at me and I gave it a spin. Sure enough, this is ace stuff, in the same retro-hardcore vein as Nightbirds, Deep Sleep, Police & Thieves, and such. All endorsed, ayup.

Pete and the Pirates – One Thousand Pictures
Listened through most of the record trying to figure out the band the vocals occasionally really, really reminded me of: Kitchens of Distinctions? James? Finally decided it is probably The Chameleons U.K.. Pete’s tuneful indie rock isn’t quite as obsessively retro as that list suggests, and not quite as smooth, either. But still, if you liked that kinda stuff, you might like this. And vice versa.

Police & Thieves – Fracturing
Yet another killer retro hard-core EP. Singer dude in this one is sometimes a dead ringer for Mike Palm of Agent Orange, but this is DC through-and-through, geographically and musically. But with better production than the first flowering of harDCore. Geddit at Youngblood Records’ Bandcamp site.

Red City Radio – The Dangers of Standing Still
A fine punk rock record. Checked this out because it was on a lot of (punk-type-folks) years’-best lists . . . a wee bit too much a genre exercise for my short list, but the production is tight and the writing is sharp. I definitely like this quite a bit.

The Saddest Landscape / We Were Skeletons – Split (EP)
(Needs more time to sink in? Did not make as much of an impression as I expected.)

Title Fight – Shed
Young punks who sound like they mean it.

Frank Turner – England Keep My Bones
It may have been unfortunate that I know Turner is on some bills with Dropkick Murphys because it made me more cognizant of the aspects of this record that could appeal to DM fans (especially on the songs that feature electric guitar) — there’s an anthemic vibe to much of this that I never associated with, say, Billy Bragg.

Annneke Van Giersbergen – “Circles” (single)
Annneke Van Giersbergen – “Feel Alive” (single)
“Circles,” is a piano/strings ballad; way too smooth for me. “Feel Alive” is slick mid-tempo rock. Not terrible, but five minutes later I can’t recall it. Van Giersbergen used to sing for goth/atmospheric metallers The Gathering; you’d never guess it.

Joe Gross’s write up in Spin seemed like a reasonable starting point, but I’m going to go a lot deeper, and I’ll update this post with the results of my explorations.

001 1987.09.03 Washington DC, USA, Wilson Center

I’m going to go against conventional wisdom and say that the band’s first gig is worth listening to for historic reasons if nothing else, but absolutely not where you should start — there are only glimmers of the brilliance this band would soon achieve. This version of Fugazi is positively tentative, Ian MacKaye actually apologizes for inadequacies of the performance. If you saw them anytime in the 90s or after, this is a revelation just in how far they evolved. It’s also striking how much MacKaye’s guitar vocabulary in this trio performance includes held notes and noisy bits (which I think of as mostly Guy Picciotto’s domain) as well as the jack-hammer muted eighth-notes I think of as characteristic of his playing.15 Dec 2011

186 1990.03.14 Athens GA, USA, 40 Watt

So far my favorite of the early shows — 2 1/2 years on, they’re closing in on their 200th performance, and starting to sound like what I think of as Fugazi. Good set list. I like the “last call” announcement. 15 Dec 2011

420 1992.03.06 Washington DC, US, St. Stephens Church

By this point Fugazi is playing like the band members are reading one another’s minds. Jaw-dropping improv breaks in “Shut the Door” and “Reprovisional” are among the highlights here. 15 Dec 2011

478 1992.06.28 Berlin, GER, Tempodrome

“Suggestion” is the surprise here — it’s far from my favorite Fugazi tune, too nakedly preachy — the extended call & response break between MacKaye and Picciotto is almost chilling. “Glueman” is pretty amazing, too. I love the snare sound on this show, way upfront with a healthy amount of ‘verb. 15 Dec 2011

508 1993.03.21 Washington DC, US, Freedom Plaza

This one is remarkable in how honestly it documents what it could be like to experience Fugazi at a protest rally. This homeless rally took place in spitting distance of the White House, with repeated breaks — one thirteen wearing minutes long — while the event organizers negotiate with authorities to continue the event. Also a classic song-screeching-to-a-halt for MacKaye to request that an audience member modify his behavior. When the band is playing, they’re monstrous despite the dodgy sound (honestly/correctly flagged on the Live Series site as “poor.”) Not a starting point by any means, but gawd, it brings back some memories. 15 Dec 2011

510 1993.04.04 Charlottesville, VA, Trax

Hate to just parrot Mr. Gross, but “Promises” here is sumpin’ else. Fantastic vocal from Ian, pretty good recording of some fierce improv. The whales are angry! The run of old songs Gross mentions is also indeed intense. “Smallpox Champion” is a standout, too. Actually, the problem with this band is I want to claim almost every song is a standout. Audiophiles might want to start somewhere else, though.16 Dec 2011

• Absu – Azbu
• Merrie Amtserburg – “Q Dee Rock and Soul #6″ (single)
  An early Christmas present from Merrie Amsterburg and Q Division! Well, except you have to pay for it, so not exactly a present. But these mildly rocked-up versions of “We Three Kings” and “Silent Night” are well worthy of your stocking.
• Blouse – Blouse
• Blut Aus Nord – 777 – Sect(s)
• Blut Aus Nord – 777 – The Desantification
  Jaw dropping.
• Botanist – The Suicide Tree
• Botanist – A Rose from the Dead
  Not a joke: eco-terrorist, hammered dulcimer black metal (at least on the first disc; the second abandons most signifiers of metal entirely, other than a few vestigial drum arrangements. Bracing, compelling, really unusual. Drawback: vocalist sounds a bit like a dalek.
• Brutal Truth – End Times
  When I was cranking Nuclear Assault in the late 80s, I sure never imagined that NA’s Dan Lilker would be playing on one of the most uncompromising records of the year decades later. But here we are, and End Times is a frickin’, face-melting, monster.
• Cameras – In Your Room
• Candy Hearts – Everything’s Amazing & Nobody’s Happy
• Coasting – You’re Never Going Back
• Jonathan Coulton – Artificial Heart
• Julee Cruise/DJ Dmitry – My Secret Life
• Cynic – “Carbon-Based Anatomy”
  If the umbrella of heavy metal is broad enough to include Cynic for reasons other than the purely historical (these folks used to incorporate significant quantities of death metal signifiers amidst their jazz-fusion/prog) then the umbrella of heavy metal is broad indeed. Which can’t help but be good for the genre. “Carbon-Based Anatomy” skirts the edge of territory that’s too proggy for me (too in love with its own chopsiness, maybe), but it’s also awfully well put together, and has just enough bite, and superficial similarity to the proggy side of post-hardcore, to hold my interest.
• Delay Trees – “Before I Go” (EP)
• Delay Trees – Delay Trees
• Ebsen and the Witch – “Hexagons” (EP)
• Eïs – Kainsmal
  Melodic black metal outfit Eïs first released Kainsmal when they were known as Geist; they’ve re-recorded it, and released it with the original version as a bonus. The new version has more low end oomph and the acoustic guitars are more carefully recorded. But I kind of prefer the older take, with its slightly thinner sound and a handful of noticeable timing gaffes it feels more human and less monolithic.
• The Evens – “2-song” (single)
• Florence + The Machine – Ceremonials
• Goreaphobia – Apocalyptic Necromancy
  Weird chord changes and sci-fi lyrics remind me a bit of Voivod; relentless rhythmic pummeling on the faster tracks reminds me of Motorhead. A keeper. “Darkstar Dementia” is my fave.
• Colleen Green – “Cujo” (EP)
• Colleen Green – “Green One” (EP)
  Songs like “Rabid Love,” and “Y Do U Call Me?” are a bit faster and shorter than the norm, and pleasantly evoke the bubblegum-in-noise-candy-coating vibe of the first Jesus and Mary Chain record. When the tempo flags and the track length swells (”End of Time”) my interest wanes. The newer EP, “Cujo” is stronger overall than the first one, which seems like a positive trend .
• Gridlink – Orphan
• Hallelujah the Hills – “Amateurs” (single)
• Jazzamor – Lucent Touch
  Low key lounge/bossa nova/jazz hybrid with breathy sex-kitten vocals. Some nice sonic details scattered throughout, but a little of this goes a long way for me.
• The Jezabels – Prisoner
• Johnny Foreigner – Johnny Foreigner vs Everything
  I am on Johnny Foreigner’s side.
• The Joy Formidable – “The Big More” (EP)
• Korallreven – An Album by Korallreven
• Lahannya – Dystopia
• Matt LeMay – “A Portrait of the Man/What Would Change?” (single)
  ex-Get Him Eat Him dude; in no way a radical departure
• Leviathan – Beyond the Gates of Imagination – Part I
  As grandiose as the title sounds, but I kinda liked it.
• Los Campesinos! – Hello Sadness
• The Luyas/Twin Sister – split single
• David Lynch – Crazy Clown Time
  At its best (Karen O’s showcase “Pinky’s Dream,” the title track) Crazy Clown Time is musically a bit like Lynch’s films: unsettling and a little dirty. My recommendation: check those out first, and proceed farther with caution. Side two is more guitar-y and side one is more electronic; I thought side two was more effective overall.
• Machine Head – Unto the Locust
• Laura Marling – A Creature I Don’t Know
• Miskatonic – Life of the Party
  Despite the Lovecraft-y name, not a metal band. Female-fronted indie rock with hefty retro new-wave dollop. A bit like the Epoxies, but less grim.
• Mitochondrion – Parasignosis
• John Moremen – John Moremen’s Flotation Device
• Moonsorrow – Varjoina kuljemme kuolleiden maassa
  Apparently the title means “As Shadows We Walk in the Land of the Dead.”
• Mournful Congregation – The Book of Kings
  How do you learn how to play a half-hour long metal song? I have no idea. Do they play from scores, like classical musicians? Or do they memorize the whole thing? My mind boggles.
• Mr. Gnome – Madness in Miniature
  The band apparently thinks they make a “singular amalgam of gritty, space-psychedelia” which sounds ghastly to me. I call it indie rock, and I like it a lot.
• Necros Christos – Doom of the Occult
• Negative Plane – Stained Glass Revelations
• Obscura – Omnivium
  Probably the most color-inside-the-lines of the recent metal binge that held my attention through the entire release. The severely processed coffin rasps of “Ocean Gateways” are actually kinda spooky. Obscura have a neat trick of setting two very different clean single-note guitar lines against each other; “Euclidean Elements” and “Aveum,” especially, set up some arresting moment-by-moment shifts from harmony to dissonance — like the guitar parts are trying to summon demons, or possibly the spirit of King Crimson.
• Jennifer O’Connor – I Want What You Want
• Office of Future Plans – Office of Future Plans
• Pop Will Eat Itself – New Noise Designed by a Sadist
  This is apparently one of those one guy + a whole new band deals, but the one guy is lead singer Graham Crabb, and it pretty much sounds like the Poppies always did. There are a couple more nods to their early days as disciples of the Buzzcocks than I would have expected; not a problem for me. The Cure guitar lick quote in “Oldskool Cool” makes me grin like a fool.
• Pujol – “Nasty, Brutish, And Short” (EP)
  Needlessly self-deprecating. How about “Catchy, Snarly, And Concise”?
  P.S. Serial Comma! Yesss!!
• Ravencult – Morbid Blood
  Well executed black metal.
• The Robot Ate Me – On Vacation
• Rwake – Rest
• Servile Sect – Trvth
  Metal with almost but not quite all the metal removed.
• Shores – To Volstead
• Soccer Team – “Three Song 7″ (EP)
• The Soft Moon – “Total Decay” (EP)
• Solstafir – Svartir Sandar
• Spraynard – Funtitled
• Thee Oh Sees – Carrion Crawler/The Dream
• Thy Catafalque – Rengeteg
• Timeshares – Bearable
• Trash Talk – “Awake” (EP)
• Twerps – “She Didn’t Know” (single)
• Ulcerate – The Destroyers of All
  I want this band to spawn a legion of imitators, and then I want some of them to abandon “death growl”/”cookie monster” vocals, or even eschew vocals completely. It might be cool if some of them didn’t use blast beats. And ultimately some of these hypothetical bands might produce music that is no longer identifiable as death metal, or even metal of any description. What I hope this non-metal retains is Ulcerate’s potent (if skewed) melodic sense, exploratory relationship with time, bold use of open sonic space, and masterful command of dynamics. Maybe it’s suspect that I like extreme metal bands in proportion to how much they disregard the conventions of their genre niches, but there it is. I like this a lot.
• Uniform Motion – One Frame Per Second>
• Weekend Nachos – Worthless
• Wolves in the Throne Room – Celestial Lineage
  I almost love this record. Wolves in the Throne Room are nominally atmospheric black metal or some such, but to me it this sounds like the unlikely intersection of Explosions in the Sky-style epic post-rock and Fields of the Nephilim-style heavy goth, with a dash of post-hardcore, and also the slightly silly and apparently obligatory presence of blast beats. Unfortunately I’m less into it when the lead vocalist is vocalizing, which happens in a screechy and grating mode. (The choral backing vocals, on the other had, I quite like.) On the plus side, It’s mostly instrumental, and anyway your mileage may vary.

• Carrie Bradley, of Ed’s Redeeming Qualities, 100 Watt Smile, and um, some other band, on violin
• Sam Davol, of The Magnetic Fields, on bass viol (I think?) and percussion
• Claudia Gonson, of The Magnetic Fields, on keys, drums, and vocals
• Michael Hearst of One Ring Zero on guitar and theremin
• Hannah Marcus on keys and vocals
• Rick Moody, of literary fame, on guitar and vocals

Bill Janovitz also joined Donelly for a pair of encore tunes.
The set list spanned the range of Donelly’s career with the Throwing Muses, Belly, and as a solo artist, and featured several selections from an upcoming (o frubjous day!) album of collaborations with several of the participants. Among the many highlights for me:

• Rick Moody (who, it must be said, sounded throughout more like a guitarist and singer who happens to write books than the other way ’round) taking his hat off to sing along on “Feed the Tree”
• Getting to hear “Untogether,” maybe my favorite Donelly song so far and in my opinion one of the most devastating addiction songs I’ve heard, albeit in a slightly jokey rendition. Moody’s joy at geting to sing on this one was palpable
• A mildly anarchic romp through “Not Too Soon” (this was not a assemblage you’d accuse of being over-rehearsed; there were a lot of music stands on stage and a few rough moments. But for me, hearing good and attentive musicians stumble a tiny bit is an all-too-rare thrill: they compensate and cohere where lesser players would veer of the rails entirely.)
• A version of “Red” reclaimed from the unsatisfying production of Belly’s King
• Donelly’s duo performance with Janovitz of her heartbreaking, almost Patsy Cline-like, “After Your Party”