Suzanna Choffel 2-24-11

by Sophie Block

Suzanna Choffel and her band grace the stage of Momo’s regularly. Born and raised in Austin, Choffel’s musical inclination is not unusual--but she's anything but a gimmick. Her fluid, beautiful voice has a bit of a sexy huskiness, but not so much to overpower the fine quality of her vocals. Her guitar playing is solid, and with her band, Choffel is a striking indie contrast to the average singer-songwriter. Her songs are so much more than four-chord ditties; they are movements-- unexpected builds, from calm ballads to rocking refrains, and a mighty passion behind the voice the stories she sings.

Thursday night, Choffel’s band was accompanied by Laura Scarborough: Austin-based accordianist/ pianist/ xylophone player/ electric musician/ video editor/ 21st-Century-Renaissance-Woman. Her energy was electric, and combined with Coffel’s, the women lit up the stage. The drums and bass were supportive. There was one shining bass solo, and the drummer had a little call-and-answer fun with Choffel: “Who makes the drums go?” then a beat. He also had a tambourine in place of a kick pedal.

Choffel’s vocal style is fun and jazzy, bringing to mind a blends of Norah Jones, Erykah Badu and Jesca Hoop. The song “Rainclouds” is accented with little scats and repetitions of raindrop alliteration. She brought a friend onstage to sing “Hot Shot,” a catchy song about a “hot, hot, hot shot, shot, shot of love”--punchy but oh, so sweet--it’s stuck in my head. Choffel is absolutely adorable, and this shows in the cute song “The Story Goes,” with thoughtful lyrics about love that are clever and never sappy. Thursday night she wore a colorful dress with bright tights and sunglasses--but don’t let her looks fool you. This songstress can certainly rock out, expertly playing her Epiphone electric and taking her songs to unexpected heights along with Scarborough’s radical synth and xylophone.

Choffel’s next show is Friday Mach 4 at Momo’s--and it’s also her birthday bash! “There should be cupcakes or a cake or something,” Choffel said, so this show is definitely not to be missed. Show a fellow Austinite some love on her birthday, and you will not be disappointed.

Wiretree 2-11-11

by Sophie Block

Because of the glorious, amphitheater-style stage and sprawling lawn used for Stubb’s outside concerts, I sometimes forget that they have an indoor stage, too! Amidst the smell of BBQ (which was sadly no longer being served by the time I got there) and antlers that hang like chandeliers over the bar just beyond the entrance, music emits from the downstairs stage. You can watch the show bird’s eye style or in the cellar-like area downstairs in front of the stage. A crowd gathered Friday night to listen to indie rock/power-pop
Austinites Wiretree and their local opening bands Future Clouds and Radar and The Dark Water Hymnal.

The Dark Water Hymnal plays somber folk, and Future Clouds and Radar play pop rock--I think lead singer Robert Harrison is a big fan of Mick Jagger. The three bands don’t really play similar music, so it was somewhat a surprising lineup. The music got dancier as the night went along, and the array of genres  is attractive to the eclectic Austin ear.

Headlining band Wiretree was formed and fronted by Kevin Peroni, whose voice calls to mind Ben Kweller and The Decemberists singer Colin Meloy. The band released its first EP on their own independent label Colbaltworks Music in 2005, with LP Bouldin to follow in 2007. Their 2009 LP Luck has gained national attention, including being named Blurt magazine’s “Best Kept Secret.” Their recorded tracks are much crisper than the live show Friday night, which sounded more heavily influenced by Elliott Smith than 70’s George Harrison.

Wiretree opened the set with a new song, hopefully to be released this summer, said Peroni. I didn’t catch the name of the song, but it had something to do with a harbor--at least that’s the lyric that stuck with me! The guitar riffs were melodic, and the drums punched out a good beat. They played “Back in Town,” from Luck, a song that beckons to the good ole days of indie rock. The crowd was pretty mellow, with people of all ages. A few hard-core fans yelled out suggestions and snapped pictures on their iPhones.

Peroni was confident in his singing, but seemed humble when addressing the audience. “I wonder who’s louder,” he said, and stumbled over his words when asking if it was the upstairs audience or the crowd on the floor. Before anyone had a chance to holler out, he apologized and said “I need to take a comedy class.” Peroni’s vocal quality is truly beautiful, and shone on  “Back in Town,” in which his voice pulls at your heart with the words “letting go is the hardest part.” I suggest you take a listen to on their MySpace. In all, Wiretree calls upon a medley of influences from the 60s to the 90s, and blends them together seamlessly for a sound that’s all their own.

Seeker Releases Posthumous EP

by Richard Crenwelge

Not all members of the hardcore band Seeker live in Austin, but the majority of them do, so we could justifiably put them in the category of "local band".  Although Seeker hasn't played in quite some time, and have officially broken up, they just released a posthumous EP of songs for free download online, and it is easily one of the better hardcore records that I have heard come out of Austin.  Take a listen: http://www.mediafire.com/?p77s7fio0uitw

The riffs are a little more complex than most bands that try to emulate this style, hearkening back to a time in the 90s when hardcore began to develop from simply hard-and-fast to something with more musical depth and layering.  With Seeker, you could perhaps make the connection to bands like Bold, Beyond, or even later Bad Brains, but what I really hear going on is something more akin to the post-hardcore current started by Supertouch, along with a little Quicksand.  It's an interesting mix that, while not entirely original (and I don't mean that in a bad way), is true to its roots, and it simply works.

There is a lot of history floating around in the creative works of Seeker, as well.  Singer David Horn has fronted several Texas-based hardcore bands over the years, including the Houston group Where We Stand, along with Vitality!, which is one of my personal favorites.  Vitality! was bright, positive, and rather poppy, along the lines of Dag Nasty and Mouthpiece, but like those bands, the positive message was not too saccharine or insincere.  Recently, David actually moved to Africa to perform volunteer work with kids, and a blog about his adventures in Africa can be found at davidgoestoafrica.com.  It really challenges you to step outside of your comfort zone.

Guitarist Gjared Robinson is no slack, either, and he has played in numerous bands around Texas, such as Layin' It Down.  Gjared is a school teacher in the Dallas / Ft. Worth area, and his riffs are part of what makes Seeker so distinct.  If you were to have seen Seeker live, the personality of his riffs became evident in visual form, as he was quite a showman, often "lost in the music."  Many, many musicians play their entire lives without developing the level of intensity and passion that Gjared brought to his performances.

To sum it up, download the songs at the link above.  Visit davidgoestoafrica.com.  Research the other bands that I have mentioned, and enjoy your local music scene.

Jungle Rockers, Jeff Hughes and Chaparral, The Twilight Trio 2-4-11

by Kimberly Caterino

The calendar on the Ruta Maya website titled the evening "Greasers vs. Country Boys" -- the greasers being Jungle Rockers and the country boys being Jeff Hughes and Chaparral.  

But before any rumbling started, the evening began with a set from the Twilight Trio: Joanna Ramirez on vocals/acoustic guitar/snare, Grego Anderson on lead guitar/dobro, and Jeff Hayes on a mammoth standup bass.  They dub their brand of Americana "retro roots revue", an easygoing sound that is rhythmic, twangy, bluesy, and nicely led by Ramirez' golden alto vocals.    Definitely enjoyable was the stated pair of "Valentine songs"-- one cover, "Cupid" by Sam Cooke, and one original-- "Satisfy Me"..  saucy, slow, and swingy.  

If the night was any sort of contest, Jeff Hughes and Chaparral proved themselves immediately worthy with a full dance floor of twirling couples from the first note-- and this was on Austin's "snow day"-- snow being a substance that makes most Austinites melt (i.e. stay home).  Jeff Hughes and Chaparral are two parts country, and with the heavy-hitting Lee Potter on the drum kit, sometimes one part rock and roll.  They're a five piece band, complete with pedal steel player Danny Hawk, whose joyful playing was sometimes audibly lost in the amplified force of the more rockin numbers, but what a delight it was to suddenly hear him clearly again when the orchestration of the moment called for his instrument.  

Chaparral's bassist Vic Gerard took a moment to honor Alex Napier, who passed away from illness the day previous.  (Alex was an integral part of Austin: played bass for the Cobras with Stevie Ray Vaughn, was a founding member of the Leroi Brothers, did light shows at the Vulcan Gas Company, opened a club that later became the Soap Creek Saloon..   Rest in peace Alex.)

The band concretely delivered variations on country's themes, ranging from country rock to swingy ballads to rockabilly, with nice harmonies and guitar solos woven throughout.  The covers and the originals, like the original "Lazy Good For Nothin", attracted equal amounts of dancers, but some of those covers were entertainingly countrified--and very well done!  Did you ever two-step to The Cure's "Just Like Heaven"?  Or Guns 'N Roses "Sweet Child of Mine?"  One of my favorites was the haunting, forlorn version of Neil Diamond's "Solitary Man".  Of course this was all delivered by lead vocalist and front man Jeff Hughes, whose voice was born for country singing.

And then it was greaser time..  

Discovering a band like the Jungle Rockers reminds me of why I built LMC Radio--  to share great music with the listeners who should know about it--and how much joy that sharing brings.  A 5-piece band, a couple of Austin years old, the Jungle Rockers plugged in and got us jumping immediately with the opener "Cool It Out"-- the title track of a previous EP (their latest CD is Guns and Gold  and I highly recommend).  Greased hair, black shirts, and cool street attitude-- their musicianship and their sound is as clean as a slick of fresh Pomade.  The subtle fashion statement is a simple matter of fact, and not an overdone costume for the sake of nostalgia.  The music lives up to and exceeds the look.

The Jungle Rockers are where the 50's meet the 60's, the basics of rock and roll-- a Bo Diddley simplicity in rhythm, a Chuck Berry drive in guitar phrasing-- overlaid with the serpentine, circular harmonies and melodies of early 60's surf rock.  Add a splash of garage to keep it blue collar, grounding bass lines to keep us grinding or pelvises close to the floor, and one of frontman Jason Borkowski's wild howling screams for good measure.  Alas, it is Jungle Rock, and aren't we glad these fellas moved it on over from Cleveland to Austin.  Hey: we have the retro-themed Continental Club, not Cleveland.

According to the band's Facebook Page, the members are on a first name basis with the world:  Jason on lead vocals and guitar, Mike on lead guitar, Jeff on bass, Adam on drums, and Corey on percussion (tonight--maracas, cowbell, tambourine).  

Gone were the twirling couples from the dance floor, and up stepped the tattooed and the leathered, jumping and rocking-- there was even a pompadour.  In my own corner-- I shagged, I twisted, I surfed.  Some of the cuts we heard: "Midnight", "Shake It", "Trouble",  and of course "Jungle Rock"-- where the solid rhythm section created a continual foundation for the lead guitar to spiral-- and the show closer "Devil in my Head".  Sexiness, debauchery, primal rock and roll.  I couldn't stop moving.  The Jungle Rockers are not a mere tribute to some of rock's greatest (like Buddy Holly, Little Richard), but a remarkably schooled and honed blend of influences many of us were born too late to hear in person.  (Except-- get this: they opened for Little Richard in 2007 at a UT show!)  This band points directly and remarkably to some of rock and roll's inventors.  I completely raise my broken beer bottle to them.

As for the country boys versus the greasers-- who won?  Deducing from the props Jeff Hughes and Jungle frontman Jason were giving each other and from the handshake between them after the show, I'd say it was an Austin-style musical tie.  That's my kind of rumble.

Amplified Heat 1-29-11

by Sophie Block

Live music is awesome no matter what, but some concerts just put all other shows to shame. Such was the case Saturday night at Emo’s, where I transcended back to the late 60's watching Amplified Heat: Austin-based true rock’n’rollers whose musicianship is even more illustrious than their hair. And that’s saying something.

Amplified Heat is comprised of brothers Jim (guitar and vocals), Gian (bass) and Chris (drums) Ortiz. Their rock and roll is psychedelic and bluesy, with nothing more than bass, guitar, “Ringo Drum Kit”--and stacks of huge Fender amps: enough amp-age to build a small shelter where you could hide from the outside world and pretend that you can rely on music for sustenance and not need a day job. With three albums under their belts, they’ve honed in on their talents, delivering equally righteous jams and solos.

Their collaboration is so solid and the guys are so fluid on their instruments (we’re talking serious speed; accuracy; complexity) that it’s no surprise that they have been playing music together since they were kids. Having grown up in Cali, Columbia, and eventually settling in Texas, their influences are broad but all share the thread of down and dirty rock’n roll. Listeners pick out elements of Cream, Motorhead, Black Sabbath and Texas’ own ZZ Top and Stevie Ray Vaughan.

They opened the show with boogie rock “Give It To me” off their new record On the Hunt (Gonzolandia Records, 2010). Jim’s vocals were gritty and energetic right off the bat, and he carried that same energy til the end. The set had excellent drum and guitar solos, but lacked a shining moment from bassist Gian. His playing was impressive--there were no simple bass lines the whole night. He explored different scales and harmonies, and I would have liked to have heard a couple of solos from him as well.

Chris’ large cymbal already had a big chunk missing when the show began, and he pulled off another piece while playing and threw it off the stage. Jim broke a string during the set, which resulted in him throwing his blue Fender on the ground and picking up a white one to finish out the show. Jim provided fuzzy distorted tones with his box wah peddle that made my ears ring til Sunday. Both he and Gian used feedback at all the right times to intensify their music. With all those amps, all they had to do was spin around real quick and rub their guitars like Jimi Hendrix against the wall of noise boxes. Cover your ears!

When Jim he spoke he reminded me of Hendrix, delivering lines like “We’re gonna play some blues whether you like it or not, because rock and roll comes from blues, you know what I’m saying,” and “It rains and it pours, it’s cold and it’s hot: Welcome to Texas. [pause]. I said Texas, Mother Fuckers!” He also made sure the crowd “showed some love” for the opening bands.

Though it was busy night at Emo’s at first, the crowd dwindled as the night went on. White Ghost Shivers as Boomtown, Mr. Lewis and the Funeral 5 and the Hi-Tones opened for Amplified Heat. Mr. Lewis and the Funeral 5 enchanted the crowd with circus-y tales in the style of Tom Waits or Murder by Death. They sang about whiskey, murder, ghosts, drunken mobs and burning bridges. Each member was topped with a fedora or a pompadour, and their pirate-meets-mobster antics and facial expressions made for an animated performance. Boomtown were loud and theatrical, and danced around the stage. It was too bad the packed audience lessened by the last act, because Amplified Heat was the gritty dirty cherry on top of the rockin’ sundae.