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.

Well Dressed Thieves 1-28-11

by Sophie Block

Friday night I went to see Austin alt rock trio the Well-Dressed Thieves at Headhunters. Located kitty-corner from Stubbs, the home of BBQ and big-name acts, Headhunters gives stage space to lesser-known bands. They have two stages: a small platform in the corner of the first level, and the Cannibal stage. The latter is outside on the second level, with room for the audience on a porch-like deck and the loft above it. The bar decor is very eclectic--a mixture of skulls and tiki items. This hodgepodge reflects the vast array of musical genres that play there.

Upon my entrance I found myself lost in a sea of long hair and denim jackets, and at least one KISS t-shirt. Metal band Fur-King was filling up the tiny room with enough energy to fill a stadium. I rocked out to a few songs, and was impressed with how tight their sound was. That’s one of the great things about Headhunters, you can stumble upon great bands on your way to see a different one.

The Well-Dressed Thieves took the Cannibal stage, and they were indeed well dressed! All clad in black, they opened with “A Blues Thing,” a song with a catchy emphasized downbeat. Guitarist Troy Dry’s strumming was clean during the verses, but he brought on the distortion later in the song in a bluesy riff.  Bassist Greg Baldwin took over vocals for the second song, the fast paced “Corina, Cocaine.” The Thieves' fuzzy vocal style over their defined instrumentation gives them a trademark sound. They’re rock with elements of trash, blues and punk. They play with distortion and feedback, and have clear punk influence in some guitar patterns and drums.

The band looked like they were having a lot of fun on stage and got the audience dancing (myself included!) Half way through their set and in the middle of a Nirvana cover, the Thieves were forced to stop playing. Apparently the Austin police called the show a noise violation, just shy of 1 am. Seriously? Even in the concert venue mecca Red River District in the world’s Live Music Capital, we can’t have a good time without getting in trouble. C’mon, Austin, that’s not very Rock and Roll.

Alas, despite the concert being cut short, it was a really fun show. The Well-Dressed Thieves took it like champs, and had a drink with the rest of us.

Sarah Jaffe, Bosque Brown 1-21-11

by Sophie Block

Friday night at the Ghost Room, two Texan acts played to a packed crowd of eager listeners. Sarah Jaffe, a singer-songwriter with a powerful voice and fluid guitar playing, headlined the show. Bosque Brown, a minimalist gospel band with strength in its simplicity and Mara Lee Miller’s lead vocals, kicked off the night. The Ghost Room, winner of “Best New Club” at last year’s Austin Music Awards, is located in downtown Austin. But this cozy venue stands alone on its 4th St. block --close to our many other bars, but tucked away from the crazy hubbub. The warm, dark wood and exposed brick interior is offset by elegant chandeliers in a space that set the low-key vibe for the night that was about to unfold.

Bosque Brown started off the night seated in their respective chairs, humble under the spotlights shone on them. Miller mostly played simple guitar picking patterns under her strong, haunting vocals with a vibrating timbre. About half the audience was seated on the floor, listening intently while the rest stood or watched from the wooden pew-like bleachers to the left of the stage. Her bandmate played synthesizer, keys and electric guitar. His contributions supplemented her sweet, driving sound by adding depth with each complimenting tone. His instrumentation, like his backup vocals, were soft and supportive. Bosque Brown started off its set acoustically, but after the first song, they incorporated electric beats, primarily utilized as the thread to tie songs together. Becky Howard from Sarah Jaffe’s band joined them onstage at one point to play violin and sing with Miller. The band ended the set with “Fine Lines,” a song about off of their first album, Bosque Brown Plays Mara Lee Miller  (Burnt Toast Vinyl, 2005). The set was pretty mellow with a lot of spirit behind it.

Eager fans in the crowd stood up and packed in elbow to elbow to see Sarah Jaffe. Jaffe, whose career blossomed in her adopted home of Denton, TX, toured with Norah Jones in 2010. Tonight, fans were singing along with her and taking photos. Jaffe played with a full band, including guitar, bass, keys, violin and drums. The drummer incorporated a lot of use of his mallets, driving the sound forward; steady and low. Jaffe was dressed casually, and her coiffed platinum hair was in a James Dean-like swoosh above at her crown. She was warm and welcoming to the crowd, and seemed elated at the big turn-out. Her song “Clementine” off of her album Suburban Nature  (Kirtland Records, 2010) got the biggest cheers of the night. The song is catchy and beautiful, and builds from lullaby sweetness to a powerful anthem. Jaffe mixed up her repertoire, playing a new song “Sucker for Your Marketing” for what she said was the second time in front of a live audience, and even covered “Hang With Me” by Swedish pop artist Robyn.

Jaffe played an immediate encore after what she said was her last song, and treated the audience to the beautiful “Plateau,” short and sweet. Jaffe, with champagne flute in hand, said that everyone should end the night with a glass of champagne, and emphasized how much she loved everyone who came out for the show. What a pleasure it always is to be in Austin, she said, whether it is to play a show or just for a visit. And might I say it was a pleasure for us, too, to have her here with us.

Hard Proof Afrobeat 1-14-11

by Robert Crump

Last Friday night, two Austin bands gathered on stage to give a glimpse of music loved and cherished in far-flung regions across the globe. Hard Proof Afrobeat and Atash played The Ghost Room to a sizable dancing crowd. I had no idea that so many people appreciated this kind of music enough to miss Girl Talk and whatever else was on tap for A-town this night. World music offers American patrons a foreign aesthetic and a unique state of mind to enjoy themselves. I don’t like the words ‘exotic’ or ‘escape’ when talking about music. Exposure to new art forms allows you to experience yourself in a new way. What might have been foreign becomes something remarkably familiar when you live it with a group. Atash has already been covered by LMC Radio, so I’ll devote this blog post to Hard Proof.

Most African music being played in the United States traces its origins back to the late great Fela Anikulapo Kuti, who first coined the term Afrobeat. The principle behind Afrobeat is to unite the musical styles of the Diaspora onto a single stage. To accommodate so many genres you need a lot of musicians and a flexible design to composition. Hard Proof succeeds brilliantly through this medium. Their dynamic improvisation is held together by a tight rhythm and expansive composition. It’s really thrilling to watch the players unfold their expression individually and collectively on stage. Hard Proof leans more towards the Afro-Cuban style than any of the others available under the larger banner of Afrobeat. A casaba and bongos thrown into the mix bring out a very vigorous sound, and the crowd ate it up. Everywhere I looked, people were grinning and dancing as Hard Proof navigated from funk to jazz and back again. For good measure, they threw in an Ethiopian song by Mulatu Astatqe, which was definitely my evening’s highlight.

Hard Proof inspire an infectious joy from their audience, which comes out through movement. Like a lot of Afrobeat, the horns lead the sound and tempo. I was especially impressed with the baritone sax player. The brass section digs into a deep funk groove only to pull out into a sultry soirée. Hard Proof’s dynamic variability wins over crowds of beautiful dancing people. The wonderful thing about fusion is that it allows the artist to cast a wide net while remaining true to a single aesthetic and giving individual artists space to improvise and communicate. I love Hard Proof because they reaffirm Fela Kuti’s brilliant insight that the funk, jazz, African, and Latin sounds can all work together. But there’s a catch: you have to be damn good to pull it off. Luckily, Austin has one of the best Afrobeat bands in the U.S.

Heybale's Gary Claxton

Heybale's Gary Claxton dies at 50  --  Richard Crenwelge

Austin lost another of its great musicians last week, and may he rest in peace.  Gary Claxton was a singer/songwriter, and the frontman for Austin-based supergroup Heybale, which boasts some of the most sought-after musicians in country music.  With Earl Poole Ball and Redd Volkaert on the roster, the band has a virtual all-star lineup, and that perhaps explains why they are able to so effectively capture that real, authentic honky tonk sound. 

You can learn more about Gary and Heybale at (insert link) http://www.austin360.com/blogs/content/shared-gen/blogs/austin/music/entries/2011/01/07/rip_heybale_singergary_claxton.html?cxntfid=blogs_austin_music_source.

Although Gary is an icon of the Austin country music scene, I did not meet Gary through his music, but rather through another amazing talent of his, and that was Brazilian jiu-jitsu.  I write about this because it is important for us, as music fans, to realize that our local musicians have lives outside of music.  When I first began learning jiu-jitsu here in town, he was one of the few men in the room that wore a black belt, and for those who are familiar with jiu-jitsu, you are aware of how difficult it is to earn a black belt in that system.  It is an honor that very, very few people are able to achieve.  Gary did not just achieve a black belt, however; he went on to win the jiu-jitsu world championships (the Mundials) in 2010, which is even more rare of a feat, as most jiu-jitsu enthusiasts never even fight or compete at all, and he fought successfully at the highest levels.  Therefore, it is an honor for me to have trained on the same mats as him.

The best jiu-jitsu practitioners in the world are not just competition-proven champions, though.  They also display an almost child-like eagerness in learning, a gentle aggressiveness in training, and extreme grace in their losses.  I saw all of these things in Gary.  I was not a training partner of his, but I watched him spar many times, and the immediacy and potency of jiu-jitsu lays everyone's personality bare for all in the room to see.  The good, the bad, and the ugly.  It tests your mental toughness, your patience, and your humility.  Even then, I did not see Gary ever lose his patience or become frustrated, and every training session seemed like a joy for him. 

Ultimately, there are several things that we can learn from Gary's passing, and they are all extremely important to our understanding of Austin as a community.  One is that Austin really is the Live Music Capital of the world, and we must enjoy it for all that it is.  There are a seemingly infinite number of bands playing an infinite number of shows, so go out and enjoy them while you can.  Secondly, all of these musicians are working against time, and will not be around forever.  Get to know their music.  And third, get to know them as people.  There is much, much more to everyone out there than the face that they give to the public.