Posted: Oct 15, 2009 1:37 pm |
Edited by: rightpeg
Friday October 16 at Slabtown
Pure Country Gold
Cover: "let's talk"
PURE COUNTRY GOLD (above)
"The best garage band in Portland." [DJ Highway 7]
"I put a record on, and the first song I heard was "Filthy Flowers." I put my headphones on, and the first line that blared into my ears was, "In the asshole of a gutter I have found a little peace." The dream made a little more sense. Thomas Function is the ever advancing pursuit of impossible satisfaction. Emerging from Alabama in 2007 with 2 singles, they've since released 4 more singles and the highly praised LP "Celebration" with the Bomp! imprint Alive in 2008. They've played countless shows in venues ranging from some dude's bathroom to the Metro in Chicago and onward to some dude's kitchen in Sweden. Endless touring, and an upcoming LP on Fat Possum, "In the Valley of Sickness," insure that their pursuits were not in vein." [Winston Niles Rumfoord]
Masters of the "stupid/brilliant-white powder-Ramones" genre.
From Milwaukee, WI and featuring members of Good Night Loving.
"The show began with an arguably tighter set of twist-and-shout garage rock from Milwaukee's Jail. Opening with the danceable barnburner "There's No Sky (Oh My My)," mustachioed guitarist/vocalist Vinnie Kircher howled his way over jangled chords as lead guitarist Ryan Adams stamped out well-timed melodies. Meanwhile, Drummer Austin Detmer (wearing Jail's other ridiculous moustache) banged out rhythms for bassist Andy Harris to walk all over. A refreshingly excitable, engaged Rathskeller audience danced and twirled each other around as Jail blazed through an equally scorching and nerdy set that pulled largely from its latest record, There's No Sky (Oh My My). After the foursome wrapped things up with a new tune entitled "Lips Lock W/O Key," Women shared their charming fusion of sunny-'60s pop and math-rock. [AV Club]
Most contemporary lo-fi sounds like the monochromatic four-track dick-arounds that dope dealers in college dorms insist on playing, as a sort of surcharge to that first smoke-out. So it's refreshing to hear France's Yussuf Jerusalem use the freedom of lo-fi recording—a freedom whose usual by-product is self-indulgence from would-be bedroom auteurs who really could've used some bandmates to act as editors—to make a willfully challenging and prismatically audacious album. The band's debut LP, last year's A Heart Full of Sorrow (the first full-length from Orlando label Floridas Dying), skips from genre to genre with the same sort of derring-do Led Zeppelin showed off when they tried their hands at calypso and bluegrass—and does it without the rock-dinosaur excess. The first song, "Gilles de Rais," is corrosive black metal, but before you can start wondering what might come on a Yussuf Jerusalem burger at Kuma's, the album careens into a brooding gothic waltz, a Marianne Faithfull cover, a piece of paranoid psych-pop that sounds like something Syd Barrett might've written in his mummy's garden, and finally an original tune that could be a Bill Callahan homage. It should be interesting to see what directions this takes onstage—and on future releases." [Brian Costello]
1033 NW 16