This weekend Diverse Works is having a FUNdraiser with a really solid line up of bands.  As you can see on your right, the line-up will have DJ Brett Koshkin, The Wiggins, sIngs, Wild Moccasins and a very very pissed off Jana Hunter. I don’t know why Jana is so pissed off in this flyer but she looks like she will kick my ass if I don’t go to this show.  I tried to get to the bottom of Jana’s burning hatred of something by contacting Diverse Work’s operations manager Jon Read (who also performs as The Wiggins) but he wouldn’t answer any questions about this (likely out of fear for his life).  He did though answer a few quick questions for us about the show, the bands, and Star Wars.

FPH – Explain the event:  how it came together, what the money goes to, and maybe a little about Diverse Works for those who don’t know much about it.

Read -Diverseworks is an alternative non-profit art space. We show work by artist that risk being eclipsed by mainstream venues. DW relies on donations and grants, but due to this recession/ depressions, we, like many non-profit organization, are struggling. So, we are going to use the money to build a time machine to fix this whole mess from the start.. Or pay some bills.. whatever’s easier.
 
FPH – OK pretend each band playing is an action movie.  You’re the writer and you have to make a quick pithy pitch to a Hollywood bigwig.  Go!
 
FPH -  JANA HUNTER…

Read - This time, its gonna’ be a blood bath..
 
FPH -   WILD MOCCASINS…

Read - When they come..You die!
 
FPH – SINGS…

Read - The future.. Is in his gun.
 
FPH – THE WIGGINS…

Read - This summer, you can run, but where?
 
FPH – DJ BRETT KOSHKIN…

Read - Has your number!
 
FPH – You have a raffle going on that’s pretty funny in spots. My favorite is easily “dinner with Roy Mata and a guest”.  I’m sure people will be fighting for that but what are the details?  Are you going to his house for dinner?  Is he taking you out?  Or is this some kind of scam where Roy just shows up at your door and says “Hey, what’s cookin’?”

Read -If that’s what Roy wants.. 
  
FPH – Lastly, Wampa or Rancor?

Read – Which ever one will KILL George Lucas faster*.. Star Wars is the worst thing to ever happen to me.  

DiverseWorks FUNdraiser! with Jana Hunter, Wild Moccasins, sIngs, The Wiggins, and DJ Brett Koshkin Saturday, August 27, 2024 @ Diverse Works 8PM $10 All Ages

* these views DO NOT reflect the views of Diverseworks.

Since I’ve been taking a holiday break from live reviews, I figure I should roll through some of the stuff that I’ve dug this year. This is not intended to be all-encompassing. Hell, right off the top of my head, I can think of great artists – Tambersauro, Sharks and Sailors, PLF, Young Mammals, Hearts of Animals, Buxton, Giant Princess, etc. etc. etc. – that I didn’t mention below. But the way I figured I’d approach this was like one of those games where you just say the first thing that pops into your head but with a time-limit of my Monday lunch break. So, for better or worse, here is what I could list off in that hour.

Best Album of 2024
Papermoons – New Tales (CD Team Science) -
“What’s that you’re listening to?”
“Oh Papermoons. I love this album!”
“Oh really?” (nod)
“You really like this?” (nod)
“…bummer.”
Ouch! OK so maybe one person I know didn’t take a liking to this but, for me, this was the high watermark of music released in Houston this year and would put it up against anything released in 2024 outside of the city; I’ll gladly take the label of being a wuss for thinking so. Much like last year where I obsessed endlessly about Hearts of Animals’ Lemming Baby (Link), Papermoons’ New Tales was never far from my CD player. This was an album I picked apart over and over again – stunned at how brilliantly constructed the whole thing is. I guess I’m a sucker for the juxtaposition of beautifully melodic songs with an undercurrent of sadness. With gorgeous harmonies, understated performances, and the idea that you can say a lot more without shouting this was an album with no equal.

Best EP of 2024
Balaclavas – Inferno (12″ Phonographic Arts) The CDR early in the year was amazing but dropping in on 140 Gram Vinyl with a silkscreened cover was just too sweet! Dark, moody, and even danceable with the Dub-esque bass lines – this was a band that sounded like nobody else in Houston. It’s the work of a band that clearly engages music as an artform but yet never goes so far as to see itself as precious. This was music as engaging and emotive theatre without succumbing to corny theatrics or self-important pomposity. If this wasn’t on your turntable in 2024 you sorely missed out on some of the most vital and original sounds of the year.

Best Trend of 2024
The humble 7″ - This year it’s hard to pick just one single. With the huge boom of local labels you could easily point to any label like Dull Knife, CutThroat, AG82, Ditchwater, Team Science, etc. or even self-released gems like the Monocles/News On The March split or the Welfare Mothers single and say “There, there that is the single of 2024!” only to reconsider as you flip to the next single in Sound Exchange’s local 7″ bin. So, I’m just throwing my hands in the air and not naming one for 2024! I was even thwarted in calling 2024 the year of the 7″ as 2024 looks to already be lined-up with an even longer queue of 7″ singles and EPs from more artists. So, God bless the humble 7″ and all who sail with her.

Best Thing to Rise from the Bayou in 2024
Wild Moccasins – (Photo Molly Rodriguez) Hard to believe that last February, Ruth Rodriguez (yay Ruth!) wrote a little story in The Daily Cougar about a band by the name Wild Moccasins (Link). Here it is – not even a year later – and they’ve probably become the most ubiquitous band on the scene. It’s not by accident or smarmy glad-handing that they have gotten to where they are – no, instead, if you’ve been following them this year, they’ve progressively gotten better and better by fine tuning their performances and their songs to the point where by the late summer they were pretty much an unstoppable force of H-Pop. Detractors may call them the Mickey Mouse Club but who needs those nay-sayers when you’re in a club or warehouse packed with dancing kids having a blast? That’s a rhetorical question, son. Look for their debut release in January 2024.

Best “Who the F*$# is This?” of 2024
Room 101 – If you walk into one of Roburt Reynolds performances (complete with stock film backgrounds and him collapsing on the floor), you’d think the guy was on leave from some lower level of hell but Chicago was his former residence and he has the aggressive post-punk angular guitar lines to prove it. And yes, while you’d think with the Wiggins, Hearts Of Animals, and so on, that Houston couldn’t possibly use another drum machine backed solo performer, Room 101 proves that the pool is still plenty big. Bonus points for utterly driving poor Shea Serrano over at the the Houston Press nutters with a horribly obtuse interview (link). Look for a 7″ in 2024.

Best Recorded Music You Never Heard in 2024
Jenny Westbury - (Photo Mark Armes) When I interviewed Jenny Westbury earlier this year, she gave me a CDR of recorded material which was a huge eye-opener to her depth as a writer. Later, a good portion of the songs ended up on the AllStar Power Up CDR issued by Joe Mathlete but many of my favorites like Plight Of Leah and Gadget didn’t which is a shame because they are such good songs. That’s one of the problems you run into when you’re as prolific as Westbury, she’ll create these wonderful gems and then, like a sand mandala, they’ll just blow away. Lucky for you, I posted a few of these “lost” tracks on for Non-Alignment Pact – check them out here (Link).

Best Live Festival of 2024
Hootenanny - Here’s how I figure it. On paper this should have sucked. Cover bands?! Yuck! Nothing but glorified Karaoke! But here is the thing, this small one-venue festival blew the roof off the Mink – TWICE! The brainchild of Anna Garza, Ben Murphy, and ADR (I think Anna was the original organizer of the first), it worked because the bands are by nature NOT cover bands and what you got, for the most part, were interpretations and not mimicry. From John Sears playing Sam Cooke on an acoustic to the (then) Dimes and Mlee Suprean literally making the Mink floor shake as the Pixies, the first Hootenanny exceeded everyone’s expectations and fire code capacity. The second Hootenanny had two strikes against it – recreating the success of the first and a safer selection of artists covered – but those handicaps were quickly put aside as, from Marshall Preddy breathing life into tired Rod Stewart warhorses to the show stopping American Sharks take on The Cars, Twotenanny’s proved that the local indie bands were smarter and more clever than any naysayer could have expected. Sadly, there will be no Troistenanny.

Most Ungodly Smell of the Year
Rudyard’s Plumbing - Yes, currently there is a plumber working to fix the cause of this and it most likely is fixed by press time here but – woo – man, that was some heinous funk!

Best Reason to NOT Steal Money from the Walter’s Tip Jar
Roy - Just trust me. You really don’t want to do that!

Most Lovable Crank of 2024
Kerry Melonson (Satin Hooks) - When some people get on their high horse it is usually pretty annoying but somehow Kerry is able to get away with it because he has that gift where he can be an asshole without being an asshole which is a good thing as when the man gets on one of his rants about “what musicians need to do”, he gets epic.

Most Weaksauce Moment of 2024
The Proletariat Closing - Jeez hard to believe that back in February one of the best clubs in Houston read the Metro tea leaves and closed its doors forever. The final bittersweet show may have been headlined by the Fiery Furnaces but it was the locals (The Dimes, Hearts of Animals, and Elaine Greer) that really stole the show and why not? This was more than just a skanky bar with gross restrooms and a PA in need of repairs, it was our skanky bar with gross restrooms and a PA in need of repairs. For many of us, Denise Ramos’ little club will always have a place in our hearts.

———-
OK There’s a lot more that happened in 2024 but my self-imposed time limit is up. So, have a safe and happy New Year’s Eve. See you in 2024.

Photography Molly Rodriguez

Pop. It’s not something that people regularly associate with Houston. Fair or not it’s a city more famous for sprawl, heat, mosquitoes, crooked businessmen, and masses of trucks, cars and neighboring chemical plants belching pollution into the sky than for being a home for bright melodies, sharp hooks, and youthful energy. Yet, over the last few years, there has been rising tide of great Houston pop bands that have redefined this city’s sound. Many come to mind but none this year has captured the restless and vigorous spirit of what is exploding out of Houston more than Wild Moccasins.

If you don’t believe that the H-Pop scene isn’t one of our youngest and most vibrant scenes, just walk into any Wild Moccasins show. Out in the audience you’ll see it: a floor shaking, hands rising in the air, voices singing along, and the joyous sweat of people dancing! Yes, people dancing! In Houston! To a live band! Bassist Nick Cody and drummer Andrew Ortiz are the kind of sprightly and agile rhythm section that demands a henie-shaking tithe from all who dare stand before them. Guitarist Andrew Lee’s clean reverbed sound may not be the distorted long-haired crushing sound of some bands but, much like David proved with a slingshot, there’s more to kicking ass that just being big and heavy. Front and center is Zahira Gutierrez (pronounced Zaira – the H is silent) whose stand-out vocals and (by comparison underappreciated) keyboards are the perfect compliment to principal songwriter Cody Swann’s guitar and vocals. It’s a band where each member throws in little flourishes in which their voice rises above the chorus but never dominates.

Surprisingly, this is Cody Swann’s first band and the songs on the EP are the first he’s ever written. Cody and Zahira worked on songs together but soon Andrew Ortiz came in and gave the folky music a much needed kick. Nick Cody came into the picture when he heard them rehearsing at their friend Mary’s house with just drums and acoustic guitars and felt, not only that they needed a bass to fill out the sound but, that he’d be the right person for the job. Then, at a Dimes/Hearts of Animals show at Sound Exchange, they hit it off with a lead guitarist by the name of Andrew Lee from local ska band Dumbarton, brought him home, and recorded some tracks.

“I love those tracks,” says Andrew Ortiz, “because you can hear Zahira playing Mario Kart and cursing in the background.”

“Yeah,” says a red-faced Zahira laughing, “I kind-of really get into it.”

Andrew Lee says of his first impression, “I thought it was going to be a country folk thing but, once you put everyone together, that wasn’t the case.”

“The evolution from folk to pop was natural.” explains Cody, “It was a lot easier to play alone with an acoustic rather than an electric for me. ‘Shiny Strings’ was just a two and a half minute folk/pop song without drums. As we all practiced it, it became this poppy song – we added changes and it gained that minute and a half ending. That’s typical. I’ll write lyrics and chords, bring in a ‘skeleton,’ and [the song] changes. I tried with a new song to keep it set in stone and after a few practices realized it wasn’t working for us. Now we’re very much what happens happens.”

That anything goes attitude was on full display at the last block party where the band seemed to shake the stage to near collapse. Andrew Ortiz loves energetic live shows, “I’ve been going to shows since I was 13 and there are bands that go, do shows, and just do their thing but then there are those bands that are into it – visually into it – and yet don’t sacrifice their sound.”

“It’s about being spontaneous.” says Andrew Lee, “When you see us live, it’s not like we sit there and say ‘OK, when I do this, you do this.’”

“For me,” says Andrew Ortiz, “it’s not about focusing on what I’m doing [as a performer], it’s about putting everything into what I’m doing but it takes a toll; I get tired.”

Mickey Mouse Club is a label that popped-up on Hands Up Houston and Nick responds to it with a laugh, “We’ve been called a pre-teen band.”

Zahira interjects, “I think it’s because we aren’t aggressive – people are wary of upbeat and happy music even when the lyrics may not be happy and upbeat.”

“Nobody called The Who a teen band and they were young.” says Nick Cody.

Andrew Ortiz seems equally perplexed and amused by this, “Criticizing our youth is cool. Not that I’m on a high horse but there’s this new community of kids and we’re all young and supportive. In Houston, all we have is each other; that’s cool!”

That camaraderie was on display in a recent regional tour with Young Mammals, Woozyhelmet, and The Mathletes What was simply a chance to play with some of their favorite Houston bands turned into a little goodwill tour where the Moccasins found themselves performing to rowdy crowds, having a blast, and redefining this city to outsiders. Yet, that gritty Houston stereotype is still a tough one to crack as Nick found out in Austin when someone, hearing they were from Houston, said, “Oh, sorry I’m not from Houston; I’m not into metal.” Clearly their work as H-Pop ambassadors has just begun.

The new Wild Moccasins EP, Microscopic Metronomes, is scheduled for release in January of 2024. In the meantime, you can see them December 9th W/ Peter & The Wolf & listenlisten @ Arstorm/Caroline Collective ($5 ; 7-10pm) and also on December 19th at the Mink Backroom Toy Drive W/ Buxton, News On The March, Elaine Greer, Giant Princess, and B-L-A-C-K-I-E.

Links:

Wild Moccasins on Myspace (Link)
Molly Rodtriguez Photogrpahy Link)

I hope you guys had as much fun as I had this Saturday. I sure had a blast listening to great music, running into just about everyone I know, and it’s nice to see Westheimer with some hustle and bustle on its sidewalks.

Some highlights? OK! The Wild Moccasins played a great show outside Mango’s on a rickety stage that seemed to be on the verge of collapse from all the hopping and general Moccasins shenanigans. The added amusement for me was watching as my very serious and artistically minded six-year-old tried in futility to find a spot on stage stable enough for him to draw the five popsters. Damn it, how can I express myself artistically if you guys keep hopping around up there! Hearing Paul Winstanley and Lucas Gorham perform outside La Strada was wonderful too. I hadn’t heard Paul take a bass guitar to the edge like that in ages and it was wonderful and challenging to hear it again. Also fun was the (this time official) Cop Warmth and B L A C K I E gorilla set. Cop Warmth, for the uninitiated, is the musical equivalent of children running around the playground in pure chaotic frenzied joy. My favorite moment of the set was when Craig, running into the audience, made a woman squeal in fright. B L A C K I E meanwhile doesn’t so much a rap as spout words like a steel-driver laying down iron with every ounce of energy at his disposal. Balaclavas, at the acoustically pleasing space behind the Austin Layne Hotel, performed one of the best sets of the day as they kicked-out amazing new material that reminded you just how unique their sound is and how furious their shows can be. How they are not one of Houston’s biggest draws, I’ll never understand. Over at Mango’s, as we were waiting for Tambersauro, we got some drama as some drunk Asian woman was challenging another woman to some fisticuffs. Unfortunately, the fisticuffs did eventually occur outside but while no one was getting hurt, it was pretty amusing theatre of the absurd. Tambersauro though wasn’t about to be upstaged by a lone drunk and proceeded to tear into a raging set that almost made me forget that I was trying to see five bands in that time slot. Luckily a friend who knew this, poked me and pointed to her watch. Thanks mon ami! The McKenzies were quite a sight surrounded by an enthusiastic crowd of fans who had joined them on stage. Ah, those Houston pop bands sure know how to work-up a crowd. Buxton closed out the outdoor shows with an amazing set that had the entire crowd at the Austin Layne Hotel enraptured. After the first set, the audience clearly wanted more and thankfully JD (Secret Saturday Shows, Guitars, Lenny Briscoe, etc) demanded they play a few more and Sergio Trevino somehow agreed to it in his typical sheepish manner then proceeded to treat us with a work in progress that was much better than I think they realized. I think Trevino and company work their music with such expert care that they seem a bit worried about showing some rough edges. That’s OK because there is a bit of excitement about seeing a band not exactly knowing where they are going with a song and that vulnerability – that putting yourself out there with no net – is charming when you are as good a band as Buxton. Now for me that was pretty much the proper end of the Block Party for me. I was pretty tired by then but, like the Terminator, the Block Party just wouldn’t quit. Don’t get me wrong, I saw some amazing sets afterwards like Something Fierce laying down some serious and furious pop-punk and Satin Hook’s Lucas Gorham using a Tuvan throat singing technique for backing vocals but by the time the Jon Benet plowed into their set, I was physically fatigued. I’ll admit it. Another Block Party has left me beaten and bloody on the canvas. So, what’s new? At least I had fun getting pummeled.

Now one last thing before I get to the photos: Kudos to our heroic and fearless FPH leader Omar. Omar is the general behind all these operations; he books all the bands and gets everyone involved to little acclaim. That’s largely because he’s not one to self-aggrandize but, instead, seriously believes in the community of artists and people that live in this city. I for one, seeing a small bit of what he does behind the scenes, am always impressed at how the guy pulls it off twice a year. Of course Omar can’t do it himself and it’s only because of the efforts of all the local businesses, bands, artists, and the community in general coming together that makes these things so special. That’s also because, unlike the latter years of the wholly unrelated Westheimer Street Festival, this event isn’t just about attracting sponsors but about building and celebrating a community. That’s the way these things should be. So thanks everyone who helped and came out. I don’t know about you but I’m ready for another round next Spring.

Links:
Complete Sets on my Flickr.
* Westheimer Block Party (Link)
* Bonus: B L A C K I E & Cop Warmth’s Guerilla set (Link)

Oh and look:
Breakfast On Tour posted some pictures on their Flickr too (link)

If you read Hands Up Houston this week you likely saw this:
“I don’t like the local kiddie indie pop bands or freak folk bands that are now all the rage. They need to go join the Mickey Mouse Club on the Disney channel. Usually any band that Ramon LP4 jerks-off about every time he posts I know not to listen to.”
Andrew, of course, dressed appropriately.

Some bands spend millions on lights, props, and sets.
Fuck that! The Wild Moccasins
just had this dude toss out pastries and balloons!

Hell yeah! Balloons!
You can never go wrong with balloons!

We have attained Riff Tiffs nirvana!
The Riff Tiffs doing their best
Mudhoney impersonation!

….and that’s a wrap!

Links:
More pictures on my Flickr (Link)

The Eastern Sea (Link)
The Wild Moccasins (Link)
Riff Tiffs (Link)

*Andrew Ortiz later ran me a breakdown of who was playing and it sounded like a pretty sweet bill. So hey hardcore promoters you need to give me a heads up; we love the hardcore too.

ADD band Jen and Ray -
Keyboards, Bass, Guitar…
I think the only thing that they didn’t play was a viola.
Oh no wait Jen plays that as well!

There is no better reason to overcome
the pull of the couch on a Friday evening
than The Wild Moccasins.
Just think of them as
Houston’s super ninja party attack force

Life is like a cow! – Joe Mathlete

Links:
More pics on MyFlickr (Sigs Lagoon and Rudyards)

Paris Falls (Link)
The Wild Moccasins (Link)
Tody Castillo (Link)
Joe Mathlete (Link)

Well here it is, Monday, and not only did I survive the Hootenanny (link) but I also survived the Houston Press Music Awards. Having these two things back to back, admittedly, is pretty rough. So Sunday, being a bit worse for wear, I stayed away from the free booze and stuck to the vitamin water. One thing I have to say about the HPMAs this year is that the venues seemed farther apart than in previous years. Whereas last year you could step out of the Rice Hotel and immediately walk across to see say Insect Warfare, this year you had to walk a few blocks to get between venues. That may not seem like a lot but, if you try to navigate at 8PM between say The Poor Dumb Bastards at Rocbar then run over to see Hearts of Animals at NOTSUOH then run down to see Buxton at Butterfly High, that’s quite a little run and you can forget catching any more than two songs per band. So, I wonder what’s at play here. Did a lot of the venues on Main close or did many of them just not want any of the riff-raff that attended last year? I don’t know. The second thing that I didn’t see as much of was the hustle and bustle of music fans on Main that I saw in previous HPMAs. Was it the heat, the distances between venues, or something else that made the streets seem relatively barren this year? Again, I’m not sure. Nevertheless, these issues aside, it was still a good time for all performers and attendees so why worry.

Me? I arrived in time to see The Wild Moccasins who somehow still had a ton of energy even after their Hootenanny set. What I love about the Wild Moccasins is that they just put it all out there – they go for it with every beat and note – and it makes for electrifying and fun shows. This show was no different- tops! 7 O’clock hour was a nutters triple shot dash. Over at Venue, The Tontons sounded simply massive. Kudos to the venue with it’s weird over the top stage and sound and the Tontons wore it well by completely commanding the stage. The Born Liars over at Butterfly High are somewhat analogous to The Wild Moccasins’ in terms of energy except that while the Moccasins have a fresh youthful energy, the Born Liars have the energy of drunken sailors who are on shore leave and don’t give a fuck who gets in the way. Then you’ve got The Wiggins (at Deans) whose personae is akin to that black sheep weirdo cool uncle in the family whom the older family members wince at in disdain publicly but secretly envy. One woman at the bar, who clearly didn’t know what to make of it, had the best fish out of water look of confuddlement I’d ever seen. Awesome!

The 8 O’clock hour was the afore mentioned race. Now, the reason I went out of my way to Rocbar was because of the Brian’s Johnston story. To paraphrase, Brian’s Johnson played Rocbar just after Whorehound. Toward the end of the set, the band played “Have a Drink on Me” and made a joke about free drinks at the bar. Then Jeff said “This is the first gay bar we’ve ever played – the Cockbar.” Well that didn’t endear them to the venue and the band was told “That’s it, you’re done!” Some person saying that they were the GM, expressing his displeasure at being called the Cockbar and a gay bar, told them that they were probably disqualified while big gorilla bouncers got in the bands’ face. No amount of “Hey, it’s a joke!” would suffice and the band was forced to leave via the back exit. Naturally, when some place called the Rocbar – whose idea of rock and roll is (well to borrow from a review in the Houston Press) as rebellious as Applebee’s – gets their panties in a wad it’s asking to get fucked with. And perhaps smelling blood in the water Byron of the Poor Dumb Bastards said “Ohhhh! Game On!” upon hearing the story! So, of course, we were hoping that Byron would pull this year’s Insect Warfare show and give this bourge venue a show they wouldn’t forget. As Steven Garcia put it, “If they don’t get shut down in five minutes, I’m gonna be so disappointed.” Of course, this raised the bar and while the Bastards did put on the punk rock side show we’ve all come to expect – which is always great – it never reached the level of challenging the Rocbar’s management and staff. Total psych out!

From there it was a quick run to Notsuoh to see Hearts of Animals (Thanks Dan Castillo for the suggested short cut through the car park). I only caught two songs but it was exactly what you’d expect from Mlee – the distorted guitar, the loud beats, and the nuanced vocals. In other words, worth the run that left me dripping in sweat. But from there it was off to see Buxton over at Butterfly High whose musicianship and emotive vocals are always a joy. One of the high points for me was when Sergio Trevino suddenly said, “Hey, here’s a little song about Transformers.” and then proceeded to sing this hilarious and sweet song about how much cooler the world would be if were were all Transformers. It had this off-the-cuff Daniel Johnson kind of innocence and, while obviously done with a sense of humor, it never stopped to the level of being smug or smarmy. Later Trevino told me (seeming somewhat embarrassed) “I wasn’t sure if that was going to work or not.” to which I replied, “It’s a song about Transformers! How could it not!” It’s always fun to see a band (especially one as impressive as Buxton) not worry about being the cool kid on the block and let their goofy side out. Probably my favorite small moment of the night.

Finally, the 9 O’clock hour came on and I was going to go for 4 bands in one hour. This started with Sharks and Sailors at Notsuoh which was, for me, hilarious. See, I kept wanting to leave but they would play another song that would leave me shouting “Gawdamnmit! Now I have to stay!” So one song turned to two, which turned to three and, by the third one, I knew to leave before the first note rang of the fourth one. Phil, Mike and Melissa are just unrivaled as a powerhouse and…well, you can read my description of a show at Rudyards in this August’s issue and you’ll get the idea. From there, it was off to see Bring Back the Guns next door at Dean’s but the door was a too crowded to make out much. Still, the band seemed to be doing what they do best – spazzing out. Well, Matt Brownlie was spazzing out. That’s not a put-down, that’s a compliment as, when Matt Brownlie spazzes, it’s high art. From there, it was off to see the Young Mammals which probably had the biggest crowd I’d seen all night. It was pretty hard to get up front but I eventually snaked my way up to see Iram playing like the brilliant drummer he is. I’m not sure if this or the upcoming Saturday Secret Show Fest is going to be his last show but I cannot stress enough how great a drummer he is and how the Mammals are a world class act. Again, most of Houston ignores bands like this while some writers complain about the state of the scene. To all you who will have missed the Young Mammals with Iram, all I can say “You missed out!” and you will get no sympathy from me. Go pay for your $8 beer for some big label crap at the Woodlands – you deserve it.

In that light, the night for me closed with the oddest pairing of the showcase – Indian Jewelry at the Hard Rock Cafe. You could just smell the incongruity of the band and the venue. Sitting eating their hamburgers were couples and families who seemed oblivious to the fact that Indian Jewelry was there playing a strobed-out set of brilliance. It was as if on stage stood a portal between two parallel universes – one strobed and noisy and the other milquetoast and orderly. I couldn’t imagine a more perfect analogy to Houston’s indifference to the amazing music that grows in its own backyard. Perfect!

(Thank you Chris Gray and the Houston press for the passes. Very Much Appreciated.)

And now, photos (more on my Flickr)

The Wild Moccasins still alive after Hootenanny!
“…And so the bouncer gets in our face like this!”
Trevi Biles of Whorehound gives his
account of Brian’s Johnson vs. The Rocbar.

The massive stage couldn’t
dwarf the Tontons’ talent.

The Born Liars – making sure that
Rock and Roll never gets respectable.

Death to poser humorless bars.
Jeff of Brian’s Johnston may have lost
the battle at the Rocbar but he left
with the best story of the evening.

Hearts of Animals
Can I have a more jarring juxtaposition of images?

Fuck yeah, Buxton!
You fly that Transformers flag with pride!

Sharks and Sailors -
Try to leave during one of their sets. I dare you!

Bring Back the Guns -
Ben Murphy (left) ponders
the awesomeness of Matt Brownlie’s ass shakin’!
Indian Jewelry playing in a parallel world
while the Hard Rock Cafe goes
about it’s business unawares.

The numbers are in and we can happily report that last night’s Hootenanny was a huge success! Now I’ll admit that my expectations were lower at the outset for this Hootenanny because, while the last Hootenanny tended to focus more on indie/punk bands (Pixes, The Clash) and some less often covered bands (Nomenasno*, Jawbox), this Hootenanny tended to swing more toward more common Rock radio fare. I’m not saying the music is bad but that somewhere in the suburbs any night is some hacky cover band doing “Do ya think I’m sexy” and that doesn’t exactly make me jump up and down. But here is where my fears we’re totally off the mark; whereas a cover/tribute band tries to emulate a band (generally amounting to nothing more than a living Jukebox) the bands at the Hootenanny already had a personal style going in which colored anything they played. So, instead of soulless covers, you had bands playing their hearts out in their own unique way, having fun, and being egged on by an audience that resembled more a house party posse that a concert crowd.

The Kimonos ripped through Blondie even if Gina Miller had a costume malfunction (don’t worry Gina I deleted the picture). Marshall Preddy of Custom Drinker took some of the most tired warhorses (Maggie May) and lame songs (Do Ya Think I’m Sexy) in the Rod Stewart catalog, stripped them apart, reworked it with his own unique vocal style, and spit out more life than much of the source martial ever seemed capable of carrying. And no, this wasn’t ironic hipster shit, Marshall was kicking it out with as much simple charm as John Sears did when he covered Sam Cooke at the first Hootenanny. That fucker even made that damn disco song work! What a dick! The Welfare Mothers took Johnny Cash and reworked into gritty, driving, and brilliant Garage rock which when you think about it is a perfect marriage. Again, no irony, no wink wink, just straight rock that shit out goodness! Buxton’s take on Bjork was just as inspired! By taking Bjork’s music and transferring it to the realm of Americana, the band made the music more organic than anything you could have expected and caused many a jaw to drop in amazement. At the last Hootenanny the Yong Mammals were the band that made the floor of the Backroom shake like an earthquake and this time it was the Wild Moccasins. Dressed in bright colors, awesome dresses, and radiating enough energy to solve our energy needs for the next millennium, the band tore through the B52’s and made it horribly and painfully fun! Paris Falls‘ take on Rush may not have had the precision of my favorite Ayn Rand loving Canadians but it was still fun! When the crowd engages in uncontrolled screaming demands for drum solos and YYZ, you know you are on fire! Tody Castillo’s take on Tom Petty and the Heartbreakers can be summed up with my screaming the Yeah Yeahs at the top of my lungs during their version of “The Waiting”! Fun Fun Fun! But here is where my evening kind of got muddled. I got caught up in conversation and missed my pole position for the American Sharks. At this time, I got a text to meet some friends at the Big Top. Perfect, I think to myself, I’ll catch a drink there then come back in 20 minutes and catch Flowers to Hide and Sharks & Sailors. Simple, right? Well, let’s just say that drunky drunk time and sober time aren’t exactly congruous and before I knew it what I thought was 20 minutes ended up being one hour and I raced back at 1:30 only to find that I just missed Sharks and Sailors as the Police! Weakness! Oh well, my apologies. Next Hootenanny I’m definitely not leaving the premises!

Anyhow, hope you guys made it out and had a blast. I know I sure did. Kudos to The Skyline Network’s ADR and Ben Murphy for putting it together and keeping it running like a well-oiled machine as well as Dunnock for a great mix. Well done guys. So when is Hootenanny III?

And now pictures (you can see the full photoset here on my Flickr)

The Kimonos as Blondie suffered a
costume malfunction during their set.
Custom Drinker as Rod Stewart
(Marshall Preddy of Bright Men of Learning)
inspired rampant Fritos munching!

I am totally jealous of Zahira’s dress! Awesomeness!

For those who complain about going up and down the
stairs at the Mink Backroom, I present for you the
most awesomest Hootenanny fan ever!**

* Thanks Danny for the correction.
** Starting next Hootenanny we will be giving out the Jacob Calle Memorial “Best Hootenanny Fan” award.

Behold! Elaine Greer and the Capo of Power!

Zahira is so not letting that mic get away!

And lo the moccasins did run wild!
Andrew Lee opening a can of whoopass!

News on the March with their
patented microphone condom.

Austin may seem all cute and cuddly in NOTM
but he also rips skulls off with
grindcore masters Humanicide.

Lo, we of the Eastern Sea have
brought you glowing kick drums!

See the pained hands in the middle?
Seconds before this was taken,
lasers shot from guitarist Matt Hines’ eyes
literally melting somebody’s face off.

Links:

More Pics on My Flickr

Elaine Greer
The Wild Moccasins
News On The March
The Eastern Sea

Yea, for though tired, I marched seven stages and five parasangs to the Alabama Ice House. There verily did I bivouack with my friend from the North Eastern region. The provisions were many – Lone Star and Shiner were plentiful here – and after many discussion regarding bananas, Amsterdam, the largeness of Buckees 52Oz drinks, and other such pressing matters the soothsayers did infact suggest that the time had now long past for me to arrive at my destination at the allotted time. Nevertheless, after sacrificing one last Lone Star to the gods I proceeded to march four stages and two parasangs onwards to Numbers 2 for the Free Press Canned Food drive.

I arrived at my destination just in time to have missed The McKenzies which was quite vexing as their skills in producing enjoyable pop is heralded across much of this land. Yet all was not lost for News on The March, The Wild Moccasins, and American Sharks had yet to take the stage. Those in attendance were numerous but the encampment was so large as to render them tiny in comparison. Later that evening I would make my way to the Mink and, even though those gathered were no larger in number than those gathered here, the more proportional size of the venue to the crowd gave the impression of a vast throng. Here the effect was quite the opposite and once one put some distance between himself and those gathered their numbers seemed smaller within the cavernous surroundings. Regardless the crowd was just as enthusiastic as the one I could come to encounter shortly on Main and spirits were high.

News On The March came fourth onto the stage and there they did please many with their excellent vocal harmonies and impeccable guitar lines. These young Hoplites sung their paeans with great skill and enthusiasm causing many in the audience to holler and applaud their skill and artistry. It should be noted that they do favor Fender amps and thus their instruments of choice do jangle in a pleasing manner. Of note is one Austin Lloyd whose work on the Jaguar was particularly enjoyable. With his reverbed tone and extensive use of the tremolo bar he did, as it is often said, bring it on home particularly through the band’s rousing crescendo. He and Joe Weber conferred a great benefit to the group with their dueling guitars. This was particularly notable as the played country swing lines and harmonies whilst the soundman found himself taxed by the soundsystem which mocked his attempts to right the issues with the cello. Theirs was a set deemed very pleasing the gods.

The Wild Moccasins though would not be usurped and they took the high ground on the stage with a youthful vitality that όλα τα οντα agreed to be right and good. With Cody Swann and Zahira Gutierrez leading the charge they did conjure uncontrollable dancing from those who did not take heed of the warnings and dared stand too close. Yea for the band did bounce and hop and no mere mortal could thusly resist. Particularly memorable was Spanish and Jazz where Andrew Ortiz’s drums marched with Nick Cody’s slithering bass and Andrew Lee’s reverbed guitar laying forth a strong groove for Zahira’s vocals whose rousing chorus pleased the gods more than 1,000 sacrificed she-goats. Yet, despite their mighty grooves, the end of the new morning’s first hour lay a mere ten minutes away and text messages to Dunnock and Jeff regarding when Ume would take the stage had proved futile therefore it became prudent to take my leave of Numbers and march five stages and 3 parasangs to the Mink.

When I arrived, to my great dismay, Ume – though headlining – had been already laying waste to all those that stood in their path and, as I made my way to the front, Lauren did announce to all those gathered that this would be their last song. Normally this would have been quite dispiriting except that merely one Ume song is worth more than a full set from the fiercest of bands and, as fortune would have it, they performed an electrifying encore. Taking up the rear of the formation sat Jeff who, bathed in sweat, lay a beat that Heracles himself would envy while Eric, armed with a mere four strings, took the lowlands. At the fore stood Lauren wielding her Telecaster which many admired and feared. The renown of her skill on the axe is such across the lands that anyone who hears the smallest of runs immediately recognizes its source. This evening was no different and she thrashed in a violent blur on blonde hair as her fingers nimbly laid out runs of such fury that those gathered shouted helplessly in response to the force of the sound that was thrust upon their ears. Thus it was that with a mere three songs, Ume made the gods tremble in fear and only after seeing all before them laid to waste Lauren did approach the microphone and proclaim to those who remained standing a meek “thank you.”

Links:
News On The March
The Wild Moccasins
Ume