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Concert Review

Local Natives bring in fans from all over

This past weekend, October 16, marked the longest drive to see a single concert for a large amount of people, including myself. Some fans journeyed over 5 ½ hours, if not more, all to see a few bands—Local Natives, The Ruby Suns, and The Union Line—at The Grey Eagle in Asheville, NC. Once the show began, I understood why.

The Union Line, a five-piece from California, started off the night. Creative drum beats were a staple in each song laced with pretty guitar and Natives-esque vocals. While most shows’ opener band encourages a crowd to linger at best, The Union Line had the crowd engaged and dancing within the first song.

The Ruby Suns followed with a poppier set; think Toro Y Moi if they ate too much sugar. Regardless of the slight genre change, it kept everyone energetic.

Following was the headliner for the night, Local Natives. With only one LP out, Gorilla Manor, I was surprised to see a sold-out show. The fanbase was incredible, especially for such a new band. It was shoulder-to-shoulder and impossible to move as far front as I would have liked. The set started off strong and hit every song on the album. Another pleasant surprise was Local Natives actually sounds better live, in my opinion. Everything—vocals, drums, guitar, etc.—was on point, in addition to crowd interaction. Another very unique aspect of this band is each member alternated instruments every song or so.

One of my (many) favorite parts of this show particularly was how eager the bands were to meet the fans. Every member from the three bands took time to hold a conversation with fans, sign autographs, joke around, and take pictures with the best college radio station in NC.

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Concert Review

Rogue Wave, Midlake, and Peter Wolf Crier Impress at the Cat’s Cradle

After an impossibly long week, I had hoped that last Saturday’s show at the Cat’s Cradle would be great. I was in no way prepared for the powerful emotional journey I would experience. Each band attempted impossibly, yet successfully, to up the ante of intensity by giving a more impassioned and stirring performance than the previous band. Incredibly, even with their considerable body of recorded material, all three groups performed better live than on their albums.

Peter Wolf Crier took the stage first and stunned with their short and blistering set. Peter Pisano and drummer Brian Moen played with soulful, biting fervor. At times the duo’s dynamics recalled the consonance of the drums-and-guitar pair Dodos, but for most of the show, Pisano dominated the stage; the very air in the room became an extension of his body. Like a stationary one-man band, his myriad of amplifiers and effects pedals became a playground for his manic and maximalist compositions.

Crier’s performance would have been tough for any band to follow, but Midlake followed in stride. Appropriately, the band walked onstage just as Fairport Convention’s brilliant rendition of “Tam Lin” faded to a close over the venue’s speakers. A pastoral, electric folk ballad, “Tam Lin” is exactly the sort of song that underlies Midlake’s sound.

The seven musicians crowded the front of the stage in the best approximation of a democracy they could muster. Singer Tim Smith began the set crouched low in a folding chair, his presence subdued until the songs began to take shape. As guitar lines melded with flutes, close vocal harmonies and restrained drumming, the songs would weave and swell into evocatively textured sonic tapestries.

Rogue Wave took the stage without much fanfare. With their intentions clearly set on playing great songs, the band impressed with their joyous musicianship and their impeccable craft. Even after two great performances leading up to their set, Rogue Wave was the highlight of the night. Zach Rogue played with a fiery glint in his eye, and his bandmates deftly followed his every move. Fan favorites such as “Eyes” didn’t simply soar, they filled the room with their beauty.  As I drove home later that night, I realized something: this is why I go to concerts—to be moved.

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Concert Review

Noobhammer’s Round Table: Part I, The Boris Review

Noobhammer here again with another discussion of the table that is round. This week I have four topics to touch with the mighty Excalibur. Two of those topics are reviews of concerts I have been to recently—Boris and Cynic; the other two topics are album reviews. One, for me at least, is the long awaited Blind Guardian album At The Edge of Time, and the new Iron Maiden album, The Final Frontier. However, due to the length of these subjects, I will be dividing it into 3 segments, which will span this entire week, so look for the other two later this week.  So once again, let us delve deep into my brain, which is littered with Magic: The Gathering cards, D20s, and of course dragons I wish I could train and ride. First, I’m going to give you guys a look at the least power-metal item in this entry, but that doesn’t mean that it isn’t powerful. This is of course Boris at the Cat’s Cradle.

From the moment I walked through the doors of Cat’s Cradle and took up my usual spot at the front-center of the stage, I knew that I was about to witness something special. The stage was giving off a vibe as the Sunn (O))) amps stood there gleaming in light, lowly humming, barely audible over the talking of the crowd. Soon the lights dimmed, darkening the stage, and the opening band took the stage. For the life of me, I can’t remember their name. Maybe at the old age of 22, my memory is finally starting to fade from me, but what I can remember is that they put on a great show. Two guys  from the Czech Republic just rocking out, enjoying their tour.

As soon as they finished playing, no one moved from their spots as the lights came back up, and the stage techs feverishly worked to set up Boris’ drum kit and tune their instruments. The tension inside of me started to build as the workers one by one left the stage, the last one blinking a flashlight towards the back of the venue, signaling that they were ready. Almost instantly the lights dimmed, and the crowd rose as one in a roar of excitement as fog began to cover the stage. The members of Boris walked through the clouds, like the Japanese monsters they are. As they took their positions on the stage, I felt my excitement begin to boil over as I watched with anticipation.

Suddenly from out of nowhere, I felt as if I had been struck by a 747. After the initial wave of shock had passed over me, I realized that feeling was the first note of Boris playing. A low, driving hum, echoing from amps signaled the start of my journey. The high guitars notes slowly crescendoed, mixing with the bass to form a haunting melody that stirs the deepest recesses of your soul. I didn’t have time to even comprehend what was happening as Takeshia began to wail mournfully into the mike, his voice barely audible over the drone of guitars and drumming.

My mind was lost in a trance as they band continued to play. I couldn’t believe what was happening in front of me. There are only five instances I can think of in which I have been truly blown away, and left speechless by a band: Isis, Jesu, Pelican, Nine Inch Nails, and now, Boris. I have listened to many of their studio albums, Smile and Pink being two of my favorites, but they never prepared me for the live show. Not even the live albums prepared me enough for the audio onslaught against my ears and even my soul. Watching them live had me rooted to the spot, my mouth agape in wonder at the beauty and chaos in front of me. The guitars washed over one another, forming melodies within their layers.

Even their faster paced songs didn’t cause the crowd to break into a ruckus and mosh. We banged our heads, but we couldn’t move from where we were standing. Boris seemed to have cast a spell over everyone in the venue. As they played through all their songs, not once did I lose focus, become distracted, or even wish for them to end. In fact, I wanted them to continue playing well into the night. It wasn’t until they finished playing the Black Sabbath-esque “1970” and said goodnight to us all that the spell was broken. I looked around in confusion, like so many others around me, trying to explain what I had just witnessed. When I turned back to the stage, the band had left as mysteriously as they came. Luckily I got to meet them after the show and talk to them, but when asked about the seemingly magical and entrancing effect of their show, all I got from them was a smile.

-Noobhammer

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Concert Review

Last Saturday at Cat’s Cradle: Here We Go Magic, Beach Fossils, LightPines

I’m a fan of Here We Go Magic; I am a fan of Beach Fossils. Their respective live performances were both reflective of their energetic,  loopy recordings that exist, in my mind at least,  as  sharpened, present day iterations of the old shoe gazey stuff . I maybe blended their sounds together too much there. (If I overgeneralized, I am sorry. Beach Fossils is the more “gazey” of the two, to be sure.) Both bands are great on record, great live, and certainly worth seeing again (not to mention, worth it for you to see one or both of them when you get the chance).

BUT, I’ll go ahead and be honest. (I have the megaphone!)

Light Pines dude.  This was my Ffffifth? Sixth? time seeing this outfit in action, and, as usual, they failed miserably to disappoint. “Knowing what to look for” may be an appropriate good phrase, but I’m barely a musician. I just know to look for the awesome, I guess.

No nonsense. No garrulous banter between songs. No distracting movement.  Just a terse, diligent, and damn-solid entertaining performance. A change of lighting and, if you’re lucky, a modest “thank’yeh”  after each song is all you’re gonna get.  And what would (or possibly could) you do with anything extra?

Nope, I didn’t take pictures.  Flashes are annoying.

T.A.

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Concert Review

Paul McCartney Performs in Kansas City (Hey Hey Hey)

Paul McCartney  has been traveling around the world on his “Up and Coming Tour” this year. Because of a job I took in Lawrence, KS, I had the amazing opportunity of seeing Paul McCartney perform at the Sprint Center in Kansas City, MO on Saturday, July 24. I had amazing seats on the floor about 30 rows away from my musical role model and first love, Sir James Paul McCartney.The concert was everything I hoped it would be; his childish banter and energy kept me laughing, while the emotion in songs such as “Here Today” and “Something” made me cry, as he dedicated them to the late John Lennon and George Harrison, respectively.

McCartney dedicates a ukelele (and guitar) version of “Something” to the late George Harrison.

He played many Beatles’ songs like “Ob La Di Ob La Da,” “All My Loving,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Hey Jude,” “Let It Be,” and many others. He played music he wrote in Wings, such as “Jet,” “Band on the Run,” and of course, a fire-filled “Live and Let Die.” He even played a few songs from his solo career; “Dance Tonight” was specifically used to lift a melancholy move after dedicating “My Love” to his late wife, Linda.

I have never met nicer people than those attending the sold-out concert in Kansas City. I sat next to a woman, Katie, who told me how she saw the Beatles perform in San Diego, CA, in 1965. When I screamed as he came on stage and jumped up and down as he played, she smiled at me and said, “You remind me of me 35 years ago.” Although Katie may have gotten the better end of the deal, having seen The Beatles in their prime, Paul McCartney played an awe-inspiring three-hour set that did not show his 68 year-old age.

As has been tradition with this tour, he ended the concert with “The End,” with ever-fitting lyrics, “And in the end, the love you take is equal to the love you make.”

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Concert Review Local Music

Loved Language- A Look Back on the Libraries CD Release Show

For those who pride themselves on being familiar with local indie music within the Triangle, it would be a cardinal sin to overlook The Love Language’s rise within our tight knit music community in recent months. Indy Week gave the Raleigh band a nice cover photo and article last week, which chronicled the almost Cinderella story of Stu McLamb’s personal setbacks with the broken band this past December and his ability to bounce back to release Libraries on Merge Records, Love Language’s second album. Personally, The Love Language’s recent openings for international band Phoenix this June in Raleigh and Charlotte have cemented their growing momentum.

Although I admit that Libraries did not top their self-titled first album, I could not deny the raw energy that was present on stage at Cat’s Cradle Saturday night. The lead singer was composed, on point, and looked sincerely grateful to play the sold out show. He opened the night playing solo in deep spotlight, embodying the loneliness but also the his perseverance through the past few months. As McLamb finished quietly, the rest of the band transitioned perfectly in with “Horophones,” which symbolically represented the new band members’ solidarity. Although the show was aimed at showcasing Libraries, fans were treated with old favorites and special guests such as members from local band Lost in the Trees.

I couldn’t help but notice the various types of people that packed into the spacious Cradle, which signified that McLamb and friends are producing wide appeal. However, the Cradle wasn’t just teeming with life before the headliners walked on stage. Although I made a late appearance that night (due to an unscheduled pit-stop to gather some delicious French fries,) I luckily caught most of The Light Pines’ set. Last time I saw these guys was at the largest Local Beer Local Band night I’ve experienced where they attracted a huge crowd. Thankfully, things haven’t changed much since then. The boys seemed in step with one another producing their familiar haunting melodies. Guitarist Carter Gaj’s riffs were so rewarding that they warranted an impromptu and ecstatic Facebook status update.

Tommyboy was able to fill me in on opening act, Shit Horse, whom I knew relatively nothing about. However, apparently I missed a great deal of antics as the front man was extremely charismatic, soliciting responses now and then from the crowd. On their final number, they brought out a topless girl (both nipples pierced as I’m told) wearing a horse mask. Certainly, it had to have been an unforgettable performance.

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Concert Review Local Music

Photos from Kooley High and King Mez!

Photographs taken by WKNC photographer Katie Hill

King Mez

Created with Admarket’s flickrSLiDR.

Kooley High

Created with Admarket’s flickrSLiDR.

Tir na nOg and WKNC bring you, once again, the fun time that is Local Beer Local Band Night! Remember, these shows are 21 and up, FREE, and always a great way to spend your Thursday evening.

Both bands offer long, epic, and ambient instrumentals that, for me at least, really make you think. This week’s bands cater to the fans of our Post Rock Block on Sunday’s from 6-7 p.m.  So check that out as well!

The Bronzed Chorus

These two guys seem to make enough noise to sound like a band with a good four or five members. The music is instrumental and very post-rock. Here in the station, while listening to The Bronzed Chorus, I overheard our deejay Escher say, “I could definitely see two giant robots battling to this.” He couldn’t be more spot on.

Negrido

This group is similar in sound to the Bronzed Chorus but a bit harder.  This band is actually from Atlanta, GA, but will be touring with The Bronzed Chorus across the nation this summer.

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Concert Review Local Music

Wildwood release party Saturday at the Cradle

Magic happened in the form of live local music Saturday night at the Cat’s Cradle as Chatham County Line had their album release show for Wildwood.

Birds & Arrows were invited to open for a late arriving crowd who were chit-chatting quite loudly at the start of the set. That was until the war painted lead singer Andrea Connolly opened her mouth for the first time and her strong but enchanting voice immediately silenced the entire venue as B&A jumped right into one of their favorites, “Honeymoon Song.” The group debuted several brand new songs including their new single “Pride of Lions” which is slated to be released this Friday evening in Durham. Needless to say, I believe many in the crowd were not followers of our local music scene, and I heard nearly a dozen people exclaim how impressed they were with this “unknown” band. After their set, the crowd gave B&A a well deserved rousing applause.

Birds & Arrows are playing this Friday in downtown Durham for the release of their new 7" single off of 307 Knox Records. Billy Sugarfix who is also on the release and Schooner are playing as well.

Chatham County Line took the stage a short time later to a cheering and delightful near-sellout crowd. There was an immediate hush followed by an ecstatic breakout as the acoustic band dived right into to a couple of brand new songs off of Wildwood. If you still have not had the opportunity to hear the new album yet, which is being released officially tomorrow, you will be happy to know that it is the band’s best to date, even outshining its famous last release, IV. Where IV was poppy, Wildwood is hesitant, teetering on the edge of a jumpy hook and laidback mountain picking culminating in a highly pleasing and overall satisfying listen that keeps you coming back (I’ve had it on repeat for almost two weeks now). The crowd in Carrboro was kind enough to stay mostly quiet through the show until the end of each song (save for a few drunken loudmouths) as the group plays acoustic and using only one microphone stand to play around. Dave Wilson even commented that “Carrboro was always more polite than our hometown of Raleigh.” In total, CCL played 22 songs (by my count) in its entire set including 7 from Wildwood bringing the audience to their knees at the end of the final encore begging for even more.  After this show, it is obvious that CCL owns the Triangle and the entire Southern bluegrass scene.

Chatham County Line is playing several shows on Tuesday including free ones at Sadlack’s Heroes in support of Schoolkid’s Records and another at Flyleaf Books in Chapel Hill.

Listen to CCL on the Local Beat 7/2/10:
Chatham County Line on the Local Beat 7/2/10

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Concert Review

Sleigh Bells (7/6/10)

The show began with a deafening start by NERVE CITY that made us grateful to have our earplugs. Although not unpleasant, the duo played a short and forgettable set. They were followed by PO PO; a quirky pair that put on a good show.

The wait for Sleigh Bells was impressive (almost as long as their set!) but definitely well worth it. The stage was a mass of speakers, and, as soon as band took the stage, the crowd became a dense, sweaty mass. The next 40 minutes was electro-rock dance madness.

By the time the show came to a close, we had witnessed an onstage kiss between Alexis Krauss and a female audience member and the stage had to be cleared of 20 or more ecstatically dancing fans.

We left the show with our ears slightly ringing despite the ear plugs, but, overall, the Sleigh Bells were pure fun and their impressive sound translated undeniably well at the Cat’s Cradle.

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Concert Review

Caught on camera: A bluegrass surprise at a corporate dinner

I’m a photography intern at Advanced Energy, and this past Tuesday night was our annual Board of Directors dinner. It was a beautiful event held at NC State’s Dorothy and Roy Park Alumni Center on Centennial Campus. The dining room looked like it could also be used as a ballroom or even to inaugurate the next president. There were sparkling chandeliers, most likely bigger than the average car, ceiling-high windows, and an elegant fireplace.

Needless to say, I was incredibly nervous to be the 20-year-old intern who has been with the company for less than a month, and I would be mingling with expensive men and honored guests, among them a member of our state senate. I did that female thing—you know, with the skirt and the make-up and the cute shoes—I put on my best adult-pleasing smile, and I walked in with my Van Gogh umbrella and awkward camera bag.

After I got over my adolescent fear of adults, creeped on the guests with my 200mm zoom lens, and ate some delicious carrot cake, the night turned out to be quite enjoyable, and much less scary than my dramatic imagination anticipated. But the real treat at the end of the evening was the beautiful bluegrass music from the Durham duo, The Jaybirds

Created with Admarket’s flickrSLiDR.

Made up of Jamie, the male singer and acoustic guitar player, and Susie, female singer and fiddle/electric bass player, their soulful yet upbeat melodies wonderfully filled the enormous hall and immediately had me enchanted. While many of the adults continued with their small talk, I was completely enamored, and I knew I had to spread the word about their incredible talent. For us they played bluegrass and covered the oldie but goodie, “Proud Mary” by Creedence Clearwater Revival, but they said they also played rock and blues if the crowd so demanded. If you’re an Americana fan, think of the beautiful harmonies of the Small Ponds mixed with the cajun flavor of Langhorne Slim with the delicate soul of Meklit Hadero. If you don’t believe me, check out their Myspace page, or visit them on Facebook, even like them! They only have two demos to listen to, but those two songs are more than enough to showcase their raw talent and rare synchronicity.

Photography taken by WKNC photographer Katie Hill