Link: http://www.githead.com/

When our Zaptown editor last spoke to post-punk super group Githead in 2008 they were asked if they  considered  their band as a side project. Two years later the release of Landing on Swim answers the question. For a band whose musicians all have found musical success individually, Landing is proof these power players are easily able to pump out a fantastically written, produced, and marketable piece of work.

Opening song “Faster” is a 4:30 minute instrumental showcasing all of the whimsical vibrant sounds that unfold with in the next 10 tracks.

“Before Tomorrow” is a fast paced, poppy number combined with electronica elements that sound like a song straight out of an 80’s coming of age film.  I imagined the cast of The Breakfast Club dancing through the aisle of the library to this tune.   It has a happy go lucky feeling to it, with a post-90’s electronic twist.

“Ride” opens with a steel guitar, an apprentice to the intellectually aversive lyrics. Subtle distrusting words spoken not sung, “You don’t own me. Back off. Let go.”  The song slithers like a snake trailing along, transforming into  a galloping horse and ultimately ends with a ferocity that allows each musician to do just as the lyrics suggest, to let go during the powerful escalating ending.

Githead was featured in the March issue of Computer Music Magazine and hailed for utilizing mass computer effects which perfects the beat in “Over The Limit.” Self-taught guitarist Robin Rimbaud, from Scanner, has a reputation for multi-layering sounds which is apparent in this tune, while the vocals portion has Ramones undertones.

“Lightswimmer” is as close to the Beatles in the new millennium as it gets. If the Beatles were still together today, Light Swimmer would certainly have been the tune to allow Githead to accompany them on the road, as well as perhaps bringing all of the musicians together while playing Lightswimmer as an encore for this fantasy venue I drifted off to while listening to this song.

“From My Perspective” is a simple song perfectly constructed in  true songwriting, poppy, manufactured eletronic fashion. Lyrics stating and asking, “We should be making plans what could be? What should be?” A poignant statement as this song’s perfectly constructed architecture allows “From My Perspective” to carry the label as the song with the most commercial potential.  Advertising  agencies around the world, here is the song that will sell your products off the shelf.

In “Dispacement And Time,” the up-beat tempo, and electronic allure is intensified by Max Franken’s hard-hitting drums. He’s called the ‘Carpenter” as he hits his skins so heavy the floor surrounding his set is usually covered in wood chips from the numerous drum sticks he annihilates during a show.  “Dispacement and Time” is proof that he is a minimalist in the cymbal department.  Yet their absence is not missed. The combination of drum machine vs. drummer is apparent.  For those who appreciate the sound of a high-hat, or a crash cymbal, you wont hear it here.  Which make this song a sure fire winner at the clubs.

“Transmission Tower” is perhaps my favorite of all 10 tracks. The overall feeling of inner peace and turmoil is profoundly enlightening. With mass computer generated effects over a simple  baseline and again with those ethereal vocals and the occasional whispers to go along with the wonderful mayhem they create.  Transmission Tower closes with a powerful metallic ending, reminding me of one of Githead’s fave bands, My Bloody Valentine.  I could write a James Joyce sized masterpiece while listening to this one on a loop!

The musicians in Githead are known to write, rehearse and record all in the same sitting and whose general goals while making this album were to create, creatively together. The Landing exudes honesty, diligence and consistency, and an abundance of creativity.

Link: http://www.screamingfemales.com/

Screaming Females Singles is a kaleidoscope, each song on the LP transforms into its own image in the form of pure rejuvenating punk rock. Yes, it has that old-school punk rock beat, but there is something more in this band’s sound beyond aggressive catchy punk rock swagger and riffs.  

Arm over Arm the poppiest of the 6 tunes, opens with a strong bass line which embraces the appearance of being a sweet ditty with some simple guitar riffs, until guitar goddess and songstress Marissa Paternoster stops singing the chorus for a few seconds to wail on her guitar.  Paternoster plays her guitar as if she were pulled from the womb with it clutched in her arms. Marissa looks like herself, sounds like herself and plays her guitar unlike I’ve ever seen or heard. Combined with tight percussion by Jarrett Dougherty and technically inclined bassist King Mike, Screaming Females are completely in tune with one another and hit the trifecta with their brilliant timing and wall of sound.

Zoo Of Death, an enigmatic tune, reveals Marissa as she uses a scientific method towards utilizing her effects pedals.  Whenever a song approaches a break for a solo one might hold their breath in anticipation as there is no telling what she will do with her fingertips and the ball of her foot next.  She is a brilliant guitarist with a talent reminiscent of many genius musicians whose sound also is in a realm of their own. I dare not compare them to another. Cortez The Killer (a song that literally brought me to tears)  and No Being Disgusting, have all of the fervor you would expect from a band called The Screaming Females, with a ton of screaming involved but glorious screaming at that.

Singles deserves to be an iconic art punk LP that will shape and mold many young musicians who hope to wield such powerful music from their souls and fingertips as this band does!  It will be a pleasure to watch The Screaming Females progress, as it is bound to happen to any truly great punk rock and roll band!!

Link: http://renobo.bandcamp.com

Formally of the Mooney Suzuki, Reno Bo is creating a buzz with his solo debut titled, Happenings And Other Things. This CD is like a musical variety show, concentrating on different eras of musical styles. For instance, the opening track, “There is A Light,” is a ballad with the substance to engage any classic rock fan. The second track, “Higher Tonight”, is definitely the shiner. “Off Your Back” shows some great potential with a passionate guitar solo and piano track pleasantly laid down, as does the next track (“Shine”).

It’s unfortunate that a CD with such a strong opening would end with monotonous 3 chord guitar riffs and accommodating drum beats, as the rest of the CD fails to progress. “Baby Your Not Feeling Me,” opens with a sweet harmony provided by a harmonica and is sure to act as the ultimate break-up song, or perhaps a tune one can learn in a beginner’s guitar lesson. The simplistic riffs played on an acoustic guitar blended with scratchy vocals that has a Dylan feel, is sure to grow on any folk fan.

The vocals on “Sugar Suite Blues”  are not as sharp as the mid-song guitar solo. “You Don’t Know” falls into the ’70s bubble gum pop realm. The 10th track, “Here Right Now”, sounds like something you’d hear during the opening credits of an ’80s sitcom.

It is apparent that Reno Bo’s musical influences are worn on his sleeve. There is definitely talent here although some of the songs have a rushed feeling to them, which brings one to believe that perhaps Mr. Reno was rushed in the studio or hadn’t enough time to complete this project. It would be beneficial to spend some more time in the studio  to match the talent here. Perhaps that is not the sound producers were going for.

I’m writing this letter with the greatest and deepest apologies. I recognize that you were built and architecturally designed over 7 decades ago, and your walls have seen a million fans and movie viewers when it was a theater, especially in the 70’s when the theater went xxx.  I highly apologize for my absence over the past 4 years that I’ve resided in Indiana.  I regret to have waited so long to see your beautiful interior and listen to those magnificent acoustics. I can hear you scoffing at me now, reminding me of all those great shows I’ve missed over the years. Like The Flaming Lips, White Stripes, and whom ever attended that Johnny Cash show must have some great shit kicking stories about their boot heels tapping on your vast dance floor.

Thank you for inviting me last Tuesday night to see my beloved hometown band from of Silverlake, California, the Silversun Pickups along with, Cage The Elephant.  I shamefully admit to being late and missing the first band. Being the class act that you are Vogue, you were not offended. As a matter of fact you embraced my arrival with those familiar punk rock riffs that used to make the hair stand up on my arms back in the days of after school improv punk rock jam sessions in Orange County.  Because of this, I must mention the absence of the mosh pit that usually is related to such music. Is there something I missed? A posted sign reprimanding all guests? Why oh why was there not a piece of dust rising from the orchestra section during Cage The Elephant’s performance?  Either way, thank you Vogue for introducing me to Bowling Green Kentucky’s world famous punk band. What a wonderful welcoming present they were. The band was well into the middle of their set when I arrived. As I was tipee toeing around the back of the club trying to get a glimpse of the band, certain I was hearing the lyrics…”Eat Your Heart Out On A Plastic Tray”pound, pound, pounding into my brain.  Without getting a look I was sure I had walked into a surprise Johnny Lydon performance.   Then came the wrapping, the funk, and the those drums. Wildly excited and ready to go join the pit but sadly there was not one. It wasn’t until I reached the balcony looking down onto the stage when I realized I was standing in an auditorium that was reminiscent to my Los Angeles Paladium.  Only the Vogue had managed to find one of Alice’s, from Alice In Wonderland, little bottle’s that said, “Drink me.”, making the venue small enough to hold just enough people to call it a semi intimate evening.

Cage The Elephant’s performance was drenched in punk, with a touch of southern rock, something I have never experienced.  Kings Of Leon they are not. Most of the tunes they played were off their self titled last release on RCA/Jive Records. Rumor has it that their next release will be available soon. According to the merchandise peeps they played a number of songs off of their next one, but shhhhh…they are not telling when it will be available, or how I can get my hands on it right now.

They ended their set with an Iggy Pop cover, which perfectly sums it all up and says a lot about the band.  Watch out for this band LA and NYC and all of USA!  I still couldn’t quite figure out why the crowd was just standing there, looking up at this band that were literally shredding every old school punk riff that was ever written. What is it about moshing in this town? Is it against the law or something? Maybe these kids just aren’t as pissed off as we were. Yeah that’s probably it!

Leave it to my hometown band to stir up some dust on your infamous floor. Silversun Pickups entered your full house opening up with “Growing Old Is Getting Old,” off their latest release Swoon. Second song “Well Thought Out Twinkles” off of their first release Canvass started a small recognizable stir. The non assertive but accepting crowd were overjoyed and finally a very small pit began, until the farce of a punk rocker presented himself and was quickly dropped to the ground by those whose eyes were all still entranced on the band.

Upon interviewing fans after the show a majority of them had never seen them live and were amazed at their performance, commenting on how much they sounded exactly like they did in their iPod earphones.

Next on the set list, “Substitution,” “The Royal We,” and “Catch and Release” all performed and perfectly administered just as it was recorded. How did they do that? With the absence of the 16 piece orchestra that was masterfully used during the production of Swoon, was missed by true fans.  Gone but not forgotten thanks to keyboardist Joe Lester whose sound manipulation artistry was ever so savvy in allowing us to actually believe there was a string section upon the stage. (Now If only that sound guy would have turned up those keys.)

Next, lead singer Brian Aubert requested to have your house lights turned on to offer applause to you my new found friend and kinder spirit Vogue. Once the lights were on, he shared his appreciation for the fans here in your hometown of Broadripple and expressed gratitude to your beloved patrons for being so polite and welcoming last year, as well as the year before at the Music Summit. He then dedicated “Little Lover So Polite” to you. After that, off the stage they went, only to shortly return to play the gratuitous “Lazy Eye” that finally forced those bouncers to abandon their perspective duties to watchfully protect your children who were finally creating a steady circling cyclone of the most polite mosh pit I’ve ever seen.

Chris Guanlao killed it on the skins during the last song and encore, “Common Reactor” which distorted conclusion left a standstill for first time attendees, and gave an excuse to an early exit for those who showed disdain for the familiar and beloved guitar distortion and feedback that your ceilings bounced playfully while they exited the building. No nose bleeds, no concussions, nor arrests, just pure innocent enjoyment through the power of music.

With all of this in mind, Vogue Nightclub, I thank you again for a fantastic evening surrounded by good people who enjoy great music.

Until we meet again.

Karen Shaver

Playing tunes off of his latest CD Invincible Criminal (Badman Records), his music has an excellent future with the pop/ alternative music genre.

The opening song: “Do You Feel Like,” showed me just how passionate Mallman is about his keyboards as he put one foot in top of the keys and kicked out a killer tune at the same time.  This is a hard task, speaking from somebody who is on her 5th piano lesson.  The song “Invincible Criminal” is a catchy tune with an upbeat tempo with a somewhat chaotic piano solo at the end. I imagined this song being used in the remake of the movie Valley Girl. Mark’s voice seems familiar as if I have heard it before, maybe that’s because his music has already been used for commercial use in academy award nominated movies like Wall E and various television shows.  The third song, “Death Wish,” had an extremely jazzy feel, although it was not a jazz tune at all. Playing piano since he was three years old is perhaps where he gains his confidence while playing and straddling the keyboard at the same time. Yes I said “straddling”, an action maneuvered quite often during the set (How does he do that?).

The real hits of the night would have surely brought the house down — if there was anybody in the house to bring down — were “White Leather Days,” and “If Only We Only Kept Getting Younger.” Look out for this on the next episode of The Hills.

There was one cover song of the night which was Michael Sembello’s “Maniac” from Flashdance. Mark’s version was way better with a sense of tension added giving it more of a punk feel than Michael’s version.  If I wasn’t so shy and there were more peeps on the floor I would have cut a rug on the 100 year-old tile floor that rested beneath the band.

All in all, Mark is a true performer. Writing this latest record in the basement of a haunted church where he resides, each song was masked with divinity. Mark is a phenomenal performer and entertainer. It’s obvious that last night the talent was far greater than the size of the venue.

Links:
You can hear for your self on Invincible Criminal available through www.badmanrecordingco.com.

That would be one of the last times he would walk unnoticed in a public auditorium.  You see, growing up  it was normal for us to be singing one of Kelly’s songs as he was always sending tapes from his earlier bands,  Rubicon and Stereo, (Night Ranger before they were Night Ranger) to Grandpa and Grandma. As a matter of fact my uncle had written the song “Sister Christian” long before his days with the band and we’d all sing along in unison to the demo tape he sent while we rode down a country road in their orange Travel-All.

It wasn’t until I was a freshman in high school that all of my friends and the rest of the world took notice of my uncle’s talents. In 1985 Night Ranger’s second album Midnight Madness was released and rose quickly up the charts. His double platinum and gold records still hang on Grandma’s living room wall.

It’s now 2009 and during their brief trip to Indianapolis to perform at Rib Fest, I was able to sit down with my uncle Kelly Keagy, renowned drummer and songwriter for Night Ranger.  I asked him a few questions about his memories of climbing up the charts, and I share a few memories of my own during his rise towards selling over 16 million albums and counting.

(endearing smiles and hand squeeze)

What was it like growing up outside of the Sunset Strip in the 60’s?

We were too young, so we would go down to the strip with a grown up of course, sometimes after playing the high school dance.  We’d look at what everyone was wearing and get ideas for our next gig.  We once had a guy come see us from The Whiskey A Go Go. That was supposed to be our big break but it never happened. The first big show I ever saw was Steppenwolf, 3 Dog Night, and an old band I loved called The Grass Roots at the Forum. That’s when I knew I wanted to be in a band and play live. I wasn’t old enough to go into the clubs on the strip back then. It wasn’t until 1984 until I went to the forum for the second time when we opened up for Sammy Hagar.

I was at that show, the first of many future visits to the Forum. What were your first memories of American Bandstand?

My first memories of American Bandstand were watching my big brother, your father, dancing in the crowd. I thought that was the coolest thing. There he was rocking out on TV. When it was black and white TV. I remember sitting there in front of the TV looking for your dad.

[Karen notes: My Dad mentioned he was on the Al Jarvis show at age 13; a show that aired before American Bandstand came to LA from Philly.  The local radio station gave away tickets to appear on the show, and he was the first caller. Kelly is the youngest brother of three boys, my father being the oldest and a beautiful baby sister to come later.]

But what are your memories of being ON American Bandstand for the first time?

It was kind of odd because we had to lip sync. It was what they called a union gig, so you couldn’t grab the microphone and move it by yourself.  We thought it was the weirdest thing, we would adjust the mic to where we needed it and then somebody on stage would say,  “Son, let us know when you want the microphone to be moved.  We’ll do that for you.” We sang, “Don’t Tell Me You Love Me” and “Sing Me Away.” I remember I did a little funny thing as I was singing a song, I moved my mouth away from the microphone just to make fun of the lip syncing rule, and I  put my hands up in the air while I was supposed to be playing the drums. I guess that was my way of being defiant.  (He makes a silly face that reminds me of a silly face my grandpa used to make) What are your memories of being on American Bandstand, Karen?

I was 14 years old. I remember sitting next to Dick Clark while he introduced you guys. My sister and I were waiting backstage in The Bangles’ green room eating candy while Suzanna Hoff raved about my white over-all denim mini dress. Mom was schmoozing with Eddie Grant in the hallway. Oh Yeah! And your mom, she booked my first gig ever as a teen. Back in San Fernando.

I remember that’s what she was schmoozing to Eddie Grant about.

[Karen notes: Mom said the band was called Let Us, and the show was a great success.]

I wonder what happened to that wall, do you remember all the musical guests had to sign the wall? I wonder where that is right now. That is a part of music history.

Hmm. I wonder? When did you first play drums?

After getting turned on by the music that my older brothers liked — The Beatles, Little Richard and Elvis. The first time I heard Ringo play drums and sing , that wasn’t the inspiration  to start playing but, it defiantly made me realize that I could do it, so I just did it. I was in a band when I was 7 and was the only person who knew the lyrics so I just did all the singing and drumming.  The first set I played on was a friend of mine an actor named Tim McIntire, whose father John McIntire and Janet Nolin were actors, they were related to my first friend who lived across the street.  We used to go down to Hollywood and swim in their pool. I played at their house for a few years on his older brother’s set.  It had a little snare, bass drum and a tin can for a cymbal. I had my first drum set by the time I was 9.

Photo by Monique Larroux.

[Karen notes; My Grandmother’s memory of watching Kelly play for the first time was emotional. “I remember going over to his friends house and watching him play like a pro and I started bursting out into tears when he played a song for me, I didn’t know he could play like that.  Your Grandfather worked nights and slept during the days so he would play in Hollywood at the McIntire’s house.  I was so proud. Later on when he was 15, I would turn the air conditioner on in our house and walk three houses down to have coffee with a friend who would say, “What the hell is all of that noise coming from your house?” Proudly she would explain.  Kelly’s success has made Grandma a celebrity in her small town in Oregon. At times when they play "Sister Christian" on the radio, the DJ will include my Grandmother in their introduction of the song. I have heard it with my own ears and burst into tears every time.]

The few raindrops and drizzles didn’t keep the masses away from opening night of Indianapolis’ popular Rib Fest 2009 on Labor Day weekend.  Night Ranger took the stage and opened up with “This Boy Needs To Rock,” which debuted on their third LP Seven Wishes. Their performance was flawless.   They played two new songs off Night Ranger’s latest LP  Hole In The Sun, on VH1 classic records.  “Your Gonna Hear From Me,” which has every bit of the hard rock tune that you’d expect Night Ranger to give.  Allen “Fitz” Fitzgerald, and Jeff Watson were the only two founding members missing, but alas their predecessors’ are no strangers to putting on a finely tuned and timed rock and roll show.  Enter Joel Hoekstra on guitar and Chris Cullen on keyboards, both add a fantastic mixture of influences and dynamics to the bands already lively stage performance. Chris’s charismatic smile and physical energy are contagious.   He has toured and played live with artist such as Alan Parson’s, Kenny Rogers, Jimi Jamison, (Survivor), the list goes on, making him already a powerhouse player at his young age of 35. Chris is no newcomer to pounding his keys harmoniously with musical legends. Joel’s hard-hitting metal, and classical guitar chords are perfectly in sync with Brad Gillis who is still shredding each and every tune dramatically and intuitively.
Chris and Joel seem as if they have been playing with the band for years.  Watching Joel play with Brad reminded me of when Ozzy introduced Zakk Wylde to the world.  Three songs into the set, Brad and Joel played an acoustic instrumental titled “LA No-Name.” A song filled with classical guitar riffs blended with classical metal riffs, played in perfect unison acoustically by both guitarists. This song literally put me in a trance.  Jeff who? Joel and Chris are no replacements; on the contrary, they are progressive additions to the band. Having attended numerous Night Ranger performances in the past, this one was like no other. The energy and strength the original members, Jack Blades, Brad Gillis and Kelly bring forth through their performance is eminent and of the same powerful magnitude as it was back in 1985. Imagine it now 100 times more magnified. The show was electrifying!

How do you decide who sings what? And will you be singing some Damn Yankees songs tonight?

This is a question we get a lot, It just comes out of knowing each other really well, people always think we must be arguing about it, but that never was the case. A lot of the times the producer would decide too. Jack would be so gracious with songs that he has written that he was personally connected to like “Good Bye.” He was really gracious with me and let me sing them. Or a lot of times he would say,” I think it may sound good like this. ”So we would be in the studio and I would put the mic up and try it out. Sometimes it didn’t work out. And we would know right away if it sounded good right away.  We do play damn Yankees songs.
After Kelly belted out my personal favorite, “Sing Me Away,” Damn Yankees song “Coming Of Age” was next to follow. Eddies “Coming Out Tonight,” and “Rumors” are always welcomed, Their set also included hits like “Don’t Tell Me You Love Me,” “Close Your Eyes,” “Rock in America” and of course the encore  presentation of the tune that hits closest to home, “Sister Christian,”  a song I always imagined my uncle singing to his baby sister, my auntie.

Does this reunion feel differently than past tours and if so how?

Actually this feels right because the three of us are together. In the 90’s, Brad and I did a different version of Night Ranger that wasn’t right, you know, it just didn’t quite work. We did an album called Feeding Off The Mojo, which had a bunch of great songs on it, but the three of us have been together since 1978 so when you have that and a piece of the puzzle is missing?   We cut every major track together, it was always the three of us, cutting all the basic tracks. So it just makes sense for us all to be here together.

Where did you find the new guitarists?

A good friend of mine Jim Peterik, and Jimi Jamison who was in the band Survivor, would ask me to do shows with him in Chicago with Kevin Cronin of REO Speedwagon and members of 38 special.  We would put together this super show and played three hours of hits in Chicago.  Joel Hoasktra, our guitarist now, and Christian Cullen were both in that band. I knew there would be a time when we would need new players.  Joel is an amazing guitar player with a lot of different backgrounds: metal, classical, rock. When it came time for Jeff Watson to leave the band we got Joel, and Christian had been playing with us for about a year before that.

Joel is not only touring with Night Ranger, he also performs 8 shows a week on Broadway in the musical Rock Of Ages. All shows sold out since April. “Sister Christian” is featured in the show that showcases the greatest hits of all time.

After speaking to some of your fans they have shared how your solo projects are more expressive of just you than with NR. You’re described as a prolific drummer, singer and songwriter on Amazon next to your last solo record Time Passes, how does it feel to be a legend?

I don’t feel like a legend, usually legends are much, much older. I’m only plenty nine.  lol(Again with Grand Pa’s silly face)

You know I never got into the music business to become a big rock star or whatever, I just got into to write songs and play music and see if I could make a second record. That’s all we ever really wanted to do was make a second record.

Photo by Monique Larroux.

Twenty five years later, with millions of records sold and counting, Kelly continues to write pop songs in Tennessee where he currently reside with his photographer wife Monique Larroux. When not touring, he is writing songs and meeting with other talented songwriters whom he peers and admires for his creative pop-hit writing abilities.

After the show as we walked back to the shuttle van. I was never more impressed with my uncle than I was when he was bombarded by fans who waited patiently for him at the van to sign their memorabilia. I stood next to his rolling bag guarding it with my life as he continuously signed one autograph after another, and smiled graciously for one picture after the other. My eyes welled up, not only because we would soon have to say goodbye, but mostly because, here is this great man, doing what he loves to do, and at the same time adding pure joy to so many people’s lives.  Rock star or not, he’s my uncle, and I am so proud to be his niece.

Photo by Monique Larroux.

Hole In he Sun and Kelly’s solo record I’m Alive are both available on Itunes.

Links: http://www.nightranger.com

Being a native Los Angeles transplant, the familiarity of the venue reminded me of walking into an east side club off Sunset Blvd. in Hollywood.   The first band, Hey Champ from Chicago, provided great entertainment as the head count began to rise well over 100.  The audience mingled and greeted each other, creating a not-so subtle atmosphere of anticipation for the night’s headliner.

Andy D. from Bloomington, a one-man show entertainer, did just that while accompanied by local band Beta Male, who were dressed in silver metallic cat suits and performed as Andy’s backup dancers.  Andy D.’s performance was basically the night’s fluffer for the main act, who embraced the stage.

Perhaps Andy D. was inspired by, singer-songwriter, pianist, and immaculate composer Dan Werb, creator of Woodhands. Dan performed as a one-man show in Montreal creating a buzz with his electrifying music.  He always knew that the band would one day have a percussion section, and after moving to Toronto and touring the local scene, he eventually bumped into Paul Banwatt .  The two knew of each other’s talents on the local circuit and were mutually impressed with one another. Dan’s feverish, intelligent keyboard composures blend majestically with Paul’s outstanding timing and original rhythmic percussions.

With no formal training in composition other than conservatory music, Dan started playing piano when he was five and wrote his first song at 13. His talent for combing rhythms with sporadic piano chords gives him the appearance of being a seasoned composer reminiscent of Eno and Elfman.

Their live performance was electrifying, full of glee, and had an energy that was apparent on the faces of the reoccurring fans who fell for them last May during the band’s first appearance in Indianapolis at the Vollrath.

Songs like “Breaking Up” and “Dancer” include soulful lyrics and vocals that create an ethereal calmness. Just when you think the song is going to saunter into a glam rock ballad, the beat picks up, channeling groovy, perfectly produced, raw electronic vibes. The constant motion of the bodies on the dance floor is proof that Woodhands can successfully motivate the crowd into a sweating frenzy.  Sitting still is impossible as Dan wales into a microphone, “Trying not to use you,” above Paul’s unique tribal drum beats.  The tune “Under Attack” has a contagious and commercially marketable effect and could easily be used to advertise the next VW or Iphone.

This is not your average electronica band. Woodhands’ music provokes happiness and sets a groovy tone behind the electronica.  Given the amount of soulful rhythmic riffs, it is astonishing that there is not one guitar chord utilized.

Dan claims to have never listened to eletronica before performing it, which makes sense as this is unlike any electronica sound out there. The live percussions mixed with the intellect behind Dan’s creative composure blend masterfully live.

They are currently on tour of the Northeast with their first recording Heart Attack (Paper Bag Records) that was initially embraced by the Chinese this past year when they performed China. “They ate us up.” Dan says of their Chinese fans. They were recently invited back to China to perform in a festival. The first of many invitations the Woodhands will receive, as their sound is contagious and enlightening as well as sexy and hard driven.  Both Dan and Paul enjoyed recording the album and fed off of each other.

Collaborating usually begins by Dan writing a tune on the piano and layering it with pieces  created by he and Paul during an improvisational jam session routinely played before each rehearsal. Watching them live is like viewing a painting with many layers.  Each song that is differently composed and performed could easily be utilized as a soundtrack to a great independent or blockbuster movie.

Dan describes the name and sound of Woodhands as ‘To highlight the liveliness of music, to give people the sense of something organic and raw. Nothing cold and clinical.”   A sound that could not be compared with another.

It should be interesting to see how this already evolved team can progress any further. All hail Woodhands, the duo that fulfilled the promise by MOKB of creating the greatest dance party  of 2009.

Radio Radio: http://www.futureshock.net/radioframeset.html
Fountain Square: http://www.zaptownmag.com/2009/04/fountain-square-neighborhood
My Old Kentucky Blog: http://myoldkyhome.blogspot.com/
Woodhands: http://www.paperbagrecords.com/bands/woodhands
Hey Champ: http://hey-champ.blogspot.com/
Andy D: http://www.myspace.com/rockslow
Beta Male: http://www.myspace.com/betamale