Links:
Walt on MySpace: http://www.myspace.com/walterschreifelsmusic

Walt’s Homepage: http://www.waltertown.com
Big Scary Monsters Recording Company: http://www.bsmrocks.com

For the uninitiated, unaware, or uncultured, Walter Schreifels is a bit of an icon in punk circles. I won’t give you the whole breakdown on Mr. Schreifels in this album review, but he has been a creative juggernaut in punk rock, hardcore, and post hardcore. With bright and clean studio production and raspy vocals, he reenters the indie world.

In one way or another, he has lent his hand to Youth of Today, CIV, Quicksand, Rival Schools, and Walking Concert. On top of all of these (and more) bands, he cuts another slice of Walter Pie with his solo record, An Open Letter to the Scene.

Primarily acoustic in content and alt-indie-rock-pop in nature, Open Letter is the logical next step in his musical process; this is Schreifles as a post-hardcore artist playing in an indie style and acoustic versions of post-hardcore songs.

The first track, “Arthur Lee’s Lullaby” is a slow and sweet tune about the American singer who died a few years back. Another cute track is “Ballad of Lil’ Kim,” a song wondering aloud what the hip hip mogul is like when she’s not busy keeping up her image for the cameras. Both of these songs are thoroughly enjoyable.

The third track, “Society Sucker” is an acoustic cover of the Agnostic Front (!) song. It’s a rambunctious song to hear in its original format, and even more difficult to make sound intelligible on the acoustic guitar; however, Walter delivers better than an ambulance driver.  Schriefels also covers “Don’t Gotta Prove It,” originally done by CIV. This second acoustic cover is much better suited to be heard in an acoustic format.

The title track, that’s number ten “if you’re looking for it” for the album bears special mention. This is the most endearing I have heard Walter thus far. As far as I can ascertain, the song is about punk icon Ray “Raybeez” Barbieri. Without getting into a full bio of Raybeez, which would be another full-length article itself, suffice to say he was an enormous asset to the East Coast punk and hardcore scene in the 80s and 90s.  The song is a recap of his funeral:

“…and not everyone really liked him all the time/at the Sunday matinee he filled the sky/to the dear departed/and to the broken hearted family/at the harcore funeral I cried and cried/for the passing of a hero of the Lower East Side….”

If you buy only one song from this recording from Indierocket.net, the title track should be the one…. but do yourself the favor- get the whole damned thing.

This record shows the increasing range of skills Mr. Schreifels has. His vocal range is stretched out a bit, but it doesn’t come off as untalented, but rather as endearing and heartfelt. An Open Letter to the Scene is the bright red tomato sauce in a steaming plate of vegetarian lasagna on a cold night. Thanks go to Walter for giving me material to review that I can finally give a 5 out of 5 rating.

RIYL: Rival Schools, Onelinedrawing, any East Coast punk/hardcore/post-hardcore of the 80s and 90s.

Walter Schreifels – “Society Suckers” Video

Before the set began, Blind Pilot’s genuineness radiated. The humble 6 piece outfit was not decorated with fancy clothes, big-city accessories, or even a modern sense of style. True to the northwest scene from which they blossomed, four of the five males sported button-up shirts in simple solid colors or plaid. Facial hair and messy, out-of-control locks were plentiful. Banjoist/mandolinist and sole female member Kati Claborn dressed in a pair of brown, leather boots and a floral, knee-length, cyan-colored dress. A sign of skill at tailoring on the road, a single safety pin pulled in the neck line of her dress.

Blind Pilot presented a refreshing mix of instruments, quickly setting themselves apart from other folk rock musicians. Halfway through the show, Claborn switched out her banjo for a long and narrow string instrument called a dulcimer. A large vibraphone occupied the right corner of the stage, operated by Ian Krist’s tattooed arms. Looking much like a lumberjack with red hair and a burly beard, Luke Ydstie picked the upright bass with fury and emotion. The most impactful element was the trumpet, played by Dave Jorgenson, which elevated the sound to a majestic level far superior to conventional Americana. He also stood behind a keyboard with a fancy attachment that created a familiar sound landing somewhere between the accordion and the harmonica. Rounding out the roster of instruments were one acoustic guitar, played by lead vocalist Israel Nebeker, and one drum set, operated by Ryan Dobrowski.

The music itself produced feelings of tranquility and peace. This was not a dance show for a raucous crowd; it was a listening party for appreciative fans. Nebeker’s gentle voice (imagine The Frey’s Isaac Slade crossed with Andrew Bird) added light lyrical structure, but never diverted from the holistic exquisiteness created by the band’s collective efforts. The musicianship exceeded admirable and the results were breathtaking. To call it country is misleading, folk is too general, and rock is inaccurate. Imagining all of the above, blended with components of bluegrass and inspiration from the hills, one only begins to understand what Blind Pilot represents.

Small details of the show beyond the physical appearance and delightful music only enhanced the amiable mood of the evening. Dobrowski used standard drum sticks only a portion of the time, utilizing wire brushes and mallets for the remainder. The effect was soft, placid rhythms that were easy on the ears while simultaneously providing rigidity. Adding flare to the scene was the foot of Ydstie’s upright bass stand which sat nestled inside of an old, worn shoe. Blind Pilot’s relaxed vibe permeated through the audience as select front-row fans took a seat on the floor of the bar to sway and sing along. Emotion ran rampant across the face of each band member. Claborn’s sorrowful, closed eyes hinted at deep concentration while Ydstie’s anxious expression looked as if he had just reached the crest of a roller coaster and was nearing the adrenaline rush of decent. Krist donned a Mona Lisa smile as he nodded his head lightly with each strike of the vibraphone.

The encore set was brief but rejuvenating, possibly the most upbeat moments of the night. Claborn once again sat down her banjo, but this time picked up a pair of drum sticks to join Dubrowski on his set. As the song began, they insisted not on taking turns, but concurrently pounding out a steady, thumping jungle beat as the rest of the band tried to keep up.

Nebeker closed the night by paying respect to smaller, intimate concert stages. “This has been so fun. We’re always tied to bigger bands, so we play bigger venues. But we like this.” Applause filled The Vollrath as they exited, proof that the audience liked this too. Outside, the rain had cleared and skies had settled, as if the calming effects of their music had seeped through the walls to blanket Indianapolis in the serenity and calmness that is Blind Pilot- an appropriately mellow ending to a perfectly soothing night of music.

Photo by Gary Mead

Photo by Gary Mead

Photo by Gary Mead

Photo by Gary Mead

Photo by Gary Mead