Hooboy! Southern-Fried punk rock at its best. For fans of A Planet for Texas, Lucero, 9-Pound Hammer, and Alabama Thunderpussy. The Von Ehrics bring southern twang, punk rock punch, mix in a few bar fights, a vial or two amphetamine (to taste) and use a severe lack of daily bathing as a chaser. To continue the description by comparison, this album is what Charlie Daniels or Lynrd Skynrd would sound like if they played modern punk rock, or maybe if Tim Barry(of Richmond, VA’s Avail fame)’s solo project was plugged in and allowed to have a bit of fun. Loaded is a 10-track (plus one hidden track at the end of track 10) album recently released on Crustacean Records earlier this year.

No, the legendary Von Ehrics have not risen from the grave to record a wrestling album, a la the WWF record put out in the 80s featuring Hulk Hogan and Junkyard Dog (RIP) singing songs about their wrestling personae; this is awesome Dallas, Texas punk rock, unashamed of their country roots.

The record is quick, as punk should be (minus the last two tracks), but deep in value. Skirting grunge and punkabilly styles, Loaded delivers. “Jimmy Blades” is an awesome 2:30 song about a friend living life at a faster level. Starting with a hillbilly surf guitar intro and staying light and airy on the verse, then plugging in all the holes on the musical interludes. If this track doesn’t get you up out of your seat, you need to check your pulse. The next track, “Old Chunk of Coal” uses fast punk beats and a slide guitar (no foolin’) to relate the notion that someone may not be much now, but will in the future. “Well I’m just an old chunk of coal, but I’ll be a diamond someday.”  “A Week of Living Dangerously” is another gem of a track about exactly that- a weeklong abandonment from logical living. Who hasn’t had that? Maybe a few too many? Maybe the last 30-something years? No comment….

The hidden track, at the tail end of the lumbering “Lost.Found.Free” is (I believe) called “Outlaw Holiday.” Also easy going, the hidden track sounds like it was recorded over the telephone (no midtones or bass, no “ass” in the song at all). Dammit, the singer’s voice is almost pretty. Dirty, kicked around, and scratchy, but pretty.

Though I am not one or much of any southern-influenced anything, Loaded is a surprisingly good listen. Lots of twang, lots of fast beats and buildups, a few references to “the lawd” that i suppose are hard to escape in southern rock, but it didn’t ruin anything.

Check out the sample, then buy the CD. Curse you, ZapTown- you’re making me keep another country- influenced band on my iPod. Curses!

Links:

Von Ehrics Home Page: http://www.vonehrics.com
and on MySpace: http://www.myspace.com/thevonehrics
Crustacean Records: www.crustaceanrecords.com/

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