Rachel Jayson and Mali Sastri of Jaggery

Sometimes it takes an unexpected glitch to realize how brilliant a band really is. No, not glitch; to lose power two songs into your set at the long-awaited CD release party for your new album is nothing short of a clusterfuck. This was after having duplication problems with their new release, Upon A Penumbra, with the (somewhat) fixed CDs arriving just the day before. It was, as Jaggery’s Mali Sastri pointed out the second time we were plunged into total darkness, “fitting.” But being the amazingly talented musicians they are, not only did they persevere; they wrapped their hands tightly around the neck of this debacle and shook it. Hard. What resulted was a powerful and poignant joining of spirits, and the most awe-inspiring set I’ve seen them perform.

Petaluma Vale of Jaggery

The plan was to play ‘Penumbra’ from back to front, so they started with the stark and lovely “Funny Faces” and made it through “Rare Earth Element” before the power cut out. “Sea of Sideways” (aptly titled, as it happens) began as a haunting spontaneous jam, as the band grappled with how exactly to play keyboard-based songs without a keyboard. Oh, for a grand piano, but alas. The lights teasingly went back on for a few minutes, with a nimble segue into the intended song. Powerful stand-up bass lines and drumming that sounded especially immediate and tribal that night, and Rachel Jayson’s viola sounded gorgeous without amplification. As they were without a piano, Petaluma Vale spontaneously started playing the piano parts instead on her harp, with someone in the audience lighting her strings with some sort of tiny penlight so she could see them. Unbelievable. And Mali, with her powerful voice and delivery, clearly has no need of any technological enhancements nor any microphone either. It was a perfect way to hear their beautiful new music, pure and unadulterated.

There was so much love and support in the room, Mali was inspired to do an uncharacteristic stage dive and crowd surf. In almost complete darkness. Punk rockers out there take note! With perfect timing as they stood triumphant after having blown everyone’s minds, the power, no longer required, came back on. So they ended with an anticlimactic though still beautiful plugged-in version of “Fair.”

Other videos: Rare Earth Element | Improv. jam / Sea of Sideways | Small Town | Lady | 7 Stone (from In Lethe) | Incestuous Tendencies | What You Lack | Fascination (?) | Fair

Beat Circus

Jaggery’s musical companions for the evening were also wonderful. Oddly, when the power came back on at the end of their set, it stayed on for the rest of the evening. Beat Circus is a unique and curious southern gospel/Americana/gothic affair led by Brian Carpenter who is a compelling storyteller with a religious fervor in his mannerisms, singing songs about his grandfather with a mysterious swampy vibe from his native Florida panhandle upbringing. Two lovely ladies on violin and viola with sweet backing vocals, stand-up bass, drums and bongos, banjo and trombone of all things, triangle and jew’s harp. Bizarre… and really great. From a sort of ‘hillbilly bluegrass” with serious fiddling, to a very experimental piece with droney overtone singing which was quite mesmerizing. They performed a mix of selections from their 2009 release Boy From Black Mountain (”The Life You Save May Be Your Own” (about his grandfather), “The Quick and the Dead,” “Judgment Day”) and new songs as well.

Incus

Incus were equally fascinating and impressive. They combine an Eastern European gypsy vibe (think DeVotchKa) with Middle Eastern, African and Native American influences – and a touch of goth. Perfect. Jason Cohen (vocals, keys, accordion, percussion) has been involved in various ritual work and gatherings, and this definitely came through in their hypnotic performance. Chris Baum (who has performed with Dropkick Murphys) plays a mean violin. They whipped up some enthralling voodoo – really enjoyed these guys. Oh, and they had a belly-dancer who was pretty amazing (they regularly incorporate dancers into their live shows). I see on their MySpace, “Incus is equally at home rocking out onstage at clubs and bars ‘plugged in’ and electrified as they are performing in their acoustic power at fire festivals around the country.” Fire festivals. Definitely have to check that out sometime.

Other videos: clip 1 | clip 2

Boston's finest were on hand for this special evening. jojo the Burlesque Poetess (of the Army of Broken Toys) poses with Walter's monkey. Ok, that sounds kinda dirty.

Upcoming Shows

Jaggery
Sep 5 Harper’s Ferry, Allston ~ w/ Faux Ox + The Milling Gowns + What Time Is It, Mr. Fox?
Sep 26 Whitehaus Gallery w/Ember Schrag ~ Jamaica Plain

Incus
Aug 16 Club Passim, Harvard Square, Cambridge MA
Aug 20 The Boston Greenfest, Boston City Hall Plaza

Lawrence Arabia, Neil Finn and Nick Seymour of Crowded House

Crowded House. Seasoned like a fine wine, older and wiser and brimming with genuine warmth and self-effacing humor; they’re one of a small handful of bands that can turn the austere House of Blues into a loving embrace. Despite today’s corporate business of rock shows, it was an evening spent with old friends.

Supporting their new release Intriguer, they brought with them ideal touring companions, fellow New Zealanders Lawrence Arabia, who share their quirky Kiwi charm, insightful songwriting, and a love of the Beatles. As it happens, they’re also “family” – Neil Finn’s son Liam performs on their most recent album, Chant Darling.

Lawrence Arabia

Even with their brief 30-minute set, Lawrence Arabia won over the crowd with their Beach Boys-inspired 3-part vocal harmonies, breezy and bouncy pop melodies (with a sprightly trumpet here and there), and clever, roguish lyrics (”I’ve smothered the world’s problems in a cloak of illusion, clarity comes from confusion” – I’ve Smoked Too Much | “We’ll go swimming in the ocean, just to hide the fact our hearts are broken” – Bloody Shins). A fun personality to match their music (Bonzo Dog Band is named as an influence), lead singer James Milne a.k.a. Lawrence Arabia (The Brunettes, The Ruby Suns) delighted everyone with his easy banter, discussing his choice of attire for the evening – loose fitting, bright red shorts, with the front rows of the audience peering up at him from five feet below.

With short time to impress, they kept to their most accessible fare (such as the dangerously catchy “Apple Pie Bed”) but then ended with a taste of their psychedelic forays, “The Crew of the Commodore.” Be on the lookout for Barb, a side project from James Milne and Liam Finn, with an album due out August 10 on YepRoc Records.

Crowded House

Crowded House have weathered some storms through the years. There was a 14-year hiatus with Neil Finn releasing solo albums and collaborations with brother Tim. And then the 2005 suicide of drummer and founding member Paul Hester, inspiring them to regroup in 2007 with drummer Matt Sherrod to release Time On Earth. Now in 2010, fans are happy to have them back as they support their new album, Intriguer, which sees them moving into more experimental, psychedelic sounds.

Having survived the passage of time, nothing is too daunting for these guys, not even competing with a Red Sox home game across the street nor being sandwiched in before a dance party. With overflowing warmth and charm (and a devilish twinkle in his eye), Neil thanked everyone for coming out – “They can change the name of the room, but we don’t care. The room and the names, they come and go; you and us, we stay the same.”

To rapturous applause, they came on to their ‘woodland themed’ lawn-ornament-adorned stage set – geese, bears, a fawn, and various other animals tucked into corners, up on amps, and along the back wall. A touch of whimsy to match their trademark wacky, playful personality that provides a nice counterbalance to their heart tugging and melancholy-yet-hopeful repertoire.

“I Feel Possessed” inspired immediate audience accompaniment, which continued unabated throughout the evening. Neil, in amazingly fine vocal form, switched between electric and acoustic guitars (and Korg synth), and elegantly accompanied himself on piano. From the rollicking “Something So Strong” to soft acoustic ballads like “Four Seasons In One Day,” and introducing songs from the new album, he was joined by fellow original “Crowdie” Nick Seymour, Matt Sherrod on drums, and Mark Hart, who moved from keyboards to electric and slide guitars and melodica. Neil has described Intriguer as “exotic in parts, traditional in origin,” and this stretching of musical boundaries came through in the form of delicious extended jams between songs. After an emotional and dreamy instrumental segue between “Private Universe” and “Black and White Boy,” he thanks us for choosing music over baseball and then goes off on a nutty monologue, with the suggestion that we should all go over and heckle them, ending with “too many songs to do; can’t f*ck around anymore, sorry.” Classic.

“Fall At Your Feet” featured a 2-part chorus at Neil’s behest, which sounded beautiful and made excellent use of the cavernous space. Their massive hit “Don’t Dream It’s Over” featured an audience ‘call and response’ for the expanded ending, with Neil strumming softly on acoustic guitar. The collection of voices that filled the room continued through the beginning of “Pineapple Head.” The sweetly touching “Lester” (which Neil wrote for his dog) was spontaneously performed on solo acoustic guitar, at an audience member’s request.

Highlights of their five-song encore were an audience acapella for the first few lines of “Weather With You,” and a goosebump-inducing surprise addition of the Split Enz favorite “Message To My Girl,” with Neil on piano. They ended with an acoustic guitar and communal sing-along of “Better Be Home Soon.” And they better be back soon!

Setlist: I Feel Possessed, Something So Strong, Saturday Sun, Private Universe, Black And White Boy, Fall At Your Feet, Don’t Stop, Falling Dove, Either Side Of The World, Hole In The River, Don’t Dream It’s Over, Pineapple Head, Twice If You’re Lucky, Heaven That I’m Making, Isolation, Lester, Four Seasons In One Day, In My Command, Distant Sun | (encore) When You Come, Weather With You, Amsterdam, Message To My Girl, Better Be Home Soon

Madam Edrie, Band Matriarch ~ OFF WITH HER HEAD!!!

Walter Sickert and the Army of Broken Toys treated a wildly diverse crowd at Somerville’s ArtBeat Festival last Friday to a humorous and sly “PG version” of their bawdy cabaret. As little kids danced in front and blew bubbles, they performed Tipper Gore-approved classics such as “Hole In The Boat,” Johnny Cash’s “Sam Hall,” “Sea Song (Mare Carmen),” “Planet Killer,” and their pop hit from the ’80s, “Ghostbusters.”

It was a smashing success enjoyed by young and old, soccer moms and black-clad hipsters alike. Good clean (more or less) family fun! Who would have known? Perhaps a tour of the nation’s theme parks is in order…

Other videos: Sam Hall (Johnny Cash) | Hole In The Boat | Trouble (Elvis Presley)

Joey and Andy Siara of The Henry Clay People; Eugene Hutz of Gogol Bordello; Nikki Monninger & Brian Aubert of Silversun Pickups.

Don’t think of this as a review. Think of it as a commemoration of an unusual event. A last minute change of plans (thanks to my friend Elizabeth, a benefactor of the arts in the truest sense) found me packed in alongside sweaty drunken college students on Lansdowne Street, at WFNX’s Clambake. Which was something of a misnomer, as no one but the giant lobster knew where the heck the clams were, but with an amazing lineup of bands (especially during the outdoor portion), all is forgiven.

The Henry Clay People

Joey Siara of The Henry Clay People belts it out to the Clambake crowd.

This was probably one of the stranger stops on their nationwide tour with Silversun Pickups and Against Me!. It was a ‘beat the clock’ musical marathon that saw Joey, Andy, Jordan, Jonathan and new drummer Chris trying to pack as many songs from their newly released Somewhere On The Golden Coast into a fascistly adhered to 30-minute set as humanly possible. But The Henry Clay People – seasoned professionals that they are – attacked the task head-on, neatly fitting all those intended but one (I’m guessing one of their trademark rollicking rock ‘n’ roll cover medleys) before the bell was rung.

A few words about ‘Golden Coast’ – it’s brilliant. I intend to do a roundup of the huge pile of new releases from my favorite Eastside L.A. bands this year… soon. [Yes, I meant releases from this year, but the article will be this year as well.] Now on tbd records (home of Autolux, Radiohead, White Rabbits), HCP brought two ‘rock ‘n’ roll anthems’ from their last album – “Working Part Time” and “This Ain’t A Scene,” a song that brings tears to my eyes every time I hear it. Added to that are new instant classics, most notably “The Digital Kid” and “End of an Empire,” and a few slower sentimental ballads… Well, all of their songs I find terribly sweet and sentimental, lyrically a bit wistful and sad though musically celebratory. What seems casual, off-the-cuff and irreverent is anything but.

“if you think there’s peace in growing old, then you’re just repeating what you’ve been told” – Keep Your Eyes Closed

“We had dreams, they were better off dreams, so you kept them away from me
but the time will come, yeah the time will come, and we’ll need them.
This ain’t a scene, it’s just a generation caught in between…”
- This Ain’t A Scene

With a blast of hot energy to match the sweaty summer pavement of Lansdowne Street, their rapid-fire set impressed a lot of people seeing them for the first time. I heard from somewhere behind me “You guys are AWESOME!!” Indeed. They were incredibly tight, yet still radiating their ’sloppy fun’ vibe… Joey’s warm and inviting vocals, Andy’s ripping lead guitar (damn, he’s good), Jordan’s barroom honky-tonk piano, and a pounding beat courtesy of Jonathan and new drummer Chris (Joey explained that Mike couldn’t make the tour but it had a happy ending because Chris was an old friend who was ‘between jobs’ at the time).

After seriously jamming through several songs from the new album, they ended their way-too-short performance with, to my great delight, “This Ain’t A Scene” and “The Switch Kids,” their tribute to Silverlake band-buddies Le Switch. This turned out to be their final song. In response to enthusiastic shouts from the growing crowd, they asked if they could do one more, and were answered back by the ‘FNX gestapo, “NO”. Bummer. Though rumor has it they’ll be back around in the autumn, presumably for a much longer show (headlining? please?). Stay tuned.

Catchy melodies, intelligent lyrics, roving missionaries for classic feel-good rock 'n' roll.... and great hair. Rock stars for sure.

Against Me!

I wasn’t familiar with Against Me!, even though they’ve been around for a decade. They’re gaining wider appeal now being on major label Sire, though not without some detractors amongst their older underground indie fans. Gutsy and powerful driving punk rock that kept the energy high, and definitely crowd favorites. An interesting choice to be on the bill with HCP and Silversun Pickups (they’re currently touring together), but in terms of powerful, heartfelt performance I’d say a good match. Also, first appearance of the ‘rock lobster’ who nearly knocked me down mid-set, though his tenacity must be applauded, full-piece furry suit in humid 90 degrees with no perceivable air flow.

Matt & Kim

Great bouncy indie pop, a fun stage persona, friendly home-town appeal (I guess Kim is from Boston, or has family here?), and of course their famous New York City Times Square strip. Ample demonstration that two people bursting with personality and good music can indeed captivate a large and raucous, partying outdoor crowd.

Gogol Bordello

If you thought their headlining gig at the House of Blues back in April with DeVotchKa was impressive, the unplugged version of their Ukranian wedding/gypsy punk was even more so. Master of ceremonies Eugene Hütz pointed out that the band has their roots in acoustic performance, and I’d have to say I prefer them this way, with the music sharply accentuated to the point where every lick of violin, accordion, acoustic guitar and percussion leapt out and enveloped. The now sun-drenched and sweaty, beer-fueled and increasingly unpredictable audience was surprisingly subdued. I expected a repeat performance from their indoor HOB extravaganza, of rabid moshing and surfing, but that never really materialized, with only a little jostling during crowd favorites “American Wedding,” “Pala Tute,” and “Start Wearing Purple.” But mostly it was a joyous celebration of racial diversity and music that crosses boundaries and spans the ages. Absolutely wonderful, glorious. And though memory is a little hazy nearly two weeks later, I’m pretty certain they performed a personal favorite, the hopeful and life-affirming “Sun Is On My Side.”

Silversun Pickups

It was during the break between Gogol Bordello and Silversun Pickups that things took a turn for the bizarre. Several sun-baked hours of boozy 20-somethings and sweaty sardine-packed conditions on hot asphalt created a surreal, gauzy haze over the proceedings. I was expecting Gogol to be the litmus test of physical endurance as I eyed the merch tables on the side, at any moment prepared to make a quick dive under them. When the expected chaos didn’t happen, defenses were (mistakenly) lowered, so that when Silversun Pickups came out to frenzied hysteria and moshing madness, I was, uh, taken aback. Clearly the band was as well, in my mind perhaps (bleary as it was) eyeing the crowd apprehensively while at the same time basking in the big love. But it wasn’t just a horde of delirious drunks – it was a horde of deliriously drunken SSPU fans who sang along to every tune in joyous abandon.

A few songs in, the craziness began. Ok, so SSPU are pretty hard-driving, and they can certainly get some serious feedback-laden, sprawling and heavy guitar-driven deep-space madness going on… but seriously, a mosh band? Really? And yet here we were, the front half of the street in front of the stage one giant mosh pit. Fortunately I found myself at the side of the stage; otherwise I would have been kicked in the head repeatedly as body after body went gliding overhead. The band, bemused, soldiered on, feeding the frenzy and being fed by it, creating one of most powerful musical experiences in recent memory. Their entire set was astonishing, but “Well Thought Out Twinkles” stands out in my mind as being especially hallucinatory. If you weren’t there, you’ll just have to take my word for it – something happened during that song. Good lord, what an amazing band. Their blockbuster success this year, propelled by their wonderful album Swoon – and of course helped by their Grammy nod – is well deserved.

Near the end of their set, Brian addressed the crowd, noting that (paraphrasing here) “usually with a crowd like this, there can be a lot of douchbags. I’m glad to see it’s douchbag free.” When they returned for an encore, a pack of especially inebriated frat boys took up the increasingly annoying chant of “DOUCHBAG FREE!! DOUCHBAG FREE!!,” which I found… ironic.

To relive the experience or see what you missed, The Boston Phoenix has several videos up, and an interview with the band.

Thanks so much, guys. Come back soon!

The Happy Hollows in serious action at O'Brien's Pub.

It seems unbelievable that one can still see The Happy Hollows in a tiny, low-key establishment like O’Brien’s Pub. Why the hell isn’t this amazing band stupidly huge by now??

Sarah Negahdari of The Happy Hollows.

First there was their astonishing, deeply textured, pop-experimental odyssey Spells. Which was released last year, just before a middle slot on an odd line-up at T.T. the Bear’s Place, where they were sandwiched between two southern rock bands, and where they were surprised to find they were the biggest draw of the evening. And then there was that awesome Samsung ad which featured a clip of “High Wire” and Sarah texting. Sweet, adorable, and some damned exciting prime-time placement (like during the “24″ season finale), did, uh, not much in breaking things open to a wider audience. But on this warm summer night, this great injustice worked in my favor, as I selfishly basked in the glow of an intimate evening with one of my favorite bands.

It was a far more amicable line-up this night at O’Brien’s Pub in Allston, with power-punkers The Sinbusters opening, then The Happy Hollows, and headlined by the psychedelic, crazed outer-space jamming of The Dead Marxist Trio. On one end, 90-second blasts of thrashy punk joy, shots of straight adrenaline that left everyone happy and breathless. On the other, a thick blanket of expansive space jam that I think may have been one or two songs comprising their mind-melting 40 minute set.

The Sinbusters

The Sinbusters, based in Lowell (yes, Lowell) are a tight, no-nonsense punk quartet. Incredible rocket bursts of energy – it’s impossible not to like this. Their rapid-fire set included such tunes as “Seizure,” “Slave,” “Generation Locust,” and “Dance with Bouncer’s GF” (the titles alone give some indication…), and ended with “Baghdad Love.” Have a little look and listen:

They just released an album called Prime Blowout, which can be heard and downloaded courtesy of Nice Bass Productions.

The Happy Hollows

The Happy Hollows – Sarah, Charlie and Chris – were, as always, an impressive and joyous affair. They have this unique gift of being able to go off on crazy sonic tangents, yet are still cozy and warm and insanely inviting. The magic is conjured by Sarah Negahdari, symbiotically supported but never overpowered by Charlie Mahoney and Chris Hernandez. Enchantress and shamen, she alternates between a voice sweet as honey and otherworldly shrieks that can purge demons, at the same time causing jaws to drop with her instrumental prowess as she morphs suddenly into Guitar God.

They opened with “Monster” and “Faces” and played other selections from Spells, ending with the lovely “Tambourine,” and performed a version of “Lieutenant” that was worthy of thousands, but deeply appreciated by the enraptured 50.

[If you find yourself in Los Angeles on Thursday (7/8), The Happy Hollows are playing a free show at the Hammer Museum with Admiral Radley.]

Other Happy Hollows videos: “Monsters” | “We Will Find You” | “Death To Vivek Kemp” | Sarah, the Guitar Goddess

The Dead Marxist Trio

In contrast with The Happy Hollows’ bouncy feel, The Dead Marxist Trio were a deep, unfathomable ocean. Lead singer and guitarist Tristan Brown began their set with a crazed musical and physical aerobic workout that felt like the grand finale and set the bar quite high. They quickly left safer shallow waters and embarked on a fantastic sea voyage of mind-numbing, hard-driving bluesy psychedelia. It may have been just two really long songs; I don’t know for certain, ’cause I kinda went away somewhere strange.

They have a debut 6-song EP coming out soon, and two upcoming shows: July 30 at Max’s Blues Cafe in Brockton, and July 31 at Temple Sound in Jamaica Plain.

Mali Sastri of Jaggery; Walter Sickert and (a soldier of) the Army of Broken Toys

It was a wondrous and hilarious clashing of cultures in the House of Blues restaurant on Lansdowne Street after Evelyn Evelyn’s tour finale in the big room. Jaggery brought a huge helping of class to this section of town best known for baseball, burgers and beer. And Walter Sickert and The Army of Broken Toys, with a wicked gleam in their eyes, tried to see just how far they could go before having the plug pulled. Pretty damn far, I’m happy to report. Jaggery harpist extraordinaire Petaluma Vale commented after their classical and gothic-inspired ethereal set, “I think I’m overdressed for this place,” as she glanced down at her elegant long skirt, appearing for all the world like a fairy princess lost in Walmart. I argued that the Lansdowne Street eatery was lucky to have such a classy event grace their establishment.

Jaggery

I was amazed to see Jaggery thrive as they did in such an odd and somewhat hostile environment. Waitresses and busboys walked back and forth with food, taking orders from bemused and bewildered folks who were probably not even at the Evelyn Evelyn show, but rather stopped in for a bite to eat after the Red Sox game. Meanwhile, Daniel Schubmehl and Tony Leva created a deep groove on drums and upright bass, Rachel Jayson – once again doing “double duty” in both bands this evening – glided and soared on her viola, Petaluma spun magic with her glistening harp, and Mali Sastri whipped up her special brand of musical voodoo with her tempestuous piano playing and all-encompassing, emotionally stirring vocals. If anything, they were even better under these curious circumstances, fighting valiantly for command over the elements, and emerging victorious, with a growing, increasingly rapt audience, the music slowly taking precedence over late dinners.

Walter Sickert and the Army of Broken Toys

They’re always impressive, forever the strangely-flavored gumbo of late 1800s Coney Island sideshow, backstreet burlesque, and New Orleans voodoo blues, but Walter Sickert and The Army of Broken Toys were absolutely unhinged this night. A famous rock establishment, corporate conglomerate, the epitome of all that is scary, unsettling, and downright disturbing these days about the music biz – and the deliciously decadent, dancing at the boundaries of what’s socially acceptable ‘Broken Toys’… This was either going to be a recipe for disaster, or one of those special evenings not soon forgotten.

Their set began with the gothic and bluesy Victorian dirge, “No Room,” with the steamrolling “Friend In Goddamn” hot on its heels. There was vague mention made of barreling through their set – I think there may have been some time constraints – but I’m always exhausted anyway after one of their exhilarating sets like I’d just run a marathon, so bring it on! “Cataclysm” and then their wonderful Johnny Cash cover, “Sam Hall” followed (both from their newly released SteamShipKillers). “Sea Song (Mare Carmen)” had the usual audience accompaniment, perfectly on cue – “This is a song about…” “THE SEA!!” Bolstered perhaps by their adoring followers and the oddness of the evening, it was an especially, um… vigorous ‘Love and Marriage’/gay marriage rap and clamshell lady striptease. And I’ll now mention the two guys next to me who, by the looks of it, were more likely at that Red Sox game than the Evelyn Evelyn show. A few songs into the set, one suggested to the other that they should take off, but the other said no. And now, as our esteemed stripper jiggled her clamshell-adorned assets around, he turned to his friend, “and you wanted to leave?!?” Needless to say, they stayed until the bitter end and left as new recruits into the Broken Toys Army.

“Hole In The Boat” had an especially robust German beer hall vibe to it, with the audience going nuts (I have “crazy shit” written in my notes), and I suppose that must have been what led Mr. Sickert into his disparaging remarks about “America’s Got Talent” and other such television fare, and there was also something about getting crabs from Simon Cowell, but memory fails… They performed a lovely version of Elvis Presley’s “Trouble,” the proceedings getting looser and looser with various audience members coming up on stage. Though actually there wasn’t a stage, and where the audience stopped and the band began was never quite clear, and soon people who I’m pretty sure were part of the band (or decided to be for that night) were wandering around the restaurant with instruments and cords, and happy chaos ensued.

TAOBT’s legendary “Ghostbusters” cover was an out-of-control, shriekingly mad affair, which segued nicely into “Off With Her Head!!!,” the audience choir pretty much picking up the song and running off with it. Mali from Jaggery came up to bestow a final blessing on the event with some wonderful piano accompaniment to an earthy rendition of “I Put A Spell On You.” WS does quite an extraordinary job with this; it’s a perfect song for his bluesy hell-fire.

There were some more nice bluesy forays in the encore, with the band coming back out a few times to a wildly cheering crowd. Exhilarating. Exhausting. Wonderful.

“Sea Song” and “Ghostbusters” were happily caught on video by TheDrtravis.

Angela Correa and Tom Brosseau of Les Shelleys

Sometimes it’s nice to ditch the loud rock club in favor of something a bit more low-key and relaxed, and spend an evening focusing on the songs and heartfelt singing accompanied very simply by acoustic guitar. Such was the case Thursday night at the legendary and venerable Club Passim, in the company of Portland, Oregon singer-songwriter Shelley Short and from L.A., aficionados of American songwriting – both traditional and modern, Les Shelleys.

Shelley Short

Shelley Short opened the evening. Accompanied only by her own acoustic guitar gave singular focus to her vocals and songwriting, which are sweet, warm and very personal. Softly spoken with a delicate alt-country lilt, she performed several songs from last year’s release on Hush Records, A Cave, A Canoo.

She began with the beautifully haunting song “Familiar,” soft and pretty but with lyrics that are stark and chill-producing:

“familiar, familiar
familiar, familiar
places i go and the places i’ve seen
splash of the face in a cold water fountain
away from the top of a snowy mountain
since i met you, i’m afraid of dying
since i met you, i’m afraid of dying”
- Familiar

Her music is like this – a prettiness and simplicity upon first hearing, until you catch bits of lyrics which suggest something perhaps a little darker and more uncertain. Thoughtful songwriting and an engaging, gentle style with a dreamy fairytale quality, though with a sense of something deeper under the surface.

“i’m looking back over my shoulders
throwing bad apples away
oh what a day, oh what a day”
- Swimming

During her 45 minute set, she created a nice camaraderie with the small but very supportive and appreciative audience, and performed other songs from her last release, including “Mockingbird,” “Time Machine / Submarine,” “Hard To Tell,” “A Cave” – and also “Swimming,” from her 2008 album Water For The Day.

She has a few shows on the West Coast (Seattle and Portland) and in August, is off for a dozen shows in Australia.

Les Shelleys

A bit of an adventure coming up from their previous gig down in New York didn’t seem to faze Angela Correa and Tom Brosseau of Les Shelleys one bit. Nor did the very small turnout; if anything, it inspired a personalized performance that felt like an impromptu gathering in a friend’s living room. Much of what I see are loud rocking affairs in skanky clubs, so to kick back at a table in Passim’s cozy back room and listen to lighthearted, friendly acoustic performers like this was incredibly refreshing.

Though both Angela and Tom have given us a wealth of wonderful music on their own, with Angela’s indie pop/alt-country project Correatown, and Tom’s old timey-flavored acoustic folk, this was the first time they brought Les Shelleys, their personal tribute to the great American songwriting tradition, to Boston. They lovingly touch upon traditionals such as “In My Time Of Dyin’” and “Deep Blue Sea,” the charmingly quaint “Something Stupid” (which, surprisingly, has been covered by both Frank & Nancy Sinatra and The Smithereens), and songs rich in Americana like “Wreck of the Old 97.”

In this delightfully intimate performance that paid homage to some gifted songwriters, they also connected the bridge between old and new by performing, to my great joy, Elliott Smith’s incredibly beautiful “The Biggest Lie.” While this came up on me rather suddenly and I didn’t catch it on film, I stupidly (but as it turns out, quite fortuitously) left the camera going as it sat on the table in front of me, so I do have the audio.

Les Shelleys – “The Biggest Lie” (Elliott Smith) mp3

In addition to the obvious love and admiration Angela and Tom have for this timeless music, they also emanate a real down-home vibe and genuine warmth which draws you in to their performance in a special way, and perfectly complements this sort of music. They also have a great chemistry together, fun and playful, which is really sweet to watch and become a part of. Hopefully they garner more attention through these shows, as I could really see them doing a set like this at summer festivals – something like Newport Folk Festival would be perfect.

For the rest of June, they’ll be making their way back to Los Angeles, with shows along the way. See their MySpace for more info. Their debut album comes out later this year on Fat Cat Records.

Songs performed:

“Brother Can You Spare A Dime” (1931, E.Y. “Yip” Harburg and Jay Gorney)
performed by Bing Crosby, Rudy Vallee

“Wheel Of Fortune” (1951, Bennie Benjamin and George David Weiss)
performed by The Cardinals, Kay Starr, Dinah Washington

“In My Time Of Dyin’” (traditional)
performed by Blind Willie Johnson, Bob Dylan, John Sebastian, Led Zeppelin

“Wreck of the Old 97″ (G. B. Grayson and Henry Whitter)
performed by Flatt and Scruggs, Woody Guthrie, Pete Seeger, Johnny Cash

“The Biggest Lie” (Elliott Smith)

“More and More” (1954, Webb Pierce)
also performed by Van Morrison, Mickey Gilley, Charley Pride

“Somethin’ Stupid” (1966, C. Carson Parks)
performed by Carson and Gaile, Frank and Nancy Sinatra and others including The Smithereens and DeVotchKa

“Hearts Of Stone” (1954, Rudy Jackson)
performed by John Fogerty and The Blue Ridge Rangers, Elvis Presley

“The Lonesome Death of Hattie Carroll” (1964, Bob Dylan)

“Deep Blue Sea” (traditional)
performed by Pete Seeger, Grizzly Bear & others

“Late John Garfield Blues” (John Prine)

“Billy 1″ (Bob Dylan)
from “Pat Garrett & Billy the Kid” soundtrack

“The World is Waiting for the Sunrise” (Ernest Seitz, Gene Lockhart)
performed by Duke Ellington, Les Paul & Mary Ford, Chet Atkins, The Beatles, Neko Case, Vic Damone and others)

Other videos:
“Something Stupid” | “Deep Blue Sea”

During an evening of much invoking, Walter Sickert channels an Indian shaman.

On the cover of their brand new CD, Steam Ship Killers, there is a portrait of a multi-tentacled sea creature, ominous and threatening. But the curiously inviting keyholes at its base suggest that if one has the necessary fortitude, one might unlock its secrets. The same could be said of its protectors, Walter Sickert & The Army Of Broken Toys. A ‘Toys’ virgin might well be confounded and overwhelmed at first – what to make of this motley gathering? Marionette and puppetmaster, musicians and dancers, a bawdy and boisterous mistress, the uke player with the filthy mouth… At the center, the master of ceremonies himself, Walter Sickert, who, on this special night, took us on a shamanistic journey. It was an inspired extravaganza. It was also my opportunity to finally see Jaggery, and they were every bit as marvelous as I thought they would be. With their orchestral gothic brilliance, Singer Mali’s ethereal and acerbic vocals, and a dark, extra menacing rendition of “O Scorpio”… what’s not to love?

It didn’t take long to realize this was to be a special evening. Cafe 939 was transformed into Boston’s own Coney Island boardwalk circa 1880, with curious characters (audience member or entertainer? hard to tell), signs hawking everything imaginable, a fortune teller, roving carnival workers handing out noisemakers and bubbles, and even a bake sale (proceeds to benefit TAOBT’s auto mishap). A Walter Sickert & the Army of Broken Toys show isn’t an event; it’s a lifestyle.

Jaggery

The wonderful thing about Jaggery is that while they have their influences, they’re so accomplished at their art that they respectfully pay tribute to, inhabit, dance around and through, poke fun at, and experiment with those influences, creating something uniquely their own. Clearly they’ve listened to some 80’s goth in their time (god bless ‘em), but bassist Tony Leva and drummer Daniel Schubmehl have a jazz sensibility that’s evident in the way they interact with each other and in their style of playing. Guest violist Rachel Jayson (borrowed from the ‘Broken Toys’) brought an unhinged avant garde classical vibe, and harpist Petaluma Vale, as her name would suggest, something mythical, magical and otherworldly.

Meanwhile, Mali Sastri’s vocals veer wildly from soft, sweet whispers to low, dark taunts – quite often in the same song. Her tremendous range is not just in tone, but in the emotions she conveys. Dramatic and beautiful and yet, while this all sounds quite heady and serious, there’s a thin wisp of self-effacing humor floating around which makes the entire presentation just perfect. Take for example the dark, pretty, and hilarious “O Scorpio,” with is both delicious gothic comfort food and campy fun.

Among the songs they performed were the gorgeous “Petaluma” from their album Polyhymnia: The Muse of Song”, “Funny Faces” (from their new single), and a brand new song they had just written the previous evening. Mali introduced that last one, saying she usually didn’t want to play songs they hadn’t rehearsed many times, but that the others were “more ambitious.” It’s incredible to think they threw this together the night before, as it’s beautifully constructed in a classical sense, with separate movements and varying moods. From what I can tell from snippets of lyrics I caught (”Can’t you see the sign, it says off limits… leave me alone, leave me alone…,” “I’m checking out of the human race…”, “please end it, end it, end it”), it’s a little ditty of self-imposed exile, angst and possibly contemplations of suicide, moods which are mirrored in the complex, unsettled and shifting musical elements. It’s majestically grand and sweeping, and incredibly lovely.

They ended their set with a song that might be titled “Two Shot.” Included this evening was at least one song from their forthcoming new album, and another from their new 2-track single. They’ll be performing at an after-party at the House Of Blues Restaurant on June 19, after the final show of Evelyn Evelyn’s world tour.

Lainey SchoolTree

Lainey SchoolTree, who produced and engineered TAOBT’s new Steam Ship Killers album, did a few-song set of her own, and wow, was she wonderful. The sole notes I took this evening before my brain was sent packing reads “out of the way, Liza Minnelli.” As half of the comedy duo The Steamy Bohemians, she’s also a lover of “cheesy musical theater,” and with a voice that’s perfectly well-suited for it and quite accomplished, she pulls it off with aplomb and managed to transport the rapt audience, with just a few songs, to a Broadway stage. In yet another moment of serendipity, I see now that she regularly performs with Bent Wit Cabaret.

Walter Sickert & The Army Of Broken Toys

What an amazing band. No, not band – performance art ensemble; traveling band of carnival sideshow gypsies; askew and off-kilter dinner theater burlesque troupe. Visually, there’s a lot to take in – The imposing ‘Madame of Ceremonies’ Edrie, with her accordion, melodica, assorted noisy toys, and tremendously yang vocals and presence. Jojo the Burlesque Poetess, with her ukulele and ‘lewd little girl’ persona. Rachel Jayson, quietly elegant and then a manic storming fury on viola (”not a fucking violin” as Walter repeatedly pointed out during the band introduction). Meff on “guitar and mustache,” acting as a kind of ‘Laurel’ to Walter’s ‘Hardy’. Kevin Corzett blazing on his clarinet and looking like a well-dressed train conductor. Plastic Lady marionette (Amy Roeder) and her puppetmaster. Buxum beerhall dancer (Katrina Galore) illustrating the songs with her body from the front of the stage. And oh yes, I nearly forgot the striptease, straight down to seashell pasties (after which Walter lamented that he didn’t make the song just a bit longer)… Out in the audience, there are others – a Victorian Era matriarch poised up on a box; a well-dressed couple, adventurers from the turn of the century. Drummer TJ Horn and stand-up bassist Mike Leggio providing a sturdy platform from which everything and everyone precariously balances. But never mind all that. Listening to their incredibly brilliant new CD, Steam Ship Killers (which they performed in its entirely this evening, from top to bottom), I want to talk about the music.

Things kick off with the piano, viola and accordion-driven macabre tale, “A Friend in Goddamn.” A man being led to the gallows, with Walter’s fire and brimstone grand bluesmaster vocals. His voice alone is so compelling, if that’s all there was, it would be enough to be interesting. But oh no, that’s just the tip of the iceberg. “Cataclysm” and “Planet Killer” follow, lyrics dark and foreboding, with everyone weaving a rich and earthy musical tapestry around an evangelical preacher’s wail. Complex and multi-layered, it’s an orchestral soundtrack suitable for a huge theatrical production, but with music that’s friendly and inviting (though in a morbid and slightly scary sort of way), beckoning to take you on a strange journey.

“No Room” is a personal favorite. A melancholy, sad dirge, it draws itself out with creepy little sounds that somehow evoke for me the Black Plague… I don’t know why. Things pick up considerably (but are no cheerier) for their wonderful rendition of Johnny Cash’s “Sam Hall” (”I killed a man, they said an’ smashed his head, An’ I left him layin’ dead, damn his eyes.”), with Kevin Corzett’s wild clarinet summoning spirits of the Wild West.

“Heroin Pig” is a terribly depressing ballad sung to, I’m guessing, a junkie friend or lover? And then, “This is a song about… the sea! This is a song about… the sea! This is a song about… the sea! This is a song about… the desert” ushers in “Sea Song (Mare Carmen),” with its wistful regrets, a sinking boat, accordion and clarinet accompaniment. Their “Pale Horse” rides in with vague whinnying on a carpet of orchestral strings and Walter’s sorrowful storytelling prowess.

“Revenge of the Rats” makes good and furious use of the noisy toys passed out before the show. Slow, sad and weepy in the verse, building into rodent mania for the chorus, at Edrie’s not-so-gentle insistence. You do as she tells you to.

Another standout, in an album full of them – “Hole in the Boat.” It’s just so damn whimsical and twisted. “There’s a hole in the boat, and now we can never go home.” Musically it’s a happily turning ferris wheel or pony ride at the carnival, but lyrically? Perhaps a ride that you can never get off of. “Feathers” is a great treat, featuring Mali Sastri on ethereal and otherworldly backing vocals (which she performed live with them this evening… breathtaking). “Off With Her Head” is a rollicking fun audience “shout-a-long” (egged on superbly by the take-no-prisoners Edrie); happy to hear they incorporated what sounds like something from a live show into the recorded version. Acoustic guitar, soft-spoken vocals and a subdued but lush soundtrack bring this amazing album to a close in “Viktagraph.” The album as a whole feels like a giant, sprawling theatrical production. So, so beautiful. Back at Cafe 939, we were treated to a luscious dessert, the always appreciated crowd favorite, “Ghostbusters,” which capped off the evening in grand style.

And now for the news that led me to shake my head in awestruck disbelief: Walter Sickert and his Broken Toys will be opening up for Evelyn Evelyn on June 19 at their Grand Tour Finale, ending where it all began. Well, not exactly. It began at the left-fringe-leaning bohemian enclave Oberon in Harvard Square, People’s Republic of Cambridge; and it ends at the decidedly less so House of Blues on Lansdowne Street in Boston. Singer Mali announced that Jaggery would be performing at a (free) after-party in the HOB Restaurant after the show (good heavens!), pointing out the great humor in this event, perhaps serving also as a warning to attendees of potential “culture shock.” If just a few mainstream rock HOB regulars check out this show, even if out of curiosity, it’ll be worth dealing with Lansdowne Street for one night. Obviously this is one not to be missed.

other video: (Jaggery) “Demigod” / “Funny Faces”
(Walter Sickert & the Army of Broken Toys) “Rock Lobster” / “Sam Hall”

I’m not usually in the habit of reviewing parties, but I must make an exception in this case and say a few words. It was a ridiculously cool event put on by Boston-area bloggers – Boston Band Crush, Bradley’s Almanac, Exploit Boston!, Playground Boston, Ryan’s Smashing Life, Tea Party Boston, Zed Equals Zee, and Agent Bishop Productions – and hosted by the fine folks at the extremely classy production facility The Bridge Sound and Stage (formerly home to the legendary Fort Apache Studios).

Music lovers from every corner of Boston’s diverse artistic community were in attendance – bands, club promoters, press people, photographers, studio engineers and label reps, DJs… All enjoying a day and evening-long concert at an open mic with many excellent impromptu performances, great food, and lots of beer (courtesy of Narragansett). There was a charity raffle and local music scene trivia contest with some wonderful prizes, including studio time and photo shoots for the bands, and show tickets for the bloggers (no, it wasn’t fixed, completely random, but weird how well that turned out!). All for an excellent cause as well – a local children’s music organization called Zumix.

TAB The Band

Midnight Spin

Besides being a perfect way to spend part of the Memorial Day Weekend, what a fantastic idea to bring together Boston’s music community. That we have a crazy vibrant scene here is obvious, but the support and comraderie amongst all its various participants isn’t always apparent, what with everyone racing around in their individual lives, so it’s really nice to stop, kick back, and connect with like-minded souls. Here’s to more events like this!

One more thing. In the photograph below, Sarah Miller and Justin Emile (Boston Band Crush, Big East drummer, Milky Way booker) are performing Justin’s original composition “The Message”. They sounded amazing together, and at the end of the night, were talking about forming a band. As the only one not drinking the entire day & evening, it was decided that I would make sure this came to fruition. I’m holding you to it, guys! It’s in print now, so get going.

Sarah Miller and Justin Emile

By the way, I ended up with a few CDs by the end of the evening, so some reviews are on the way.

[Mick Murray of In Your Face Photography shot some really fun video of the proceedings, which is up on the Playground Boston site - thanks!]

Club D'Elf - Reeves Gabrels, Tom Hall, and Yaure Muniz.

How exactly is it that it took me 14 years to see these guys live? That was the question looming in my head at the cozy Lizard Lounge, as Club D’Elf’s adventurous jazz/dub/fusion excursions ran rampant and unchecked through my electrified, buzzing brain. This was a special occasion – part of a Memorial Weekend ‘guitar orgy’ which, on this particular night, was presided over by special guests Randy Roos and Reeves Gabrels. Reeves I have seen before, and it was good to see him again. Mr. Roos I wasn’t familiar with, but he’s a wildly impressive guitarist as well, and there was some good-natured ’sparring’ (and at times delightful interplay between the two) which added even more enjoyment to a heaping helping of aural ecstacy.

Mike Rivard and his sintir.

Was this ever a night of virtuoso performance! For those not familiar with Club D’Elf, they’ve been a fixture on the Boston music scene since 1998, and refer to themselves as a “Moroccan-dosed psychedelic-dub–jazz collective.” Many notable Boston musicians have “done their time” in Club D’Elf over the years, including Mat Maneri, Duke Levine, Dave Tronzo, Russ Gershon, and Matt Glover, with “special guests” such as Joe Maneri, Marc Ribot, Mark Sandman, Billy Conway, Dana Colley, and Roger Miller. Tonight, in addition to their two axe-slingers, the band featured their leader Mike Rivard on bass and Moroccan sintir (a 3 string bass lute used by the Gnawa people, and one very cool instrument), Vicente Lebron (congas, percussion), Tom Hall (sax), Dean Johnston (drums), and Yaure Muniz (trumpet). Everyone was simply mind-blowing, including the percussive prowess of Lebron and Johnston, and Muniz, who left the crowd awestruck with his horn solos.

Yaure Muniz

They got quite a groove going, incredibly hypnotic, with each member getting their turn to soar into outer space, though their group chemistry held everything tightly together to make for beautifully seamless musical stretches that ebbed and flowed. I don’t go out to see a lot of live jazz, but it’s fascinating to witness musicians who are so familiar with each other’s playing styles. In the midst of a long improvisation where everyone is on the same wavelength, something magical happens.

They performed two long sets with a brief intermission in-between. I think the first “song” was like an hour long! Definitely a band for ’serious jam lovers,’ and as we eased unawares into the early hours of the morning, there were several people engaged in what I’ll call “freeform exotic movement.”

They have two local shows coming up: Friday, June 18 at the Lizard Lounge and Thursday, July 1 at the Paradise Rock Club, opening for bassist and composer Victor Wooten.

[P.S. for Reeves fans: he's currently in the studio with Earl Slick and others, recording something which, according to him, sounds like "Tattoo You-era Stones and Station to Station." He's also finishing up work on his own album.]