“Nothing Ever Happened” I like the shoegazer-y Sonic Youth / Pumpkins thing Derrhunter’s got goin’ on. I like the fact that the singer is kind of this homosexual outcast with that Abe Lincoln disease. It makes the music more believable. This last minute and 45 seconds of this song, the outro, made me like this band.
The Tabernacle is one of my favorite venues in the southeast. It feels alive during good shows and this visit from MM is no exception. I think this is the first tour since Johnny Marr’s brief stint.
“Spitting Venom” is a vicious song live. It is powerful with frequent changes and massive crescendos.
The “Third Planet” is certain they’re bein’ watched …
“Talkin’ Shit About a Pretty Sunset” I fucking love this song.
Clip from “Satellite Skin”¬† At this poinhis was the second time I’d heard this song and I knew I liked it so I grabbed a clip.
This is Mimicking Birds opening for Modest Mouse. They were really good. The drummer kind of led the band and played with the crowd. He seemed to be holding back and punctuated their quiet music.
Japanese Motors, the first act. This is my favorite song from them. guh.
Bat for Lashes sweet sophomore release is a sophisticated, edgy, sincere effort with loads of musical integrity.  
Two Suns is a sensible follow-up to her debut, taking the themes and style of the previous Рwith its haunting charm Рand expanding on it. Two Suns is sweeping and large for an “indie songstress.” Her style invokes names like Kate Bush, PJ Harvey, or Siouxsie Sioux without sounding like any of them. For instance, “Good Love” with its somber organ, tambourine and eerie vocal delivery is reminiscent of Mazzy Star without being a slavish knock-off.  “Two Planets” Рpsychedelic and experimental with its vocal twists and chilling melodies all driven by Timpani’s and hand claps Рreminds me of Bjork.  Both rich and sparse, this album is soaked in tasteful production, revealing a well produced, elegantly dark, but positively pop, gem.
The first time I was introduced to Thomas Wynn’s music was via a mutual friend who insisted I hear this band. The Wynn Brothers were a family band with southern rock roots that ritualistically began every show with “The Weight.” The influence of The Band was evident in their own sound and vibe, as well. Thomas, equal parts Levon Helm (minus the drums) and Waylon Jennings, had fronted the endeavor since before he was of drinking age, but the demands of real life dissolved the Wynn family band, leaving Thomas thirsty to pursue his vision.
If you spend any time in downtown Orlando, you’ve probably heard him. Playing anywhere from The Globe to the Cheyenne Saloon, his solo set of classic-rock gems blending seamlessly with originals is sure to be echoing off walls and down Orange Avenue. He might be the hardest working musician in Orlando, and it is paying off.
His new band The Believers expands on the classic and southern rock themes of the Wynn Brothers; his music has grown. It has more weight. Thom Damon’s solid drumming and Showcat Luise’s bass lock down the rhythm section, while Justin Beckler’s lead guitar opens up the sound. Beckler’s guitar work elevates their presentation with fierce, bluesy chops and southern grace. Wynn’s own guitar work is vastly improved from earlier incarnations, and their music peaks when he intertwines with Beckler’s playing in some of the more thunderous jams and solos that punctuate The Believers’ work.
Wynn is also maturing as a songwriter. The tunes are brutally honest and heartfelt – every word, every note registers on his pained face. His vocals are starting to sound seasoned and direct. A mix of earnest emotion and practice lends more conviction and power to his voice. Helping Wynn out in the vocal department is his sister Olivia, whose sweet, strong vocal response makes the perfect companion to his yearning banshee cries. Her words give lyrical depth and auditory balance to The Believers’ delivery.
For once, you have a Florida band that is Florida. They look Florida, they sound Florida – with a touch of Molly Hatchett sprinkled on The Band, Neil Young, and The Black Crowes. Not hipster-bullshit transplant Florida, but Florida Florida.
The sum of the parts is one of the strongest live shows in the state. The music is becoming more stately and sweeping, with powerful melodies and hooks, grinding jams with soaring guitars and tight drum work, and a frontman that can carry “the weight.”
February 7, 2009 sees the release of Thomas Wynn and The Believers’ first full-length album The Reason. If they can capture some of the power present in their live shows The Reason will be a tipping point in Wynn’s career.
The CD release party for The Reason will be at The Social on February 7.
Article originally appeared in REAX #32, January 2009
Shredding at The Orange Peel in Asheville
In the summer of 2007, the Smashing Pumpkins made their return to the United States. Instead of a traditional tour to support the release of Zeitgeist, original members Billy Corgan and Jimmy Chamberlin opted for a progressive approach. In an effort to gel the band and stimulate the musical process, they chose to do two residencies, a nine-night stint in Asheville, North Carolina and another eight-night stand (which eventually grew to eleven shows) at the historic Filmore in San Francisco.
The purpose of these shows was unique. It put both the band and fans in the same bubble, trapping the energies, both good and bad, and transferring them between fan, band, venue and town. For a $20 ticket fans were allowed in during the day to hear soundchecks, and treated to three-hour-plus shows nearly nightly. These performances saw the band playing hits, b-sides, lost favorites, reworked classics, new music, and songs written throughout the engagement and even the day of the show.
If All goes Wrong examines these residencies, watching the band evolve through the contrasting experiences of Asheville and San Francisco. More importantly, it gives an inside glimpse into their songwriting process.
Asheville welcomes the band warmly. Shots of fans and the town are intercut with live performances and the band speaking frankly about their return. A good portion of footage features Corgan secluded in his room at the Biltmore Estate, eating raw veggies and working tirelessly on songs while donning some sort of Victorian nightgown. One song, “The Leaving Lament,” is an open letter to Asheville, regretting the band’s departure.
The giddy excitement of North Carolina turns into stunning disbelief in San Francisco as their first shows lose the audience. After walking backstage for the first encore Chamberlain gasps, “Three hours of fucking quiet misery” compared to Asheville, the proverbial wheels fall off in Cali. The songwriting and drama continue as the band battles back throughout the residency. This is a strong point of the film, a vivid, unflinching look at a band in peril, showing the adversity and using it as a point of development.
The song “Peace and Love” is born of the Filmore experience. An ironic jab at a city supposedly built on peace that is now filled with “aggro homeless hippies with trust funds.” Some 15 songs were written during the Filmore stint, each reflecting different parts of the experience. (A handful of these songs later appear on their American Gothic EP.)
The movie also looks at the group of hired musicians being molded into a band. Jeff Schroeder, Ginger Reyes, and Lisa Harriton are thrown headlong into the experience. Four hours of rehearsal, soundchecks, and three-hour shows have the band playing over eight hours a day. The group has to learn nearly 60 songs to keep up with the set lists Billy writes minutes before the shows. There is a moment when new guitarist Schroeder unravels under a series of sound issues and loses it backstage; This breakdown is seen as a milestone in their evolution as a band.
When SP debuts “Superchrist” halfway through the San Fran shows, it’s a highlight, an over-the-top guitar and drum assault which seems to lash out at critics and a tepid audience. The documentary uses this as a turning point, a place where the Pumpkins earn back the respect of the city through sheer force of rock.
We see the chords and phrasing for “The Rose March” coming to Corgan in a flash. The next day is spent flushing out the song, with shots of Corgan working on the song appear in split-screen, culminating in the song being performed that very night. Watching “99 Floors” go from concept to full-band arrangement is another high point, as the viewer watches it transform from a fly-on-the-wall perspective.
The DVD also includes Voices of the Ghost Children, a vignette featuring fans in and around the shows lending their interpretations of the band. There is also an interview with Pete Townshend, tying in The Who’s attempts at a residency in 1971. Disc 2 features 15 songs from the Filmore shows, with solid performances of “Starla” and the free-form epic “Gossamer” that are worth the price alone, as well as a rehearsal featuring five of the songs written during this period.
Love or hate the Pumpkins, If All Goes Wrong lends unique perspective to the rock documentary. It shows a storied band unapologetically surging forward, on their terms, for the sake of art.
Article originally appeared in REAX #31, January 3 2007
Thievery Corporation opening with “Sound the Alarm”
Artist, Frenchy, painting Thievery live
Frenchy painting the show
Nine Inch Nails “Wish” from New Orleans
“Terrible Lie”
I’m not usually one to rush and see live electronica, at least not traveling halfway across the country for it. Don’t get me wrong, the more laid back styles of Morcheeba, Massive Attack, and Kruder & Dorfmeister all have special places and times in my heart and I would love to see them, but it is not a priority. So one can imagine I was not overly excited to drive in an RV with Ian Hilton, brother of Thievery co-founder Eric, to see them in Houston and drive some of the guys back to New Orleans for a show the following night. The lack of full-time work and a desire to see VooDoo with the V.I.P treatment was enough to stir my interest.
I made the right decision. On the heels of the release of Thievery Corporation’s latest effort, the reggae-infused political statement called Radio Retaliation, the band is priming itself for a national tour. On a beautiful night in Houston, I caught a glimpse of what these guys can do.
Eric and Rob in Houston
Founders Eric and Rob surround themselves with an arsenal of A-list musicians on bass, guitar / sitar, horns, and percussion, not to mention a sexy belly-dancer, to flush out their eclectic compositions, breathing life into the live performance. On the vocal end Thievery uses a revolving door of talent from their label, ESL Music, to change up the mood of each song. A cast of Rastafarians, including Sleepy Wonder, pump the crowd and lend credibility to reggae tunes while the lovely and talented Argentinean vocalist Natalia Clavier invigorate classic songs like Lebanese Blonde.
Women go wild for sexy and hip style of Thievery Corporation. They have a world music infusion with bits of the Caribbean, South America, Europe, and their own D.C beats. Their broad sonic palette probably stems from the fact that they hail from a city in which every country in the world has a representative. This mixture lent itself perfectly to the VooDoo Music Festival. Electronic bands sometimes fall flat in the constant action of a festival setting. Thievery’s pounding beats sent the crowd into a whirlwind and the mixture of vocalists, dancers, and a varied set list proved to be exactly what the crowd needed between sets from Manchester Orchestra, The Mars Volta, and Ghostland Observatory. Even resident artist Frenchy got into the mix painting the band live from the middle of the crowd.
Opener: “Anytime” at The House of Blues Orlando, FL
“Touch Me I’m Going to Scream pt. 2″
“Evelyn is Not Real”
The Smashing Pumpkins caught so much shit on this tour. People complained that they did not play enough “classics.” This is one of the best tours I’ve seen them on. They are not a nostalgia band despite how bad people want them to be. They played for 2 1/2 hours with a mix of b-sides, rarities, psychedelic jam sessions, re-worked old songs, new stuff, and of course, “classics.” They are brutal and punishing one minute, then tender and sweet another. Billy basically leads the show with the overwhelming force of his guitar and Jimmy Chamberlin is the fiercest drummer I’ve ever seen. The opportunity to see the two of them play their instruments live is worth the price of admission alone. People looking for “1979″ and “Disarm” can fuck off anyway. If they did just play Siamese Dream and Mellon Collie songs they’d be “cashing in.” Another case of damned if you do, damned if you don’t.
“Siva” from Gish
Blowing the doors off with “Superchrist”
“Mayonaise”
Two recorded versions of this song exist. This is the version of “Speed Kills” that appears on their Best of
“Transformer” Killer little rocker that was a Mellon Collie B-side
“Blues Jam” with Bill Corgan Sr. Billy closed the show by bringing out his bluesman father for a little jam.
They played some rare songs at this show, “Trucker’s Atlas” being one
Another great song, “Custom Concern”
“Paper Thin Walls” ¬†Such a great show. I wish I didn’t have to hide the camera
Tasty but worthless “Doin’ the Cockroach”