A George Eliot Moment

 

 

                                          At the Set of Sun

                                          If you sit down at the set of sun
                                          And count the acts that you have done,
                                              And, counting, find
                                          One self-denying deed, one word
                                          That eased the heart of him who heard,
                                              One glance most kind
                                          That fell like sunshine where it went -
                                          Then you may count that day well spent.

                                          But if, through all the livelong day,
                                          You've cheered no heart, by yea or nay -
                                               If, through it all
                                          You've nothing done that you can trace
                                          That brought the sunshine to one face -
                                               No act most small
                                          That helped some soul and nothing cost -
                                          Then count that day as worse than lost.
      
                                          George Eliot

Spring-time for Substance in Eclect-asy

The art, avant garde, parody band knows as Substance W isn't a group to be listened to so much as being one that should be experienced. In recognition of this, the following review isn't something that should merely be read, but is instead an article to be experienced. It might seem like this review is made up of random, collected thoughts from several different authors thrown together and baked into a casserole - and that's because, it is. Whatever you grasp or are unable to comprehend from this review - know that here at Potluck S we LOVE Substance W. Since "Spring Session W" is such an unconventional album, we wanted to write an unconventional "review." So here goes:
___________________________________________________________________
Substance W - Spring Session W

It's the dawn of spring, flowers are budding and blooming, and one hears a retro-synth extravaganza introducing you to the strange feeling that you're standing in a very twisted, children's playroom. In your mind, you're having visions of Chuck-E-Cheese on crack. Suddenly, you're transported outside, hearing obscure sounds and voices, then a song resembling the Beatles "Taxman" is echoing through the streets, but it makes you wonder if the Beatles' tour bus ran into Steely Dan's, with the pieces of the crash flying around and eventually landing in Pee Wee's playhouse - where along with this, there's an occasional cameo appearance made by George Gershwin. Since the Easter holiday is still quickly approaching, traffic gets stopped because of an Easter Parade, and Irving Berlin lyrics are being recited above some extremely warped jazz. After the parade, you attend the first baseball game of the season, and you're feeling good. You're feeling a little strange, but good. Some accomplished musicians are playing in the ballpark, including an excellent banjo player reflecting shades of Bela Fleck and the Fleck-tones fusion. Suddenly, here comes Peter Cotton-tail accompanied by an 80's-esque synth riff not unlike Men without Hats, with a lead vocal that's subtle, yet sounds remarkably similar to Neil Diamond. While noticing some truly excellent guitar playing, you're thinking - this is truly eclectic. It's even eclect-icity. In fact, this is pure eclect-asy. But still, your bizarre adventure has only really just started, because then you think you hear the most warped version of a song playing you thought you'd never hear again after leaving your 4th grade flute-o-phone music appreciation class. Can it be? No, surely it's not. Yes, it is. It's "Hot... Cross... Buns." At this juncture, you enter a residential, commercial album area and you're confronted by an Easter Woman covered in western apparel. She frightens you. You try desperately to regain the good feelings you had in that ball-park again but this time you're hearing a strange child chant in your head the words "let's go Dodgers" - so you run from the voice and stagger into a beach-side club where there's a cool, surf-rock band playing that's not unlike Dick Dale or the Safaris. The band rocks your brain with jammin', heavily reverberated guitar, sax, and naked organ bites. You thoroughly enjoy it, until you realize... they won't stop. You think they've stopped, but they haven't. Ok, now they'll stop. But, no. So... you go get the ax, and while you're using it a random thought suddenly enters your brain: 


A boy's best friend is his mother. 


Then, after briefly remembering the joy you experienced back at the ballpark lounge, thoughts of your own mother appear in your head, and you begin to sing to her. Your song about your mother sounds vaguely similar to Pink Floyd, except when she sings back to you, she does so with the voice of a chipmunk with emphysema. Things then get extremely chaotic and you're surrounded by dark-side noises including clocks, simulated cash registers, and saxophones. Still, you try to express your true feelings to your mom, but then you have a personal crisis. So much so, that you even call the Police. You tell them that every girl you go out with, becomes your mother in the end! As if that's not frightening enough, you realize that YOU are now... ELVIS! (during the cheezy, Vegas years). In sheer terror, you hang up the phone and run back to the ballpark. After bumping into a reincarnated Jimi Hendrix, you realize that spring can really hang you up - especially when things go lo-fi in a way that makes you think of a Duran Duran night mix being used as a video game soundtrack. Then, out of nowhere... it's Cole Porter! (or so you think). What are you listening to? You're not certain. Is this an actual phonograph recording? You're sure that it is until you hear cartoon noises accompanying the charge to "misbehave." But if this isn't vintage, how can it feature such a prolific clarinet player? You ponder all this while enjoying a movie-soundtrack-like version of a tune from the Residents "Freak Show" album, and you run into a jazz guitarist who is exhorting you to "try Substance W." You're confused. You're certain you just did, but to make doubly sure, you go back to reliving the beginning of your spring session and re-start the experience all over again.
___________________________________________________________________
Needless to say, Substance W's "Spring Session W" is unlike anything you will ever experience. If you like The Residents, Dread Zeppelin, Neil Diamond, They Might Be Giants, Pink Floyd and Aluminum Tadpole, there's a good chance you'll like Substance W. That is, unless, you can't handle all your food being "mixed." 

If you're in a college dorm-room, this is the perfect album to have playing in the background during a group study session (trust us on this one). It's possible that a few of your "friends" might become enemies, but... who needs 'em? Those kinds of "friends" can stay out of the kitchen from now on.

By all means, check out Substance W's "Spring Session W" as available at Worst Kitchen Records. 

Indie Band Guru Article about Iowa Music Scene

You might want to know that one of our affiliates ("Bad Itch") was asked to write an article for a New York based website (Indie Band Guru) about the Iowa "indie" music scene. The article includes a number of bands we like - including bands outside of Iowa (Worst Kitchen Bands). Check it out by going right here.

PS

Aluminum Tadpole - "More of the Same" (is quite different)

Just when you thought you'd heard it all, you end up with an album like this.

 
Our understanding is that in a distant, dystopian future, creeks will not run naturally and will thus be teeming with Aluminum Tadpole(s). Know that this compilation CD by the band of the same name is packed with so many polly-wogs, here at Potluck we're like little kids at the creek-bed without enough zip-lock bags.

Some pretty interesting stuff, to say the least.

Where do we begin?

The album "More of the Same" by the indie band Aluminum Tadpole will make you laugh while still shocking you with a voltage of surprises (does aluminum conduct electricity?). With twenty-two tracks in all, ranging from the humorous, to the strange, to the "what the...?" listeners are treated to a box of only the freshest pre-frogs. Here are a few favorites according to our esteemed review staff:

"Indian Torture Dance" (which doesn't insult Native Americans, or "torture" the listener, but instead features an enjoyable, yet slightly... off... sense of direction with a southwestern feel). The song almost reminds one of visiting a roadside stop near Arizona (think "The Thing?"). The listener is wondering... should we have stopped here? Do people really... live here? If we stay here much longer, what's going to happen to us? Moving on in the album there's "Dance of the Red Tail" which is one of the favorite "what the?..." tracks of our PS staff. The song features rambling humanoids, of some kind, expressing themselves, all at roughly the same time, for no apparent reason. We love this track.

Then there's "Ping Pong Preston vs The Evil Dolly." In spite of the crazy title, musically this is actually one of the more mainstream, and melodic tunes on the album. Well, sort of. If you listen to the lyrics, you'll ponder over some gut-twisting speculation about who could possibly come up with this cracked version of a children's story? It's also striking to realize this slightly off-kilter Beach Boys-esque feel-good but maybe-not-so-good approach to music was thought to have been pioneered by the obscure band Masters of the Hemisphere - perhaps as a soft, more gentle They Might Be Giants (see Masters' "I am not a Freemdoom" album), but lo and behold, here's a Tadpole track that predates those guys!

Song for Flanigan. It's just not right. You can't just do that. You can't throw in all the kitchen sink keyboards, unconventional bells and whistles, and then strip down to merely an early Bob Dylan (or Woody Guthrie) arrangement. Also, whoever this Flanigan person is he must be someone special, but it's definitely his loss for having missed a Bladerunner viewing party. Great song. 

The track Dr. Jacque is Not Crazy, which was one of our first exposures to A.T. (it's on the Worst Kitchen sampler, also) remains a very re-spinnable masterpiece of random, yet enjoyable, weirdness (This just in! Check out Dr. Jacque video right here!)

Oddly, after embarking on a journey of so much slippery, pole-swimming zaniness, the listener experiences "Estee du Jour" and discovers an instrumental track of genuinely, shredding jazz guitar - with, of course, some off-the-creek-bed path twists. From there, one ventures right back to a retro-synth sound in the "Dr. Wilkinson" song and you wonder why he'd be dressed that way (?) when the song hearkens back to an early eighties movie soundtrack - or perhaps the last season of Starsky and Hutch. We dig the ironic groove of this song. 

Not to be outdone, the very next track ("Summer Camp in Hell") might be the best of the entire album. Part one (Song for Beeker), especially, is so terrifically, stupendously... annoying... that you have to love it. One artist used to describe his band's music as beautiful chaos - but this is more akin to beautiful annoyance. If the guy in this song says "yeah" one more time... but then he finally stops, and what follows... well... words cannot describe. Anyone with any challenge of sleep deprivation because of night terrors will need to be careful about listening to this one. 

When a band tries their hand at so much uninhibited experimentation there are moments when gems just seem to squeeze out naturally, and that's the case with much of the album - including one of the last numbers entitled "This Business." It's a very catchy, lo-fi track that will remind you of how stripped down and simple a really good song can be.

In all - you need to make a trip to the creek-bed (also known as "Worst Kitchen Records") and get you a copy of some Aluminum Tadpole tune-age. Bring lots of zip-lock bags, and play around. Gett all muddy. You'll be glad you did.

P.S.  

Aluminum Tadpole music is available on Worst Kitchen Records.

A Blake Moment

The Fly


Little Fly, 
Thy summer's play
My thoughtless hand
Has brushed away.


Am not I
A fly like thee?
Or art not thou
A man like me?


For I dance
And drink and sing, 
Till some blind hand
Shall brush my wing.


If thought is life
And strength and breath,
And the want 
Of thought is death,


Then am I
A happy fly
If I live
Or if I die


-William Blake

Substance W goes Police "Mother" all over us

So. Someone we know (Richard Blaine of Skiprope Cello) tells us about an amazing band called Substance W, and we check out a particular youtube video. In the process, we get up and start dancing. Shakin' baby. How can we not, when Substance W is covering "Mother" by the Police, all the while impersonating the King himself? Take a look at it below and then we can all collectively ask ourselves how we missed this band. Plan on splitting a gut, and then forward this video to everyone you know. Including your own mother:

For reference, we found out Substance W along with a myriad of other wonderful bands can be tapped into at the Worst Kitchen Records website. Be watching here for an upcoming review of some of the... Worst Kitchen... bands you'll ever hear. For now, eat up.

Chow.

PS

Regeneration Radio - along with Internet Radio - Listenership on the Rise

I read this article recently stating how internet radio music listening is on the rise (in many ways in opposition to standard, coporate radio). I've also noticed first hand how this applies to one of my favorite online radio stations - "Regeneration Radio" with Jeani Bond. The station can be located by going right here. The listenership keeps steadily, progressively, climbing.

I recommend you check it out for yourself and grab hold of some eclectic "formative years" alternative music with a positive (you could say "straight edge" influence). The styles represented are... all over the map (the way it should be). It's a very unique and enjoyably unpredictable station.

PS

Potluck Pick of the Week #267 - Flatfoot 56 free song stream

For all you "flat-footers" out there, Flatfoot 56 has an offer of a free song stream at this site ("Absolute Punk"). If you like mid-west punk bands such as North of Grand and Atombender, you'll be certain to be into Chicago's Flatfoot 56. A Potluck review of some of their stuff might just happen right here in the future - all things goin' well and the "crick" don't rise (as they say here in Iowa... did I say that right?). For now, you could pick up their album "Black Thorn" by going right here to enjoy their folksy - even Celtic brand of punk. Their new album "Toil" will be released on July 24.

PS

William "Count" Basie - a potluck moment

I like delving into regional music scenes, past or present. it really doesn't matter what style. If you're a resident of the midwest and enjoy music, you have to love Count Basie. Born in Red Bank, New Jersey - winning a  piano competition in none other than Asbury Park N.J. (been there), he then made his "mark" via Kansas City (been there) - and the rest is history. Basie learned "stride" piano from none other than Fats Waller, and was a key player in bridging blues/jazz to "swing." He married Catherine Morgan in 1942 - and they continued as a couple until she died in 1983.  Some exceptional Count Basie sites can be found by going...

...right here ("One more Once" Rutgers site on tribute to Count Basie) and...

...right here ("Count Basie corner" blog)

Basie wrote, performed, and recorded seemingly forever, leaving a nearly endless well of tunage to check out. I love the story of "One O'Clock Jump" being written on the fly in a radio station when he'd run out of songs to play. For an absolutely terrific, vintage youtube link of a performance of the song, go right here (I've seen that movie, "Reveille with Beverly," by the way, and it's totally worth checking out). Perhaps his most recognizable tune is "Jumping a the Woodside" written in 1954, and can be found on youtube by going right here.

From a "potluck" angle, you might also check out this accordion army version of the song by going right here. My apologies to some purists who will hate his, but I love it both seriously and ironically.

The "Count" (perhaps nicknamed this because of his leadership of the group "The Barons" - although there are different versions of the story) died just one year after his wife did in 1984 - leaving behind him an indelible mark and a huge legacy.   

PS

The Great Gatsby 2012 movie - thoughts on trailer

So, coming out in December is another film version of The Great Gatsby. For the record I've read all of F. Scott Fitzgerald's books (I guess I'm like "Mr. Jones" of the Dylan song), and I like Gatsby though it isn't my favorite book by FSF (I prefer "This Side of Paradise" and "The Beautiful and Damned" - in that order, with Gatsby in third). I am definitely planning on seeing the film - but with a certain amount of trepidation. I like some of what the trailer reveals - with an attempt to portray the opulence of the era. One reservation I have, however, is with Leonardo D playing the lead role. I'm concerned this casting decision will prompt the film to get swallowed up in comparisons with "The Titanic" - especially since it's close to the same time-period and the endings of both plots have some similarities to one another (though Gatsby is admittedly much more complex). My main worry, however, has to do with the usage of modern music in the trailer. I'm a U2/Jack White fan, and the version of "Love is Blindness" sounds great, but I hope this isn't part of the sound track of the actual film. Perhaps it's just for the credits at the end? As for the rest of the music in the trailer - forget it. There really should be period music playing if they want the film to have any amount of authenticity. This was the "Jazz Age" (as coined by FSF himself), so why include modern "pop/rock" in the film's music tracks? I guess we'll see how  it's all pieced together when the film comes out. I'll try to remain optimistic.

A link to the trailer can be found right here.

PS   

Jane Eyre - Will the real film adaptation please stand up?

I love the book Jane Eyre. This might be a shock to some since I'm a homo-saphien of the male gender. Unfortunately, I've yet to find a film I deem to do the book justice. The most recent (2011) hollywood film portrays Jane as being both too pretty, as well as too dead-pan. Introspective and respectful need not be dead-pan. Why would Rochester be drawn at all to this... zombie? Then there's the ending. I guess hollywood is phobic of the religious element found in the ending of the book. All this on top of glossing through other plot elements and...

I've seen the 1996 adaptation, which was fair, as well as the 1943 version which I found to follow the book pretty well - until it completely axes the missionary character. Maybe they ran out of money and decided to jump to the ending?

Anyway, next stop is a BBC version as well as a PBS version I've heard about.

PS 

Atombender - "Wait of the World" album review

I listen to a lot of music - an assorted, plethora of tune-age of eclectic genres - dating back years. Of the "rock" variety (concerning which we often sub-categorize endlessly ad infinitum), when it comes to albums there are a handful of qualities which make the artists' work stimulating for me. Typically I'm simply looking for something that is... 1) Interesting. From the "interesting" plank I move into the subcategory of it being... 2) Moving.  At this juncture, I'm hoping the collection of songs will be 3) Continuously play-worthy (re-spinnable). Maybe it's needless to say, but I've listened to literally thousands of albums I've found to be interesting, I've listened to hundreds I've found to be moving - but then there's this 3rd category, where the work is interesting, moving, and even worthy of many, even countless, re-spins.


Without a doubt, the indie pop-punk band Atombender's recent release "Wait of the World" has already found its way into that third category for me.


So, utilizing an Aristotelian, 3-point polemic format (along with some cheese and crackers)...


From the perspective of an initial listen, there are countless qualities WOTW has which are really interesting. The songs have numerous catchy moments, plays-on-words, abrupt energy explosions as well as direction changes. The horn and retro-synth blend is more regular in this full-length offering than in their previous EP - as well as being even more enjoyable. The melodies, hooks, and harmonies are all packaged in a unique way and are right there for the taking. From the sneakily complex opener "Carpet Hearts," to the straight-forward, MXPX-like-punk-drive of "Back to the Basics" - to the playful, almost Dylan-esque lyric format of "Curse My Metal Body" (with the cynical, repetition of "everything that's beautiful is gone") - A-Bender's new album punches you in the mouth at your first point of exposure.


The album, furthermore, is also very moving. WOTW's lyric content is chock-full of life dilemma doubts and spiritual pilgrimage signposts. This becomes evident as one gives a more careful re-listening to tracks such as Amputations, US Hwy 30, Sinkhole, Great Lakes, Weight and Sea, and Ad Astra Per Aspera. I'll admit I'm a bit of a sucker for location/geographical references in songs and, well, this album has them. I'm close to certain "Sinkhole" is about some college town known as Ames, IA, and these types of references give the entire work that sort of "Asbury Park/Thunder Road" - or even Sufjan Steven-ish "Illinoise" vibe. For the record, I love that vibe - especially when, as in this case, it seems to be very genuine. Unlike some of these others, however, WOTW interjects glimpses of light as opposed to just ending up at the dark, dead ends of back streets. I must say, this was a pretty adventurous undertaking for a "pop" punk band's first full-length album, but they pull it off - and I mean, they really pull it off. Were it for merely the above reasons alone, "Wait" should be like a shared, time-capsule "magnum opus" for alternative music fans who have any connection to Ames, IA or the surrounding areas.


But the above is not even primarily what I like about "Wait." The album is also ridiculously re-spinnable. In just a handful of days since its release I think I listened to it something in the neighborhood of twenty-five to thirty times. I just can't seem to get enough of it. I've often asked myself what it is about certain albums that are able to find their way into my third category? To some degree, it's subjective - and replete with intangibles. However, I continue to explore some theories. Of course, the album needs to be interesting, and moving - that's how it got this far on my spin-list. But it also needs to be continually interesting - even progressively so. I see much of this having to do with fine-tuning choices being made about songwriting, arrangements, and production. In the case of WOTW, there are a myriad of delightful nuances within these categories which stand out. It's pretty remarkable to this reviewer that an indie band's first full length recording could exemplify such mature songwriting. After multiple spins, one becomes more and more aware of the diversities in the song structures - along with the variations and dropping in and out of vocals/instruments in the arrangements. Just explore the track "US Hwy 30" several times (again, love the geography reference) and I guarantee you that, aside from the fact that on a surface level it's a fun, catchy song - you'll hear different, enjoyable nuances with each and every intake. Focus only on the instruments the fourth (or seventeenth) time through, and you'll notice a staccato, popping synth sound in spots you'll swear wasn't there your first couple of listens. Savor the unexpected chord progression just prior to the terrific closing section, and you're likely to fall in love with this song as much as I have. This song is no exception, however. Essentially, the whole album is this way. From the vocals echoing the infectious, but initially subtle synth-riff in "Great Lakes," to harmonies bouncing from being unresolved to resolved, to lyric lines which remain unresolved - the album toys with the listener in wonderful ways. Both the band and the Des Moines studio guru Griffin Landa are to be commended for the production being professional, but not too glossy - for being well-thought out, while remaining rough around various edges. The vocal harmonies are tight and yet markedly "punk" (is anyone else like me getting a little annoyed of hearing sweet, over-reverberated Beach Boys-like harmonies on "punk" albums? Sometimes it seems as if "pop-punk" has completely "popped"). "Wait's" keyboard usage gives one the feeling someone just dusted off an old ARP mono-synth and ran it through a little guitar amp. Trust me, it's an exceptional feeling, and I wouldn't have it any other way. Lyrically, the album pours out meaningful, disclosing emotion while still maintaining a cryptic mystery which keeps the guests wondering (or "waiting?"). A prime example is the song "Night Guard." The words feature the delicious combination of being simple yet strangely opaque. The tone is thoughtful, yet haunting. The observer might be moved to reflection, or she might just get a little creeped out - or even experience both simultaneously. Aside from the fact that the band stretched themselves into attempting to write this slowly crescendo-ing/abruptly-ending piece reminiscent of perhaps U2/Coldplay - they also twisted into it into their liking with a powerfully placed voice effect, background primal expressions, and loads of spiritual angst. With Rohlf's lead vocal sounding eerily reminiscent of the old post-punk singer Mike Peters of the Alarm, and with the production still remaining raw, the song is like Arcade Fire meets The Clash accompanied by Modest Mouse - along with a brief shade of... Pink Floyd. All that said - incredibly, it works. I mean, it works magically. Along with additional, indefinable intangibles - the song almost seems to have a kind of staying, replay-ability of U2's "One." Yeah, I know - that's a pretty bold thing to say, but I'm telling you the song is that good.


Although I consider "Guard" to be a high point track, every song on WOTW grows stronger through repeated spins so that by the time the listener adventures through the anthemic group voices of the closing number (Ad Astra Per Aspera) he wants to play the whole thing again - without waiting (weighting?).


I have no intention of "rating" albums/books on this site, so if you're not completely certain what I think about    Atomender's WOTW, read the above review again. Or better yet, pick up the album and listen to it about thirty times for yourself.


-PS

Atombender "Wait of the World" in numerous formats available at Bandcamp:
http://atombender.bandcamp.com/album/wait-of-the-world

                 Atombender promo photography by Matthew Smith of The Beautiful Voyage
                 http://thebeautifulvoyage.com/


                 Atombender cover art by John Rohlf graphic design
                 http://www.jonrohlf.com/




                 Atombender on Facebook:
                 http://www.facebook.com/atombenderband
 
                 Atombender Facebook band page:
                 http://www.facebook.com/atombenderband#!/atombenderband/app_178091127385
       

Roslyn Stone coming to Des Moines Performing Arts Festival

Consider checking out the music group Roslyn Stone in and around the Des Moines, IA and adjacent areas. You'll love their very rootsy sound. You can hear a sample at their site by going right here.

My understanding is they'll be at the Des Moines Performing Arts Festival on Sunday, June 24 at 3:30pm.

PS

A Schaeffer Moment

"...philosophy is universal in scope. No man can live without a worldview; therefore, there is no man who is not a philosopher"

-Francis Schaeffer - Complete Works of Francis Schaeffer Vol. 1 p. 280

Atombender Album Release Concert - Zeke's in Ames, Iowa May 11, 2012

Ames, Iowa's alt/punk band Atombender has developed quite a reputation for putting on amazing shows. This year (2012) I decided to check it out for myself. As it turns out, I wasn't disappointed. I've seen them twice now, but at their most recent show they especially outdid themselves. Their album release concert in Ames, IA (May 11 at Zeke's) was packed with an avid AB fan-base who attended with euphoric anticipation. After some solid opening acts (I caught most of the History on Repeat show which was very enjoyable), the bender boys took the stage at roughly 10pm. Following an ironic recorded music intro, they immediately pealed into the opening song ("Carpet Hearts") from their new album release ("Wait of the World"). The live performance of the song exemplified the edgy-yet-playful arrangements on the album of powerful drums/bass, guitar, and their unconventional blend of horns/retro-synth. Mix in the in-your-face vocal performance of two of the best front-men in the indie-rock scene (John Rohlf - vocals/trombone; Justin Smiley-Oyen - vocals/trumpet), and you have an introductory synopsis of an Atombender live assault.

After kicking out another new song ("Great Lakes") featuring very melodic vocal harmonies and an infectious synth-riff echoed by the vocals, they broke into an older fan-favorite - the highly energetic "FM Waves" from their previous EP "Poison Gasses for the Masses."

If you haven't seen an AB show, try to channel into a vibe of a bunch of friends hanging out. The sense of unity between the band and fans is such that at times they almost seem to blend into one unit. Cartoon character dressed fans are down front helping to rescue falling mike stands while front man ("Smiley") regularly joins the crowd for some some zany romping and frolicking. It truly is an adventure that everyone in the room has embarked on together.

In the midst of several more high-powered new songs, the band then offered a slower tempo number ("Night Guard") which featured guitar player (Zach Brenner) on piano and the addition of another percussion player (to accompany drummer Ben Wiedenhoeft). The album version of the song is one of several featured epic, yet still raw punk-ish tracks (the others being Weight and Sea and Ad Astra Per Aspera) - and the live version enhanced the successful effort they've made to stretch themselves musically/lyrically. In this reviewer's opinion, this was one of several unique highlights of the show.

Other strong new songs displayed included "Sinkhole," "Amputations," and one of my personal favorites "Curse My Metal Body" (one of several new songs that stuck in my head from the previous concert I attended in Des Moines). After suggesting "let's have a dance contest" during a stellar cover of  "Kids" by Mgmt (featuring an excellent, pronounced synth-riff by keyboard player Michael Davis), they eventually closed out their set by performing the track that finishes the new album: Ad Astra Per Aspera. Singer John Rohlf described it as a song of hopeful focus through difficult times. The distinctly spiritual mood of the song translated well into the live setting.

Following a very zealous audience recall, they favored fans with two more songs - the crowd-pleasing staples "Silent" (which bass player Jacob King humorously introduced as "Yoda in My Pocket") and "A Better Plan" from their earlier EP. In all, the concert was a high-octane, yet emotionally reflective event. Rumor has it that the mainstream band Hello-Goodbye felt Atombender should have been the rightful winners of the battle of the band contest at ISU's "Veisha" a couple of years ago. After seeing their album release concert, I can see why (One report says that the judges felt the band exhibited too much energy - imagine that).

I heard that because of plans/schedules it's possible it might be a very long while before Atombender performs again - but in the very least do yourself a favor and pick up their new CD "Wait of the World" available on itunes, bandcamp, amazonmp3 - among other places.

P.S.

A Kafka Moment

"Indeed it was more than obvious that their hopes of hearing the violin played well or entertainingly were disappointed, that they had had enough of the recital and were only suffering through this disturbance of their peace out of politeness. In particular, the manner in which they blew their clouds of cigar smoke to the ceiling through their mouths and noses displayed severe aggravation. And yet the sister played so beautifully. Her face was tilted to one side and she followed the notes with soulful and probing eyes. Gregor advanced a little, keeping his eyes low so that they might possibly meet hers. Was he a beast if music could move him so?

from The Metamorphosis by Franz Kafka - 1915

The Choir - Chase the Kangaroo Tour - The Last Show - - - May 3rd - Ames, Iowa

There are a handful of bands over the years I've appreciated watching evolve as artists that have remained "under the radar." One reason they've remained in relative anonymity to the "masses" has to do with them not selling out to conventions.

One such band is The Choir.

Know that the viewpoint of long-time Choir fans (including yours truly) is that these guys are almost iconic. Thus, their recent 2012 tour featuring the 25th anniversary of the "Chase the Kangaroo" album was akin to icons performing an iconic album. Try to imagine Floyd-heads attending a "Dark-Side..." anniversary tour with the album being played in its entirety - in sequential order - and that's a hint of what this concert was like for us. At Zeke's in Ames, Iowa (May 3, 2012), I had the privilege of experiencing not only a "bite" of this historic moment, but of being able to attend the very last show of the tour.

The setting was intimate but very enthusiastic. Derri Daugherty (vocals/guitar), Steve Hindalong (drums/percussion/Bckgrnd vcls), and Tim Chandler (bass) were in exceptional form. The opening drum beat of "Consider," quite frankly, had a goose-bump effect on me. Then, with Daugherty's guitar echoing/reverberating in an edgy fashion, and Chandler's punchy bass lines rounding it off, I knew it'd be a special night. Kudos to Zeke's for their mix. The instruments remained powerful, yet one could hear the vocals distinctly. It was a nearly perfect sonic balance. Hearing "Children of Time" reminded me of my appreciation over the years for the song's lyrics, which I consider to be way ahead of their time - perhaps even still today (you might read Norman Geisler, William Lane Craig, or even Augustine, for a fuller appreciation of the ramifications of the song's lyrics). The acoustic-driven "Clouds" was one minor variation from album-exactness, but was enjoyable and very well-received (also, prior to a stirring live rendition of "Sad Face" - in an impromptu audience interaction moment someone in the crowd sang out loud an impersonation of the church lady voice "no dreams will their be shattered..." prompting humorous reactions from both band and audience).

"I Washed My Robe in the River" was particularly "driving" in its force, and hearing "Rifleman" performed live... with Hindalong narrating the speaking parts and playing harmonica from behind the drum kit... well... for this spectator it was sort of like having an out of body experience. I never imagined I'd be in an intimate crowd of enthusiasts listening to this band perform such an obscure, opaque song I've admired for so many years.

Acoustic "Clouds"

Hindalong narrates "Rifleman"

Daugherty then shared a detail about the influence of the late Gene Eugene on the song "Look out for Your Own." A very memorable moment of reflection (following this, someone in the crowd also belted out the line "Everybody in the band appreciates Mark..." to which Daugherty responded "hey, wait a minute, get your own band" with laughs all around). Hindalong stepped out from behind the drums, and on acoustic guitar sang and played the song with some hilarious, updated lyrics replete with self-deprecating humor about the band. This was a very "playful" moment in the set with much laughter.

"Everybody in the band... appreciates Derri"

"So Far Away" was introduced as being like a couples' number in a skating rink during the 1970's. Even though we all remember... Journey... (*gasp*) I would personally give the song more credence than that (although the not-taking-ourselves-to-seriously vibe is refreshing). Following the last riffs of the final song "Chase T.K." being banged out with notable energy, the enthralled attendees were especially noisy and appreciative.

From there the band tore into some other notable fan favorites, including "Sentimental Song" and "Burning like the Midnight Sun." They also played the excellent number "Cross that River" from their brand new 2012 release "The Loudest Sound Ever Heard." Hindalong spoke in an especially thoughtful way about the meaning of the song - and the genuine empathy and encouragement they hope people get from it. This was one of the highlights of the show.

The band left the stage to a passionate, raucous response from the audience - which brought them back out for more. After Daugherty made some jokes about "encores" in general, he thanked the audience for their support, and they broke into one more song, which was an amazing live version of "Circle Slide." With its quintessentially creative, artistic, ethereal "choir" -like vibe, the song wrapped up the evening.

"Circle Slide"

A special thanks to Zeke's for hosting the show, to the Choir for traveling to our neck of the woods to perform, and also to the individual band members for interacting with the audience afterwards.

For whatever it's worth... "everyone of us... as fans... appreciates the Choir"

P.S.

Just saw band The Choir in Ames, Iowa

After quite a stint of being AWOL from my Pot-lucking - got a chance to see The Choir at Zeke's in Ames, Iowa tonight (5/3/12). Wow - more on that later (coming up will be not only a take on the concert but also a review of their latest album "the loudest sound ever heard"). For now... wow... thanks guys.

P.S.