I Rock Cleveland

Moving Pictures: "Ain't Nothing Like You (Hoochie Coo)" by BlakRoc feat. Mos Def and Jim Jones

2009-11-06T12:55:00.002-05:00

For all the instances in music history where rock and rap mixed quite well -- From the hip-hop influenced work of Blondie and The Clash to the high profile collaborations between Aerosmith and Run DMC, Anthrax and Public Enemy, and The Judgement Night soundtrack -- it's the one instance of rock and rap gone horribly wrong which perhaps had the greatest influence on the two genres current separation. After the musical and cultural wreck which was Limp Bizkit, very few wanted to be associated with the words rap-rock.

Now, nearly a decade past the Bizkit's unfortunate peak in popularity, we've finally reached the point where it's safe for rockers and rappers to share a groove. And who better to lay down said dusty groove, than Akron's Black Keys. When their blues-rock stomp is cut to mid-tempo, as is the case with Blakroc's "Ain't Nothing Like You (Hoochie Coo)," the thick thump of drummer Pat Carney and the heart-felt riffing of guitarist Dan Auerbach sounds tailor made for hip-hop. Plus, it doesn't hurt to have Mos Def handling the first verse. If we're easing ourselves back into a place where rock and rap can coexist and collaborate, it's an asset to have someone like Mos Def on board. Someone who's often integrated the sounds of Rock 'N' Roll into his own albums. Someone who won't lay down a chorus of "Nookie."

P4KTV: Blakroc - Ain't Nothing Like You (Hoochie Coo)

Blakroc's debut album will be out on Black Friday, November 27th and is available for pre-order now, on vinyl or CD, at the Black Keys web shop.

Blacroc

C'mon Get Heavy with Shrinebuilder's "Pyramid of the Moon"

2009-11-05T11:18:00.001-05:00

For fans of the underground heavy, a super group of underground heavies couldn't possibly be more super than Shrinebuilder. Simply saying the names Scott Kelly (Neurosis), Al Cisneros (Om, Sleep), Wino (The Obsessed, Saint Vitus, Hidden Hand), and Dale Crover (Melvins) out loud adds inches to your beard.

Even better for fans of the underground heavy, is the fact that Shrinebuilder doesn't disappoint on its promise of being a modern Traveling Willburys for the shredding sect. Cisneros, Kelly, and Wino all take turns singing, growling, and chanting, sometimes within the same song, and the styles of heavy range from heavy psych, post-Sabbath doom, and massive sludge. The one constant, besides Shrinebuilder being consistently heavy and consistently awesome, is the riffage, of course. On a number like "Pyramid of the Moon," the thick, rumbling, and repetitive style of Cisneros' bass, first heard with his pioneering doom metal band, Sleep, and later with his more spiritual project, Om, is an ideal match for the sticky, space-infused, '70s style shredding of Wino and Kelly. It's as if this quartet had been melting minds for years. And well, they have been, just not all in the same room at the same time.

MP3: Shrinebuilder - Pyramid of the Moon

Shrinebuilder's self-titled album is out now on Neurot Recordings.

Shrinebuilder
Neurot Recordings

Moving Pictures: "Freak Train" by Kurt Vile

2009-11-05T10:45:00.000-05:00

In many ways, Kurt Vile's Matador Records debut, Childish Prodigy, is a work in progress. There's a noticeable split between the swamp rock of a track like "Hunchback," where he's backed by his band, The Violators, and the ramble-tamble, electric folk which comprises the bulk of the album. As a result, Childish Prodigy, sometimes feels like a greatest hits album for an artist who has yet to chart a hit, even in the Pitchfork ripple effect, top of the music blog charts kind of way. Still, when Vile is on, the man is on. Take "Freak Train," for example, a song which owes its genesis to krautrock, classic rock, and displaced troubadours. This ode to gettin' home fits more guitar notes in four bars than most underground folkies deem fit for a four minute song, making it not only a meandering, mesmerizing, and memorable ride, but also one which you won't ever want to end.

YOUTUBE: Kurt Vile - Freak Train

Kurt Vile's Childish Prodigy is out now on Matador Records.

Kurt Vile
Matador Records

Top Jam of the Week: "Certain Famous Covered Bridges" by Pursesnatchers

2009-11-03T11:15:00.001-05:00

It's always been my contention (And I'm sure others would concur), that the perfect three-to-four minute pop song doesn't need an explanation. One needn't study the lyrics, chart its chord progressions, or burrow into its back story. All the proof you need occurs during the first impression, the second the sound meets your ears.

Such is the case with "Certain Famous Covered Bridges," the latest single by the Brooklyn husband-wife duo of Doug Marvin (Dirty on Purpose, Black Acid, and Neckbeard Telecaster) and Annie Hart (Au Revoir Simone), collectively known as Pursesnatchers. They freely admit to sounding a bit like Yo La Tengo, others may here the wistful tones of The Shins, and this track in particular, has a Built to Spill style break down near the end. And really, that's all you need to know. Point, click, and enjoy.

MP3: Pursesnatchers - Certain Famous Covered Bridges

Pursesnatchers' "Certain Famous Covered Bridges" is out now on 7" via Death by Audio Records. The split single also contains two tracks by IRC favorite, Coin Under Tongue. For the vinyl averse, DBA is offering the split as a free download.

Pursesnatchers
Death by Audio

From the IRCWHQ Newsdesk: Tickets for the November 27th Black Keys Benefit Show in Akron Go on Sale Tomorrow

2009-10-30T13:37:00.004-04:00

Dan Auerbach and Pat Carney of the Black Keys are putting aside their respective side projects and will perform a benefit show for the recently deceased artist Alfred McMoore, on Friday, November 27th at Musica in Akron. Proceeds from the performance will benefit Community Support Services, an organization which aided the mentally ill McMoore before his passing. Tickets aren't cheap, but consider the cause, and consider the rare chance to see Akron's hometown heroes in a small setting. The event goes on sale tomorrow at noon. More information on this event can be found at the Cleveland Scene's Music Blog, C Notes.

Rocktober Week 4: Halloweekend

2009-10-30T10:32:00.002-04:00

Friday, October 30th: 3rd Annual Halloween Show @ the Beachland Tavern feat. featuring The Who (by The Hot Rails), Nirvana (This Is A Shakedown & Leo), The Damned (Living Stereo), and Dead Milkmen (Fakawi). Halloween show @ Pat's in the Flats feat. Presidents Of The United States Of America (by Megachurch), Angry Samoans (Space Dokkers), Flipper (Mohammed Cartoon), Machine Go Boom (Self Destruct Button w/ Jae Kritoff ), Bikini Kill (Uno Lady & Friends), The Grateful Dead (Kill The Hippies). Casual Encounters, Mother Country Madmen, Other Girls and Safari @ Happy Dog. Playing for Change Peace Through Music @ Beachland Ballroom.

Saturday, October 31st: WCSB's Halloween Masquerade Ball featuring Zero Boys, My Dad Is Dead, Fragments, Sun God, Mr. California @ Cleveland Public Theater. Halloween Boo-ga-loo Dance Party feat. Wiley & The Checkmates with DJ Mr. Fishtruck and DJ Racecard @ Beachland Tavern. Keelhaul, Dysrhythmia, Stats, Sikhara, Clan Of The Cave Bear (performing Lightning Bolt songs), Jerk, Xrin Arms @ Now That's Class.

The Rockometer: Mission of Burma, Health, F*ck Buttons, Lightning Bolt, and Pyramids with Nadja

2009-10-29T12:28:00.003-04:00

Mission of Burma
The Sound The Speed The Light
Matador

Exhibiting the rawness and aggression of a band half their age, Mission of Burma's third post-reunion album, The Sound, The Speed, The Light, has more in common with the early-to-mid '80s output of this seminal Boston post-punk band than with either of the two albums which directly preceded it. "1, 2, 3 Partyy!" and "Good Cheer" are as bold, direct and anthemic as any of their classic cuts, including "Academy Fight Song," "This Is Not a Photograph," and "That's How I Escaped my Certain Fate." They haven't lost their sense of detail, either, filtering in manipulated sounds, augmenting the bottom end, amplifying the more raucous moments, and deceptively slicing the intros, outros, and bridges. Add in the pummeling drive behind such numbers as "One Day We Will Live There" and "Blunder" and the assimilation of the old Mission of Burma into Mission of Burma take two, is so complete, had The Sound, The Speed, The Light been revealed as a missing late '80s LP, few would have reason to question such a statement's authenticity. 8 out of 10 on The Rockometer

MP3: Mission of Burma - 1, 2, 3 Partyy!
YOUTUBE: Mission of Burma - 1, 2, 3 Partyy!

Health
Get Color
Lovepump United

Noise or noise rock? Man against the machine or man working with machines? Blurt blurt crash crash beep or a song? Two albums into their career and LA's Health are no closer to deciding how to channel their primal screech. Normally, this wouldn't be such an issue, but with the gulf of quality between the songs and non-songs being so great, Get Color becomes an interactive experience of next, next, repeat. Thankfully, we have iPods and playlists and mp3s. Take the marching electronics of "Die Slow" and "Nice Girls," pair those two tracks with the dream pop and a massive percussion injection of "Severin" and "Before Tigers," tack on the coarsely textured ambient movements of album closer, "In Violet," and now, you have a killer EP. 6 out of 10 on the Rockometer

MP3: Health - Die Slow
MP3: Health - We Are Water
YOUTUBE: Health - Die Slow

F*ck Buttons
Tarot Sport
ATP Records

Noise fans shouldn't be dissuaded by the early reports of F*ck Buttons second album, Tarot Sport, being a dance album. The beats may be a bit cleaner, and the trancey, tribal-house influence may be a bit stronger, but as on their debut, Street Horrrsing, the duo of Andrew Hung and Benjamin John Power, still use an untidy array of toys, keyboards, laptops, and mixers to craft alien sounds and coax them into melodies. If there is a difference between the two albums, it's in how they wield their table to toys. Where before there was a curiosity factor to their music -- Hey, let's string together a bunch of things which shouldn't be strung together, send them through a maze of processors and filters and see what sounds come out the other end! Hey, let's sing through Mr. Microphone and see what that sounds like! Now, with the confidence that this crazy set up can work, F*ck Buttons are able to smooth away much of the harshness, emphasize the more melodic moments, and make something which kinda, sorta, in some left field way, resembles instrumental rock. 7 out of 10 on The Rockometer

YOUTUBE: F*ck Buttons - Surf Solar (Radio Edit)

Lightning Bolt
Earthly Delights
Load Records

The bass and drum and feedback of Lightning Bolt's Earthly Delights hits at a frenetic pace. It's one uneasy, gut churning rumble after another after another, caterwauling, contorting, assaulting and only occasionally settling down to reveal a monster rock riff. It's also an album which shares more than a passing resemblance to Ministry's industrial rock masterpiece, Psalm 69. But if Ministry's work was that of a fine tuned hot rod, Lightning Bolt's Earthly Delights is the sound of a sub-compact having no business going 100 mph. The feet could fall straight through the floorboard. The engine block could crack from the stress. The four wheels could fly off at any moment. The car could explode in one of those fantastic movie explosions where no laws of science could explain such an explosion, but that old Chevy fantastically fireballs itself in its final scene, nonetheless. 7 out of 10 on The Rockometer

MP3: Lightning Bolt - Colossus
MP3: Lightning Blot - Flooded Chamber

Pyramids with Nadja
Pyramids with Nadja
Hydrahead

In the past year alone, Nadja have recorded a collaboration with the New Zealand drone-metal band, Black Boned Angel, and Nadja's Aiden Baker has done two additional collaborations as a solo artist with experimental musicians Tim Hecker and thisquietarmy. That's in addition to the Nadja proper album, When I See the Sun Always Shines on TV, and the ambient-drone, side project, Whisper Room, which released an album on Elevation Records. If Nadja and Aiden Baker aren't a-listers in the doom/drone/experimental music set, it's not from a lack of output. As for this latest Nadja-related release, Pyramids with Nadja, it is at the same time their least cohesive and most intriguing of the bunch. Whereas past projects found Baker and Nadja working together with their collaborators to produce ambient static or mountainous drones, Pyramids with Nadja, finds the two sides often at odds with each other. A prime example would be the 15 minute track, "Another War" where the Pyramids half wants to breathe easily and the Nadja half wants to burrrrrrrrrrr, shake, shatter, burrrrrrrrrrr. It's as if a piano ballad is playing quietly inside while a great street-sucking catastrophe is occurring outside. Picture the trailer to 2012 and John Cusack racing for his life as the end of the world is upon us. Now picture someone at peace, serenely tapping at the keys. The difference in emotion couldn't be greater, and the difference in tone, texture, and strength couldn't be more compelling. 8 out of 10 on The Rockometer

From the IRCWHQ Newsdesk: Bill Fox's Shelter From the Smoke Gets the Deluxe Treatment

2009-10-27T13:50:00.002-04:00

Those long rumored Bill Fox re-issues are about to become a reality. A pre-order is now available from Scat Records for the deluxe version of Fox's first solo album, Shelter from the Smoke. The expanded tracklist compiles cuts from both versions of the album and also includes the '95 single "Bird of the World" b/w "I May Never Know." You can expect the cd version to be available in stores on or around November 10th, with the double-vinyl version to follow a couple weeks later. More details are available at the Scat Records website.

Drummer, Other Girls, Royal Bangs @ Beachland Ballroom Cleveland and Unsparing Sea @ Beachland Tavern Cleveland 10.24.09

2009-10-26T15:00:00.006-04:00

If you came out to the Beachland Ballroom Saturday night hoping to hear the blues, you'd have left the venue damn well p*ssed. In spite of the American roots rock pedigree of Drummer's bassist, Pat Carney, aka, the drummer for the Akron blues, duo, The Black Keys, the assembled super-group of drummers who comprise the band, Drummer, stayed comfortably clear of anything resembling the blues, instead treating the crowd to a set of modern indie rock in the vein of Wolf Parade, complete with nerdy, prog-rock flourishes.

Jon Finley (Beaten Awake, Party of Helicopters) was intent on stretching the range of his rough, scratchy voice. Jamie Stillman (Party of Helicopters, Teeth of the Hydra) wanted to shred. Steve Clements (Houseguest) geeked out on his keyboards, Greg Boyd drummed (someone in a band of former and current drummers had to do it), and Carney, here the bassist, was content to place himself in the rear of the band and out of the spotlight. And somehow it worked. Maybe not the way in which people expected Drummer to work, and maybe not in the vein of a true super-group, rather Drummer performed much in the same way the band came together, as five friends from the Akron/Kent scene jamming for the sheer pleasure of it.

Perhaps the most telling moment of the night came mid-set, between "Diamonds to Shake" and "Feel Good Together" when Finley questioned the audience, "Are we having a good time?" It was met with a mild response and quickly redirected back to the band, to which he replied without a second of hesitation, "F*ck yeah, dawg." Even if Drummer weren't quite what you expected, you have to admit it was a good time seeing all the boys in the bands we've watched for the past ten years, together on the same stage, playing music for the purest reason possible, enjoyment.

---

Cleveland's , Other Girls, preceded Drummer, and at first glance, they appeared to be the answer to the indie rock fashion riddle, "What do you get when you cross a mesh-back hat and a new wave flop top?" A Flock of Truckers? Drive-By Seagulls? Jesus and Uncle Jessee Chain? The answer, unexpected to those who haven't seen the mismatched styles of Other Girls in action before Saturday night (The bassist, sporting the meshback look, and the guitarist on the opposite side of the stage, sporting the flop-top) , was power pop. It wasn't power pop in the Seventies sense of the genre, but a more nuanced form, drawing bits and pieces from modern acts as diverse as Interpol, The Walkmen, and Band of Horses. Numbers like "Sleep a Year," bounced and swayed with energy, while the "Long Con" proved that new-wave inspired pop can be channeled into more lively directions than minor-key moping. Their set wasn't without the occasional misstep, however. Lead singer, Jonah Oryszak's decision to take "The Facility" down an octave, sapped one of their record's brightest moments of its bristling pop. Luckily, it wasn't a set killing miscalculation, with the woozy ballad, "White Rabbit," and its wandering guitar tones, providing a well placed, set-ending highlight.

---

No, I checked my calendar, and it wasn't opposite night at the Beachland Ballroom, still the most energetic, and ultimately, the most enjoyable set in the big room belonged to the night's first band, Royal Bangs. Using a combination of riveting, synth waves, dance-rock beats, and abstract guitar riffery, the Knoxville, Tennessee five piece had a sound which was both comforting and unique. Vocalist/keyboardist Ryan Schaefer had the pipes of a bluesman, while guitarists Brandon Biondo and Sam Stratton gave hints that they could capably play in either a revival rock band or a metal band, but instead chose to chop their licks into little bits. The result was quirky, slightly off-center, and deceptively intelligent rock music, alternately skipping with blips and bleeps and pulsing with thick, layered blasts of sound.

---

Give credit to the Beachland staff and Unsparing Sea for having the foresight and the generosity to open up the Tavern side of the venue for those who paid for Drummer, Other Girls, and Royal Bangs in the Ballroom. Without their good will gesture, many local rock fans would have had to make the difficult choice between the two shows, and may have missed Unsparing Sea's album release.

First evidenced by their 2007 debut, A Cloud in the Cathedral, and reinforced with 2009's follow-up, In the Diamond Caverns, Unsparing Sea have the talent and the ability to be Cleveland's next big thing. Right now, they're one of those things that only people who are hip to such things, thing. With a little luck, and the power of the internet, that may change.

On record, Unsparing Sea come across deliberate, careful, and ruminative, exquisitely arranging their blend of modern folk, never wasting a note. However, Saturday night being a release show, and one week from Halloween, JR Bennett and the rest of the band, exhibited a considerable amount of pep, showing up in costume and giving many of their numbers a bit of an extra kick.

"Sing Devil Sing" and "Sleight of Hand" had the feel of rum infused sea shanties, true to the nautical nature of their name, with punk-trained drummer, Ryan Kelly, accounting for much of that oomph. Similarly, "Here, Here," a nine-minute, quiet drone on record, was transformed into an upbeat stomp, and "Fires, Attics, Etc," hit with the full force of a rock band, not a band whose work garners easy comparisons to indie-popsters like Beirut or Neutral Milk Hotel.

It wasn't all get up and rock out, however. As mentioned earlier, Unsparing Sea have a knack for skilled arrangements, "Held in Light," in particular stood out, thanks in part to ~~In the Diamond Cavern's producer, and one time Six Parts Seven member~~, Mike Marks, sitting in on banjo, adding precise fills to the off-beats, augmenting Tara Klein's steady cello.

Playing their new record front to back meant that In the Diamond Cavern's closing number, "All I Want," would be the night's closing number, as well. Here, Marks' pedal steel, in concert with backing vocals which echoed the Stones' "Sympathy for the Devil," albeit in a somber sort of way, added depth and sincerity to Bennett's tale of longing. When Bennett sang "Make me cry woo-hoo," it wasn't a cry of joy, but one of put on your happy face and force out some joy. At least on record, that's how it came across. This night, it was real joy, however, the kind which comes from knowing you did your job well, in the studio and on stage.

All photos by Mara Robinson

Updated 10.24.09 06:34 PM with one additional photo each of Drummer, Other Girls, and Unsparing Sea.

"Diamond Caverns" and "All I Want" by Unsparing Sea

2009-10-23T11:17:00.003-04:00

In speaking with Unsparing Sea's JR Bennett a few weeks back, he stressed the importance of not recording the same album twice when he and his bandmates went to work on the follow up to their stunning debut, A Cloud in the Cathedral. It's a fine sentiment, to be sure, but so many here in Cleveland fell in love with that disc and its skilled arrangements and its detailed depiction of love, loss, loneliness and redemption across the vast oceans. What if they made a rock album, or a noise album, or even worse, went all Sufjan on us and composed a suite of songs celebrating the Detroit-Superior Bridge?

Well, it turns out all that trepidation was for naught. Through near constant line up changes, the soul of the band remains in tact with Bennett's narratives as strong as ever and cellist, Tara Klein, lending gravity to the proceedings. If there is a shift in sound on their sophomore album, In the Diamond Caverns, it can be heard on tracks like, "Diamond Caverns," where their bleary-eyed weariness is replaced with an up tempo jangle reminiscent of Neutral Milk Hotel's much adored, In the Aeroplane, Over the Sea. Conversely, slower numbers, like, "All I Want," should appeal to fans of their earlier work as well as those who found themselves engulfed by the multi-faceted folk of Phosphorescent on his 2007 album, Pride. Together, these two sides of Unsparing Sea not only show a band intent on growing their reach as artists, but also a group poised to expand their appeal beyond the shores of Lake Erie and on to a nation wide audience.

MP3: Unsparing Sea - Diamond Caverns
MP3: Unsparing Sea - All I Want

Unsparing Sea's In The Diamond Caverns won't be out nationally until November 24th, but us locals will get a chance to pick up a copy when they celebrate its release this Saturday night at the Beachland Tavern. Trouble Books and Casual Encounters are opening.

Should you have trouble deciding between Drummer in the Ballroom and Unsparing Sea in the Tavern, don't fret, the Beachland is running a deal where a ticket to Drummer in the Ballroom gets you in free to see Unsparing Sea. For more on Unsparing Sea, check out this profile from the Cleveland Scene.

Unsparing Sea

The Rockometer: The Flaming Lips' Embryonic

2009-10-22T13:07:00.002-04:00

The Flaming Lips
Embryonic
Warner Bros.

The Flaming Lips' Embryonic is endearingly weird album. Alien sounds can be found in the fore of the mix, in the rear, and in every section in between. And when the Lips aren't processing the familiarity straight out of their instruments, they have Karen O, the Yeah Yeah Yeahs lead singer, screeching like a beast unleashed on her backing vocals.

Embryonic is a long album. Its 18 tracks and 70+ minutes would be considered lengthy in any era, but especially today, where the album's death is routinely proclaimed, the iTunes single is the supposed king, and a vinyl resurgence has aided in limiting run times to the 40 minute mark.

Embryonic is an album which can be frustratingly rough on your stereo speakers. Abnormally high recording levels produce forceful distortion, the likes of which no amount of knob twisting can alleviate. Big, bulbous bursts of synth, tortured and twisted bass lines, and fractured bits of guitar all take turns pushing recording norms and challenging standards of what a "good" album should sound like.

However, once you get past the eccentricity and the volume and the harshness, and you give up lowering bass, raising treble, positioning and repositioning speakers, and you finally find 70 minutes to sit down and let it all sink in, you'll find Embryonic to be an awesome record, awesome in the truest sense of the Oxford English Dictionary definition of the word.

Highlights abound in the form of tech-y, astro-lounge grooves ("Convinced of the Hex" and "The Sparrow Looks Up at the Mountain"), ominous movements of robot rock gone horribly wrong ("See the Leaves," "Powerless," and "Worm Mountain"), and fragile, startlingly beautiful, atomospheric pieces ("Evil, "If," and "Gemini Syringes"). Yet, the tour de force doesn't arrive to the very end, when "Watching the Planets" encapsulates an album's worth of rigidity, beauty, subtlety, and oddity in one five minute shot of acid rock madness, providing a fitting end to an album which succeeds and exceeds The Flaming Lips previously high standards of strange first set on 1999's The Soft Bulletin and 2002's Yoshimi Battles the Pink Robots. 10 out of 10 on the Rockometer

YOUTUBE: The Flaming Lips - I Can be a Frog

From the IRCWHQ Newsdesk: Pat Carney Talks Drummer with The Plain Dealer's John Soeder, Announces new Black Keys Album

2009-10-22T11:02:00.004-04:00

* John Soeder interviewed the Black Keys drummer/Drummer bassist Pat Carney for The Cleveland Plain Dealer and got the scoop on some Black Keys news. In addition to the previously announced BlacRoc project with Mos Def and Ludacris, The Black Keys also have a new studio album recorded and are eying a Spring '10 release date. The new album was laid down at Muscle Shoals Sound Studios in Alabama, and as Carney relayed to Soeder, it's their most minimalist recording to date, with the seclusion of being in Alabama and having nothing else to do, but record music, resulting in a dark and heavy record.

* Also revealed in the interview with Soeder, is the possibility of a Black Keys hometown gig at Musica in Akron, next month, to honor the recently deceased artist, Alfred McMoore.

* Lastly, in related news, Drummer's debut album, Feel Good Together, was reviewed today at Pitchfork and received a very complimentary 7.5 review.

Moving Pictures: "H.M.A. (Heavy Metal Addict)" by Boris

2009-10-21T10:20:00.002-04:00

Never let it be said that Japanese heavy music maestros, Boris, don't like to have fun. Granted, the 60 minute drones in their catalog bear the hallmark of a serious band who make serious music, but to see them live, is to see a group who are genuinely enthusiastic about melting your face with big riffs. On their last tour, especially, they were all smiles, Takeshi, striking poses as he blasted that double neck guitar, and Atsuo drumming as much for the crowd as he was for his bandmates.

The video for "H.M.A. (Heavy Metal Addict)," takes the fun factor one step further, into the realm of absurdity, riffing on pretty much every hair metal cliche of the '80s -- Big, big, and I mean big, poofy hair, pyrotechnics, random acts of violence with a sledgehammer, black, bondage inspired outfits, an Axl Rose kilt, a club straight outta Sunset Strip, and two long-haired dudes head-banging stage center -- all within the first 90 seconds. "H.M.A (Heavy Metal Addict)," the song, plays a similar game with our hair metal heroes of yore, as speed metal riffs, throbbing power chords, and blood gurgling chants are all worked into the context of a propulsive, post-industrial setting. The result is the type of fun, free, and ferocious heavy metal Axl's new G'N'R so desperately wanted to discover, but only occasionally succeeded in finding, during their decade long Chinese Democracy sessions. And to think, Boris, as prolific as they are, probably laid down this massive slab, in what -- a week, maybe two?

YOUTUBE: Boris - H.M.A (Heavy Metal Addict)

Boris' "HMA" 7" single is available now through Southern Lord Records and should be popping up at your favorite e-tailer any day now.

Boris
Southern Lord Records

Idolator Presents a Different Kind of Decade List

2009-10-19T15:39:00.005-04:00

Idolator are the latest internet publication to do the best of the decade list thing, but theirs comes with a sinister twist. In counting down F2K, Maura Johnston and Christopher R. Weingarten (ex-Parts and Labor, 1000 Times Yes, music journo extraordinaire) will be revisiting the 50 worst songs of the '00s. And if Brokencye's "Bree Bree" can only manage number 50, then this one is going to get really good, or bad, or really bad as in good. You know what I mean.

F2K: Idolator Counts Down The 50 Worst Songs Of The ’00s, One By Ear-Splitting One

Rocktober Week 3: The Son of The Return of Rocktober

2009-10-19T11:10:00.005-04:00

Monday, October 19th: Old Canes, American War @ Beachland Tavern. Converge, High on Fire, Keelhaul @ Grog Shop.

Tuesday, October 20th: St. Vincent @ Beachland Ballroom.

Wednesday, October 21st: Langhorne Slim, Dawes, Mike St. Jude & The Valentines @ Grog Shop.

Thursday, October 22nd: Hallelujah The Hills, The Lighthouse & The Whaler, and Chad Hill @ Beachland Tavern. Saul Williams @ House of Blues Cambridge Room.

Friday, October 23rd: Get Up Kids, Kevin Devine, The Life and Times @ House of Blues. Coffinberry, Brian Olive @ Beachland Tavern.

Really, it's ok to admit you listened to the Get Up Kids in the late '90s and early '00s, and it's ok to admit you've secretly circled this date on your calendar. Plus, they've repeatedly apologized for spawning that whole emo thing in the press. Now, you can go to this show guilt free.

Saturday, October 24th: Drummer, Other Girls, Royal Bangs @ Beachland Ballroom. Unsparing Sea, Casual Encounters, Trouble Books @ Beachland Tavern -- free admission to the Tavern with purchase of a ticket to the Ballroom show.

If you've been paying attention at all during 2009 you're supremely stoked for Saturday night at the Beachland. In the Ballroom you have the Akron super group, Drummer, along with Audio Eagle label mates Other Girls and Royal Bangs. While in the Tavern, Unsparing Sea are hosting a cd release party for their latest, In the Diamond Caverns. Cleveland Bachelor published an interview with Unsparing Sea's JR Bennett this morning. You can expect more from Unsparing Sea, right here, later in the week.

Sunday, October 25th: Leonard Cohen @ Allen Theatre.

Moving Pictures: "Whole New Way" by The Horrors

2009-10-19T09:34:00.001-04:00

Originally available on the Japanese import version of their second full length, Primary Colours, The Horrors' "Whole New Way" recently got a studio re-tweak courtesy of Rodaidh McDonald, a 7" single, and a video. And while the video itself offers little in the way of groundbreaking performances (Think any number of clips you saw on 120 Minutes from the early '90s where an English band wanders around a desolate landscape, lip-synching along the way, pausing occasionally for a glamor shot, or two), the song continues the band's transformation from short shelf-life, horror punk to something worthwhile and intriguing -- A fresh, nuanced take on classic bands like The Cure and The Psychedelic Furs.

PFKTV: The Horrors - Whole New Way

The Horrors' "Whole New Way" 7" single will be available on Novermber 3rd with the album track, "Primary Colours," serving as the B-side. It can be purchased now through iTunes.

The Horrors
XL/Beggars Group

Six For Sweater Weather: A Mini Mix Feat. Small Black, Tape Deck Mountain, Lightning Dust, Beaten Awake, Molina & Johnson, and The Dutchess & The Duke

2009-10-16T15:26:00.000-04:00

Go ahead, be cynical. The first mention Small Black on Pitchfork came with the disclaimer, " Live, they ( Josh Kolenik and Ryan Heyne) add Pitchfork.tv contributors Juan Pieczanski and Jeff Curtin to the mix." Personally, I'd urge you to put aside your conspiracy theories for a moment and give "Despicable Dogs," a fair listen, for in its four minutes you'll find an abundance of warm keyboard sounds presented in the framework of DIY styled, New Order synth-pop.

MP3: Small Black - Despicable Dogs

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What did you do with your unexpected summer vacation? Speaking from experience, I can say that taking on artistic projects whilst unemployed is easier in theory than reality. I have no fewer than three movie scripts sitting in various states of completion. San Diego native Travis Trevisan, on the other hand, made himself a band (Tape Deck Mountain) and an album.

"Ghost Colony," taken from Tape Deck Mountain's forthcoming release on Lefse Records, starts as your standard slacker rock take on shoegazing (If there is such a thing) and takes an interesting twist near the four-and-a-half minute mark when Trevisan embraces his inner metal man. Oh, if only more indie artists would embrace their inner metal men...

MP3: Tape Deck Mountain - Ghost Colony

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The voice of Lightning Dust's Amber Webber is one made for the chillier months -- It's a full, dynamic voice, wavering with expression, and a hint of isolation. Here, on "Never Seen," the second song released from her recent Jagjaguwar release, Infinite Light, that voice is paired with sparse percussion and the warmer tones of electric piano, giving the listener a kind of fireside effect, where the body feels both hot and cold.

MP3: Lightning Dust - Never Seen

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With all the press Beaten Awake's Jon Finley has been getting for his work fronting the Akron super-drummer group, Drummer, it's easy to overlook the fact that his other band also has a new release out. Beaten Awake's second album, Thunder$troke just came out this past Tuesday on Fat Possum records. The first single, "Coming Home," may be a bit more synth-y than the band's earlier work, but once it gets rolling, it hits that same spot -- A convergence of workingman, Ohio rock, Nineties indie, and Northwest folk -- that made their debut so enjoyable.

MP3: Beaten Awake - Coming Home

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If Conor Oberst, M. Ward and Jim James can call their collaboration Monsters of Folk, then Will Johnson (Centro-Matic, South San Gabriel) and Jason Molina (Songs: Ohia, Magnolia Electric Co.) could have surely gone a similar, self-congratulatory route and given themselves an equally ridiculous name like Rulers of Rustic Rock, or Amazing Purveyors of Americana, or Titans of Twang. Instead, they went the low key route and named their collaboration, Molina and Johnson. Quaint name aside, their self-titled debut, due out November 2nd on Secretly Canadian, is one all indie-folk types should have on their radar.

MP3: Will Johnson and Jason Molina - Twenty Cycles to the Ground

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Something happened to The Duke (Jessee Lortz) between The Dutchess and The Duke's debut and their follow up, the recently released Sunset/Sunrise. Reviewing Sunset/Sunrise for Pitchfork, Rebecca Raber suggested that fatherhood may have been weighing The Duke down, as much of the album was penned while Lortz's wife was pregnant. Only The Duke can say for sure, but there certainly is a change of mood between albums one and two. Whereas The Duke previously showed an inhuman ability to deflect life's downturn's and make them into bright, folk melodies, he now finds himself getting weighed down more and more.

When you listen to "Living this Life," the second track released from Sunrise/Sunset, you hear gravity in Lortz's voice, and a string section accenting his pain. Yet, even as life has piled onto The Duke, and the day to day has become harder and harder, there's still quite a bit left of those qualities which made his first pairing with the Dutchess (Kimberly Morrison) such an endearing record -- Like the barren production style emphasizing voice and acoustic guitar, those honest harmonies, and real, unfiltered, human emotion.

MP3: The Dutchess and The Duke - Living This Life

From the IRCWHQ Newsdesk: Northeast Ohio is the New Williamsburg

2009-10-15T15:39:00.003-04:00

Well, at least for two days, it is. In the past 24 hours, the Pat Carney side project, Drummer, has seen their video for "Feel Good Together" featured at both Stereogum and Pitchfork, Kent's Beaten Awake had two singles featured at RCRD LBL, and Cleveland's Hot Cha Cha received a complimentary record-release preview from the local alt-weekly, Scene. My Google Reader hasn't seen this much NEO Rock 'N' Roll action since that one time the Raspberries' Eric Carmen appeared in that police video and had his DUI arrest re-broadcast all over the internets, and that wasn't exactly one of the Cleveland music scene's high points.

Rocktober Week 2, Revelations: Jemina Pearl, Califone, They Might Be Giants, Hot Cha Cha and More

2009-10-13T11:25:00.003-04:00

Tuesday, October 13th: Jemina Pearl, All Dinosaurs, Struttin' Cocks @ Beachland Tavern. Mike Doughty @ Beachland Ballroom.

Making her first solo appearance in Cleveland is the ex-Be Your Own Pet frontwoman, Jemina Pearl. She's still quite the riot girl, even if it's a different girl from a different era. Whereas BYOP ripped with youthful aggression and attitude aplenty and were very much a band in the here and now, Pearl's solo work is more likely to recall the work of such trailblazing ladies as Joan Jett and The Runaways.

MP3: Jemina Pearl - Looking for Trouble

Wednesday, October 14th: Califone live multimedia event @ Beachland Ballroom. Kylesa, Saviours, Red Fang and Lionize @ Grog Shop.

Thursday, October 15th: They Might Be Giants performing the classic album Flood @ Beachland Ballroom. SOLD OUT.

Friday, October 16th: Dr. Dog, Jeffrey Lewis @ Beachland Ballroom. Hot Cha Cha Record release show with Freedom, Founding Fathers, and Uno Lady @ Grog Shop. Mars Volta @ House of Blues.

Long a staple of the Cleveland live scene, the four ladies in Hot Cha Cha will be showcasing work from their forthcoming, full length debut, The World's Hardest Working Telescope and the Violent Birth of Stars on Friday night. You can expect new-wave, post-punk, some fine guitar work, and fun. No matter what you think about Hot Cha Cha the artist, there's no questioning the fact that Hot Cha Cha's frontwoman Jovana Batkovic is one of area's premier entertainers. Unless, you don't like fun, of course. In that case I can recommend a few dozen indie bands who will stand on stage and look bored for your pleasure.

MP3: Hot Cha Cha - Hookers Deserve a Lifetime Achievement Award

Black Angels, Dissappears, Pierced Arrows Live @ The Beachland Ballroom Cleveland 10.11.09

2009-10-12T19:03:00.001-04:00

By virtue of leaving my trusty metronome at home I can't vouch for the quantitative validity of the following statement, but it sure seemed The Black Angels carried a little extra pep steps when they played the Beachland Ballroom on Sunday night. From the opening tom tom beat of "Doves," it sure sounded to these ears as if the tempos had been pushed a few extra BPMs. It was a surprising development for the Austin five-piece, as their 2008 album, Directions to See a Ghost, saw them take their dark and murky psychedelic rock to deeper, more meditative realms.

Granted, saying the Black Angels had some extra pep is not akin to saying they spent the night criss-crossing the stage, performing high risk rock kicks, or windmilling their solos. Even through the massive rock attack which is "Black Grease," they remained largely sedate, with the only movement being the slight head toss to facilitate an especially righteous riff.

The Black Angels are still a band who thrive on mood, not action, and by the time they finally got the stage lights just right, there was barely any light left in the room. From the rear of the venue, all you could see were ill-defined forms. You could make out a face when, and only when, a band member happened to wander in front a small globe of light reflected from the stationary mirror ball. The darkness provided to be an apt setting for such fan favorites as "You on the Run," and "Science Killer," where long droning passages would be shocked back to life with a scathing shot of guitar, or a hair-raising yelp from deep in the belly of vocalist Alex Maas.

The biggest reaction of the night, however, was saved for "Young Men Dead," a song popularized in the trailer for the Coen Brothers film, No Country for Old Men. Thanks to an extra crank of the amps, this one shook and rattled that old mirror ball into movement. It had the crowd shaking, too. During the song there was a noticeable groove going on stage center, and as the last note faded, the band were treated to a serenade of "Woo-hoo's."

The crowd's graciousness didn't end with "Young Men Dead." They even sounded excited when Maas uttered the dreaded phrase, "We're going to play some new songs." Now, it has to be said, with all the echo on his microphone, there was a very good chance that those who heard "New songs" and replied "Woo!" may have interpreted "We going to play some new songs," as "She's wearing only a thong." Still, echo or no echo, the new material was received rather well. Less droning, less wandering, two of the new numbers in particular, showed a pop side rarely heard from The Black Angels, providing a rare opportunity for the crowd to break free from bug eyed head bobbing and do their best surf rock dance moves.

Opening for The Black Angels, were Disappears, a four piece from Chicago, featuring members of The Ponys, 90 Day Men and Boas. While few in attendance were familiar with the band prior to their opening slot on Sunday (According to Mark Leddy of the Beachland there were probably 8 people here for their last show), there's a damn good chance they ended the night with many more fans.

Keeping to the more re-verb, more echo, more everything theme of The Black Angles, Disappears played a style of music -- one part kraut-rock, and one part punk -- which engulfed the big room with riveting, pulsating sounds. The rhythm section would keep to clean and succinct repetitive lines, while the two guitarists had entirely different designs. Their tones were big, blurry and bright, attempting to obfuscate the production line like efficiency of the bass and drums. As a result, they came off a bit like space rockers, The Secret Machines, but only after adding a fistful of amphetamines to their daily drug regimen.

Kicking off the night's rock action, were Pierced Arrows, the new outfit for ex-Dead Moon members Fred and Toody Cole. While Dead Moon's output covered garage, punk, and country, Pierced Arrows had a more singular focus, that of power rock. Not quite metal, not psych, nor punk, Motorhead-styled Rock 'N' Roll, is perhaps the closest you can come to pinning them down. And for those in the crowd for whom the Dead Moon name meant something, their brand of rock absolutely ripped.

It's Not Rock and Roll, But I Like It: The BG-4 2D Show at 1300 Third Gallery

2009-10-09T09:51:00.003-04:00

Back in 2008, the good friend, photographer of mine, Jeff Sierputowski was the one who shot all those incredible images at the 2008 Pitchfork Music Festival. Remember 2008? I know, it was a long time ago, but should you have forgotten what went down, here's that link a second time. The man's got talent and this Friday, he's teaming up with three more local artists -- Trelawney O'Brien, Benjamin Haehn, and Keith Slaby, all of whom went to Bowling Green State University, hence The BG4 -- for a show of Photography, Printmaking, and Painting (The 2D part) at the 1300 Third Gallery on W 78th. The opening runs from 6 until 9 tonight. Further details can be found by following the two links at the bottom.

1300 Third Gallery on Facebook
The BG4 2D Show at 1300 Third on Facebook

"Ticket Away From Prague" by Hot Cha Cha

2009-10-08T14:36:00.000-04:00

Early in their career, the Cleveland new wave/post-punk band Hot Cha Cha had a reputation, right or wrong, of being a vehicle for Jovana Batkovic's stage antics, first, and a band, second. Betkovic's brightly colored leotards and her extroverted personality were the story.

One local blogger, one who shall go nameless at this moment, bought in wholly and wrote, "Hot Cha Cha are the best live act in town." It was a sentiment which didn't go over so well without the follow up comment, "In terms of entertainment," clarifying his initial posting.

Now, on the eve of the release of their first full length, there's a second story emerging -- These gals can really play.

Exhibit A: "Ticket Away From Prague," a track where the low end has a definite fuzz bass feel, one not gathered from fuzzy bass, per se, but from its combination with Mandy Aramouni's vintage keys. Bosnian born Betkovic adds sophistication with her best Eastern European Debbie Harry act. The deal for post-punk dominance, however, isn't sealed, until Aramouni trades the keyboards for guitar and produces a sound which is clean, clear, seductive, and sly, alternating between deliberate, elongated notes and rapidly picked ones.

Given this track, had I never seen Bektovic in her best yellow leotard, coaxing the Beachland's Mark Leddy to dance with her on the Tavern stage, I'd still feel confident in saying this band has it -- Looks, attitude, and now, the music.

MP3: Hot Cha Cha - Ticket Away from Prague

Hot Cha Cha's first full length album, The Worlds Hardest Working Telescope & The Violent Birth of Stars, will be out on Cleveland's own, Exit Stencil Records, on October 27th. The CD release show is scheduled for Friday, October 16th at the Grog Shop with Freedom, Founding Fathers and Uno Lady.

Hot Cha Cha
Exit Stencil Records

photo by Laura Webb

Top Jam of the Week: "How Wrong You Are" by Boston Spaceships

2009-10-08T14:10:00.001-04:00

The fact that Boston Spaceships is the home of Robert Pollard's finest post-GBV work is something I've been trumpeting since the release of Brown Submarine in 2008. Now with Zero to 99, the third disc recorded by Uncle Bob, John Moen, and Chris Slusarenko under the Boston Spaceships banner, others are starting to take note.

From Magnet Magazine came this bit, "When we got an advance copy this summer of the excellent new Boston Spaceships album, Zero To 99 (out next week on GBV Inc.), we were immediately floored by track two, 'How Wrong You Are,' possibly the best song Robert Pollard has recorded since the demise of Guided By Voices."

Then, in today's review for Pitchfork, Paul Thompson had this to say, "It is somehow 2009, five years on from the dissolution of lo-fi heroes Guided by Voices and at least 10 since the agreed-upon peak of his powers, and Bob Pollard's making some of the best music of his life. Three albums deep into the Boston Spaceships and the prolific songwriter is on a tear to rival a few of his best-ever runs."

Take a listen to this week's top jam, "How Wrong You Are," and I have a feeling you'll agree with Pitchfork, Magnet, and this former Uncle Bob apologist.

MP3: Boston Spaceships - How Wrong You Are
YOUTUBE: Boston Spaceships - How Wrong You Are

Boston Spaceships

Yo La Tengo @ The Beachland Ballroom Cleveland 10.05.09

2009-10-06T14:53:00.002-04:00

Burgeoning musicians, take note. Do not, I repeat, do not start a show as Yo La Tengo began their show Monday night at the Beachland Ballroom. It takes a special band, and Yo La Tengo are such a band, to lead a near sold-out performance with two moody, slow moving songs, clocking in at nearly 20 minutes. For you, burgeoning musician, this is a sure fire way to quickly lose the interest of a crowd and an iron clad guarantee not to get invited back to the venue. For Georgia Hubly, Ira Kaplan, James McNew of Yo La Tengo, however, a trio who've earned the respect and trust of their fans for being tasteful, tuneful, and most importantly, talented musicians, leading with "Here to Fall" and "More Stars Than There Are in Heaven," was their way of sending a clear reminder to the crowd, "We know what we're doing. You've stuck with us for 20 years, through a series of stylistic changes, and you keep coming back. Believe in us one more time."

Sure enough, as the feedback from "More Stars Than There Are in Heaven" faded from the Beachland stage, Yo La Tengo set out at doing what they do best, which is what ever style of popular music they decide to play at that moment. Drawing largely from their most recent album, Popular Songs, the band shifted between Brit-Pop ("Avalon, or Someone Very Similar"), Motown ("If It's True"), '70s soft rock ("I'm On My Way"), lounge music ("Periodically Double or Triple"), and many things in between. Kaplan moved from guitar to keyboards and back, while McNew, primarily on bass, chipped in on extra percussion, a second guitar, or lead guitar, depending on the style. When the mood was delicate, Kaplan and McNew played with the seriousness of surgeons, coaxing tones as smooth as violins out of their electric guitars, and when the song called for a little extra oomph, Kaplan shredded as if he was in the midst of an epileptic fit.

The three song suite of "Deeper Into Movies," "Nothing to Hide," and "Tom Courtenay," bristled with energy, rattled with static, and emanated ecstatically across the room. Peer through the crowd and you could see couples holding hands, happy fans jumping up and down, and dancing and smiles during the jangly pop of the latter two numbers. Close your eyes, and the sound of Kaplan's guitar dominated. "Deeper Into Movies," in particular, was one shrieking, hissing riff after another, with McNew and Hubley somehow able to keep their complex, syncopated rhythm in tact.

It would turn out to be but a preview of what was to follow -- The 20-minute extendo-jam version of 1993's "I Heard You Looking." Kaplan's guitar alternately sounded like a 1964 McCulloch chainsaw versus the thickest of redwoods, the emergency broadcast system in desperate need of emergency repairs, a blender vainly attempting to puree a bunch of squeaky toys, an air siren, whale songs, and random static picked up from the radio dial. Depending on your musical background, it was either the longest 20 minutes of your life or the sweetest sounds you've ever heard. For the Beachland crowd it was the latter, as time and again, McNew and Hubley would ease Kaplan back down, and return to the song's simple, eight note melody, only to have him rip again.

At this point, the encore was but a formality. Sure, it was sweet to hear Yo La Tengo cover the Electric Eels track, "Accident," but many in the crowd had already made up their mind -- Their faith in the Hubley, Kaplan and McNew had been redeemed, as Monday night was, and most likely will forever be, the band's finest Cleveland appearance. It was a sentiment I heard time and again while mingling outside the venue after the show. I didn't argue. I agreed.

Yo La Tengo Setlist: Cleveland 10.05.09

1. Here to Fall
2. More Stars Than There Are in Heaven
3. Avalon or Someone Very Similar
4. Autumn Sweater
5. All Your Secrets
6. (Unidentified)
7. By Two's
8. If It's True
9. I'm On My Way
10. I Feel Like Going Home
11. Periodically Double or Triple
12. Deeper Into Movies
13. Nothing to Hide
14. Tom Courtenay
15. I Heard You Looking
16. Accident (Electric Eels Cover)
17. Hungry (Paul Revere and The Raiders Cover, introduced as not a Sammy Hagar song)
18. Black Hole (Urinals Cover)
19. Did I Tell You
20. Don't Have to be So Sad

Rocktober Week 1, The Awakening: Yo La Tengo, Monotonix, Japandroids, The Black Angels and Much, Much More

2009-10-05T09:54:00.006-04:00

This is why I love Rocktober -- There's a full week of Rock 'N' Roll shows in town, with something for everyone, and some nights presenting difficult decisions for the Cleveland rocker. Spend your Rocktober dollars wisely...

Monday, October 5th: Yo La Tengo, Cheap Time @ Beachland Ballroom. Living Colour, Sekond Skyn, Downforce @ Grog Shop. Monotonix, Turbo Fruits (Ex- Be Your Own Pet), Album, This Moment In Black History @ Now That's Class.

While most musicians their age are out on the county fair circuit, Yo La Tengo are busy producing some of their finest work to date. And I'm not the only one who feels this way. Yo La Tengo's Popular Songs has also been received well The Onion's AV Club, Drowned in Sound, All Music Guide, and Pitchfork, to name but a few.

Now about that Monotonix show, all you need to know about this three piece, garage rock outfit from Israel can be found right here. These dues absolutely bring it live, and in a small setting like Now That's Class, you're all but guaranteed an in your face shred fest worthy of the Rocktober name.

Tuesday, October 6th: Shooter Jennings with JJ Grey and Mofro, Earl Greyhound @ Beachland Ballroom. The Most Serene Republic, Grand Archives @ Beachland Tavern.

Grand Archives, also known as that other Band of Horses, is lead by former Band of Horses and Carissa's Weird guitarist Mat Brooke. They recently released their second Sub Pop album, Keep in Mind Frankenstein, on September 15h. For a preview, check out all the goodies over at the Sub Pop website.

Wednesday, October 7th: Indian Jewelry, Chief Bromide, Own Weather, Pimlo-Falling Rock, Mahogany Mantle @ Now That's Class.

Thursday, October 8th: Japandroids, The Coathangers, Megachurch, Church of the Snake @ Now That's Class. Revolting Cocks, Jim Rose Circus, Blownlaod, Left Spine Down @ Peabody's.

On the festival stage during the 2009 Pitchfork Music Festival, the Vancouver duo, Japandroids ripped through a quick set of big riff Rock 'N' Roll, impressed many in the crowd, then left with a promise -- See us on our club tour this fall and if you think we shredded on a big stage wait 'til you see what we do in a more appropriate venue. I intend to take them up on that challenge.

Friday, October 9th: Elizabeth and the Catapult, Christina Courtin, Red Buttons @ Beachland Tavern. B.B. King @ House of Blues.

Saturday, October 10th: Pink Eye Magazine Issue 6 Release Party with Self Destruct Button, Chief Bromide, Buried Wires, Arte Povera @ Beachland Tavern.

Sunday, October 11th: Black Angels, Disappears, Pierced Arrows @ Beachland Ballroom. Asobi Seksu, Loney, Dear, Anna Ternheim @ Grog Shop.

The Austin-based, heavy psych-rock band, The Black Angels, are no strangers to Cleveland. They've played both rooms at the Beachland, shared a stage with The Black Keys at the Agora, and have rocked them all. Now touring in anticipation of their third full length album, tentatively due out early 2010, you can expect to hear a healthy dose of new material, as well as a classic cut, or two, when the band headline the Ballroom stage on Sunday night.

YOUTUBE: Black Angels - You in Color
YOUTUBE: Black Angels - Black Grease
YOUTUBE: Black Angels - Better of Alone
YOUTUBE: Black Angels - Young Men Dead