Vladee Divacc- Hoop Dreamz EP (2010)

Pitchfork has claimed new genres in waves. They have their darkwave, chillwave and Wavves, but what Pitchfork is currently (and unknowingly) let slip under their radar is a new brand of music. The style is set upon a balance of dark ambiance, howling, siren-like clamor and a love for the sport. This style of music is known as dunkwave, and let it be known that Huevos will be the first ever publication to endorse it.

Crafted by former Panda Steps in Chocolate boss, Christian Filardo, the contents of this EP fall into a much deeper and darker category than what has been heard on his work shared here in the past. I have known this musician long enough to trust nothing but quality music from his name, even if the artistic integrity of his sound may change dramatically. Versatility and a will for constant progression are what I believe to be incredibly important qualities to possess a musician. After knowing and listening to Christian's work over time- from all the way back to his first full length as Panda- I can confidently say that he carries these traits.

If you can imagine David Lynch filming and producing an NBA game, this EP would probably come close to how it would sound. There's a hint of unnerving nature (one that comes with most sports), but there is also something intriguing about its purpose. Most see basketball as a game of precision and really tall black dudes that can jump like Super Mario. Through an exploration of this highly regarded sport, the spirit of dunkwave emerges with its darker side. It's the side where everyone on the bench is brutally murdered, where everyone is guilty, and the court is left empty. It's when everyone has gone home and the jingling of the janitor's keys have already faded away, and the stirring turmoil of dunkwave begins. Hoop Dreamz contains no catchy anthems and hardly anything that I could legitimately label as a song. This EP is merely part of the birth. I want Huevos and all of its readers to serve as a loving, nurturing family for this delicate and fresh concept. Spread the word, and keep close for more material to come from dunkwave's very first proprietors, Vladee Divacc.

1. Chris Mullin

2. Expansion Teams

3. Phoenix Suns

4. Hoop Dreamz

5. John Stockton

Hoop Dreamz (2010)

Guided by Voices- Universal Truths and Cycles (2002)

"I can write six songs while sitting on the toilet, and three of them will be good."

--Robert Pollard

It's always a tasking argument when it comes to the importance of quality and quantity. There is hardly a population of artists that can accomplish both. Those of who we associate with this trait are folks like Frank Zappa, Sun Ra or even Pollard himself, though there are some uncomfortable exceptions. Some people have pinpointed that there was a stopping point in the Guided by Voices catalog, but I can hardly believe that some would cut it off before 2002. To cut off Universal Truths and Cycles hurts my heart more than it could hurt Pollard's; it's been such a long time since I've heard an incredible rock album like this.

For those accustomed to the two minutes-or-less, scratchy structures of the old GBV material, the production quality will be the most obvious factor to jump out. The cohesiveness between the songs has also improved over the years, but that isn't the only change. Since the classic lineup's split, the band brought in two former members of the Breeders for their new lineup started in '98; they also jumped around record labels before returning to Matador.

In my mind I divide this album like it is on the LP, split down the middle between the hefty 19 tracks that sprawl across it like a landscape. A quick, catchy introduction by "Wire Greyhounds" shows that Pollard didn't leave his good tunes back in the toilet bowl. Following after, "Skin Parade" delivers a sonic grind of trippy riffage and word play. The album takes a break from this experimentation come track five and whisks over a breath of poppy hooks in "Cheyenne"; I am still surprised that this wasn't a huge radio hit. While this was also one of the highest chart topping GBV album's at the time of it's release, it seems to have been long forgotten, buried underneath the heaps of Pollard releases to follow. It's really hard not to love an album that can manage to squeeze in the dessert crème brûlée as a lyric.

The songs on the record fluctuate around the traditional two minute mark, but there's also some that may venture passed four minutes: an uncommon trait for the band. "Car Language" is one of these uncommon slow burners, but the intense build through the track is rewarding. Though it isn't hard to reach the end of the album, the title track "Universal Truths and Cycles" is definitely a treat for anyone able to stick it out, set on a heavy-ass, infectious groove. In the closing song, the record ends on a positive note with Pollard repetitively singing "so God bless you." After the final click of closure from my record player, I tend to take this blessing to heart. The world of music is truly blessed to have a band like Guided by Voices around, who even after years of servitude are able to still deliver their own quality brand of ever-evolving music.

Technology vs. Horse

It is really criminal the amount of local acts and artists that go so easily unnoticed. What's surprising is that they're really not hard to find. Attend a show at Skull Alley with a five-for-one ticket lineup and you are sure to find a band that you absolutely love. Good talent is everywhere, but it comes in such a large dose that it may seem overwhelming for somebody just delving into the local scene. There is really nothing more exciting than witnessing and communicating with these great acts so up close. It's such a different feel from seeing a performer standing hundreds of heads away on a stage; something gets lost in that distance.Last week I saw Bowling Green, Kentucky-based band Technology vs. Horse at Derby City Espresso in Louisville. It is clear that these men were not meant to be confined in their hometown, their sound descending far past what you would expect from their origin. On the group's latest effort Bearula: The Bear Dracula, they reveal a broad spectrum of influences that make this sound fairly difficult to pinpoint. The only things that come to mind are the likes of Zappa and Mike Patton: both iconic and prolific with their talent to create boundless concoctions of records. Technology vs. Horse seem to be fueled by this kind of inconsistency, with each of their albums sounding not only more progressive than the last, but also increasingly pleasing to the ears. These dudes are no strangers to fluctuating with the structures of rock music.
In person, the band is an odd bunch, described by singer Michael Farmer as an "unfuckable Roxy Music." It isn't uncommon to catch one of them donning a vampire cape during a show, and a hell of a show it is. While playing a set in front of a projection of Down by Law, Farmer (also known as the Kentucky Prophet) makes it a point to keep the experience interactive. Not only are you getting to hear great music, there is also definitely a tinge of entertainment to the show. It's rumored that the band may return to Louisville in October for a Nosferatu-themed set, but one can only hope this to be true. With new bands starting up every day, it's sometimes hard to weed out the ones who really put forth an effort to stand out. Bands like Technology vs. Horse should be celebrated for this. While we're in a time when originality is white-washed over with gimmicks and effects, there are still bands like these that can completely blow you away. It's so refreshing to hear this new music that doesn't leave a pre-processed taste in your mouth. Keep a watch on these guys, they bound for supreme recognition.
Bearula:The Bear Dracula (2009)

Four Against the Minotaur (2007)

Built to Spill @ Headliners Music Hall, Louisville

Built to Spill/Chikita Violenta

Sunday, August 29th, 2010

Headliners Music Hall

Better than: getting a second chance at life.

Back when I was introduced to Built to Spill, it never occurred to me that I would ever have the chance to see these rock heroes in person. All hope was lost when they arrived in Louisville two years ago with the Arizona cow-punks of Meat Puppets, scheduling an 18+ show, and I'm pretty sure the same thing happened again the next year. It's been a really frustrating effort on my part, but I finally got my night. I shook the hand of Doug Martsch and felt my face brighten like Christmas morning. It was like he transferred all of the evening's energy from his palm to mine.

Now that I am 18 and can legally have access to more shows, it makes me so much more grateful to have venues like Headliners who have played as a temporary hutch to so many fantastic acts. There wouldn't be opportunities like this without it. When hosting such a broad array of genres, performances and artists, there really isn't a better place to be when you want to see an amazing show. Of course, this night's lineup was no different. Although I have a tendency to be late upon my arrivals, I have always cut it close enough to catch the headlining act. This is, after all, the reason I am forking over twenty dollars. So even if I did miss Chikita Violenta's set, I still feel like I received well worth what I paid to attend.

With "The Plan," Built to Spill opened up the set in a burst of excitement. Any song from Keep it Like a Secret had a tendency to energize the crowd more than the rest, I noticed. Several shouts for "Broken Chairs" and "Carry the Zero" were commonly heard during in-between song tune-ups, but most of these requests weren't honored until our well deserved encore. Throughout the set, the band made it a point to explore their catalog without totally voiding their new material as well, honoring an oldie like "Three Years Ago Today" and fairly new tunes such as "Things Fall Apart," jamming it out when necessary. The new material translated well live, but it didn't seem to have as much kick as the kind of jams they've been playing for years. Midway through after pounding out "Sidewalk," Doug took a moment to tussle his head with a towel, already dripping with sweat. With his hair sticking out like a clown and a quick survey of the crowd, he announced "this is when the show really begins." And the magic erupted there.

Like the heroes of their era, it's not long before it will be time for Built to Spill to hang their hats for good. I would advise anyone to check out the remainder of their tour and try to make it to a show. Although it seems like they aren't finished for good, it's hard to say what the future will bring for this band. Maybe it could be for the best; Doug can still continue will solo work, or he could even go totally wild and bring back Treepeople. Time has been good to Built to Spill, but let's hope it doesn't spoil them either. It is a much too precious legacy to tarnish.

Elvis Perkins in Dearland- Elvis Perkins in Dearland (2009)

If you've seen the 1960's version of Psycho, then you already have a vague idea of who Elvis Perkins is. Not only is his father Anthony Perkins—one of film history's most distinct serial killers—his bloodline includes other famous personas, from his great grandmother and fashion designer Elsa Schiaparelli to actress Marisa Berenson. It really only made sense for Elvis to receive the hereditary torch of fame. This time, in a different realm.

After suffering through the death of his mother who was a victim on the hijacked American Airlines flight that crashed into the twin towers (a day before the anniversary of his father's death, no less) Perkins wrote his first solo effort, Ash Wednesday, heavily based off of these events. Now accompanied by a backing band, Perkins had no interest in creating an Ash Wednesday II. It was time for the rest of the band to have a say, and within Elvis Perkins in Dearland the complimentary chemistry between these musicians is mystifying.

Opening tune "Shampoo" jumps from mellow folk, to poetry, to straight up jamming in the midst of what people call "feeling the music." The fact that these band members are also multi-instrumentalists plays into the vibrant and diverse sound of each track. This would be the defining factor that separates Elvis Perkins as a solo act and the talented collective that is the rest of Dearland. But this unity doesn't take away from the times where Perkins can truly shine. He did, after all, start out writing poetry before translating his work to music. "Send My Fond Regards to Lonelyville" displays this talent well, painting for the listener a homely picture against a soulful and bouncy, acoustic tune—right before a parade of horns come marching passed. But don't be fooled by these ballads; Elvis Perkins in Dearland can get seriously heavy. Check the chimes, organ and stomping riff that craft the folk-sludge of "I'll Be Arriving." It is obvious from here that Elvis Perkins is not new to fidgeting with the structures of folk, and a regular Dylan when a harmonica is to be had. If only I knew about this before I made my Best Of '09 list...

Amaranth- California Demon (2010)

Rock duos are underappreciated, and their significance is overlooked. Even in full bands of four or five guys, there's usually two that sync up and play off of each other exclusively that forms the critical foundation of any group. Most usually, it's down to the bassist and drummer that propel and drive each song into a natural groove and rhythm. The ill dubbed genre of math rock has been one of the more prominent styles to feature and spotlight this phenomenon, with a planted seed from Louisville's dark quartet Slint and mass influence from Heavy Vegetable and Don Cabellero throughout the '90s. One of modern year's most well respected, Hella, is a showcase of pure force and spastic melody within this sparse genre, led by the octopussian drummer hero Zach Hill and the eccentric Spencer Seim on guitar. Hold Your Horse Is and There's No 666 in Outer Space both remain as snob favorites, with the latter being Hella's only album to feature lead vocals. Those in question were performed by Aaron Ross, who later formed Amaranth with bandmate Seim to play and release—rather simply in description and sound—straight up rock music. So far they've only played in select basements around the California area, but their debut album is fully accessible and a substantial piece of work. Tracked live with presumably little overdubs, Ross and Seim sync up not unlike that of a youthful Bonham and Jones... a classier Perkins and Avery... a gentler Chippendale and Gibson.

Songwriting duties within California Demon are noticably split up: Ross's tracks are crafted with a sprawling chaos that beckons the anarchy of folk music, while Seim delivers what could be considered Hella if their emotions were to be awfully conservative. Regardless of who wrote what, each track is tightly rehearsed and brimming with purpose. If their contributed work on There's No 666 in Outer Space was an interstellar exercise in existentialism, then California Demon is a trip back to earth with a similar perception but a further view of it, and from a concentrated focus of two people rather than five. The album begs to be played as loud as the ears can handle, enclosing a full spectrum of claustrophobic sound, practically swirling and evolving like a fractal abused with psychedelics. It can be meticulously catchy and downright introspective when it wants, but more importantly its most appealing trait is the unforced development of the duo's unbridled self-expression. The basements they've been playing in aren't the surroundings of someone trying to cash in their celebrity status and make a few dimes, but the surroundings of living in the intimate moment of creation with family and friends, close and far.

Guided by Voices- King Shit & the Golden Boys (1995)

As if the day would never come, Guided by Voices are revisiting the spotlight once more. Earlier this month the band agreed to take on a reunion tour of their classic lineup circa '94-'96, and Robert Pollard has already announced to release five albums within a ten month span. However, none of these albums will be under the name GBV.

King Shit & the Golden Boys is as non-traditional as any of Guided by Voices' numerous records. It originated as part of the band's first box set released in 1995 suitably titled, Box. King Shit was included as an LP of previously unavailable material, reminiscing old tunes from Bee Thousand and miscellaneous demos from their first four releases. The record is satisfying in terms of the GBV signature lo-fi to the extreme, but the static and background noise doesn't take away from the beauty that the group has managed to slip in between grit through all of these years. Call it wankery, but I find that a lot of lo-fi recordings tend to be a lot more interesting than a solid studio cut. Maybe it's something about the buzzing, empty air, or the background noise you hear right before the first strike of a song. Nothing is more intimate than a pure, straight cut of a band playing together in a small room.

For those who are already familiar with Guided by Voices, it won't be hard to pinpoint old tunes and melodies found on previous releases from the prolific band. "At Odds with Dr. Genesis" can be easily recognized as an extended cut of Bee Thousand's gorgeous "Ester's Day." Other mellow songs like "Don't Stop Now," as unnerving as it may sound near the end, are fairly catchy and easy to come back to. It is a trait that makes a Guided by Voices track so prone to love: short, jingly tunes with a sentimental intimacy; Robert Pollard's silly and sometimes nonsensical lyrics are also a factor in this. You just can't help but love a lot of these songs.

"It's my birthday... aren't you going to sing happy birthday to me?"

The American Astronaut - "Party"

I turned 18, you guys.

Andrew Jackson Jihad @ Skull Alley, Louisville

My pal Devin and AJJ's Sean

Andrew Jackson Jihad/Laura Stevenson and the Cans/ The Wild/ Paul Baribeau/ beady/ The Ambulars
Thursday, May 27th, 2010
Skull Alley
Better than: breakfast for dinner.

Never before has the letdown of a previous night's show effected me so anxiously the following day. As I'm beginning to piece together the blueprints for my life as a high school graduate, there has always been a nauseous skeptical feeling in the pit of my heart, even as things may seem they're going the way I wanted. Perhaps these feelings are normal, but the optimistic thrill I feel today seems like it was meant to be. Seeing Andrew Jackson Jihad at this peak in my life was destiny.

As this was my first time seeing AJJ in action, it was also my first time to attend a show at Skull Alley. Although it's small size may be climatically suffocating, the space still serves for a much more intimate show. In the long run, this is really all that matters; it's hard to pinpoint this kind of experience in the midst of a crowded arena. But the only things that keep those moments alive are the immense amount of talent and fanship that pour from the venue's walls. An exhausting familiarity found between the fans and musicians has created a close-knit environment that feels both comfortable to music scene queens and casual showgoers alike. This relationship bonds an understanding. Faulty strings and forgotten lyrics can be excused as a part of the show, and impromptu performances of cover songs are taken as a treat over filler. Attending this show has reminded me that these imperfections can sometimes transpire to be what truly complete an experience. And I guess that evening I was lucky.

Before headlining act Andrew Jackson Jihad took the stage, their predecessors of opening acts handled the small venue's spotlight surprisingly well. Among these artists was the Brooklyn-based collective Laura Stevenson and the Cans, who pounded out an impressive and moving set led under front woman Laura Stevenson's sweet croon. Paul Baribeau, a solo artist from Michigan, also presented himself quite intimately, who for a small instant was able to hush an entire venue of people.
It was mid-intermission when AJJ's Sean Bonnette broke me the news that the band's other half, Ben Gallaty, was unable to attend. In lieu of a duo performance, Sean executed a one man act of Andrew Jackson material, including both freshly written songs and older works from their debut record, People Who Can Eat People are the Luckiest People in the World. With "Rejoice" as the set's suitable opener, Sean veraciously strummed through AJJ's other standards, "No More Tears," "Brave as a Noun," and "Personal Space Invader." Near the set's close he surprised the crowd with the long awaited "People III," a song that picks up from where "People II: The Reckoning" had left off on their debut album. It seems that despite the lack of Ben, Sean was able to perform comfortably as a solo act. Among the stage patter, Sean took time to explain some of the purposes behind his typically angry songwriting while also touching upon subjects like the nutritional mistreatment of the homeless. It was a serious inspiration to hear someone tell me to "be the best fucking human you can be."
Rest assured, I was promised by Sean that Ben will be present for their following Louisville show. Lucky for us that the group loves to play here. For those who may have missed Thursday evening's show, AJJ will be returning on June 24th for yet another round at Skull Alley. I hope to see you there.

Bobby Vinton- Blue Velvet (1963)

Like many easy listening artists of his time, there were only a handful of tracks Bobby Vinton could claim for his own. Ironically enough, the one song on this record that was actually written by Vinton himself, "Little Miss Blue," received little to no commercial success. His chart topping hits remained as the iconic "Blue Velvet" with "Blue on Blue" right on its heels, both of which played as candidates for the title of his soon to be best selling album. After being renamed Blue Velvet, this chart dominating record permanently engraved Bobby Vinton's name among the long and exclusive list of great vocalists. The remainder of the album is a diverse collection of jazz and pop covers that Vinton so willfully adapted to complete the album's blue concept. Therefore, every single track on the record has something to do with the color blue. Whether it is if Vinton himself feels like "Mr. Blue," or if he feels optimistic enough to invite you to his "Blue Heaven;" both the calming effects of Bobby's soothing, timeless voice and the color blue have a chilling inducement on the soul; the effect is almost romantic in a way.

After the success of Blue Velvet, Vinton's career was put on the back burner, although, his material continued to flourish among the Top 40. David Lynch titled his 1987 film "Blue Velvet" after the song, bringing a small wave of interest back to Vinton's music. Later on, his tracks were used in commercials and his voice was once again borrowed for something few artists can pull off with dignity: a Christmas album. He continued to release new records, but there has yet to be any to match up with Blue Velvet's success. Bobby Vinton was merely part of the curse. It's a curse where nothing you create outside of your peak years will ever overshadow your best selling material. But the older material always wins, doesn't it?