SHOmework - Peter Murphy 4/26

Houston has been very lucky, over the past few years, to be a frequent tour stop for ex-Bauhaus front-man, Peter Murphy. He played Numbers in 2011, HoB in 2012 and will be returning to Numbers again on the 26th.  This is a special tour though, for a couple reasons, not the least of which is that fact that it almost did not happen.

Murphy vs. Smokey

In late March, Murphy got hauled in by the LAPD for allegedly driving under the influence and having a baggy of meth in his possession. No – let me be more specific – the LAPD said they found the bag in the back of a cruiser used to transport Murphy. If that doesn’t sound fishy enough, Murphy’s legal counsel claims that his client blew .01 on his breath test, which is the lowest amount of blood alcohol the test can even register. The legal limit in most states, including California, is .08.

But fishy or not, the timing was also tragic for fans, given that Murphy’s North American leg starts April 20th. Then there was also the added annoyance that a judge set Murphy’s bail at some ridiculous sum, over concerns that Murphy would try to flee the country. Somehow, and it probably has something to do with the fact that the charges were shaky to begin with, Murphy has been given the go-ahead to tour as planned. He’ll still have to attend a hearing in May, but given the evidence, Murphy seems pretty safe.

Mr. Moonlight

The second most exciting aspect of this tour, besides the fact that Murphy is still actually performing instead of sitting in jail, is the set list. In the past, Murphy’s setlists have relied heavily on solo material, some of which succeeds and some of which is painful to behold. The point being that set lists that give preference to solo material fly in the face of why most people attend shows. Yes, “Cuts You Up” is a decent solo song and I wouldn’t mind seeing it live, but that’s absolutely not the reason people come. People come mostly for the 2-3 Bauhaus songs he might perform (last tour Murphy did “Silent Hedges”, “Stigmata Martyr” and “Too Much 21st Century”).

The Mr. Moonlight tour will be a celebration of 35 years of Bauhaus. The set list will be all Bauhaus, all night. If there is a time to see Murphy, it is now. Even though a full Bauhaus reunion would be the best scenario, it ain’t gonna happen. When they reunited in 2006 to record “Go Away White,” they couldn’t even stay together long enough to do a full supporting tour. For the rest of eternity, it’s going to be Peter Murphy one night and Love and Rockets another night.

For those of you who have Spotify, click here for what is, in my estimation, a likely set list for Murphy next Friday.

SHOW REVIEW: Jandek, Houston, 3/10

Sunday night's show should have just been billed as "Maze of the Phantom, class of 2012 reunion". If you haven't listened to the 2012 Jandek studio album of the same name, this will mean very little to you. However, if you, like me, purchased a copy of "Maze. . .", you will be able to recollect the very specific type of music played. For those of you who need to play some catchup (or think you know Jandek), click on the link above for a chunk of the Maze.

Sterling gathered all of the musians that patricipated in this album, under one beautiful roof (St. Paul's Methodist Church, in downtown Houston), and led a series of ad hoc pieces that could all have easily been alternate takes for Maze, albiet with the added treat of the church's cavernous reverberation. It was not a recital of Maze, but rather another stab at spontaneous collaboration, using all the mostly the same intstruments and all the same musicians. The only true difference between the original album and this live reinterpretation, was the fact that the representative from Corwood was propped up by a grand piano, rather than synth keyboard. 

The music of each player was a visual and sonic treat. Percussion was provided by James Metcalf, who was stationed behind an unconventional drum kit composed of various bells, woodblocks and more. Isabelle Ganz provided heavenly operatic vocalizations mixed with some entertainingly unusual, not-so-operatic vocalizations. Eric Avinger played flute and an electric guitar filtered, through, among many other effects, a volume pedal (think of some delicate Steve Howe work here) and some modulation pedals. The billing listed Eric's slot as "space guitar", which sounds odd, but, while it's hard to explain, if you listened Sunday night, it would not seem appropriate to list his contributions as merely "guitar." May Deyer played cello and sporadic harp accompaniment was supplied by an unnamed woman, who was not announced on the bill.

It was a magical collaboration that, while, to the vanilla ear, probably bordered on bizarre at times, was surprisingly melodic and majestic. Sterling did not leap to the fore too often but he had his moments. His work on the piano was far more subdued and melodic than what most people are probably used to hearing when guitar-hero Jandek (as I like to describe this persona) shows up.

Even though I love to hear Sterling sing, chant, -do spoken word stuff- and wish he had chipped in a few pieces of wisdom, this show was mindblowing and will sound great once pressed by Corwood. Judging by the normal rate of Jandek's live album output, it will be available for purchase in about 2018.

Jandek quitely announces 6 pm Sunday gig

I only found out about this two days ago via an unceremonious email from Sugar Hill studios' Andy Bradely. But, really, finding out this way, as opposed to the usual Facebook notification or listing on Space City Rock, seems more appropriate, given the cryptic nature of the enigma that is Jandek.

Mr. Bradley kindly gave me the following information:

"JANDEK CONCERT
SUNDAY MARCH 10th 6PM
AT: ST. PAUL'S METHODIST CHURCH
CORNER OF MAIN STREET AND BINZ in the MUSEUM DISTRICT
FEATURING:
JANDEK-keyboard
Erich Avinger-Space guitar and bansuri flutes
Max Dyer-cello
Isabelle Ganz-vocals
Mary Radspinner-harp
James Metcalfe-percussion" 

When I asked how much it would be to attend, he wrote me, "ten bucks." I hope to see some of you there.

PS If anyone has any idea what a "space guitar" is, would you be so kind to send me an answer by email? It sounds intriguing.

New Bibio more rocky than I remember

I've missed Bibio almost as much as I've missed Caribou, for my fix of lo-fi, looped psychedelia. But this track definitely tides me over a bit. In fact, it's satisfying my Beta Band cravings too. 

The new track is surprising in that it features prominent vocals and less of a patched-together sound. The song is less of Bibio's usual experimentation with textures and spaciness and more of a cohesive rock/songwriting experience. 

Maybe Bibio's upcoming album (projected for May) will consist of more tracks like this: rock songs as assembled by a very non-rock artist. I guess we will know in May.

Listen here.

SHOW REVIEW: Tame Impala, Houston, 2/25

Tame Impala played for a sold-out room at Fitzgerald's last night and certainly met my high expectations. They were psychedelic and professional, at the same time. From what I witnessed, they definitely had any tendencies toward silly excesses or uncomfortable, 10+ minute, meandering, jam breakdowns beaten out of them, by heavy touring and their recent success. I say this because those problems are always a consideration when watching psych bands (new or old), live. Leave the 20 minute drum solos and flaming teeth riffs to people who are already dead. You are not breaking any new ground- thanks. ANYWAY- their playing was tight but breezy, accurately capturing the dreaminess of their music, in-studio.

I only caught a little bit of openers, The Growl, but I liked what I heard. They sounded to me like what Led Zeppelin might have become if, in addition to all the old Delta greats, they had somehow been influenced by modern music, like Jack White or punk rock.The front-man played better harmonica than anyone I've ever seen live (except for maybe Stevie Wonder) and absolutely crushed Son House's "John the Revelator".

Enter Tame Impala. A lot of the material played came off of "Lonerism", which delighted me because it was the album I was familiar with. Being the shallow music snob I am, it took seeing the 9.0 score in Pitchfork (which only happened in October) for me to take them more seriously than I had, in the past. So I was not all that familiar with anything off their first LP.

Luckily, the sound was incredible, last night. Given that we were at Fitzgerald's, I wasn't surprised, but all the levels were such that I could hear everything, from the impressively articulate bass playing to Kevin Parker's angelic, heavily phased vocals. This is key, given that on their albums, Parker's sunny, John Lennon, Brian Wilson-y cantation has just as much to do with how psychedelic the music feels as the space-rock guitars or warm, mock-analog synthesizers. Lighting was also phenomenal.

Some of the music I heard seemed to be piped-in, at least during the less integral parts (like the perpetual drum loop on "Be Above It). However, there were times when it seemed back-tracking or triggered sounds were used when the keyboard player could have probably done it live. And yeah, it did disappoint me just a little bit that that the aforementioned drum loop was not live. Yet, my complaints here aren't directed at any of the musicians' abilities. It was plain to see that they all knew what they were doing up there.

"Be Above It" and "Apocalypse Dreams" were the show's highlights. And even though the somewhat cheesy and ill-fitting hard-rock tune "Elephant" got repetitive really quickly, the bridge of the song, framed by possibly live, possibly back-tracked organ, was one of the nights coolest moments. It was neat to see one of the most dramatic parts of "Lonerism" acted out, in front of me, by some very promising young musicians. Seeing that this show sold out weeks ago, it is very possible that Tame Impala may never play another venue this size, again, for future Houston dates. I'm happy I was there.

Maria Minerva - "Bless" EP

It's a rare treat when a dance artist actually puts out more than one track at a time. The most compelling, club-ready dance music seems to only come out in trickles of singles (or EPs that are, themselves, nothing more than one track and 3 or 4 remixes). But Estonian electronic artist Maria Minerva has bucked that trend, with this EP. It contains 4 original tracks and they are all solidly listenable.

"Black Magick" is easily the EP's standout track. Its forward machine-gun snare and steadily pumping synth line make it obvious dance floor fodder. Minerva's vocals are hypnotic. Ladytron fans (like me) will drool. A dark, magical theme pervades her lyrics as she quips, "you cut me in half and you put me together again".
 
"Space 4 U" would be just as robust as dance material, if it weren't as down-tempo and experimental. But that being said, it's still a pleasure to listen to. I don't know what she's saying, but it's very sexy, mysterious and maybe even profound. But I can't say for sure because all I can get other than "make a wish, boy" is something about "super trooper". Hopefully not this kind.

"Symbol Of My Pleasure" is pleasantly old-school, with its Liquid Liquid cowbells. Minerva's lyrics are hard to make out as they are shrouded behind a curtain of delay.

"Soul Searchin' "'s chrous of "too much, is never enough", when combined with bongos, is pleasantly reminiscent of LCD Soundsystem, albeit, with her sleepy vocals, it's more like LCD Soundsystem on Quaaludes, after a week of staying awake. Once again, Minerva's vocals are hypnotizing (but they also sound like they're being uttered while under the influence hypnotic trance). The vocals are intercut with a slowed-down rendition George Carlin's now-famous "Modern Man" monologue. 

Entertaining stuff.

LOCAL INTERVIEW: Scott Ayers' musical career lives on in new band, Dead Links

Scott Ayers is, to say the least, an important figure in Houston rock history. In the late 80s and early 90s, Ayers was the driving creative force behind experimental rock act Pain Teens. The band combined the sultry singing of female vocalist Bliss Blood with Ayers' scorching math-rock guitar riffs (and his handmade tape loops). The noisy echoes of Ayers' influence are easy to hear in many contemporary local bands, like Indian Jewelry and Balaclavas.

In November, the band played their first reunion show in years -presumably their first official date since the Pain Teens' 1995 breakup. They headlined the first half of a two-night Axiom reunion extravaganza, joined by the likes of Houston veterans Toto Ehio, Poor Dumb Bastards and The Anarchitex (of which Ayers is also founding member). They followed this performance up with another date in Austin, playing with former Trance Syndicate label-mates, Ed Hall and Crust; and fortunately, there have been a few dates added, since, and it looks like there are more to come.

I met Scott at Antidote, few weeks ago, to discuss his legacy, what he's working on now and what the future holds for the Pain Teens and his other musical endeavors.

Really it was see all The Dead Links shows on Space City Rock that inspired me to interview you and ask you what you've been doing lately. Can you talk about The Dead Links a little?

It's just something that started off with me and this singer. Basically I'm making all these demos, with no vocals. Some of them are rock songs, some of them are ambient, some of them are noise- or whatever. But I met this guy - my ex-wife's roommate - and he had been on a major label a few years back with this band called Twenty Mondays. So I gave him some tracks and he picked the ones he liked and wrote words for some of them.

You've only played about two shows so far, according to Space City Rock. Where do you see it going?

I don't know exactly where it's going to go. We've been wanting to put this album out and it's really..refined. It's different than what I've done before. There's singing and harmonies and it's something that sounds kind of like Pink Floyd or something.

That's good because last time you guys played, at the Axiom reunion show, I feel like not enough people knew about it. A lot of people I spoke to said they had no idea. Do you see yourselves doing more reunion shows or is this more of a one off thing that just happened a second time?

Well, I would like to do a few shows a year, if people can come through with the money.

Yeah, because Bliss lives in another part of the country now.

Yeah, she has to fly in from New York and that's an extra 500 bucks.

What is it about Houston that makes it a fertile place for bands like Balaclavas and Indian Jewlery and Pain Teens with all the darkness. And Pain Teens wasn't all doom and gloom but there was definitely that dark depth to it. Do you think it's something about the city?

For us, it was more of a rebellion against any kind of sing-songy pop. And then later we were doing some self-parody and stuff but yeah, it was a rebellion against the “alternative” band where everything was all singer/songwriter. We were very independent-minded.

You did some pretty progressive stuff during Pain Teens, as far as tape manipulation and loops, without, I would imagine, a lot of computers or digital equipment. Was that a lot of work to get it to sound that way -compared to what it would be like now?

Yeah maybe, but tape is kind of forgiving in a way. We definitely didn't do anything according to any rules. Stuff would get recorded badly, like really badly but we'd make it work.

Some of the tape stuff you did kind of reminded me of that guy from Mission of Burma, you know, Marvin Swope, with the tape effects. They came to Fitzgerald's a few months ago and they were good but that guy wasn't there and that was a little disappointing.

Yeah, I mean I would even tape sections of tape together to create a loop. The part where they met you can hear it slip.