This last Monday (September 17, 2009) I got to see one of my all-time favorites in concert, and in my home city nonetheless! The last time The Sounds visited the region they hopped through Cleveland, which, while being better than Chicago, was still further than I would have liked to travel on a work-night.

This time, they visited Mr. Smalls with a band called Foxy Shazam.

Foxy Shazam was, how should I put it… Bad. I don’t know who decided to pair them with The Sounds, but I imagine it was a label decision and a deeply regrettable one at that. The character of the band was something like the deranged bastard child of rock and ska (taking more from the former) attempting a comedy act on a Saturday night while stoned.

I’m sure that’s an entertaining sounding combination, but trust me – it isn’t.

There were some die-hards in the crowd that came solely for Foxy, and I should theoretically thank them because a few made way for us to snag front row standing room after the opener was over, but I just can’t. The entire opening performance – from when the lead singer opened by palm-punching a guitarist in the head, to the absolutely ridiculous diatribes that involved more stuttering than words – managed to appall me.

All I could think the entire time was how much I wish Matt & Kim were the tour buddies for this leg of the tour… Then Foxy’s singer would try to speak and it was the sight of brain cells committing suicide. Oh, Matt & Kim, why have you forsaken me!?

The keyboardist was the most entertaining of the lot, and I think his quiet, quirky style, which involved a lot of foot-playing, made the show tolerable. There were assuredly no other mitigating factors even though the singer’s voice reminded me an awful lot of Alex from IMA Robot.

Don’t misunderstand me, I didn’t loiter there like an apathetic hipster. The music had a beat and was at least twitchable – so twitch I did, but thank Congress the set was short. Eventually The Sounds made their way on stage with the intro “Crossing the Rubicon” which was in such contrast to the audio gore I had just suffered through it nearly put me in tears.

Last time I saw The Sounds was in The Grog Shop – a much smaller and more “intimate” venue than Mr. Smalls – and Maja (the short lead singer) was hard to see from just a few rows back even at my over-six-foot vantage point. Mr. Smalls’ stage has a good four and half feet rise from the rest of the floor with a veritable moat to prevent stage-crowding.

Enter the show… The set was a large part their new album “Crossing the Rubicon,” but a number of songs from their previous two albums “Dying To Say This To You” and “Living in America” made it into the line up including the rock/concert version of “Tony The Beat” (the original of which is my all time favorite song).

As a rabbit trail, may I say that there is almost nothing more humorous than seeing an entire venue full of Americans singing “We’re not living in America” – the lyrics to the namesake track on “Living in America” – when not only are they living here, but they’re also bloody citizens. Just for the record, I sang along too.

“Crossing the Rubicon” is a much more artsy grouping of songs than either of their former albums. The lyrics are ultimately deeper (although arguably just as nonsensical), and the music itself is almost more enlightened than anything on “Dying To Say This To You.” Overall, however, “Crossing the Rubicon” seems to be the next step in evolution for the tastes of The Sounds connoisseurs as it mixes the band’s fantastic aesthetic with notable beats and a more matured tone.

Suffices to say, the concert was a huge hit in my books, and The Sounds performance more than compensated for the dumbass choice of opener.

Christina and I even bought (ridiculously overpriced) hoodies in celebration.

Now, since this is a concert review I’m going to forgo the normal question/answer lineup and save that for an honest-to-god review of the “Crossing the Rubicon” album. In the mean time, might I suggest you go have a listen for kicks and giggles?

Regina Spektor may be the cutest person ever.

I guess that’s not really relevant to her musical prowess, but I thought it was a fact to be touched on.

As many of you know, Regina Spektor released a new album, Far, not so long ago. I, of course, bought it. I even went crazy and bought the version with a DVD of music videos and two bonus songs.

That’s how excited I was.

I guess I should preface this with my opinion on Regina Spektor’s younger days of music makery, as everyone else feels the need to compare new Regina to old Regina.

11:11 is too crazy for me. I know, I’m a heretic. “Buildings” is pretty fabulous, but outside of that song i find the whole album to be so quirky as to almost be abrasive. It’s intrusive.

With that confession out of the way, I feel free as a bird and can forge ahead.

“Soviet Kitsch” saw, for me, a proper ratio of goofiness to amazing musical ability. “Begin to Hope” saw less goofiness, but there was just so much brilliant pop undertoneage. Once again label me a sinner and a heretic, but I think “Begin to Hope” may be the best alt-pop album. I don’t know if alt-pop exists properly, and I don’t want to google it lest it made me change my mind.

But, onto “Far”.

It’s…interesting. I feel as if both “Soviet Kitsch” and “Begin to Hope” had an overall feel to the album. Not so with “Far”. It switches around a tidge.

This album features many classical piano-heavy songs with a slow(ish) tempo. “Après Moi” comes to mind, though I feel as if that song did it way way better. For my taste, too many songs sound classically composed in some manner. They’re certainly not bad, they are perhaps just not my cup of tea. For example, I rated 7 songs from my 16 song CD as 3.5 stars. Just below something i would want to listen to often.

While an amount of the album doesn’t stand out to me personally, the songs she does do well (in my opinion) she does extremely well.

[Editor's note: None of the songs from "Far" are listed on last.fm so we have no links available for preview purposes.]

“Folding Chair” is just fantastic. When she mimics “the dolphins’ song” I giggle. It’s too lovely. I can personally attest that this song is perfect to dance to while making dinner on vacation at the beach.

“Dance Anthem of the 80’s” first struck me as a little hokey. I couldn’t have been more wrong. It’s cute. It’s goofy. It’s not, at all, hokey. It contains the most perfect bridge music has ever tasted, as well. As I generally think bridges detract from music and ought to just be left behind for the wolves, this is a feat. I love that bridge so much.

“The Calculation” sounds to me like it belongs on “Begin to Hope”. It’s clean, not that goofy, and super cute. It made me think this whole album would be like “Begin to Hope” part two.

There are some other keepers on the album. There are 6 other tracks on the album that i rated somewhere between a 4 star and a 5 star – the album is more than worth a peak, especially from a seasoned Regina-appreciator.

What to Expect?

Regina. She’s cute. She’s awesome. and she’s wicked talented.

What to take Away?

With this album, there’s no denying she’s good. It’s more a matter of your tastebuds how you’ll feel when the album stops spinning.

What Drink to Pair it With?

A glass of 2007 Helfrich Gewürztraminer. A lovely, spicey, vibrant red wine.

Favorite Song?

I think it comes down to “Folding Chair”. It’s just too good, though it only beats out “Dance Anthem of the 80’s” by a hair.

I am a whore for acoustic music. That’s not saying so much – I’m a whore for every-other style of music out there too. Recently I’ve been extra into acoustic stuff, though. When I stumbled across Heathers opening for the Ghost Mice… Damn.

I picked up their CD at the show, and was listening to it within minutes of getting home from the concert. The opening of the CD is just as simple and powerful as the opening of their set.

Well played acoustic guitar lays the perfect backdrop to their voices. Perfect harmonies cut in, and the song is off, running in places, strolling leisurely in others. It’s simple, but masterfully done. I feel as if any other band attempted to produce an album like this it would end up being boring, whereas this is exhilarating.

Being from Ireland, there is a hint of Irish influence. It slips into their singing and their melodies, and leaves me unbelievably happy.

Generally I’m overly picky about female vocalists. I don’t know why I hold women to a higher standard than I do men…I just feel like most female singers share the same generic nasally singing. These women have none of that. Their voices are as far from generic as possible.

As is the case with most acoustic music, their voices are what make the record. That’s not to say their accompanying music is boring. Far from it. It’s just kept simple so their voices are the main attraction.

I am absolutely mesmerized by how complicated their music sounds, given their only instruments are their voices and an acoustic guitar.

This album makes me think of summer, picnics, and laying outside in the sun, full of food and drink, surrounded by awesome people.

Some day soon I want to do cartwheels through the park to this album.

What to take away…

Heathers has powerful vocals that are incredibly harmonized and fantastical. Irish influences slip in regularly diferentiating this album from most of the others in the Plan-It-X catalog. It is the perfect blending of folk and folk punk, leaving it perhaps on the other side of folk when it comes to instrumentation. The lyrics ought to resonate with even the most die-hard folk-punker.

What should you expect?

Acoustic Irish influenced folk with a slight glaze of folk-punk.

What drink would they pair with?

Perhaps a Bulmers Irish hard cider. Delicious, refreshing, and tasting distinctly of summer.

Favorite song?

I have such a hard time playing favorites.

“Remember When” however perhaps inches slightly higher than the rest on my list. It’s one of their faster songs. I will forever remember them kicking off their set with it. It grabbed my attention and held it hostage.

“Slices Of Palama” is slower, and has another instrument, a string of some manner, that sucks me right in. It’s almost melancholy, but just misses that vibe. I think it’s lingering feeling is that of earnestness.

When it comes to songs that reference The Little Prince, I’m a total softie. Believe it or not, this topic doesn’t come up in music as much as you’d think.

To date, Andrew Jackson Jihad is the only band I know to have referenced that lovely book.

Andrew Jackson Jihad also has the best opening line for a song that I’ve ever heard. It goes “Hey Everything, Fuck You.”

Coincidentally, those two songs are one in the same. “Little Prince (El Principito)“.

Andrew Jackson Jihad is yet another folk-punk band. Oh how I enjoy the folk punk. Unlike Ghost Mice, their are not overwhelming optimistic (see paragraph three). They are positive, though. They cover really morbid topics, but somehow manage to stay positive.

Perhaps there is the realistic view that everything sucks, but we may as well make the best of it.

I was lucky enough to be tipped off on an Andrew Jackson Jihad sighting in Pittsburgh this past weekend by a high-school friend’s boyfriend’s little brother. Aaron. By congress, I love Facebook sometimes.

So I packed up my things and headed east, since Cleveland was not to be blessed with a stop on this tour.

The show was being held at 222 Ormsby, a wonderful little venue. Not only did $5 gain me entrance into the concert, it also gained me a wristband and unlimited access to a keg in the back room.

I’m gonna go ahead and admit I was a bad concert-goer this time around. I had just driven about 3.5 hours to be there. There were dogs and beer in the back. A high-school friend showed up. I spent the opening bands time slots in the back with the beer, dogs, and friends.

The openers were Delay, The Code Orange Kids, and Shady Ave.

I did, of course, meander to the main room for Andrew Jackson Jihad’s set. And what a set it was. They kicked it off with “Little Prince (El Principito).” I kind of like these folk punk bands kicking off the show with my favorite songs. I’m not sure whether they know what they’re doing or if it’s coincindental, but i hope they keep it up.

Once again, the show contained a bunch of songs hitherto unknown by me. They played a bunch of songs I did know, though. They just played a lot of songs.

The lead singer kept forgetting his lyrics. It was rather amusing, but as i’ve said before this doesn’t bother me. He was laughing and tripping over the words. It just made me smile.

One unique fact of this show was that I could actually understand the singer without a previous knowledge of his songs. As folk punk shows aren’t normally a riot, they can tend to become a tidge dull if you’re unfamiliar with the music at hand. This wasnt the case at all, I just listened to the lyrics and giggled at their morbid optimism.

What to take away…

Probably a nasty hangover from all that horrible cheap beer.

What should you expect?

Folk punk kids who actually drink.

What drink to pair with it?

Cheap, horrible, all-you-can-drink beer from a keg that everyone agrees is terrible, but keeps drinking anyway.

Favorite Song?

“Little Prince (El Principito)”. I enjoy that he doesn’t leave anything out of his condemnation. Hey everything, fuck you.

Prior to seeing Totally Michael in concert I only had an EP I have titled as “For You.” I have no idea if there’s a real EP named that. I haven’t been able to find it anywhere else. I don’t even know where it came from, but I love it.

At the concert I was pleased to see that he had a full length album out. I quickly bought it.

A few songs on my strangely acquired “For You.” are on it. Three to be exact: “Death Hill (Over and Over)“, “Cheerleaders vs. Drillteam“, and “Don’t Stop“. The rest were delightfully new to me.

Totally Michael’s style is that of upbeat catchy pop songs with verses that seem particularly awesome and pronounced. This album was no exception. While I was tickled pink by songs like “Shake Your Booty or Die”, the full length seems to get even goofier. I love it.

“I’m not a high-class retail outlet, but I’d love for you to steal my heart!” kicks off the chorus of the second song on the album. The name of the song from which that line is taken is “Winona“. When I put two and two together I giggled.

This isn’t an old album, either. It was just released in 2009. So Michael’s interest in Winona apparently hasn’t waned much since his younger days.

His other songs cover similarly erratic topics. Of note are “In Her Diary” and “Casual Satisfaction“.

“In Her Diary” covers the tale of Michael trying to reclaim an ex-girlfriend stolen by another man. It’s incredibly jumpable – in concert the crowd absolutely freaked when he broke this out. It really has high energy, and a lot of great lines. If he had a single, it would be this song.

“Casual Satisfaction” has perhaps the most explicit lyrics I’ve come across in my musical ramblings. I know there are plenty out there that trump this little number, but they aren’t the type to make it into my library.

The chorus: “Oh girl, you make my dick erect. Mmm boy, you make my pussy wet.” Multiply by about six.

As such, this song leaves me with a little inner discord. On some level, the lyrics are too much for me. On the other hand, it’s kind of funny in it’s over-the-topness. It keeps bouncing between a 3.5 star and a 4 star in my library. Not a top attraction for me, but unique enough that it deserves a look.

Outside of songs about sex, exes, and Winona Ryder, Totally Michael covers summer anthems, prom night, a slow jam about being single, and a litany of other things with his electronic pop style.

I have heard rumble among some that the whole album is perhaps only appropriate for those in high school. I heartily disagree. While high-school happenings do make a frequent appearance, I don’t feel any distance from the subject matter, despite my 5 years of distance from high-school. If anything the album pulls you in for a minute and makes you feel like a high-schooler with the insane amount of exuberance and happiness that Totally Michael apparently feels on a daily basis.

What to take away…

Totally Michael is unique and awesome in his lyrics and music. And awesome.

What should you expect?

Poppy and electronic tracks about unique topics. The sudden urge to jump.

What drink to pair with it?

A new discovery of mine. The Electric Leninade: 1.5 ounces Vodka, .5 ounce Blue Curaçao, 2 ounces Sours mix, and 4 ounces 7-UP. Stir, pour over ice.

Sweet, tart, bubbly, bright…teal, and delicious. Just like Totally Michael?

Favorite Song?

“In Her Diary”. Hands down.

Bluegrass.

Pair it with a hot summer evening, on a patio surrounded by daisies and red raspberry bushes and a glass of iced coffee, and I dare you to not be content.

My most recent couchsurfer, Andy Berkhout, played a wonderful set at the Vine and Bean Cafe last evening. He showed up equipped with a harmonica, banjo, ukulele, tamborine and an acoustic guitar.

I was really excited about that ukulele. I had never seen one played in earnest before yesterday. Even though I enjoyed the ukulele, I think the banjo ended up appealing to me the most. It just fits perfectly with summer, and thanks to that YouTube video, i can’t seem to disassociate “While My Guitar Gently Weeps” from ukuleles.

There is something infinitely soothing about simple but well done bluegrass. Whereas I normally tweak out about people sitting or laying around at concerts, Andy made me want to stretch out in the grass and watch clouds, or lay in a hammock reading a book. His music is the perfect accompaniment to a relaxing day. Just when it was about to get perhaps too relaxing, however, he threw in some tambourine or harmonica, pulling you back into the music.

This mellowness in his music was deliberate. His music is purposefully simple and most of his songs are about love and peace. The whole experience of seeing him perform felt wholesome.

He really made me want to just sit back, relax, and enjoy myself. Apparently that was completely his goal.

His song writing came about after returning from a half year in South Africa, as a means of stepping away from the hectic pace of America.

I will admit my bluegrass knowledge is more or less completely non-existent. The Avett Brothers are about as far as I’ve really gotten, and I feel that they must be on the fringe of Bluegrass normality.

I can’t really compare Andy to any standard of bluegrass, therefore I can only compare him to my own sense of enjoyment. And I enjoyed. The next time I plop down in my dome chair and pull out a book, it’ll be to the sounds of Andy Berkhout.

What to expect?

Andy masterfully picking on the guitar, banjo, or ukelele to the most laze inducing music I think I’ve ever heard.

What to take away?

A relaxed disposition that may very well lead into a nap if you’re not paying attention.

What to pair it with?

While i was drinking iced coffee while listening to Andy, I think lemonade would probably be more appropriate. Spike it with vodka or rum if that’s your bag, but for music this wholesome, I think perhaps a wholesome beverage is in order.

Favorite song?

Wake Up for the Day. Though I find it amusing that such relaxing music is commanding me to wake up.

When last I mentioned The Sleeps, it was mostly to air my dissatisfaction with their attempted flair for fashion. No longer. I must atone for my musical closemindedness. Swoopy hair and high-heeled blacklight reactive boots do not automatically cancel out good music. Now it is time for my penance. Many Hail Mary’s, and maybe a bloody one or two.

The free demo handed out at the show was burnt onto a cheap Magnavox CD. Their name was sharpied on it. The track listing page and the folded case for the demo were printed on the Milwaukee Department on Aging directory pages. I was amused. I smirked.

That smirk was wiped right off my face when I popped in the CD. They’re good. They aren’t ‘good’ for the youngin’s they are. They’re actually good, legitimately good, good enough I would buy their CD without thinking or looking back, and cherish it forever good. Yeah.

I don’t know why I didn’t appreciate them more at the Grog Shop. Perhaps it was the mixing – the Grog Shop has legendarily bad mixing. Perhaps it was the acoustics or lack thereof. Perhaps I’m just dense. Regardless, I’m really happy about those free Demos.

I saw The Sleeps play a little over a week ago. According to last.fm I have listened to their album 16 times. That’s 128 plays.

Their music is that of electro-rock. There are hints of pop, minimal though they may be. Perhaps minimalist pop would apply here. While there are some bands were the Rock element lies heavier than the Electro element (such as IMA Robot) The Sleeps are definitely the inverse. Their electo-ness doesn’t get out of hand, though. It’s kept nice and tight, if not hard, and is even danceable if you have some idea of how to dance in a way that doesn’t involve flailing.

I don’t.

The vocals are rather subdued. perhaps that is the real reason I didn’t find them engaging in concert. I am a bit of a trollop for distinctive vocals. The singing here isn’t particularly energetic. The range not extremely wide. The vocals seem to lie on the same plane as the music. Most incarnations of rock music have a space between the music and the singing, with the vocals taking precedence. A lot of electronic music inverts that, placing a huge emphasis on the music, at the expense of the vocals. Here they seem to balance the two perfectly, each highlighting the other.

The Sleeps have a great thing going. It’s truly fabulous. Some of their songs are so electronically funky I find myself slinking around the apartment, others leave me air drumming, and they all have me singing along.

What to take away…

The Sleeps are a fantastic electro-rock band. Forget their regional status, forget their age, forget their lack of a label. All of those things will change. Their music is up for free at ReverbNation. You ought to go download it right now.

What should you expect?

Awesome.

What drink to pair with it?

A Pilsner Urqell. Tasty, easy, with just a little more Hops than one would expect.

Favorite Song?

As usual, there is a tie.

“Disposition” is really funky, and reminds a tidge of MGMT. The vocals are as diverse as they get on the album, and that beat is just great.

On the flip side is “Over”. “Over” is an Instrumental. I really generally don’t like Instrumentals. Until this point that was a universal rule. “Over” is just so damn good… They handle their instuments perfectly for the song, and any lack of personality in the song I would normally complain about is completely moot here. They really are able to lend personality to the song just through the use of their instuments. That gets them a gold star.

Ghost Mice with special guest Heathers hit the mean streets of Cleveland on June 24^th, and of course I had to be in on this folk punk action. I was rolling three deep; my unofficial couchsurfer, two and a half week roommate Shu and my 15 year old cousin Taylor were in tow.

The very nice looking duplex that was purportedly the venue of the evening was touting a sign that redirected us to Lakewood Park…wherever that was. Luckily a nice woman with some Basset hounds directed us, and before long our ears were being caressed by the soothing strum of an acoustic guitar.

Except…well. I started out with Ska and Street Punk. Those concerts, no matter their arguable flaws, had lots of energy not only in the band but in the crowd as well. So why the hell were all these people sitting in the grass!? You can’t dance sitting in the grass! Hadn’t they gotten the memo?

Two Hand Fools was playing, presumably the first opener. He was pretty good from what I heard, though my arrival was a bit into his set. Soulful crooning to acoustic guitar.

When he concluded, everyone moved up to the floor of the outdoor amphitheater, and I was excited that people may stand for the next set. I was wrong. While the next band, Heathers, broke out their fabulous voices, most of the audience was sitting down, leaning against something, looking bored. Apathetic little teenage assholes. Don’t get me started…

Heathers was seriously awesome. Their Irish accents were audible while they were singing, and their voices worked together beautifully. Harmonious beyond reason. While they occasionally forgot a lyric, or how that next part of the song went, I found these little mistakes endearing. I like it when musicians are believable. It was just the two of them and an acoustic guitar, singing what I will dub as Irish infused alt-folk. No amps, mics, nothing. I was enthralled. the apathites (I thusly dub “apathite” the official term for those who go to shows determined to look bored) just sat.

Immediately placed on the top of my to-do list was buy a Heathers CD. It was the first thing I’ve crossed off my to-do list in weeks.

Heathers played their last song with Ghost Mice’s help, and Ghost Mice played their first song with the accompaniment of Heathers.

Ghost Mice’s musical tradition is one of almost painful optimism…at least if you’re a relentless pessimist and cynic like me. With songs like “Hang on Kids” aimed at high-school kids, “Please Quit Smoking Mom“, and “Up the Punks“, sometimes they’re so doggedly positive I almost feel they’re being sarcastic.

Pairing their songs about riding bikes and climbing trees with an acoustic guitar, a violin, and a Playskool xylophone, in an outside amphitheater on the shore of lake Erie…it was obvious they weren’t being sarcastic.

Their style is that of Folk-Punk, and with lead singer “Chris Clavin” being a co-founder of Folk Punk record label/collective Plan-it-X Records, it seems logical that they stay incredibly true to their ideologies. They play strictly heartfelt acoustic music, eschewing amps and mics for all but one festival where without the electrical intervention only a few would have been able to hear. Their music is vocal and lyric heavy, as most folk punk is. What they’re trying to say is the most important aspect – the music just helps underline it.

They make me think of camp. That we should have been sitting on logs around a fire, quickly on our way to becoming really good friends. Well, if not for those apathites, anyway.

After making all the apathites stand up, they quickly broke into “The Moon Will Rise“. I love that song. It’s their only angry song, and it’s mostly about turning off your TV, enjoying your life, and standing up for yourself. And half way through the song, right after they sing the line “and the moon will rise”, there’s a little howl. I’ve been wanting to howl to that song live since the first time I heard it. My dream came true. Ahooooo!

Unfortunately Ghost Mice’s set was rather short. Without amps and microphones, I assume they’d have to hit harder and sing louder than the average musician. Or maybe they just don’t dig long sets. Either way they broke out some classics, and left me walking away happy.

What you’ll take away…

A freakishly optimistic mood and the desire to quit your job in favor of climbing trees and building forts.

What should you expect?

Hippies, these days known as folk punkers. Cut off shorts. Genuinity.

What drink to pair it with?

Water, from your Eco friendly non-leaching Klean-Kanteen. Beware packing a bottle of Aquafina to this show.

I pondered for a while on what my first few posts should be about… The state of the music industry? No, too depressing (and generally controversial). A top ten rundown? No, too broad, and besides, MTV and VH1 have had years of those. Eventually, I turned to my trusty iPod, and started browsing. Cha-ching: paydirt – my favorite frother, Kevin Barnes, would make a marvelous entry to the commentary of Sound & Tonic!

Now let me first define “frother” because, well… It isn’t a real word, but you’ll see it here fairly often. I first stumbed across the term in a BBC News article, and while the context was less than memorable the concept I found to be most appealing. Here in the States we throw such terms as “crazy” or “insane” around a lot, but have very few words to explain the various states of craziness (“fucking nuts” and “batshit insane” notwithstanding). “Frother” made an impression because its usage drew up the perfect mental image of a truly unstable person who through general harmlessness managed to also become endearing.

A definition that could not fit anybody better than Kevin Barnes, the very productive delusion behind Of Montreal.

How did I uncover this marvelous oddity, you may ask?

As has historically been the case, it was not I, but Leslie who tracked down the band and passed the information along. “Heimdalsgate Like a Promethean Curse” read the song name. “Curious” I said to myself as the song started playing on the mix CD (including such names as Carbon Leaf and The Faint). How she found the song, I never bothered asking, but the product of the discovery involved sitting in my dark basement apartment staring into the computer monitor while Kevin proceeded to snipe off my synapses. The resulting numb feeling that spread down my body from the damaged part of my cerebral cortex was relaxing, but didn’t exactly help to disseminate the paradox I had just heard.

Thank the maker Les didn’t produce the entire Hissing Fauna, Are You the Destroyer? album at that time because it would have assuredly ended in a quick coma.

I believe it was some dark wave electronica that nudged me back towards consciousness, but due to some undefined allure I proceeded to listen to “Heimdalsgate Like a Promethean Curse” four or five more times. Each play brought with it an ounce of immunity and a deep desire to hear more.

Within a few days I had acquired the album, and after the first play-through I was hooked.

Of Montreal is foremost what I would call experimental pop. The songs are a mélange of luring bass, chirping synths and erratic vocals – the lyrics are often nonsensical and where they are comprehensible stray towards the dark and implicative. The overall mood of the album is as close akin to a hallucinatory breakdown as I can imagine, and yet it isn’t an ongoing depression. The tunes are friendly if not catchy (one can’t exactly hum an Of Montreal tune very well), and the overarching feeling is one of disassociation with a painful past while embracing the giddy aftermath.

You know – that point in time where your brain starts drowning you in endorphins to help stave off some of the psychological trauma you’ve just suffered.

What to take away…

Of Montreal is something you have to listen to in order to even begin to understand. Words simply fail at describing the sound (and scene) because so much of it is purely emotional. You must like electronic fused pop, and an appreciation for glam musicians wouldn’t hurt. I saw Kevin in concert in Cleveland, and the crowd was a broadly eclectic mix so almost anybody could conceivably find some manner of appreciation for what he has to offer…

What should you expect?

Think bizarre – that’s what makes him the epitome of frother. If he was channeling an ADHD eight-year-old he couldn’t be more random, and it’s his randomness and raw emotions that give Kevin and the rest of Of Montreal their unique and endearing quality.

What drink would he pair with?

No question it would be old fashioned Absinthe with perhaps twice the sugar. Combine with a surrealist art exhibit and you’re nearly there.

Favorite song?

Suffer for Fashion. Despite the creepy-ass child noise at the beginning, this song sums up the style and sets the tone for the rest of the album.

Totally Michael is one of those bands I don’t even remember discovering, even though I’ve only known his music for about a year now. I don’t remember that awkward first listen where I’m uncertain as to my thoughts. It was like Kool-aide. Bright and happy and thirst quenching. Poppy electronic, done DIY style (it’s DIY season, didn’t you know?), Totally Michael’s music makes me feel like a really really happy 17 year old.

I have no idea what it makes teenagers feel like.

When I heard he was coming to Cleveland I believe my exact words were “Totally Michael is coming to Cleveland?! Fuck Yeah!” Sometimes I don’t mince my words. Just sometimes.

To the Grog Shop I headed for the second time this week. The website said 8:00, and Shu and I rolled in around 8:15. We waited. And we waited. No one was there. I was bored. I wanted to attempt to save some money by not drinking, and it wasn’t working for me. With 20 minutes to 9, I caved and got a tallboy. There were big banners hanging behind the stage announcing The Sleeps, so I was surprised when the first band took the stage and announced themselves as Phantogram.

Phantogram was like opium. I was initially a tidge grumpy from all the waiting around, but their beats lulled me right in. Soon I was bobbing and absorbing all their music. I was really getting into it when they announced they were going to cut their set short due to things sounding ’strange’. Their style of music was hip-hop infused electronica with haunting vocals. I thought strange was the point. Engagingly strange. Apparently I was wrong.

Shu bought their album, though. More to come later.

With the stage now empty, three guys took the stage. These were the aforementioned Sleeps. I’m not gonna lie, these guys kinda bothered me a little bit. They wielded their instruments well. Their singing was good. Their general sense of fashion is what bothered me the most, though. I don’t mind a complete lack of fashion. Jeans and a T-shirt. Fine. But these guys tried hard, and I felt it just didn’t quite work. Like they tried to take a page out of the book of the Pink Spiders and kind of failed. That and the drummer had both a mohawk and a hair swoop at the same time.

Despite that completely unmusically related dig, they did play a good set, though I found them a little less than engaging. They were giving out free CDs, though. I’ll give them another listen, this time not biased by having to watch the drummer keep playing with his hair swoop.

Next Prizzy Prizzy Please was up. With the name, I expected some goofy happy upbeat electronic music like Totally Michael. I was oh-so wrong. They very successfully psyched me out with their saxophone and keyboard, though. But then. There was all this yelling. And loud, loud music. So loud, I couldn’t hear what they were saying at all, except one song where they were singing from the point of view of a volcano. I didn’t get it. I didn’t like it. At all.

The Sleeps just kind of bored me, though i could see their music catching my attention with some more distinction of their musical style (their personal style was more than distinct). Prizzy Prizzy Please though…didn’t work for me. I was really happy when they left the stage, even though everyone else loved them. Shu didn’t care for them either. It made me feel less crazy.

So Totally Michael took the stage. By ‘took the stage’ I mean he moved the mic stand to the floor, and set up there. The drummer from Prizzy Prizzy Please accompanied him, as did Michael’s laptop. Since it was just Michael with a guitar and a drummer, the more electronic-y parts of his music were delivered from his computer. To make things flow more smoothly, he had bumper music between his songs. He played a wonderful set, with really awesome bumper music. Spice Girls. Andrew W.K. The Buggles.

First he played an instrumental, then a Totally Michael break down version of “YMCA”, which was really just bumper music taken too seriously. In the most awesome way possible. The feel good anthem “Death Hill (Over and Over)” came next. One of my favorites. The crowd, if moderately sized, freaked. I’ve never seen such a large percentage of the crowd dancing and having a great time. Perhaps this is the benefit of lesser known bands: only people who really like them know they’re coming and show up.

Regardless, the show went on smoothly, and Michael seemed really pleased that the crowd was surging around him and screaming his lyrics. For his second to last song he broke out the crowd favorite “Cheerleaders Vs. Drillteam“. He told us to split up, cheerleaders on the left, drillteam on the right. In the middle of the song there’s a little breakdown where both sides are jeering each other. Well, during shows, the crowd fills in for those jeers. I picked the Drillteam and had great fun yelling at the other side and flicking them off. When the song rushed back into the chorus, we all came back together and danced our asses off. As Michael said, “hating is for suckas.”

Totally Michael delivered a wonderful concert that was exactly what i hoped it would be. catchy beats, enthusiasm, happiness. Not an apathite in sight.

What to take away…

a lighthearted and playful mood.

What should you expect?

Early twenty-somethings ready to break out some moves.

What drink to pair with?

Kool-aid with a line of coke.