Club Notes
Pinch Hitting
originally published November 9, 2005
Ben Gerrard
Heist
The stroll across campus wouldn't have been so easy if a macroeconomics class had been the destination, but instead, with four minutes to spare and Phosphorescent's "I Am A Full Grown Man (I Will Lay In The Grass All Day)" coming through the speakers, I survive the five-flight ascent to the WUOG studio. The accelerated heart rate brought on by exercise is sustained by Heidi Holton, the wispy siren with razor-sharp elbows who leads the three-piece Heist. This "Live in the Lobby" set is my first glimpse of the band, and its sound immediately intrigues. There are melodies and pop sensibilities here - buried alive, kicking and whispering in the sludge. The distortion pedal, burping bass lines and garbage-can cymbal smashes swim in a sweet undercurrent. Just as soon as I draw the conclusion that it seems Holton wants to do so much more with her guitar, I'm convinced that the songs are not being shortchanged, basking instead in the sparseness and simplicity.
The guitar leaves the discussion and, in its place, comes the most delicate banjo in town. "So, I bought this banjo so I could be just like Don Chambers," Holton laughs. before plucking through "Backwater Blues." For those of you keeping score at home, the limitations of the radio experience prevent you from seeing that Paul Keane, the group's former bassist, is now the drummer. You also do not see Keane's carefully painted face. He confides that the face paint is inspired by his deeply religious nature, and a recent viewing of Dances With Wolves.
By 11:04 p.m., Farm 255 has been cleared of any trace of Leslie Helpert's esoteric songs delivered on acoustic guitar and apparently is getting ready to head in another direction. No worries, I'll simply eavesdrop on the MP3J Vinal dance party from the Room 13 patio. The music coming through the speakers is mostly forgettable, but when a guy using his cell phone on Farm's patio declares to someone on the other end of the line, "This is the worst bar I've ever been to… and I just got back from Iraq!" I reach for my notebook.
Ben Gerrard
Bain Mattox
On that note, it's off to the 40 Watt to see Bain Mattox at his CD-release affair. The smallish but appreciative crowd is packed close to the stage; despite the new album Prizefighter having been on shelves for less than two weeks, there are plenty of ladies singing along to the standout rockers "Time Bomb" and title track "Prizefighter." The a cappella vocal closing to "City Never Sleeps" - a caffeinated and wandering insomniac's plea for a breath of fresh air - confirms its status as the album's dark horse and a highlight of the band's live performances. When Mattox returns for an encore, he gives his cohorts and electricity a respite, opting to perform "Closer To Me" completely unplugged and unassisted. Undeniable star power.
Friday night begins early and nearly alone on the Big City Café patio, taking in apple pie, coffee and the sounds of Inca Tepec, a duo performing pre-Hispanic compositions and old jazz standards and melodies layered with the pre-Hispanic touch. The music is an interesting, almost psychedelic thrill, as the guitar provides rhythm and percussion to augment a soaring flute that's being played through an exotic modulator of some sort. I take an opportunity during the set break to find out more about the siblings.
Brothers Noe (guitar) and Humberto (quena, a traditional Andean flute) have been in Athens for years, but originally hail from Mexico City. According to Humberto, you'll typically find the duo playing at schools or libraries, "keeping alive our culture through the melodies." Other times, they're forced to explain their culture without song, as was the case at a recent Lyndon House Arts Center performance when organizers thought they had booked a mariachi act. "They expected ranchero music… you know, Cinco de Mayo," he recalls, laughing.
Ben Gerrard
Murder Beach
Next stop is J.R.'s Baitshack, where I get the chance to hear John Thrasher's sound check. He sounds a little like Bruce Springsteen, and I'm happy to report that there is a cozy smokers' deck upstairs at J.R.'s. I run, not walk, across the street to Tasty World to catch Murder Beach. I would throw it all away in an instant to tote their gear from town to town, helping spread the good word. At the risk of sounding like a professional sports pundit evaluating a grown man's ability to punt, pass and run… this band has tremendous upside. I hear a pop song about manatees, and I am convinced that Murder Beach is a stick of Care-Free gum that lives up to its name and never loses its flavor.
After that set, in search of more enduring flavor, I walk into the Georgia Theatre, too late to catch Entropy, but just in time to witness Karl Denson playing cowbell in his own band Tiny Universe. My cohort reminds me that, "There hasn't been a show for heads at the Theatre in weeks," as I dodge hippies en route to a corner spot on the floor. Soon enough, I'm engaged and hypnotized by Denson's flair on saxophone, flute and yes, more cowbell. The chorus to "The Bridge" is infectious and, as I leave the Theatre, impossible to shake.
Saturday, I return downtown with a half-empty tank of ambition that tater tots and PBR alone cannot refuel. Thankfully, the Lunch Paper All-Stars gala gets off to a soft start with Fabulous Bird. In an 11-band line-up that promises to get darker and louder as the evening progresses, Peter Alvanos' 1970s art-rock melodies are going down well at 6:15 p.m. Be certain to check local listings for future Bird sightings. After a surprisingly quick strike and reset, The High Caliber carries the early evening melodic torch as I make my exit and contemplate this thing called deadline.
David Eduardo
David Eduardo is skilled in many ancient arts. Club Notes is a weekly look at the local club scene.
David Eduardo
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Club Notes
It's All Good
originally published November 2, 2005
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