Category: Review

Pink Floyd: The Final Cuts?

Posted on December 6, 2011 by Tankboy

I have bought the Pink Floyd catalog too many times. First on cassette. Then on vinyl. Then came CD because it was finally OH SO FUCKING CRYSTAL CLEAR. Then 24K CD because THAT was even more crystal clear and I was a sucker. Then the early ’90s box set because it FINALLY included the singles I only had on scratchy bootlegs. THEN AGAIN only a couple years ago because, hey, the catalog was re-released! And then, earlier this year, I heard the band was remastering and re-releasing the whole dang thing AGAIN.

This time around I was going to win. I’ve spent countless thousands of dollars on Floyd recordings so THIS time around they owed me! And, amazingly, their label agreed, and sent me the latest iteration of Pink Floyd’s remastered and re-issued catalog. (Well, except, for some odd reason, A Saucerful Of Secrets and More. So if the label’s reading this, please send me those. To all the rest of you, that gap in my collection doesn’t really impact my larger view on this re-issue. And here’s why.)

The twelve albums I listened to were amazing. OK, I’m lying, nothing can make The Division Bell amazing; that disc should just die and lie under a tombstone that reads “Dave Gilmour and his wife like this but no one else does, not even the always affable Nick Mason.” But the rest? Amazing.

Now, I have railed against re-issues and remasters and desperate label cash grabs in the past. And truth be told I expected this to be the same thing all over again. But I sit here stunned and pleasantly surprised, and I like to think I’m just as cantankerous and critical as I’ve always been so let me try and make my case here.

Let’s start off with an audiophile’s concerns. When albums get remastered and re-released that usually just means they’ve been made louder but by no means better. The remastering on these discs works the seemingly impossible and ups the levels artfully, without overly compressing the sound. This has the effect of increasing the quieter discs to a volume that can compete with most modern albums without simultaneously coming off as shrill. It’s obvious this was done with great care, for once. (Those of you already dozing off, I’ll be done soon.) For instance, “Atom Heart Mother” weighs in with a symphonic metal heft I hadn’t heard in my own 25+ year experience with that album and “Echoes”—oh man “ECHOES” —now carries some insanely otherworldly funk within it I was only privy to through hints and glimpses on my original gatefold pressing of that disc.

That's a lot of music, huh?

Audiophiles. This is the shit. Get it. NOW.

Outside the aural tweaks, here’s my worry. Pink Floyd has finally released expanded versions of Dark Side Of The Moon and Wish You Were Here with material we (largely) didn’t know existed. Some of it is good (the Dark Side Of The Moon stuff in particular) and some of it reminds us why The Floyd eschewed this path or that (the unreleased “Household Projects” outtakes). However, what this stuff DOES show us is that they have the vaults and there IS shit in there we want to hear! Hell, even Nick Mason recently admitted there was material that’s been widely bootlegged that warrants an “official” release. So who’s to say this isn’t a trapdoor that would lead to yet another set of re-issues?

But it looks like this is probably the last one as far as extensive Pink Floyd reissue campaigns go. No joke. The recording industry is crumbling beneath it’s own feet and, to Pink Floyd’s credit, they’re trying to leave on a high note (though, Mason, work on that REALLY unreleased stuff for us, and get it out on separate discs, OK?). And this really is a high note. Speaking as one that fell for the 24K CD ’80s craze I can readily admit these reissues sound SO much better. But if you’re on a budget, confine yourself to the expanded editions of Dark Side of the Moon and Wish You Were Here that are out now and we suspect The Wall will be worth it when it’s released next year. (And let’s all petition for a Pros And Cons Of Hitchhiking box set including the demos meant for Pink Floyd to record as a band. That would be wicked, no?) And Obscured By Clouds, because that’s the classic Floyd disc that is nigh perfect yet overlooked by almost everyone.

So there you have it, overall the current crop of Pink Floyd remasters gets it right. It really, and this really shocked me, does! The band won’t be able to top this, so if you’re looking to refresh your collection, or build it from the ground up, this is an excellent starting point.

And seriously, if you buy no other album from this reissue, buy Obscured By Clouds. It’s like the perfect marriage of all stages of Floyd.

Posted in Music, Review, Tankboy | 15 Comments

Fool’s Gold – “Leave No Trace”

Posted on September 18, 2011 by Andrew Patton

MP3: Street Clothes

Los Angeles’ Fool’s Gold recently released Leave No Trace, the follow-up to their 2009 self-titled debut album. Their lineup (which still includes Columbus ex-pat and multi-instrumentalist Brad Caulkins) and sound have changed a bit since the first album and previous tours, and the new album reveals a band that is focused on what it wants to be.

Leave No Trace features 10 new songs that delve into a wide range of styles and textures. While their collection of international influences are still easy to hear, the new material also touches on 1980s British pop (the opening of the title track is a near dead-ringer for a Smiths song) and dance music. Another stylistic shift is that lead singer Luke Top sings in English for the majority of the album, as opposed to the debut album that was sung in Hebrew. The result of these changes is that the songs have a more grounded, personal sound, which also plays out in Top’s lyrics. Songs like “The Dive” and “Narrow Sun” mix Top’s yearning spirit with catchy hooks, while the synth-laden “Street Clothes” seeks to inspire while evolving into a dirty jam led by Caulkins’ saxophone. The now five-man outfit has created a batch of songs here that convey passionate personal emotions while remaining primarily joyous and buoyant, led by Top’s soaring vocals.

Fool’s Gold is currently on the road in support of Leave No Trace, and the tour includes a stop Monday night at Skullys. Opening are locals Maza Blaska and You’re So Bossy. Admission is $10 at the door.

Video for “Wild Window” after the jump.
YouTube Preview Image

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Blank City Review By A Fan of Odd Future & Lil B Who Used to Write on Other Peoples Things

Posted on June 10, 2011 by Wes Flexner
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Blank City

(Céline Danhier, 2010)

Unmade Beds / Permanent Vacation
// Double Feature
Fri, June 10–Sat, June 11, 2011  |  7:00PM
Wexner Center Film/Video Theater

Celine Danhier directed Blank City, which is a documentary about the No Wave Film movement that eventually ran into Hip Hop & graffiti’s move from the Bronx, and in general the art world.

I typed her name first so I would at least do 1 thing right in this review. I would tell you to google the other reviews, and they would tell you that Blank City gathers stories from people like Akron’s Jim Jarmusch, John Waters, Thurston Moore and Debbie Harry about the early 80’s community of thin, broke people with an excellent sense of style doing whatever it takes to utilize new developments that allowed movies to be made by just anyone, and be shown by just anyone in New York City.

You know kids writing their names big on trains? Well, frail pasty white folk were using film to write their images on anything.

So if you read this blog cause you like rap shit. Then you should watch this movie because eventually it ties in the scene from Wild Style where Lee was boffing that gallery lady to why you be looking at that junkie looking girl at the end of the bar.

Fab Five Freddy, Daze, and Charlie Ahearn are in the building.

Think about Lil B…. how everyone is mad that he can’t rap. But he also has really weird You-Tube videos and is thriving.

Somewhere in the movie, someone says the No Wave Movement rejected everything pre-1976. Think about Tyler, the Creator saying he hates people that only talk about 1994 rap.

Also google Amos Poe, and Lydia Lunch. Think about them then perhaps you wouldn’t have to take your drugs to dubstep parties and hang out with hippies.

That isn’t to disrespect drugs. Because everyone in “Blank City” is a drug addict and a miserable fuck and probably was terrible to be around.

Now, if you read this blog because you like art in film then you should go see this movie because it has first hand accounts of an important time in music and art.
?It shows how technology, politics, environment and denial in response to AIDS affected this era.

I had often just put the No Wave music and film scene in with Richard Kern, & Nick Zedd’s Cinema of Transgression Movement. While they had some mutual people like Lydia Lunch.
Cinema of Transgression came a little later because of boredom with what was become the status quo

Again if you like rap, think about Odd Future and how their videos are a lot less boring than the underground sneaker and car rappers when you get to the Cinema of Transgression part.

I have to say that Kembra Pfahler is funny looking. Her forehead looks like “Warf” from a newer Star Treck. I don’t know if she had her forehead altered as a form of performance art. But goddamn, her and Nick Zedd are a lot less attractive than Jim Jarmusch or Debbie Harry these days.

Think about Lydia Lunch like a gangsta rapper that fell the fuck off.

Not a prophecy on Tyler because, while he is strange looking, he isn’t outright appalling and isn’t only shock.

Anyway, as you can see from this ramble, this movie is of interest to you if you like No Wave, rap, graffiti, shock value, art, music, drugs, having a shitty attitude or get over by being attractive.

$5 members
$5 students
$5 senior citizens
$7 general public

Posted in Film, Music, Review, Video, Wes Flexner | Tagged , , , , , | 3 Comments

Lo-Pan – “Salvador”

Posted on May 12, 2011 by Andrew Patton

MP3: El Dorado

After six years of banging around clubs local and nationwide, Columbus’ Lo-Pan is getting their message heard. Playing the circuit and releasing burners like 2009′s Sasquanaut got the attention of Detroit’s Small Stone Recordings, home to a legion of similarly heavy rock ‘n roll bands. After a recent remixing and remastering of Sasquanaut, the fearsome foursome now presents Salvador, a brand new 11-track blast of force and fury.

The band’s focus seems sharper than ever on their new material. Lead singer Jeff Martin’s emotive yet sleek and straightforward delivery is reminiscent of some brands of hard rock from 15 or so years ago, forceful yet not distracting. The rhythm section of Skot Thompson and J. Bartz is as relentless as ever, pounding out a propulsive backbeat for guitarist Brian Fristoe’s pyrotechnics. The tracks here are mostly shorter this time, providing bursts of rock maelstrom like opening track “El Dorado” and “Chichen Itza.” Of course, the boys can still brew and build a firestorm like before when they want to, with slow-burners like “Bird of Prey” and album closer “Solo.” Lo-Pan proves here that they are dedicated to no frills, ass-kicking hard rock of the highest order.

Lo-Pan will spread the news of their new album with a three-week nationwide tour. Before they do so, they will gather momentum at a release party Friday night at Ravari Room. Joining them will be fellow local juggernauts EYE and Before The Eyewall, as well as New Jersey’s Fight Amp.

Tour Dates:

May 18, 2011 – Pittsburgh, PA @ 31st Street Pub w/ Molasses Barge, Fist Fight in the Parking Lot
May 19, 2011 – Philadelphia, PA @ The M Room w/ Backwoods Payback, Chromelord
May 20, 2011 – Bethpage, NY @ Mr. Beery’s w/ John Wilkes Booth, Borgo Pass,
Midnight Mob
May 21, 2011 – Boston, MA @ Rosebud w/ GOZU, Motherboar, Lunglust
May 26, 2011 – Chicago, ILL @ Quenchers
May 27, 2011 – Indianapolis, IN @ The Vollrath
May 28, 2011 – St Louis, MO @ Firebird w/ Shame Club
May 29, 2011 – Oklahoma City, OK @ The Conservatory w/ Gypsyhawk, Los Dios Del Diablo
May 30, 2011 – Denton, TX @ Andy’s Bar w/ Wo Fat, Little Big Horn
May 31, 2011 – Houston, TX @ The Mink Backroom w/ Project Armageddon, Gypsyhawk, and Mothership
June 1, 2011 – San Antonio, TX @ The Ten Eleven
June 2, 2011 – Austin, TX @ The Scoot Inn Liquid Sludge Festival w/ Dixie Witch, Honky, Suplecs, Tia Carerra
June 3, 2011 – Lake Charles, LA @ Luna Live w/ Large Marge, 4mag Nitrous
June 4, 2011 – Memphis, TN @ Buccaneer
June 5, 2011 – Nashville,TN @ Little Hamilton Collective w/ Across Tundras, Hellbender

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Review: Liturgy’s “Aesthethica”

Posted on May 9, 2011 by Jill Ebenezer

MP3: Liturgy – High Gold

I’ve been in denial about Liturgy. I’ve been avoiding them ever since they played the basement of a house here in Columbus when I realized it wasn’t the brutal death metal Liturgy. I missed them at the Scion thing to eat for free and watch the Blue Jackets. Did I make a mistake? New album on Thrill Jockey…huh?!

Liturgy has been polarizing metal heads since their last full-length. The argument draws comparisons to gentrification. Who are these artists moving into the metal ghetto? Does it matter? Simply put, this album puts Liturgy near the top of the heap of American Black Metal. Instead of biting any of the main culprits, Liturgy has crafted an album rooted in intensity, technicality and most importantly memorability.

The name of the game is emotive dynamics and Liturgy storms the gates in grandiose fashion during “High Gold.” The lead guitar is achingly beautiful. There is a story being told musically and it moves through various moods throughout “High Gold.”

“True Will” is morbid. A choral intro tells so much about where this song is headed and it is clearly a tragic place. Will our hero live to fight again? Will there be a new hero?

A track-by-track review would be like giving spoilers to a film and listeners deserve to hear Liturgy’s compositions. What Aesthethica offers on the surface is an album of total technical hypnosis. Beneath the surface is a ride from joyous ecstasy to punishing lows through tense moments and beyond. This is an album that listeners need to immerse themselves in. It can be enjoyed as background music but the entire album should be digested wholly to be appreciated. Skipping a song is like skipping chapters in a book.

While there are many strong points in Aesthethica there are some questionable moments. Liturgy succeeds in the parameters of black metal meets Lightning Bolt and there are instances where the band moves outside and falters. “Generation” plays the Lightning Bolt with a tune that has incredible bounce. It is an odd fit for the album. “Veins of God” does not sound like Liturgy nor is it interesting. It rather sounds like some generic wrestler theme music and is a disappointment.

My major complaint is the artwork. It is Swans meets Slayer “god hates us all.” Sadly, the cover reeks of a high school art project that is clearly off target when listening to the majestic songs from Liturgy. Truthfully, I cannot think of cover art that wouldn’t be disappointing for this record since Aesthethica avoids the trappings that many metal albums fall into but the current cover does the album no favors.

Aesthethica will be released on Thrill Jockey tomorrow, May 10th.

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Bottom Brick: Live Fast Or Die Slow EP

Posted on February 11, 2011 by Andrew Patton

MP3: Lets Go!

Though they never went anywhere, it has now been a few years since Columbus’ Bottom Brick released a new album. After keeping busy with other projects in the meantime, the hip-hop trio now returns with their new EP Live Fast Or Die Slow.

In only 17 minutes of run-time, they succeed in producing a condensed package of classic-minded hip-hop that continues to evolve. Most of the tracks are produced by rapper/producer Seance, whose results range from the synthy, smoldering boom of lead single “Take It To The Top (On)” to the battle swagger of “Never Left,” featuring a masterfully cut-up hook from DJ Product. The menacing loop of opening track “Let’s Go!” provides a perfect backdrop for MC Adjust to burst out of the gates explosively. These five tracks are a great starting point to discover Bottom Brick’s material, and seem to predict more bangers to come.

Bottom Brick will celebrate the release of Live Fast Or Die Slow with a release party at Carabar Saturday night. Joining them on the bill are fellow local hip-hop heavyweights Zero Star (check the link for 3 free new joints), Stonecraft, and DJ Detox. Admission is free.

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Joel Oliphint’s Favorite Albums of 2010

Posted on December 21, 2010 by Joel Oliphint

If 2009 was the year of Larry Jon Wilson, 2010 was the year of Bill Fox and the Gibson Bros. I think I listened to Bill Fox’s two reissued albums — Shelter from the Smoke and Transit Byzantium — more than anything else. (Shelter got a deluxe vinyl reissue, and Scat promises a similar treatment for Transit in 2011.) Go get ‘em. And working on a story about the Gibson Bros. reunion show back in July occupied my brainspace and held my interest for months. I don’t know if CDR has any copies of the Build a Raft reissue left, but if they do, it’s required listening for any Columbus music fan or anyone with a passing interest in twisted, noisy country/blues/rock.

But in terms of new stuff, here’s what I liked this year, starting with national releases and ending with Cowtown LPs.


1. Strand of Oaks – Pope Killdragon
I didn’t immediately hit repeat when I heard this album, but once I came back to it, I never stopped. Who knew a record with songs about John Belushi (from the perspective of Dan Akroyd), a 12-foot man and JFK could be so engrossing. Devastating, too. If you think Tim Showalter is just another pretty-voiced folkie, the layers of synth and Sabbath-like riffs on “Giant’s Despair” prove otherwise. The best way to get Killdragon digitally or on vinyl is through Strand of Oaks’ Kickstarter page.


2. The Black Keys – Brothers
Ditto Duffy.


3. Anais Mitchell – Hadestown
A folk-rock opera about Orpheus sounds like a terrible idea. Thanks to Mitchell’s clever arrangements & talents like Greg Brown, Bon Iver’s Justin Vernon and Low Anthem’s Ben Knox Miller, it’s a tour de force.


4. Sam Amidon – I See the Sign
Sam Amidon takes old songs and makes them new. Oh, and R. Kelly songs, too. Fans of Nick Drake and Sufjan will dig this. Feb. 18 show at the Wex with Brian Harnetty is icing.


5. Local Natives – Gorilla Manor
No new ground broken, but I’ll take these songs any day over a lot of the big-name, anthemic indies who released albums this year.


6. Deerhunter – Halcyon Digest
People seem to either love or discard Bradford Cox. I love him. Album cover disturbs me.


7. Sufjan Stevens – Age of Adz
I went from disappointed to intrigued to enraptured with this album.


8. Spoon – Transference
I’m still waiting for Spoon to release a bad album.


9. Lost in the Trees – All Alone in an Empty House
Prediction: By this time next year many more people will know the name Ari Picker. He can strip a song down to its bones on one song, then compose a rich orchestral piece the next. Wex show Jan. 30 (more icing).


10. Patty Griffin – Downtown Church
I don’t imagine many Donewaiting readers are into country gospel. (I’ll echo Duffy’s preamble about what makes DW great.) When it’s done this well, I’m a fan. Guests include Buddy Miller and Emmylou Harris.

Mention-worthy:
Justin Townes Earle – Harlem River Blues (underrated b/c of daddy)
Surfer Blood – Astro Coast (kids are all right)
Shearwater – The Golden Archipelago (Meiburg the magnificent)
Mumford & Sons – Sigh No More (It’s in my most-played, so I must like it)
Sun Kil Moon – Admiral Fell Promises (underrated guitarist)
Love Language – Libraries (underrated b/c of …)
Vampire Weekend – Contra (Better than the first)
Kanye West – My Beautiful Dark Twisted Fantasy (“That’s why your Winslow”)
Mavis Staples – You are Not Alone (Legend made even better by Tweedy)
Lower Dens – Twin-Hand Movement (Jana Hunter > Devendra Banhart. Much greater.)
Mountain Man – Made the Harbor (Who needs instruments?)

Columbus albums
Like I said, Gibson Bros., but I’d remiss not to mention Columbus Discount Records‘ two other reissues I loved: Ron House’s Blind Boy in the Back Seat and Nudge Squidfish’s 20,000 Leagues Under Nashville. I liked some EPs, too (Way Yes, Spruce Campbells’ 1st) and a 7″ (TNV’s “No Room to Live”) or two, but I’m sticking with albums here. As usual, I’ll also clarify that I’m not separating these lists because these are somehow inferior or can’t compete with national releases. I just like doing it this way.

1. Super Desserts – Twee as Folk
Can’t say much more about this band and album that I haven’t already said. This is the Desserts at the top of their game.

2. The Black Swans – Words are Stupid
One way the Black Swans have honored the memory of violinist Noel Sayre is to still include him on this album, a meditation of sorts on how language fails us. It’s light, it’s dark, it’s great.

3. Time and Temperature – Cream of the Low Tide
I don’t know if this is an EP or an album, so I’ll say it’s an album. At long last. More from Val Glenn, please.

4. Ghost Shirt – Daniel
I don’t think you want to hear me talk about this band anymore, either. This record was a pleasant, late-fall surprise.

5. Micah Schnabel – When the Stage Lights Go Dim
It makes sense that the songs of the Two Cow Garage front man hold up with just an acoustic guitar.

6. Andrew Graham & Swarming Branch – Andrew Graham’s Good Word
I’m still surprised by how little press this Mexican Summer release got. “Take it Easy on Kathy, at Least she Can Dance” is one of my favorite Columbus songs released this year.

7. Nick Tolford & Company – Extraordinary Love
Soul! At least go download “End of the Night.”

8. The Kyle Sowashes – Nobody
“I threw up at Tee-Jaye’s on Wednesday night/ Pale-faced and clammy I was something of a sight/ We played a show at some basement bar/ And while they couldn’t pay us/ They gave us PBR/ So I took it as a challenge/ I tried to drink them all/ Each one went down better than the last as I recall/ And I’d forgotten to eat dinner/ I realized too late/ I got double dragon before the waitress brought my plate.” Long live Kyle Sowash.

9. Deathly Fighter – Completely Dusted
I remember seeing Deathly Fighter awhile back and being bored. It’s not usually my thing. But this album keeps me coming back. I think I like it for the same reasons I like the XX and Burial. Not that DF sounds anything like those two, but there’s something about a record that’s simultaneously chill and pulsing…

10. Earwig – Gibson Under Mountain
Didn’t get to this one for awhile, but now find myself humming these songs all the time.

Mention-worthy:
Phantods – Creature (need to spend more time with this)
Bookmobile – The New Patriot (bittersweet)
Two Cow Garage – Sweet Saint Me (consistency)

Posted in 2010 Favorites, Columbus, Review | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 5 Comments

Houston Calling reviews the Roger Waters concert

Posted on November 21, 2010 by Chip Midnight

Donewaiting alum David Cobb has been keeping Houston music fans in tune with the local buzz for the past couple of years over at Houston Calling. When not writing about Houston bands, David is reviewing national acts that pass through the Lone Star state including artists like Pink Floyd’s Roger Waters who played The Wall, in it’s entirety, in front of a sold-out crowd at the Toyota Center on Saturday night.

Check out David’s review and photos from the show.

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Review: Jimmy Eat World in Columbus (+ photos)

Posted on October 11, 2010 by Chip Midnight

This is hard for me to admit, but I think I’ve outgrown Jimmy Eat World. The guys still make great music but the last two albums haven’t been the start-to-finish stunners that their earlier work was. I’m not sure where they got lost along the way. Maybe it was the mainstream success of “The Middle” that demonstrated to the guys that they could write a decent pop-rock song that both emo kids and sorority girls would find appealing. That’s not to say the last two CDs (2007’s Chase This Light, 2010’s Invented) don’t contain some good, “greatest hits”-type material, but the midtempo, “belong in movie trailers” songs lack the punch of earlier tracks like “Sweetness” and “Thinking, That’s All”.

Jimmy Eat World returned to Columbus this past Saturday nigh for the first time in nearly 6 years (if I’m not mistaken) for a sold-out show at the Newport with We Were Promised Jetpacks. I still find it hard to believe – and, believe me, I’ll tell anybody that’ll listen – that I saw Jimmy Eat World play Bernie’s sometime in either 1994 or 1995 on the Static Prevails tour. That wasn’t a great show, Jim Adkins kept breaking guitar strings and eventually just gave up on changing strings and retuning causing the band to cut their set short. But, for the dozen of us in attendance, it was the first, promising glimpse at this Arizona four piece that was just a few years away from bringing emo rock to the mainstream.

Though consisting of the same four members, the 2010 version of Jimmy Eat World is clearly a group of polished professionals that don’t have to worry about breaking strings or blowing out an overloaded circuit breaker (which is what happened during their second Columbus performance with the Promise Ring at Woody’s in the Ohio State Union in the late ‘90s). They spoon fed the mostly college-aged audience hook after hook, hit after hit throughout the 21-song set distributed pretty evenly across 5 of the band’s 6 CDs (I’m not sure they care to acknowledge Static Prevails as it’s been years since they’ve played anything off that one live). Without a doubt, the opening four (“Bleed American”, “Your New Aesthetic”, “A Praise Chorus”, “My Best Theory”) and closing four (“23”, “Pain”, “The Middle”, “Sweetness”) were the highlights with the stuff in between going back and forth between the midtempo and slower stuff.

I felt a little like a stick in the mud as I walked out of the Newport after the closing notes “Sweetness” rang through the sacred music venue and watched hundreds of happy, satisfied, and smiling kids high fiving each other and proclaiming this to be “the best concert I’ve ever been to”. I had that feeling once with this band and I’m glad to turn them over to this new generation of music fans to enjoy … I just wish they had had a chance to see them “back in the day” when the intensity was driving them and there were hiccups along the way.

While it felt like a passing of the guard with regards to Jimmy Eat World’s set, most of the 1,500+ of us at the Newport were experiencing Scotland’s latest import, We Were Promised Jetpacks for the first time. The band’s sound isn’t that different than their fellow countrymen Frightened Rabbit and The Twilight Sad – all 3 of which are direct descendants of Idlewild and The Delgados – though each brings a slightly different nuance to their individual sounds. Having experienced these guys play in this setting, I wish I had caught them early this year at a Benco booked show at The Summit. I won’t make that mistake of missing them in a smaller venue (that is, if they haven’t outgrown those intimate settings) next time around.

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Review: Yeasayer in Columbus

Posted on October 4, 2010 by Adriana Mundy


Ahmed Gallab image courtesy Full Frontal Fashion

Having seen Yeasayer a couple of times before, I knew what to expect to a certain degree. The words I would use are similar to those which describe their sound: psychedelic, heart-thumping rock music that teeters on the brink of insanity. This mood they create in their live set has to be part of the reason they’re so well liked by other current mega-indie acts like MGMT and Vampire Weekend. It’s music that makes you dance, drink, take drugs (or feel like you have)… a real experience. A performance that makes my imagination wander is the real test to how remarkable a band is live. Makes it easy to see why their music videos always seem to have escaped from a third dimension.

Perhaps the most refreshing aspect of the performance was Ahmed Gallab’s (aka Sinkane) public allegiance to the city of Columbus. Not only did he step back on stage before the encore and talk about his time spent here, but he kicked off their last song by stating “This is all for Daymon Dodson.” People like Ahmed are why I love the Columbus music community.

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