What: Dowsing, Like Bats, Coping, and Castevet

Where: Subterranean in Chicago, IL

How many people were there on a Monday night? A surprisingly large amount

I have reviewed lots of shows at Subterranean for this website.  It’s pretty cool when I’m able to see bands I’m used to experiencing in a basement play at the same venue as Yo La Tengo. Granted this show wasn’t sold out like that claustrophobic YLT show back in June but there was impressive number of people in attendance.  Good Job Dowsing and Coping (I’ve never seen Like Bats or Castevet in a basement so I don’t need to congratulate them).

Dowsing

Dowsing are an emo band who like to hang out with lots of the other bands frequently covered on this website. They’re good kids who like video games, television references, Tony Kukoc jokes, and anthemic punk rock. Their songs are quick, jaunty, and they make you want to sing along to that one song about maps.  Okay that last part might only apply to me and the song is called, “Amateur Cartography.”

Dowsing

I’ll make no bones about it, I like Dowsing a lot.  I have a thing for cute little ragamuffins blasting loud songs about being 19.  Their sound is sometimes lacking in diversity but the songs are over quickly enough that it’s all in good fun.  Their set on Monday largely consisted of songs from their debut EP All I Could Find Was You. It was good to finally hear those songs played on a real PA instead of the bare bones set up at DIY venues.

Like Bats

Here’s one thing about Like Bats: Their name is difficult to say in conversation. I prefer to think of them as Akin to Bats.

Here are some other things about them: Akin to Bats are from Lansing, Illinois and they play punk rock. They play the sort of hardcore influenced pop punk that was so well tread by early Screeching Weasel and The Lawrence Arms. This is not a criticism as the band pulls off that sound very well. The rhythm section was super tight while still allowing the overall sound to be sloppy in the way such things should be. It’s a head bopping good time. Anyone who can comprehend punk lyrics in a live setting has the ears of a god and is not me.  I’m pretty sure all of those shouts and yelps were about hurt feelings. Either way they were suitably cathartic and fit in well with the theme of the evening.

 Coping

Coping are a band from Chicago who hang out in the same corner of 90′s emo revival that I seem to often find myself covering.  There is a pronounced Sunny Day Real Estate/Jade Tree Records influence at work in their sound. Many songs have the all important emo rhythmic phrasings like, “dunn dunn ba ba ba pa ba ba bah,” and, “duna duna gah. Duna duna gah.” Say those out loud.

Coping. Aren't you glad I had my phone camera on hand?

The derivative aspects of their sound are mostly covered up by their near mastery of the form.  It seems antithetical but their playing somehow manages to be both virtuosic and sloppy. There are a lot of circular note patterns and complex rhythms being thrown out all over the place and they sometimes get lost in the deluge. They’re able to do it with a surprising amount of groove so the whole flood of noise adds up to an ass grabbing pulse.  This is a really weird comparison but it’s not super different from the early 70s Miles Davis records when his band was 12 people playing rhythms.  Seriously, go listen to On The Corner. They’re not that different (except, you know, more shouting and less trumpet).

Castevets

Castevets is another band name that causes me difficulty. I can’t fucking remember it and it always makes me think of the actor/director John Cassavetes.  Anyway, here’s the problem I had with John Cassavetes.  Their first few songs were the sort of Post-Hardcore that I gave up on enjoying 5 years ago when I stopped listening to The Felix Culpa and Wax on Radio. It was ethereal but without any discernible beauty. The musicians certainly accomplish the goals they set out for, but I don’t like those goals and can’t find any point for visceral connection so the effect is lost on me.  There were certainly many sonic qualities that John Cassavetes shared with the other bands but with very little of the direct catharsis that is so important and appealing to the music.

I went home after the 3rd song.

For more information on these bands, check out their various websites and Facebook pages.

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It’s honestly one of the most open forums of expression that I have ever found, and probably ever will.  The foundations that people build for each other are nothing short of inspiring and beautiful, creating the ultimate support systems for everyone from the most experienced bands, to kids that honestly have no clue what the hell they are doing.  Through all the bands that I have ever seen play, numerous times, and bands that I would have killed to see, and didn’t, there is one band that I am absolutely infatuated with that I still haven’t seen.  That band is a tiny three piece out of Philadelphia (that’s in Pennsylvania) called Algernon Cadwallader.  They honestly don’t need my praise, and they honestly never will.  Algernon has enough talk surrounding them to turn even the most slightly of interested heads, and the fan base to make most bands three times their size jealous.  Yet, they still stay true to their roots, rarely playing a commercial venue and self releasing their music via their warehouse living quarters.  It’s really something to be seen, a very impressive operation- home studio, screen press, practice spaces, etc.

Since not many people have came right out and said it publicly, I am now deeming Algernon Cadwallader the kings of emo revival.  Their new record, Parrot Flies, is going to be one of those records that we look back on with the kind of fondness and nods that we ode to Cap’n Jazz and The Promise Ring, or our Minerals and Fugazis.  Some Kind of Cadwallader, their previous record, is already considered a classic amongst the network of basements and kids taking to Mediafire and their patroned online forums- literally, if you have never even heard the name “Algernon Cadwallader” muttered, Google it, and watch the return.

The open track of Parrot Flies, “Springing Leaks” is the perfect way to start a record off.  Energetic, ear perking, melodic, and the perfect use of pop sensibility that is truly separating Algernon from the rest of the pack is infused within the track that just makes you grab on to hear what’s coming up next.  My favorite song on the entire record has to be “Pitfall”, the second track.  The guitar playing and vocal melodies are perfect in every sense of the word.  From singalongs that span the entire length of the record to the guitar playing, and tone mind you, that will have even the most technical guitar players wide eyed, this album is something special and someone for all bands from emo revival to take notes from.  Forget the fact that don’t tour as often as you would like and release songs very choicely; they are still setting standards for you to try and compare to. Just listen to the song “Glenwood Ave”, you’ll instantly smile and want to start writing if you yourself are a musician or lyricist.  For a band that comprises of three members and just their instrumentation to fill it, Algernon is a band that is definitely progressing and making it sound effortless in the process.

While not as anthemic in blatant pop melodies as their previous effort, Algernon has certainly built upon a sound that is defining them as torch holders in emo.  Musically fuller and vocally stronger, Algernon has returned with another great release, and you can thank them at their next show coming to a town near you.  They are currently about half way through a tour with Snowing and 1994! continuing through June 25th.  Find all the dates here, as well how to grab their record and merchandise:

http://algernoncadwallader.blogspot.com/

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The Appleseed Cast

Aaron Pillar of The Appleseed Cast joins Brandon and Patrick for a discussion of where the band has been and where it’s going, making some money, where The Appleseed Cast sits within the music industry. All around it’s just a great conversation with a cool dude from a great band.

Visit the band at www.theappleseedcast.com or at myspace.com/theappleseedcast

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Joey De Verve

Joie De Vivre – You Ruined Everything that was Ever Good

With You Ruined Everything that was Ever Good, the titular track of their 2010 tour EP, Joie De Vivre brought something so far unseen to the table: Swagger.

Prior to this song, the band’s lyrical aesthetic could best be described as, “Earnest Apathy“.  That is to say any number of songs in their catalog can be summed up by a scruffy young man yelping, “I feel bad about these things, but I don’t know how to change them.”  One could easily imagine a girl breaking up with JDV’s lyrical persona.  Upon hearing the news, the persona slumps down in his chair and says, “Oh ok.” Then the persona drives home and feels bad about himself until his friends come over with a 24 pack of beer and some old Alkaline Trio albums (incidentally it would look like this).

That’s what makes this song so different.  Maybe it’s because of the hilarious origins (see their recent appearance on our podcast), but You Ruined Everything that was Ever Good has none of that reluctance or longing usually present in a Joie De Vivre track.  Lunging forward at a pace that veers shockingly close to up tempo, the guitars bite instead of chime.  One can actually move their hips to this thing.  Singer  Brandon Lutmer’s usually propensity for stretching words out to bar length is replaced by what amounts to urgency; gnawing at the bit to get all of his words out (relatively speaking).

“Staying out all night/ to follow you home convinced me that I was right/ in letting you go.  I couldn’t wait to tell you/that things are fine,” he sings to an unnamed party.  Basically telling her, “It’s cool. I’m better now anyway.”  Then the barbs get more venomous, plainly stating, “You weren’t missed by anyone,” repeating it before ending the song with the chanted, “You ruined/everything that was ever good.  You ruined/everything that was ever good.”  Ouch.  As far as emo bands go, it’s basically a Ludacris song.  Everything is delivered with confidence and a smirk.  It almost makes you want to strut.

I’m sure that we’ll all go back to Charlie Brown moments soon enough, but it’s nice to have a rallying cry for moving on.  Give it six months. This song will be a sing along song.

Visit Joie De Vivre’s myspace page to hear the song: http://www.myspace.com/joiedevivreband

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