Lobsterfest started with a bang Thursday night at The Union. The night had mostly an electronic feel to it, with genres ranging from ambient free-form to chillwave.
The first group out was Whirl, a Columbus two-piece playing their second Athens show. The duo, consisting of ACRN alumnus Ty "Death Beef" Owen and Tin Armor's Matt Umland, plays a free-form style of electronic that is full on synth worship. The music doesn't stop until they are done playing, adding to the effect of what it all sounds like. There is an underlying structure to it, but the music is obviously impromptu, full of sound manipulation, synthesizers and digital sequencers. The two seemed focused during their entire set, constantly doing something to change around their ambient sound. The addition of a projected logo image in the background and the ever-changing lights of The Union made it seem eerie and apocalyptic, but one could only stand, listen and just feel.
Next out was Blithe Field, a sample-electronic artist from Athens. The creation of Spencer Radcliffe, the sound is just pure and fun. Even with how chilled out the music was, Union attendees were eagerly dancing and enjoying everything that Radcliffe threw in. Spencer seemed very relaxed and comfortable playing on The Union's stage, playing very loose, but focused all the while. He played tracks from his most recent release Warm Blood and his 2011 album Two Hearted, such as the ever popular "People I Love." Radcliffe ended his set with "bible school," a song from his album Beautiful Wave '74. I especially enjoyed it because I was screaming at him to play it right before he dropped it.
John Jagos, the sole brain behind his chillwave/nu disco project Brothertiger, gave his last (and best) Athens show to date. The whole crowd was supportive of Jagos throughout his entire set, singing and dancing along to the songs they knew and even the ones they didn't. Jagos played songs that ranged from his two EPs to his full length, opening with "Vision Tunnels" off of his Vision Tunnels EP, then playing "A House of Many Ghosts" off the Point of View EP. Jagos ripped through some of his more recent songs off of his Golden Years full length, including the upbeat "Golden Years," the heavy bass-driven "Out of Line" (a song that belongs in the 80's) and the ever popular "Lovers." After working the crowd into a fever, Jagos covered "Ask" by The Smiths, which sounded great with his synthy feel and breathy vocals. Before closing his set with "Feel," Jagos, through near teary eyes, graciously thanked everyone for the support over the years and expressed his love for everyone in attendance. Best of luck to him.
Last out was Lazer Babez. The Athens six-piece was the only band that used any drums or guitars throughout the night, but they were distorted and affected like crazy. The only sort of vocals that came from the group were little hums and whistles expelled from the bongo player, then heavily distorted. They too had an underlying structure through drum beats, bass lines and drum sampling, but mini Korg-playing and guitar riffs gave them the feel of a free-form noise band. Ambient and experimental, the group ended the night in a great way.
The crowd at The Smiling Skull were chilled out, but excited for the show that was brought to them Thursday night, with a lineup of music on the weirder side, everyone seemed to be pleased.
First out was noise/electronic act Whirl, a duo that consisted of Death Beef, and Matt Umland of Tin Armor. The Columbus group held no true structure to their sound, no set list, but more of an improvisational set that lasted a good 30 minutes STRAIGHT.
The music was ambient, but had an awe-inspiring power to it, with glitched-out synths, completely layered with different effects pedals. It was one of those sets that you just have to watch the performance to experience it for yourself.
Next was Columbus's Old Worlds, an experimental mathcore/emo/post-rock group that held a tight influence from every single instrument used, even using soft, near opera-like vocals. The 5 piece consisted of a the typical guitarist/drummer/bassist trio, but added in a KORG synthesizer player, and a violinist who had almost more effects pedals than the band's guitarist. Vocally, the group's male vocalists had the kind of voice that could remind one of old Jimmy Eat World, with the female synth and bass players adding a lighter harmony to it. Instrumentally, the music seemed slightly ambient at times, with the experimental qualities of The Fall of Troy and Dance Gavin Dance. What impressed me the most instrumentally was the guitarist/vocalist kept to a finger-picking technique throughout most of the songs.
Last was Athens' own sample electronic Blithe Field. With recent hype and his April 12 release of Warm Blood coming close, and with a recent spotlight in Alternative Press, OU senior Spencer Radcliffe brought his typical A-Game, mixing many of his older tracks and even premiering a new song from the upcoming album.
One may think that the Skull would be out of Radcliffe's element when it comes to venues, but the difference in setting gave him a particular advantage, where front-row members were within arm's reach of him, giving attendees a more intimate experience.
The Fern Gully was packed and alive Saturday night when Blithe Field, Brothertiger, and Evolve came to play.
Blithe Field’s sample electronic set was great, starting in from some of his slower songs that kept the crowd mellow, but finishing off to some more dancey songs that made the floor start to cave. What was memorizing about his set was his focus. There was so much going on around him, but he never looked up of broke concentration. Very impressive in my mind.
Second was synthpop Brothertiger, who played the most energetic set of the night. Jagos’s lively set had the essence of a more upbeat Depeche Mode, with better vocal effects and louder keys. Everyone was moving for the entirety of his set, during which he played songs like “Feel” and “Lovers” from his Vision Tunnels EP, and some off his new LP Golden Years, which comes out March 27.
Last was Evolve, an alternative hip-hop artist from Cincinnati. What was great was the he did all of his own music in real time off of his laptop and a few effects/samples boards. Most of his lyrics were about civil issues, often things involving the government. Very punk-influenced. His electronic beats were phenomenal, making some crowd members want to go to outer space, and they were easily comparable to any professional electronic musician that has any sort of popularity.
Bridesmaid are great at what they do-- which is play hard-hitting stoner metal-- but their sound translated awkwardly to the South Beach vibe. I’d love to see them play at the Smiling Skull or the Union with a crowd of their fans but in the context of a non-Ozzfest-outdoor-festival, the vibe was odd.
The best and worst thing about being deeply involved in the local music scene is that I see many of the same bands over and over again. I love that-- but I would be lying if I said it didn’t get old every now and then. That being said, I have seen Whale Zombie play more times than I can count. But I have never seen them quite like I saw them--or rather, heard them-- at Lobsterfest.
I have heard their endless waves of layered progressive rock soar in the acoustics of Stuart’s Opera House. I have moshed for them at the seemingly ill-fitting venue Casa Cantina. And I have found them most at home at the Union with it’s underground (yes, I realize it is upstairs, but you know what I mean) vibe suiting them perfectly. But never have I experienced them outside, in the afternoon sun, on a lazy Saturday.
Until Lobsterfest 2011 that is.
With no shoes upon which to gaze, I treated Whale Zombie’s set as a much needed pseudo-siesta-- staring up at the blue sky, getting lost in the chord progressions of a familiar sound in an unfamiliar setting. Sometimes it’s nice to change things up.
I never knew She Bears in their Athens days but Columbus seems to have treated them well if what they debuted as new material is an indication of their new direction. She Bears’ Saturday set proved them still capable of producing solid indie pop-rock for the head-nodding, even despite recent line-up changes.
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By: Scott Smith, Album Reviews Editor
The rain tried to end Lobsterfest's third day before it had even begun.
The festivities began at noon, and by 12:30, the sky got dark and ominous, leading to a half-hour-long downpour. The courageous and efficient ACRN sound crew was able to save all of the equipment, and after taking some more time to set everything back up, Blithe Field was able to conclude his set.
Donning a Pink Floyd T-shirt to match the "The Wall" banner in front of all his equipment. The electronic musician led the crowd through a subdued pop landscape. His songs are upbeat but not exactly danceable; a comforting middle ground for fans who seemed to want to relax and just enjoy the music rather than let the heat take an even greater toll than it was already taking.
To close the event was New York band Asobi Seksu. Instead of the dense shoegaze that band is known for, they instead debuted new songs for their upcoming album, Fluorescent. The new songs moved away from layering of the guitar sounds and instead opted for a more synth and lyrically-driven approach.
Asobi Seksu has really been wrongly pigeonholed as a shoegaze band, but the reality is that the band is an amorphous, ever changing musical act. Unfortunately, the weather wouldn't play nice again, and the band's set had to be cut short.
Setbacks aside, it was great three days for Ohio University, ACRN and Athens. A fantastic way to end the year, and some wonderful sounds to linger in our ears as summer vacation comes to the horizon.
A sleepy brain and a game of “Would You Rather” later, and we were on our way to the Smiling Skull. We were apprehensive of the price at first, but morally we couldn’t allow ourselves to use that excuse, given the show was a benefit for St. Jude Children's Research Hospital. We had to think of the children.
The Athens-famous, omnipotent, flawless Nurser took the stage (of sorts) first. Things went better than the last time I saw them, but their music is so weird that it’s hard to tell when things aren’t going well. I mean that in the best way possible. There are definitely some inventive sounds coming from them, particularly from Shane Riley’s guitar. He finds the most obscure notes to play, but stirs them together so that they transition solidly.
They had some new material to lay on the growing crowd, one song in which bassist Sam Mink had to step out because he hadn’t learned his part yet. To that, Riley said something along the lines of, “Our bassist can’t play to this song because it’s such a rager.”
Blithe Field was next and to my and everyone else’s dismay, he was having technical difficulties. He tried to push through as best he could, but the beats weren’t quite the way they were meant to be. Still, he had a supportive crowd that wished him well, but his set was forced to end too soon.
Stomp the Condor, very much unlike Blithe Field, was a weirdo, rambunctious bunch. Or, really just the lead singer/keyboardist/guitarist was. They played rowdy tunes that the crowd greeted with rowdy energy. It was punk rock and other stuff at its finest. A couple of them took off their shirts, too, and of course that’s always a good time, even more so when the shirtless are wearing jorts.
The crowd was at its largest with Brothertiger, which usually is the case every time he plays.I only stuck around for a couple of songs, but left a trippy, happy, dancing group of people. That’s alls yous gotta do, anyway.
Apparently we raised $300! May good causes be benefited and may good music be cherished for all of eternity.
It was so cold last night that I let grumpiness consume me on the walk to the Skull. With my hood up, my shadow looked like a human-lion or a person with a fro, but blocking the frigid air from slapping me in the face was all I cared about.
When we passed over that Union hill and the Skull came into view, contentment immediately replaced my grumpiness and I was ready to forget about my fragile, fractured ankle and rock out with my cray-cray out.
First up was 99 cent Dreamz, who is a a man named Paul. By himself, he played some pretty raw tunes consisting of his guitar solos and electronic drumbeats. He apologized for the shitty sound a few times, because the sound wasn't THAT great. But he worked with what he had, which was apparently music equipment he bought from friends. The best part of his set was when he invited his friend onstage with him to perform a rap-garage rock hybrid of sorts. The guy rapping, whose name I didn't catch, was awesome and really s'pportin' his buddy Paul. I was grinning pretty big the whole time.
After that was Blithe Field--a local favorite of mine. There may not be a lot of action going on onstage, but it's as if his fingers are band members in and of themselves, each responsible for an instrument within a button.
I can't help but find myself mesmerized by the bouncing movement. It's such a mystery as to what noise will come from each tap and manipulation of the machine. Once the ear's anticipation is met, it's deeply satisfied with the sounds of children laughing and soothing synth and samples of acoustics and even Joanna Newsom! Boy was a excited to hear that neat little tweak of "Peach, Plum, Pear."
Don't forget about the dog! There was a big ol' black mastif just walking around the bar and he was a cute-cute. I tried to make friends with him, but so was everyone else, and he didn't choose me.
Up next was Guinea Worms, and they were rambunctious young men: Rambunctious and weird and a total blast. They played some hardcore-ish garage rock that was as coarse as a horse(?). We found ourselves jumping around the Skull's solid ground, punching our fists through the air and kicking our heels and shaking our heads. That remained pretty consistent through their whole set.
We missed the last band because we grew tired and hungry and decided it was time to leave.
And so, the sound that lay me to sleep that night was that of my ears' ringing, which was so piercing that I, aloud, asked my ears to please be quiet. And they didn't listen, and still aren't listening. Damn ears. I can only imagine how incapable you're going to be when I'm old.
You know the drill. Lobsterfest. I wouldn't go as far as to say that it's the goal of our existence, but it's perhaps the most prestigious event of the school year for ACRN-ers. It is the sum of all that has happened from the beginning of September to now – the beginning of June, nine months later.
Though last year's fest was a one-day ordeal on South Beach, this year's installment pumped up the jams, taking it from one to three days at three different locations.
Thursday's show took place at that so-hallowed ground, a staple of the Athens music scene: The Union. Lobsters and non-Lobsters alike descended upon The Union late Thursday night for a night of delicious, drunken debauchery and sweet, sweet music.
I made it my goal pre-Lobsterfest to catch at least a portion of each performer's set this year, and barely kept my hopes alive after arriving a bit late to the festivities. I caught the end of Blithe Field's set and was pleased to find that since I last saw Spencer Radcliffe's musical project in a live setting, not much had changed musically. The key difference was the addition of a drummer. I should note that it was the first time I'd seen Blithe Field since the end of January, so that may be a late discovery on my part. Nonetheless, I really liked what I heard despite only catching maybe two songs. From electronic beats and computer-esque blips to recorded voice samples, now complemented by live percussion, Blithe Field is an act that will – with hope – be around for a few more years to come in Athens, and it should not be missed. I'll be excited to catch another set of his next fall.
After the din died down and the bustle of musicians coming on and off the stage subsided, Seascapes took to their set: A blast of garage-y rock with some definite pop hooks and punk sensibilities. Brace yourselves for the biggest example of musical deprivation this side of the Hocking River: it was my first time seeing Seascapes. As with Manor Animals, whom I will finally be seeing on Saturday, I had somehow missed Seascapes all this year. I certainly wasn't avoiding them; it simply never happened. That said, I'm glad it finally did.
The quartet, which was showcasing its new EP for sale in the back of the venue, was on its game. Featuring a double-pronged vocal attack from guitarists Brian Rudell and Dan Whiteley and the occasional group vocal courtesy of bassist Matt Tarnowski, the set definitely garnered the attention of the slowly-growing crowd at the Union. Drummer Zach Inscho was no doubt a highlight as well with his formidable drumming; that man will also be a part of the Russenorsk reunion Saturday night. Maybe you should be there, too. Hint, hint.
The next act was the source of my most recent musical education: godversussatan. I had never been to a certified noise show before, but I have a feeling that this was the closest I've ever gotten to one. And you know what? It was cool. I listened to some of the collective's tunes beforehand and thought they were definitely interesting, but it's a whole different experience to see things unfold live.
The four men of godversussatan had enough instruments to form a 20-person, possibly more, band. And everything had a purpose, from more conventional instruments such as guitars to music-makers of which I didn't even know the name. Trombones made appearances. What looked like a keytar had a place. Drums were scattered around the back of the stage with members taking turns going ballistic on them when the situation called for it. Did I mention it was loud? Trust me, you did not want to be standing next to the amps during portions of the set. I was probably 6 feet from the stage and my ears are still ringing as I type this.
I'll be checking out those guys and similar acts more often in Athens from now on. You can be sure of that. Though some earplugs to curtail the noise at its shrillest might be a good investment. Like I said, my ears are still ringing. It's my only battle scar of the evening. I flaunt it proudly.
Once the amalgamation of instrumentation was removed from the stage, Lobsterfest veterans The Kyle Sowashes took to the stage. As I've stated in a previous Scene and Heard post, the Sowashes were my favorites of Lobsterfest 2009, and so I was thrilled to see them back on the bill this year.
They say some music gets better the more you listen, and I think it's safe to say that that applies unabashedly to The Kyle Sowashes, at least for me. Though I'd obviously enjoyed their shows in the past, last night was the zenith of my Sowashes experience to date. The band treated the audience to both old favorites like "I've Been Working on My Resume" and cuts from their new album, Nobody. Never was there a dull moment. Band leader Kyle Sowash's glasses humorously continued to slide down his nose for the duration of the set, though some trusty Lobsters were there to slide 'em back up, as the show must of course go on.
About halfway through the set, audience members began calling out their favorites – having the Sowashes in Athens often and having their records in the ACRN studio will do that to a band. The guys laughed many of them off, sometimes seemingly surprised that people knew the songs mentioned. All in all, the audience seemed satisfied of the song selection, and the Sowashes appeared to be appreciative of the support from what they continually claimed to be "the best college rock radio station."
Quite frankly, their set almost seemed too short, though it was probably the longest one of the five acts at the Union. Having a blast pressed up against the front of the stage will do that to you. And the Sowashes' music is simply gleefully infectious. Smiles abounded and singalongs prevailed, and Sowash thanked us one last time before departing back into the audience as preparations for the final act of the evening were made.
Columbus's Psychedelic Horseshit was that final act. The three-piece was a fine addition to the evening and a formidable, if not brief, end to Lobsterfest Day One. The lo-fi "shitgaze" band seemed on the verge of collapse with each passing song, though that is certainly to be expected from their musical stylings. It's not a bad thing, we'll put it that way; it's meant to be that way.
Psychedelic Horseshit blazed through their set, pausing only briefly between songs before launching back into the madness and singer Matt Whitehurst's gaze trained straight forward as he sang and strummed his guitar. Drummer Rich Johnston* was a sprightly fellow too, sometimes on his feet and leaning over his kit as he rhythmically pounded away. Their songs, a collection of dynamic, lo-fi, uncompromising noise-pop tunes, were perhaps difficult to see through at first but were cohesive soon enough, and souls not bobbing their heads to the rapid-fire beats were hard to come by.
The show ended somewhat abruptly with Whitehurst bidding all a goodnight as showgoers turned toward the exit. The warm June evening was certainly unmoving after being in the sweaty confines of The Union for the previous 3-and-a-half hours. Lobsters young and old fled the scene, some off for more early-morning commotion, others such as myself heading back to prepare for the next day's events, including of course day two of Lobsterfest.
I'll see you there.
--Kevin Rutherford, Managing Editor, Dude with the Shitty Digital Camera, All Around Swell Guy
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Editor's note:
Lobsterfest continues tonight at Casa Cantina with Duke Jr. And the Smokey Boots, Southeast Engine, Theodore and Graveyard Shift. The show starts at 10 p.m. and the entrance fee is $6.
Also, make your way to South Beach in front of Nelson Dining Commons by the Volleyball courts all day tomorrow for the free Lobsterfest finale!
This time one year ago, the Athens Experimental Music Fest to me was a culmination of all things frustrating in the music world. I hated the "noise" domination and the way it was slowly creeping into the Athens music scene. Frankly, I couldn't understand the appeal of scraping together metal sheets, or why creating feedback via mics next to speakers was really considered "music."
Thankfully, a year's time has proved me more open-minded.
This year I couldn't wait for AEM Fest, mostly because I've realized over the past year that "experimental" music can't be compartmentalized into the simply category of "noise," and that some of this stuff -- a lot of it actually -- fuckin' rules.
So I moseyed in and out of AEM Fest for about nine hours, and reviewing all of the bands is virtually impossible. Instead, I'll give you some highlights. (Disclaimer: I am not cultured in this scene at all. I really don't know how to distinguish what's "good" and "bad." Given that all of these sets were so drastically different, I'm just giving you my take on what was pretty groovy.)
Programs
So I'm not even going to pretend like I know what's good when it comes to this stuff, all I know is that Programs puts me in a trance that I don't really want to snap out of. Deemed as "Athens' industrial drone," Ty Owen's total and complete concentration is intriguing. If you missed it this weekend, be sure to come out next week when Programs comes back to Athens with Wooden Wand.
Interstates (Etc)
Brandon Greter actually played under a different guise, taking the stage with his musical partner Sarah Spaulding... but these two were kind of adorable (...although "adorable" might be pretty much the biggest insult ever at a fest like this one, I absolutely mean that in a good way). I might be biased since I know them personally, but Greter and Spaulding started off with this adorably harmonious guitar paddling, and continued on with a set that was -- how else to say it -- sort of upbeat and fun? Basically, I dug 'em.
Blithe Field
Becoming a staple to the Athens music scene, Blithe field was as fun and smile-inducing as ever. And when I say smile-inducing, I'm serious. Just try to get through one of his set's without smiling relentlessly. I dare ya.
Do Chimps Battle?
HOLY WOW. Returning for their second go at the AEM Fest, these people totally knocked me out. They played towards the end of the night, and rather than the crowd dying down, people were STOKED. They had the crowd a'rumblin' and the touch of femininity that's rare in this scene brought something totally new and awesome.
Sonofafuckingbitch
Notorious for their short songs and to-the-pointedness, these guys closed the night with some well-received and highly-appropriate rage. These two dudes -- Aaron Vilk and Ty Owen -- are raw as shit, and proved that shirtless-ness at male-dominated noise show is actually a contagious condition.
All in all, a pretty great experience. Kudos to Vilk for putting this fest on yet again; I hope it's one that continues to grow.
The laudable lineup of The Kyle Sowashes, Scubadog and Blithe Field took to the stage late Saturday evening at Athens' Casa Cantina. I arrived rather early, having missed out on two Casa shows in the past due to the venue already being "at capacity" before each show's allotted start time. I had no intentions of making that mistake a third time, and I was pleased to find that the place wasn't even half-full when I arrived.
Blithe Field started off the evening. As the only act I had not seen prior to that evening as well as the first act of its kind I had witnessed live, I could not hide my intrigue as Blithe Field's single member began his set. As the venue slowly filled up, we bobbed along to the sampled, electronic beats that filled the room. One song in particular was passingly referred to as a "club jam," and if our honeys were in the vicinity, we should find 'em. Paraphrasing, of course. I did not have a honey, so I felt a bit lonely. Then, no one else really seemed to have anyone either, so I couldn't really be too upset. The men of Scubadog came next, and as they proved once again, there is never a dull moment at a Scubadog show. They sounded even better than I remembered them -- and it hadn't even been a month since my first encounter with the band (when they played with Flotation Walls and She Bears earlier this month at the Union). The energy was high and as far as comparing Scubadog to the other two acts that evening, they actually probably got the most substantial crowd response.
Oh, and did I mention the show was sponsored by Twilight? Well, it was. Scubadog's Teddy Humpert told me so.
Columbus' Kyle Sowashes capped off the evening.
I saw these guys at Lobsterfest last year, and to be honest, they were probably my favorite act. Their banter can be hilarious, and their songs are just as praiseworthy. You get a real "normal guys" vibe with this band, and it seems as if everyone can relate to at least one of their songs. The best part was that if you hadn't seen the Kyle Sowashes before, it really wasn't a big deal; they played a fair amount of new songs mixed in with some of their much older material. One comment from lead singer Kyle Sowash: "We wrote this song when you guys were probably freshmen in high school." Gee, Kyle, now I feel old, too.
The Sowashes' set ended a little before one in the morning, capping off two-plus hours of some toe-tapping, arms-flailing goodness from three of Ohio's finest. All in all, a good night for live music in Athens, Ohio. You should've been there.
-Kevin Rutherford, Senior Critic Photograph courtesy of The Kyle Sowashes' Myspace
ACRN.com's Scene and Heard: Local Music Recap strives to comprehensively cover the happenings of Athens music scene. Each week our editors, writers, and photographers hit live shows, basement parties with sweet bands, bar mitzvahs with badass DJs, etc. around town and report back with the action on the scene. Note: If you want someone from ACRN.com to check out your event, e-mail editorial@acrn.com.
