Freelance Whales

Freelance Whales
First off, I am disappointed to admit that I missed the first half of Freelance Whales’ set because for the first time in all the years I’ve been seeing shows at The Earl, a band actually started on time.

Who would’ve thought, right?

That being said, when I arrived the first thing I noticed was just how young this band is; it was like walking into the coolest high school talent show ever.

I had my doubts about how their album would transfer live, because it’s easy to play your banjo live if your band plays bluegrass, but mixing it with synth-pop show, even when it worked extremely well on the album, could easily comes across as a ridiculous gimmick.

Freelance Whales, however, really gambled and won, bringing almost every element full-circle into the live set. The band is obviously talented, but talent alone does not a good concert make. They seemed so excited to be playing that the crowd couldn’t help but join in the fun.

By the time they finished with “Generator – Second Floor” there were a few people who had even broken a sweat dancing. If you haven’t heard their debut album, Weathervanes, you need to do so now (http://www.lala.com/#album/504684635190114283/Freelance_Whales/Weathervanes), and if you haven’t seen them live I would suggest not missing them again.

Bear in Heaven
The second act up was Bear in Heaven. This former Atlanta-based band made the most of their homecoming and really delivered what I had hoped to hear. Even while missing a member, and performing as a three piece, their spacey sounds were full and thick (even if they had to turn their amps to 11 to overcome the reverb that the small back room has).

They created a rich sonic landscape but it took some getting due to the raucous finish that Freelance Whales provided. However, Bear in Heaven definitely brought me to their world before they were done.

Something that surprised me, though, was how much the band had in common with a lot of heavy metal acts that I wouldn’t have noticed if not for their live show. Songs like “You do You” seem like heavy shoegaze on the album, but watching the band live, with Joe Stickney (and his beard) pounding the drums and guitars joining synths in arpeggios, the band seemed like they had grown up on Slayer and just finished listening to M83.

While their recent album Beast Rest Fourth Mouth caught critics off-guard, I’m very excited to see what the now-Brooklyn based group does next.

Cymbals Eat Guitars
I would like to preface this review by saying two things:

1. I like to write about what I like, not complain about what I don’t like (except for TV on the Radio live, a discussion which breaks my own rule); and

2. Everyone has off days, and I don’t think a band should be held accountable for just one show.

That being said I was disappointed with Cymbals Eat Guitars live. Their debut album Why There Are Mountains was a record I really enjoyed, with a certain accessibility and quirk that showed some originality, which is pretty tough to find these days.

The only problem was that last Thursday at the Earl they seemed to become Cymbals Eat Get Up Kids. Don’t get me wrong, I will unabashedly admit my nostalgic love for emo music, but this was not at all what I was expecting or wanting, so I left before their set was over.

I will more than likely give the band another chance in the future, but for now I can’t fully endorse the band live.

Sea Wolf has been on my radar for a few months, but until last Friday I hadn’t actually listened to any of their music. When Chuck asked if I’d like to review their show I decided to hear Sea Wolf for the first
time with no preconceptions.

By the third song I understood what the hype was about; Alex Brown Church is a great bandleader who really conveys a sense of connection in his music, which is what I look for in any singer/songwriter. His backing musicians were both a joy to watch and talented, with every member playing multiple instruments. Each person on stage seemed to truly care about each song, a feeling that started with Church, flowed through the band, and out into the crowd. True passion was put into Church’s strong ballads and the band definitely let loose playing rockers like “Oh Maria” and closer “Black Dirt”, but as the show progressed I felt it lacking a certain spark. For most of the night it seemed like Sea Wolf was almost there; a good band about to give a glimpse of greatness, but each time they let it slip away. They had magic in the bottle, but couldn’t get the cap on before it got out.

After the show I assumed that the band just needed a solid producer to help them put together the final pieces, but after reading that they have worked with both Phil Elk and Mike Mogis I’m not sure what else
Church and his Sea Wolf band mates can do to complete the puzzle. While even a casual observer could tell that there is something missing, I will continue to keep an eye on Sea Wolf, hoping to see a good band become great.

Editor’s Note: DeadJournalist.com welcomes Rob Jones as a contributor. Contact him via Twitter: www.twitter.com/raddisonjones

Phoenix at Criminal Records

I happened to get there just as the band was unloading – kudos to them for a great performance even though it was quite early for them. Judging from their reaction, them seemed genuinely please and maybe even surprised at the turn-out and reaction of the Atlanta fans.
(photo by me)

(video by me)