Dinosaur in Trouble: proudly serving Twin Cities music geeks

Sunday, October 23, 2005

Why? Did I Forget My Camera?

I think it’s safe to say that I go to a lot of shows, yet there are hundreds of local bands that I’ve never had the opportunity to see (which is a testament to the extreme depth of the Twin Cities music scene). Some of these bands I have no interest in ever seeing, but there are others that I greatly adore and even own all of their records. Take Andrew Broder’s Fog: they’ve been around for a long time, they’re well known outside of the Twin Cities (I always see their CDs in European record stores), I love, love, love-a them, and several of their songs are mainstays on my illustrious mix tapes. But I had never actually seen Fog in concert until they played with Why? at the Cedar Cultural Center on Saturday, October 15th. Turns out, I was missing out big time.

And the prize for the most impressive opening act that I’d never heard of goes to…San Francisco’s Thee More Shallows! [Maybe the reason I had never heard of them is because everyone always gets their name wrong. They were listed on the ticket as Thee More Shadows, and the Cedar’s MC announced them as Thee More Swallows.] Their set was astonishing. As soon as their eerily beautiful experimental music filled the Cedar, the audience was silent. I immediately forgot about my surroundings, and was completely taken by the band. So here’s my advice to you: pick up their new album, More Deep Cuts, and flaunt it in front of your friends so they will know that your taste in music is far superior to theirs.

Thee More Shallows (as seen through my cell phone)

Finally, I can check Fog of my list of bands I need to see before I become old and fat and bald. Shit, they were flawless. Maybe that had something to do with the fact that Andrew Broder always surrounds himself with A-1 musicians (in the grainy cell phone photo below, you can make out Martin Dosh on drums – another Anticon favorite). Most of the songs they played were off of Fog’s excellent new album, 10th Avenue Freakout, but due to the live backing band, the songs all had a very different, organic feel to them. Fog also satisfied me by playing some older classics such as “The Girl From the Gum Commercial.” Perfect.

Fog (as seen through my cell phone)

Now, we all love Why? Why? Because Yoni Wolf’s work in Anticon groups Greenthink, cLOUDDEAD, and Reaching Quit put our faith back in hip-hop. His band, which operates under his nom de plume, leans more toward the experimental indie rock side of the Anticon spectrum. Their recent album, Elephant Eyelash, is also a gem. But their recorded work does nothing to prepare you for their incredible live shows. These guys know exactly what they are doing, and like the other two bands on the bill, aren’t afraid to make extremely creative music. Plus, Yoni is so dreamy. Anyway, I was so very impressed by their performance.

Of course, Andrew Broder joined Why? onstage to perform a couple of songs that they recorded together as Hymie’s Basement. [By sheer coincidence, the day before the show, I was digging around for records at Hymie’s Records – Hymie’s Basement was recorded in, well, the basement of Hymie’s.] To my surprise, Andrew and Yoni even pulled off the crazy vocal interplay on Hymie’s “21st Century Pop Song.” It was awesome.

Why? with Andrew Broder (second from right) (...as seen through my cell phone)

Definitely a night to remember (which is fortunate since I can’t rely on the pictures taken with my cell phone). Nevertheless, I’ll make sure not to forget my camera next time.


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Saturday, October 22, 2005

The Whole Is Now!

Thunderbirds Are Now!

I gotta give props to The Whole. When Coffman Union reopened, The Whole looked like a hospital kitchen. It definitely wasn’t inviting, cozy, or intimate, as The Whole’s homonym would imply. These days, with the interesting paint job, the murals, the posters, the chalk graffiti, and the comfortable furniture, The Whole is starting to look like a one-of-a-kind rock club. On top of that, they’ve started to host high profile bands on a regular basis. The fact that Doris Henson and Thunderbirds Are Now! traveled all the way from Kansas City and Detroit, respectively, to play The Whole on October 14th says a great deal about venue’s improved health.

The Nina, The Pinta! opened the show (hmm…two exclamation point bands on the same bill). Correct me if I’m wrong, but I believe that The Nina, The Pinta! used to be called We Kidnap Frisone This Afternoon, but their singer moved away, and when they found a new one, they renamed themselves after the Santa Maria’s cronies. Their post-hardcore guitars were cool, but the screamo vocals were a little more than I could handle.

The Nina, The Pinta!

Doris Henson was the highlight of the night. Their sly rock ‘n roll really got the audience moving (which is quite a feat – Whole audiences are usually pretty shy). Duane Trower, the guy who engineered their recent album, filled in on guitar for Jamie Zoeller (who recently left the band). Knowing that Duane was new to the band, I was impressed that they played a wealth of material from both of their albums. Lots of fun.

Doris Henson

And then the kings of the Twin Cities’ all-ages circuit: The Plastic Constellations. Ever since they were a mere high school band (mere…what am I talking about? They were the high school band of all of high school bands), people had predicted big things for them. It looks big things are finally starting to happen. After receiving glowing attention from Pitchfork, people from outside of the Twin Cities finally started to take notice. Now, The Plastic Constellations just inked a deal with New York’s Frenchkiss Records (home to local legends Lifter Puller and Sean Na Na). Yep, big things are ahead. For now, they’ll just continue to put on rockin’ shows like they did at The Whole.

The Plastic Constellations

Thunderbirds Are Now! (another Frenchkiss band) wasted no time in getting their freak on. Anyone who has ever seen Thunderbirds (which I assume is everyone, since they tour like crazy) know that their shows are utter chaos. Their keyboardist, Scott Allen, always takes his rock-n-roll freakout dancing a step farther than it really needs to go. For instance, I diverted my attention from the stage for just a minute, and when I looked back up, Scott was running around the stage with a gigantic beanbag (seriously, the beanbag was twice his size). When the time came for him to play his keyboard, he couldn’t figure out how to get the beanbag off the stage. I have no idea how he got it on the stage in the first place, much less where it came from. Needless to say, it was a very entertaining show.

Now what are Thunderbirds?

Now remember, kids. Your student service fees are vital to the survival of our music scene. They help fund Radio K (the greatest radio station in the country), and they are responsible for the renaissance of The Whole (one of the only venues in the Twin Cities to consistently host all-ages shows). Fuck college Republicans.

Doris Henson @ The Triple Rock: August 12, 2005

Thunderbirds Are Now! @ The Triple Rock: March 10, 2005


Blogger *Ashley* said...

Doesn't the whole look great?! I talked to the whole guy at the YWCA and he has put so much into that former crapwhole, ha ha whole.

3:49 PM


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400 Blows

Monday, October 10th: I decide to be naughty and go to the Turf Club on a school night. Totally worth it, though. Los Angeles’s 400 Blows was in town, and a winning cast of local bands was supporting them.

Build My Gallows High opened the night with their dynamic instrumental rock. The voice samples that define some of their “well-known” recordings were absent during their set. But what they lacked in production, they made up for in something that can never be adequately captured on a recording: sheer volume.

Build My Gallows High

Next, The Vets summarized the Sonic Youth-inspired noise-rock bands of the 80s and the Slint-inspired math-rock bands of the 90s with their dual-guitar attack. Cool compositions obviously geared toward music geeks like me. Even though Adam and Andy’s other projects may be receiving more attention right now, The Vets’ flawless performance proved that they were still on top of their game.

The Vets

Falcon Crest heated things up with their balls-to-the-wall post-hardcore. I hadn’t seen Falcon Crest in a while, so their set was definitely a treat. They hadn’t lost any of their energy. In fact, I think I burned some calories just watching them.

Falcon Crest

After rocking through three openers, I was a little tired by the time 400 Blows hit the stage. But 400 Blows showed no sign of fatigue, so I followed their lead and woke up. Sometimes it just takes a little yelling and screaming and a four-string guitar to get me going. Great show, but oh! I definitely paid for it in the morning.

400 Blows

The Vets @ The Triple Rock: September 3, 2005


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Vox and Mallman

Vox Vermillion

I figured that since both Vox Vermillion and Mark Mallman were going to be out of town for a while, I should go check out their “farewell” show at the Entry (Saturday, October 1).

Vox Vermillion will be avoiding the Minnesota winter by hanging out in California with Murs (he and Slug released Vox’s latest record on their surprisingly non-hip-hop label, Women Records). The trio is leaving their day jobs behind in order to focus entirely on music (writing and playing shows) while they’re in California. I’m interested in hearing the end result. Perhaps by bypassing winter, their new songs won’t be so depressing. Just wait and see; they’re going to be the next Polyphonic Spree.

Anyway, Vox’s set was great as usual. The cool thing about Vox Vermillion is that they are very good at not playing the same show twice. I’ve seen them about a thousand times this year, and they’ve managed to seem fresh every time. This show, although they still didn’t have a drummer, wasn’t as subdued as some of their shows in the past. It wouldn’t even be much of a stretch to say that they rocked.

Mark Mallman won’t be gone quite as long a Vox Vermillion (he’s just going on tour). Nevertheless, the overall sexual energy of the Twin Cities will be down significantly while he’s away. So I’m glad I got to see him ride his keyboard like a horse one last time before he left. He didn’t play any 52.4-hour-long songs this time, but that doesn’t mean that he wasn’t over-the-top. I delighted in his excessiveness.

Mark Mallman

Vox Vermillion @ The 7th Street Entry: July 9, 2005
Vox Vermillion @ The Triple Rock: March 26, 2005
Vox Vermillion @ The Triple Rock: February 14, 2005
Mark Mallman @ Emo’s Annex (SXSW): March 17, 2005


Blogger Shawna said...

It was my first Vox Vermillion show and I absolutely loved them. I can't wait till spring to see them again! Of course, Mallman left in style with a great show too.

11:38 PM


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Friday, October 21, 2005

I Would Die 4 Architecture in Helsinki

Cameron Bird of Architecture in Helsinki

I’m gonna pretend that I haven’t been absent from the blogging world for the past few weeks and pick up right where I left off.

As you may remember from my last post, I discussed the bragging rights attained from seeing a band in the 7th Street Entry right before they become international superstars. There are people in the Twin Cities who can say that they saw the Red Hot Chili Peppers or Nirvana or Sonic Youth play the Entry. There are even some that I can lay claim to, such as The Postal Service, and more recently…Architecture in Motherfucking Helsinki!

I must be doing something right. The greatest band to ever come out of the Southern Hemisphere has visited my fair town twice this year. On top of that, I got to see them at my favorite venue (the Entry). On top of that, I got to see them right after Arcade Fire had just finished blowing my mind in the mainroom (it was a busy night at First Avenue).

Architecture in Helsinki’s fellow Melbourne-ite, New Buffalo was the first opener. New Buffalo is the lo-fi one-woman project from Sally Seltmann (yes, she’s married to Darren Seltmann of The Avalanches). Sally’s set was actually quite refreshing. It seemed like, throughout the preceding few weeks, I had been seeing nothing but bands stacked with five to nine multi-instrumentalists playing music that is too complex to replicate in a garage (Architecture in Helsinki included). With her Discman and simple guitar instrumentation, Sally put the long-lost “hey-I-could-do-that” aesthetic back into punk rock. Sure, bands like Architecture in Helsinki are what make you fall in love with music, but bands like New Buffalo are what inspire you to start your own band.

Philadelphia’s wacky bunch, Dr. Dog played next. Due to the incredible night of music, I was in a very focused mood. I think that was why I enjoyed Dr. Dog much more than the last time I saw them. Their set was very amusing; it was exactly what you’d expect from a band that wears Velcro shoes and plastic kiddy sunglasses. In effect, they were a good warm-up for what was going to happen next.

Dr. Dog

I didn’t think it was possible, but all eight members of Architecture in Helsinki as well as all 256 of their instruments were able to fit on the Entry stage. It was quite the spectacle, but then again, when isn’t Architecture in Helsinki “quite the spectacle.” Boy oh boy, they were awesome! Architecture is possibly the only band that could adequately follow a spectacular Arcade Fire show. While Arcade Fire’s set was powerful and emotionally intense, Architecture in Helsinki’s set was lighthearted and rump-shakin’. When they played the Turf Club, they were very focused on replicating the intricacies of their recorded work. This time, they were all about having fun with their songs. Instead of his usual gentle falsetto, Cameron Bird was yelling his parts at the top of his lungs. Kellie Sutherland was amusing herself by rolling around the stage while she sang. And the rest of the band was frantically trading instruments as they tried to keep up with the caffeinated tempos.



As if things weren’t chaotic enough, for their last song, Architecture in Helsinki was joined on the tiny stage by Dr. Dog and Wolf Parade (Dr. Wolf? Dog Parade?). It was all-out anarchy. People climbing on top of each other, heads inside of drums, dogs and wolves foaming at the mouth…What a closer! Oh, but we made sure that they weren’t done yet. After they turned off their amps and left the stage, the audience didn’t budge. We needed more! And eventually, Architecture was persuaded. They came back to deliver a pleasing, but very effed-up impromptu cover of Prince’s “I Would Die 4 U” (afterwards, Cameron told me that it was a last minute decision – they had never even played it before). But I couldn’t imagine a better way to top off a legendary night of music at First Avenue than with a Prince song. How very appropriate. (By the way, the version of “I Would Die 4 U” that you hear on Purple Rain and on radios across the globe was actually recorded live at First Avenue.)

Wolf Parade, Dr. Dog, and Architecture (and more)

In case we die...

Architecture in Helsinki @ The Turf Club: June 3, 2005
Dr. Dog @ Emo’s (SXSW): March 17, 2005
Wolf Parade and Arcade Fire @ First Avenue: September 29, 2005


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Sunday, October 09, 2005

The Arcade! The Arcade! The Arcade Is on Fire!

Régine Chassagne and Win Butler of Arcade Fire

Less than a year ago – November 27, 2004 to be exact – Arcade Fire was scheduled to play two shows at the 7th Street Entry. Even back then, it seemed too good to be true that a band of that magnitude was going to be playing in the Entry. Well, it was too good to be true. Due to complications arising from the closing/reopening of First Avenue, the show was moved to the 400 Bar. Even though the 400 Bar was slightly larger, it was still ridiculously packed (according to the many accounts I heard – I didn’t actually go due to some inexcusable reason that I can’t remember right now).

Nowadays, promoters wouldn’t even think of booking Arcade Fire in a venue the size of the 400 Bar (much less a venue the size of the Entry). So if you’re like me, you’ve long since missed the opportunity to brag about how you saw Arcade Fire before they were selling out shows in the First Avenue mainroom.

Oh well, at least I can take consolation in the fact that Arcade Fire’s First Avenue debut on September 29th was absolutely killer. The night’s lineup, although a bit incestuous, was as solid as can be. Bell Orchestre (which includes Arcade Fire’s Richard Reed Parry, Sarah Neufeld, and other touring members) stunned us with their brand of accessible instrumental neo-post-rock. Honestly, I only saw the last 1.5 songs of their set, but what I saw was strong enough to warrant an album purchase (well worth the preposterous asking price of $15).

Buzz band, Wolf Parade (a name that seems to go hand-in-hand with Arcade Fire these days), proved their worth after Bell Orchestre. What an amazing performance! Maybe they’ll never be able to escape the Arcade Fire and Modest Mouse comparisons, but if they continue to put on powerful, impassioned shows like they did at First Avenue, lucky concertgoers will realize that they are an incredibly unique band in a league of their own. And speaking of bands that quickly grow out of small venues, Wolf Parade will be playing in the Entry this Thursday (10-13-2005). Catch them before they start selling out mainroom shows!

Wolf Parade

Now, do you really need to hear me rave about Arcade Fire’s performance? Probably not. I’ve never heard a single Arcade Fire review that has been less than positive (not that I’ve ever specifically looked for bad reviews). So I’ll tell you this: Arcade Fire really, really sucked.

Ha! That was obviously a lie. Seriously, Arcade Fire is well aware that they have to live up to their exalted name. Hence, they know that they can’t put on a performance that is less than stellar. With up to nine musical phenoms running around the stage, Arcade Fire’s set was sparkly solid. Wowee!

But don’t take my word for it. See for yourself! Check out the excellent photo sets at The Big Ticket and chriswarren’s photos.

Arcade Fire


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Saturday, October 08, 2005



The night was still young after the Sigur Rós show, and I had plenty of options for entertainment. Acid Mothers Temple was at the Triple Rock, 13 & God was at the Walker, and Clap Your Hands Say Yeah was at the 400 Bar. But I needed something that wouldn’t clash with the strange mood that Sigur Rós put me in. Fortunately, Akron/Family was also in the neighborhood. So I made the wise decision to walk down the street to the Entry for the second remarkable show of the night.

I arrived just in time for Toronto’s Great Lake Swimmers. GLS was touring as a three-piece (singer/songwriter Tony Dekker was backed by a drummer and a Bass/Wurlitzer player). This meant that their banjo player, who was so prominently featured on their new album, wasn’t present. That was totally fine, though. Their quietly passionate songs proved to be the perfect cool down from Sigur Rós’s emotionally draining performance. Exactly what I needed.

Great Lake Swimmers

I was really excited to see Akron/Family. They were responsible for not one, but two of the year’s most interesting albums: their self-titled debut, and The Angels of Light Sing “Other People” (they played as Michael Gira’s backing band). Judging by the sheer beauty of their debut, I was expecting their set to be similar to the very pretty set played by Great Lake Swimmers. I was wrong! Akron/Family was weeeirrrd live! They weren’t too concerned with replicating the intricacies of their album. In fact, they weren’t too concerned with taking themselves seriously at all. To my surprise, Akron/Family transformed into an epic jam band for spazzes. Unstructured experimentation and a cappella freakouts mixed with fragments of songs and running jokes…it was awesome! My night was complete.

Akron/Family is an incredibly creative band with a lot of tricks up their sleeves. I’m looking forward to their new material. I won’t have to wait long (their debut and their self-released tour CD is enough to hold me over until Halloween when they release a split album with Angels of Light). The future is looking very bright for Akron/Family.

Akron/Family singalong (no, that's not my old roommate Brian in the gray shirt)

Great Lake Swimmers @ Emo’s (SXSW): March 16, 2005


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Saturday, October 01, 2005

The Following Post Was Translated From Hopelandic

Sigur Rós: they're not human

Since everyone in the Twin Cities was at the Sigur Rós show at the State Theatre (Saturday, 9-24-2005), I don’t need to spend too much time talking about it. I will say, however, that it was one of the most intensely beautiful things I’ve ever experienced.

Amina, Sigur Rós’s all-female string quartet, opened the show. Creating stunning music with the standard epic post-rock instruments (strings, keyboards, iBooks, etc.), as well as less conventional instruments (saw and bow, crystal glasses, etc.), Amina proved to us all that they were much more than a supporting cast of musicians. …I think I’m in love.

Amina (the lady sitting down is playing the saw. How cool is that?)

Sigur Rós was ridiculously gorgeous. I’m just glad I was able to sit down; I was a little weak in the knees. Any band that has complete emotional control over an entire audience is a damn powerful band. As I was leaving the venue, I felt a little more secure about the lump in my throat when I saw that half the audience had tears in their eyes. Did I mention that it was one of the most intensely beautiful things I’ve ever experienced?

Sigur Rós


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It really was a shame that Phosphorescent’s show at the Turf Club (Wednesday, 9-21-2005) wasn’t listed in any concert calendar. The City Pages, Radio K, and even the Turf Club’s website provided no information about it (not that the Turf Club’s website is ever that informative). Even we at Dinosaur in Trouble – the foremost authority on live music in the Twin Cities – didn’t know about Phosphorescent’s appearance until the day of the show. Needless to say, I was one of the lucky ones who got to experience this “secret” performance.

After a very impressive open stage at Ginko Coffeehouse, I headed down to the Turf Club to catch the openers. My friend Hema had been raving about recent 2024 signees, Duplomacy, for quite some time, so I figured I’d better get to the Turf in time to see them. Although their feet were superglued to the floor, they did put on a very pleasant set. Their simple songs were instantly memorable and very well written. There’s already been a lot of talk about their forthcoming full-length…I know I’m excited.


The sparse audience was treated to Ben Weaver’s peculiar country rock next. I’ve always been a little creeped out by Ben Weaver’s vocal stylings. But that’s exactly why I like him (same reason so many people love Tom Waits).

My exhaustion finally caught up with me during Ben Weaver’s set (I stayed out late the night before at the Black Mountain show, it had been a long day at work, and while I was driving home from work, a wheel fell off my car). I was forced to sit down and close my eyes. I hope the band didn’t take it as an insult. Their music was actually very soothing in my half-awake state. It was exactly what I needed.

Ben Weaver

Thanks to Ben Weaver, I felt refreshed and ready to rock out to Phosphorescent. Apparently, when they play in their hometown of Athens, Georgia, they can have up to 12 musicians in the band. That’s obviously a little impractical when they’re on the road. I can assure you, however, that they were just as effective with five members in the band – they still had plenty of tricks up their sleeves. Matthew Houck (the singer and brains behind Phosphorescent) started the set in his infectious Will Oldham croon. Two horn players who were sitting in the back of the Turf Club soon joined him – it was Phosphorescent in 5.1 surround sound. The rest of the set was very fulfilling. Even though I was extremely tired, I did not want it to end. At least they went out with a bang. For their last two songs, they distributed an assortment of auxiliary percussion instruments into the audience. Almost everyone in the Turf had a tambourine, maracas, egg shaker, etc. I enhanced the songs by playing a mean jingle bells.

By the way, if you really want to impress your friends with your incredible taste in obscure indie rock, I strongly recommend picking up Phosphorescent’s latest release, Aw Come Aw Wry. It is an extremely cohesive, extremely beautiful album. But if you do pick it up, I’m warning you, you’ll be very sorry you missed them at the Turf Club.

Surround sound



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Black Mountain

Black Mountain joined onstage by Ladyhawk and Blood Meridian

On the first night of their current headlining tour, Black Mountain expressed a little annoyance that their former tourmates, Coldplay, decided to schedule a show on the same night…right across the street.

Yeah, it did seem a bit inconsiderate of Coldplay’s management, but I don’t think Black Mountain had anything to worry about. It’s not like fans were asked to choose between Coldplay and Travis. I have a feeling that, even after their recent tour together, Coldplay’s fanbase remained quite distinct from Black Mountain’s. The crowd packed in the Target Center on Tuesday (9-20-2005) most likely consisted of desperate housewives and high school students on the verge of discovering indie rock. The “crowd” loosely populating the Entry, on the other hand, consisted mainly of…well, drunks.

Seriously, I hadn’t seen that level of debauchery in the Entry in a long time…on a Tuesday night, no less. Maybe it had something to do with the fact that the majority of Vancouver’s stoner rock scene was packed into the same room (marijuana is a gateway to alcohol, you know). Or maybe people were just following the lead of opening band, Ladyhawk. By the end of Ladyhawk’s set, their singer couldn’t even stand up (although, he didn’t miss a note on his guitar). He settled down a little afterwards, however, when he took a nasty spill off a skateboard. Ouch.

Blood Meridian, the main project of Matt Camirand (bassist from Black Mountain), was slightly more sober. As you may remember, Matt Camirand was the guy who made himself known to the world at large in front of a sold-out arena in Hartford, Connecticut. It was Black Mountain’s first scheduled appearance with Coldplay, and Stephen McBean (singer/songwriter for Black Mountain) was held up at the border by those pesky US immigration agents. The rest of the band was allowed to enter, but the incident had made them a little crunched for time. As showtime drew near, the band (sans McBean) got stuck in traffic as they approached the arena. At the last minute, Matt Camirand grabbed an acoustic guitar, stepped out of the van, and ran through traffic to the arena. When he arrived, a security guard escorted him directly to the stage, and he treated the masses to a 20-minute set of solo Blood Meridian songs. As for the Coldplay fans who were unaware of what was going on, I can only imagine that they were turning to their friends in confusion and twisting their hands upward in the what-the-fuck-is-this gesture. I’m sure it was totally worth it for Matt Camirand, though. This is a story he’ll tell over and over to his grandchildren.

At the Entry, however, Blood Meridian was not out of place, and Matt Camirand was backed by a full band. Their laid-back countrified rock was a welcome interlude between the sludgy stoner rock of Ladyhawk and Black Mountain. One last thing about Blood Meridian…they have perhaps the most disturbing Myspace biography I’ve ever read. I’d like to share it with you:

in high school i killed a horse with my father's car. that night i dreamt the horse was jumping above my head from bedpost to bedpost screaming and bucking. It had crazed blood shot eyes and the hands of a man.

Unfortunately, during Black Mountain’s set, half of my attention was devoted to preventing the drunks from stumbling on me. Black Mountain seemed to have fun with it, though. They continually invited audience members to accompany them onstage – audience members who were too drunk to keep a simple beat with a tambourine. The band themselves were very tight. I thought Amber Webber’s vibrato backup vocals were very effective, and Stephen McBean had perfect control over his split personalities (his other personality is represented in his solo project, Pink Mountaintops). To close their set, Black Mountain was joined onstage by Ladyhawk, Blood Meridian, and various audience members for a chaotic rendition of their college radio hit, “No Satisfaction.” Quite the grand finale.


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