NEW MUSIC: Plurals - "Your Situation"

Confession time: a big, goofy smile lit up my face the moment I first plunked the needle down on the beautifully marbled yellow vinyl album that arrived in the Ruttville mailbox a couple of weeks ago. Your Situation, the debut album from Plurals, immediately takes me back to a very happy musical place. From the first jackhammer guitar chords through the final washes against the side two inner groove, Plurals bring back everything that made New Wave (back in the days when it was a wave) so exciting and, yes, fun.  Their thoroughly modern takes on that nostalgic noise have made them a favorite of mine since catching them opening for Shonen Knife a while back, and later supporting Peelander-Z. I raved here about their first recorded output, the digital EP Laced With Boniva, and it should be no big surprise that I'm about to rave again.

Your Situation reprises the four tracks from the EP, adding five more shots of their insanely clever and insidiously catchy sound.  Over the course of nine tracks, the band (Michael Bowen on guitar and vocals, Elena Fox on bass, keyboardist Rachel Anne Warren, guitarist Jim Glass and Sean Pumphrey on drums) covers a whole lot of ground.  The opener, "Sicker/Better," starts off sounding like someone sped up Devo's "Uncontrollable Urge" until Fox and Warren bubble up through the mix with a series of tra-la-las that would make The Banana Splits proud.  As a counterpoint to Bowen's angular lead vocals, they evoke expected comparison to The B-52's.  The girls play the distant, alienated, emotionless New Wave backup singers role to even better effect on the phenomenal "Rose Garden," a bubblegummy romp that may be my favorite thing I've heard them do.

Sandwiched between those cuts is the hysterical "Look At the Nerds," a nearly operatic celebration of geekdom that serves as a showcase for Warren to channel both Nina Hagen and Klaus Nomi simultaneously (and yes, I used that line when describing the song as they played it live, but it is one of my favorite comparisons I've ever made and, if you listen, pretty damn accurate.)  Also worthy of note among the new cuts is "World Star," a knowing a jab at the infamous online site that collects cellphone videos of street violence and presents them as entertainment. The punchline, no pun intended, is perfect: "The hits keep coming..."

As mentioned before, if you missed out on Laced With Boniva, all four cuts from that digital EP are here as well: the funky herky-jerky "Manic Depressor," the almost Pixie-ish "I Am The Lions," the slightly retitled "On The Telephone (Clap Clap)," and the simply excellent "Mental Illness (Sooner Or Later)," wherein The English Beat is paraphrased to wonderful effect.

Yeah, the record put a grin on my face, because the fun these five folks have making this music comes through viscerally, both in their live performance and in their recorded work.  This is a band to keep an eye on, kids.  I get the feeling we've only scratched the surface of what they are capable of. You can pick up Your Situation on vinyl or as a digital download at the band's website, PLRLS.com. You can stream the whole record there, too, if that's your thing.  Me, I'm old school: colored vinyl and lots of inserts can't be beat!

I shared "Mental Illness (Sooner Or Later)" with you back on this Now Hear This round up; here are two standouts from the newer stuff, "Sicker/Better" and  "Rose Garden."  Enjoy, and then go pick up the whole album and help support the band!

Sicker/Better

Rose Garden

Back to Baltimore

Man, I did not realize how badly I needed a night like last night.

It's been a slow process, rebuilding my world over the past year or so both emotionally and financially, and I still have more hills to climb before I'm truly at ease again in either aspect of my life. Hey, it took a nearly five-year tumble to create the rubble I'm climbing out of, it's going to take some time to rebuild as well.

One of the things that has been sorely missing in my world is live music. Hadn't gone to stand in front of a band since seeing Freezepop and Lifestyle in Philly over a year ago, and I missed the live band experience. It's as if a part of my soul wasn't being properly nourished. I had the chance to go see one of my favorites, One-Eyed Doll, in Allentown a couple weeks back, but those plans fell through at the last minute. When I saw that Peelander-Z was going to be at The Ottobar in Baltimore, I knew I had to be there! Still, I almost backed out at the last minute, not sure if I could (or should) afford the evening. Only $15 to get in, sure, but figure grabbing dinner somewhere and having a few beers at the show, possibly a purchase from the merch table, and it starts to add up when you're on a tight budget. Bless my brother, he basically said "don't worry about it, we're going!"

Four bands played last night; two of them I was very psyched to see again: Peelander-Z, of course, I had been blown away by when I saw them in Washington DC in early 2012 with One-Eyed Doll - a show which ranks among the flat-out best top-to-bottom live shows I've ever seen (neither are bands you just stand in front of - both are big on audience interaction and participation). Also, a local Baltimore band, Plurals, was on the lineup. I have raved about them since seeing them open for Shonen Knife the last time I was in Baltimore. So, I went in figuring even if the other two bands weren't any good, the night would still be fun.

I've mentioned before that there is a really cool scene happening in Baltimore lately. That was underscored again last night when the first band, Natural Velvet, took the stage. Fronted by bassist/vocalist Corynne Ostermann, they are a moody four-piece post-punk outfit relying heavily on reverb and echoey, distant vocals. They are also fan-frickin'-tastic. Ostermann gives off a coy Hope Sandoval vibe while guitarists Spike Arreaga and Kim Te scratch and slash, creating an ethereal yet agitated wall of sound. They've got an EP up on Bandcamp - check it out. As first bands go, they are one of the better I've seen.

Plurals were simply outstanding. I am a big fan of their modern take on an old-school new-wave sound, from Rachel Warren and Elena Fox providing the faux B-52's harmonies to Michael Bowen's Mark Mothersbaugh-meets-Frank Black lead vocals, combined with angular guitars and plinka-plinka keyboards, they've got the sound circa 1980 down without making it feel dated. Played some favorites including "Manic Depressor," "Mental Illness/Sooner Or Later," and "Clap Clap" (all of which can be found on their excellent Laced With Boniva EP, another Bandcamp offering which you must hear!), along with some I hadn't heard before: about mid-set, Warren took over lead vocals for "Look At The Nerds," seeming to channel both Nina Hagen and Klaus Nomi simultaneously. Simply put, Plurals are one of my current favorites - just wish there was more recorded stuff out there! (Hint, hint...)

I'm not exactly how best to word my reaction to Christopher Nobody & The Nothing. Don't get me wrong, they were quite good, but there was something just a bit off to my ears. My brother drew a comparison immediately to bands like Saccharine Trust which, while not exactly hitting the target, is pretty good jumping off point to describe them. Christopher Nobody shout/sings neurotic, hiccuppy songs while lurching about the stage, occasionally throwing himself bodily to the floor and occasionally stalking out into the crowd. The band was solid, loud and noisy - just the right accompaniment for songs like "I Love My Executioner" and "Sick Sick Sick." But I think somehow I liked the concept behind what they were doing better than the execution. Again, I liked their set and would gladly see them play again - maybe in a different context I'd be more in sync with their performance.

Speaking of not knowing how to describe a band - I've now seen the mighty Peelander-Z twice and am still not able to describe exactly what I've seen...or experienced. You do not simply stand and watch Peelander-Z. You can't. They refuse to let you. You become part of the show, whether you're one of those chosen to come up on stage to take over instruments for the band or don a foam rhino head and pound out a beat on a tom-tom or you're simply part of a crowd-wide limbo contest or circular conga line. Before the night was out, we had been part of a drum circle, watched a human bowling match, and pounded with sticks on pie tins. This old man tends to stay out of the mosh pits these days, content to stay on the edge and help rebound folks back into the fray, but when a Peelander-Z mosh pit breaks out, you can't not be a part of it - it engulfs everyone, and everyone is having a great time. They opened at breakneck speed with "So Many Mike," and tore through crowd faves like "Mad Tiger," "Taco Taco Taco," and "Ninja High School" before ending with the standard show-closing cover of "Girls Just Wanna Have Fun." If you've never experienced Peelander-Z before, do yourself a favor and go see them. They are much fun.

As I said, I really needed that night. It may be awhile again until the next live show I see, but if I only get to one this year, I do believe I chose the right one.

More pics from the show will be up on the That's What I Was Going To Say Facebook page later on tonight - please stop by and, if you haven't already, "like" the page so you don't miss out on any of the fun stuff coming up on the blog!

Let's Knife!

Baltimore is quickly surpassing Philly as my favorite destination if I must travel to see a band. Of course, I'd love to see more bands come to Lancaster. Some do, but the trade off we make here in south central PA is that Harrisburg, Philly, Baltimore, New Jersey and - in a pinch - NYC are all within easy access. As a result, the pickin's are pretty good around here when it comes to shows - you've surely gathered that from earlier posts!

Last night I was back in what seems to be the general go-to place in Baltimore, The Ottobar, to see the awesome Shonen Knife, who are currently on their 30th anniversary tour.  What a great night of music it was:  three opening bands plus Shonen Knife, and only ten bucks to get in - wot a bargain!

Now, history dictates that once you go past two opening acts you're getting into questionable territory as far as band quality, especially when all of the openers are local bands.  Baltimore, however, has a pretty decent scene going these days, and in last night's case the rule did not apply.  The openers were great - not a clinker in the lineup!

I admit to going out on a limb saying that about The Degenerettes, who were up first, only because by the time we arrived we really only caught the last two and a half songs of their set - not really enough to make a true assessment, but what we heard was very good.

Plurals

I can say without reservation, however, that the next band, Plurals, were outstanding! With five band members perched on the not-so-roomy Ottobar stage, Plurals blasted out a nifty set of originals and one cover (of sorts): in the midst of their poppy-punky wall of sound, I caught myself realizing I recognized some lyrics but couldn't place them at first.  It took another cycle through the verse before I realized I was hearing the words to The English Beat's "Save It For Later," or at the very least a close approximation.  The one drawback to Plurals' set was that the vocals were mixed a bit too low. Still, this is a band I want to hear more of.  Couldn't find a website for them (with a name like Plurals, Google doesn't help much; searching "Plurals band" leads me to a similarly named trio from Lansing, MI) and their Facebook page is not a band page but rather a regular profile. 

The Quarantines

The final opening act was The Quarantines, an excellent pop-punk trio with a curious tendency to sing about robots.  Their set was loud, rockin' fun, and they were clearly the most polished of the opening acts.  I am kicking my self today for not picking up their record at the merch table last night!  Great stuff.  The Quarantines are a band I think we'll all be hearing more of in the future.

Shonen Knife

A little before 11:00, Shonen Knife hit the stage, opening with an enthusiastic Japanese-language version of Cheap Trick's standard set-opener, "Hello There" (here redone as "Konichiwa").  Over the next forty-five minutes or so, they treated us to a sampling of their best tunes. "Devil House," "ESP," "I Am A Cat," "Super Group," "Redd Kross" and more were greeted with knowing cheers from the crowd, and the girls seemed to be having a blast onstage.  After a searing run-through of "Antonio Baka Guy," Shonen Knife left the stage and left the crowd chanting their name and begging for more.

The Osaka Ramones!

After a few moments they returned, but now they were dressed in leather jackets and jeans.  No longer Shonen Knife, they were now in full character as The Osaka Ramones (a name they played under for a Ramones tribute concert many years back, and also the title of their newest CD in tribute to the Ramones.  Legend has it that Joey Ramone himself would always refer to Shonen Knife as "The Osaka Ramones").  With bassist Ritsuko Taneda playing the Dee Dee Ramone role, counting off each song "1-2-3-4" in quick succession, they ran through "Blitzkrieg Bop," "Beat On The Brat," "The KKK Took My Baby Away," "Sheena Is A Punk Rocker," "I Wanna Be Sedated," and "Pinhead" before closing with "Rock & Roll High School."  All the while, the crowd pogo'd and sang along.  Somewhere, Joey, Johnny and Dee Dee were smiling.

It was a stellar night, start to finish, and I highly recommend seeing any of these bands if you get the chance.  Shonen Knife, of course, was much fun, but it was nice to be so pleasantly surprised by Plurals and The Quarantines as well.  As usual, additional pics will be up on our Facebook page later today.