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HK - Vol.6!
Sunday, 01 November 2009
Our good friends The House Harkonnen are releasing their new album Vol.6 today on Do For It Records!
with a special local release show at the Liquid Lounge in Dallas with The Timeline Post

Gutterth Podcast 10
Thursday, 29 October 2009
We've posted a new Podcast!

The tenth episode features songs by Balmorhea, Drink To Victory, Sunnybrook, Fra Pandolf, Vexed UK, Florene, Melting Season, Dear Human, Ourselves, Knee Pad, Power Animal, and an exclusive interview and live acoustic recording with Sleep Whale.

Subscribe to the Podcast via the iTunes/Zune or any other RSS feed capable program with these feel urls:

Today We Find - Ourselves CDs!
Tuesday, 20 October 2009
We're excited to announce that Today We Find Ourselves arrived in the mail!

Please join us on Friday, October 30th at J&J's Pizza for a special local release show
featuring solo performances from Joel North, Bruce Blay and Paul North of Sleep Whale (mom).

Pitchfork - Melting Season Forkcast!
Monday, 19 October 2009
Pitchfork did a "forkcast" on our good friend Bruce Blay of Melting Season!
Melting Season will be playing his debut performance as part of the "Today We Find Ourselves" CD Release Show.


DC9 - Dead End Release Show Review
Monday, 19 October 2009
The Dallas Observer's blog DC9 posted a review and slideshow of the "Dead End" CD Release Show last Saturday.

"Were it not a music venue, the dirty basement at J&J's Pizza would be the kind of place you might expect to find small skeletons. From its stained concrete floors to its low, dust-covered rafters, this venue lends itself to all things ominous. That said, throw in a small bar, tables, chairs and a floor-level "stage" and you have a dark intimacy unlike any of Denton's hotspots. And in a dimness akin to the dive bars of Hollywood's underworld, Daniel Folmer, Dust Congress, Glen Farris and Sabra Laval played a free show for a quiet crowd of perhaps 50 people. Folmer headlined the event, which doubled as a CD release show for his new album, Dead End. Earlier in the night, despite what was slated to be a two-piece set, Dust Congress boasted five members: Nick Foreman played acoustic guitar or banjo while footing the bass drum and hi-hat; Ryan Williams plucked and sawed the standup bass while Taylor Sims struck the keys; James Kerr blew trumpet and Jeff Barnard tapped the marimba in a state of convincing focus that utterly contradicted the slack, beer-drenched grin he wore before the show. The chamber folk group played a melancholy set fit for the defeated, but tinged with just enough hope to try again. Dust Congress pulls its listeners through a wonderfully tragic dreamscape and--you'll think I'm crazy--but it would serve as the ideal soundtrack while breathing sea spray and watching seagulls pick apart a beached whale near a post-Katrina New Orleans. Meanwhile, Daniel Folmer's three-piece ensemble worked, too--well, sort of. The aesthetics were moody and evocative: As is the case at most Gutterth-produced affairs, two small televisions churned static with their screens bearing insect renderings while the words "Dead End" were taped on another TV set. Still, something was missing... perhaps it was an interactive crowd, perhaps it was simply the absence of action. Either way, the band barely moved. Half-way through the set, most of the crowd's leftovers remained seated. Honestly, four songs from the end of the evening I found myself--dare I say it?--a little bored. Then again, I was admittedly exhausted, having spent four hours of the day in traffic and five hours in direct sunlight photographing frothing UT and OU fans. Perhaps the show's popularity was cannibalized by the surrounding venues of Denton's friendly musical arena. All in all, Saturday's show filled its function: providing an intimate evening of Denton music and plugging an album release."


My Denton Music - Dead End Release Show Review
Sunday, 18 October 2009
My Denton Music wrote a great review of the "Dead End" CD Release Show last Saturday.

"This could collapse at any moment." That thought sits in the back of my mind every time I descend into J&J's "Dirty Ol' Basement" for a show. It's just as easy to believe that it's some naturally occurring grotto than a man-made structure. On this particular night, though, the creaky boards overhead and dust-filled air made the perfect surroundings to celebrate the release of Daniel Folmer's new CD, "Dead End", accompanied by performances by Dust Congress, Glen Ferris, and Sabra Laval. Laval opened the evening in front of a couple dozen folks and spun a short set of slow and sultry ballads that recalled Jolie Holland and Chan Marshall. Sabra was solid and in fine voice, even though it appeared a couple times as though her band weren't all on the same page. Glen Ferris followed with an excellent display of musicianship and affecting melodies. He opened his set with a brooding and rumbling version of the folk staple "The Cuckoo", then held the attention of the steadily growing audience with his original songs, which blended early Dylan with Elliot Smith. So strong was his performance that few seemed to mind when he forgot a couple lines. Next was Dust Congress, which features perhaps the most unique instrumentation of any band in Denton – excluding Robert Gomez's typewriter. They plodded through their set at a shambled pace alternating between tempos and trading styles from folk tunes to chantey sing-alongs, which were all the more infectious when singing about how "the world is shit"! All the while, Jeff Barnard's marimba danced around Nick Foreman's guitar, banjo, kick drum and hi-hats, giving the audience plenty to hold onto. Finally, it was Daniel Folmer's turn. "It's a celebration," said Glen Ferris, halfway through his own set. "We're celebrating the birth of Daniel's baby!...or, his new record." And Daniel Folmer took the opportunity share the celebration with his friends; calling on his buddy Will to open the set with one of Will's songs, by performing The Velvet Underground's "Sunday Morning" with Ferris (a performance that sounded right off the "Max's Kansas City" record), and by performing another song with Dust Congress' Nick Foreman. Daniel appeared as interested in sharing the love as basking in it. But, as much as it was a celebration, it was also a good-bye. Not only was Folmer to leave after the show to tour Europe with The Paper Chase, but Cody Seals, Folmer's long-time drummer and friend, was making his last appearance before moving to Portland. "It's appropriate…" Folmer said at one point, "the record is all about leaving anyway." This emotional tug-of-war fueled his ramshackled, but riveting, performance. Folmer just fell into songs from tweaking his amp, chatting with the band, or checking his cell phone. The loose strums of the guitar you thought were insignificant turned out to be the song's beginning. And when he was out of words, he fell right out of the songs, usually ending them abruptly and with little warning. In between, however, Folmer delivered one pop masterpiece at a time. But, those damned creaking boards were always in the background, sounding like the building itself could fall apart at any moment. And through muffed words, wrong notes, or just loose delivery, each band offered the same warning. But as noble a goal as precision is, you can't underrate the "Moment": that shared experience where perfection can be delivered through imperfection. Those in attendance at J&J's last Saturday were lucky to share such a moment with Daniel Folmer and his friends."


Dead End - Available Now!
Saturday, 17 October 2009
Daniel Folmer's new album "Dead End" is AVAILABLE NOW on Gutterth Records!

Please join us tonight, October 17 at J&J's Pizza in Denton for a (free) release party
with special performaces by Daniel Folmer, Dust Congress, Glen Farris and Sabra Laval.

DayBowBow - Dead End Review
Friday, 16 October 2009
Local music blog DayBowBow posted a review and is streaming two songs off Daniel Folmer's new album "Dead End."

Daniel Folmer’s latest album, Dead End, produced with Gutterth Records, maintains the artist’s lo-fi ballads that we can’t stay away from. The album’s official release party is this Saturday at J&J’s Pizza on the Square, but you can stream tracks from right here! He’ll be playing with Dust Congress, Glen Farris, and Sabra Laval. As expected from previous albums, Folmer takes control of nearly every sound: voice, guitar, bass, piano, synthesizer. The diversity of his talent is impressive throughout his discography and this album is no exception. The title track, “Dead End” starts off with a dreary, melancholy cadence and plinking piano notes reminiscent of an empty Western bar. But it’s not necessarily a bad thing. Something about this album starts a little apathetic — but go figure, it’s called Dead End — and sometimes we all need a little apathy. When Folmer sings “Goodbye small town,” it’s a little confusing why he’s offering warnings just two tracks later in “Careful Dear”, the album’s third track. It’s a little too … something. I mean, the lyrics have an attractive coming of age metaphor: Careful dear, don’t bloom too high from this old dirt. Little flower, the world’s much bigger than we thought. But Folmer falls into a repetitive, relaxed groove that exhausts the listener by the halfway point. However, track four, “Whiskey Warewolf” presents some unexpected, yet damn catchy, melodies and interesting turns of phrases. From then on, the album packs in more emotionally-charged songs. Folmer introduces track five, “Wasted Time” with a jammin’ pace that absolutely must be thumb-drummed to if you’re not brave enough for full-on dancing. And “Open Arms” entertains honky-tonk, Southern gospel phrasing that once again, showcases Folmer’s diversity. I’m curious as to what was happening in Folmer’s life while he wrote these songs. The one cover song, track seven, “Flyin Shoes” by Townes Van Zandt, integrates beautifully with Folmer’s originals. “Flyin Shoes” compliments the Dead End theme and seems to give the listener an insight to his personal life: I get so tired of the same old blues, same old songs… Overall, Folmer creates a thought-provoking work of music. There’s a lot to be said for albums that inspire the listener to look inward for reflection instead of reaching for the coldest beer. Discontent and restlessness produce a strange relationship to the music without leaving the listener drenched in gloom. I wouldn’t go so far as to say “uplifting”, but there’s a quality that just…you know… makes you feel like it’s going to be okay. Whatever “it” means for you."


Pegasus News - Dead End Review
Friday, 16 October 2009
Pegasus News wrote a nice reivew of Daniel Folmer's new album "Dead End."

"My laptop and I sat down with Daniel Folmer's new album, Dead End, to explore this strapping young Dentonite's disconcerting depth. You may recognize him from The Paper Chase, he'll be celebrating the release of his latest solo effort October 17 at J&J's Basement with Dust Congress, Sabra Laval, and Glen Farris. The album begins disruptively with the title track. Sound bytes of voices reminiscent of Ryan Thomas Becker's screams and that confusing place between nightmares and waking up alone fold acquiescently into the sounds of a distant piano. Suddenly I feel very far away. The tempo rocks back and forth as Folmer's lyrics make sense of the noise: “You're down in the dumps in the dead end of Texas | Going nowhere at half-speed.” I am now soundly depressed and completely understood. Before I curl up in a ball under my desk and weep in melodramatic desperation, “Old Times” perks me up ever so slightly. “Pack your bags and sing one more song | the show must go on.” His voice, like a sedated Ben Folds, soothes me. Clearly we aren't giving up. We're getting the 'ell out of here, but still acknowledging what it sounds like to live in Texas. Kind of sad, but not suicidally so. Folmer continues the steady climb on the up with “Careful Dear” and “Whiskey Warewolf.” The piano seems to be cheering up as the tracks go on, while the guitar grounds us that we've yet to wander far from the acoustic roots of Southern songwriting. “Take the man out of the city | But you cannot take the city from the man.” It seems that we've managed to escape the desolation and loneliness of the first few tracks. Alas, an underlying sadness remains. It seems the more painful bits of being in a dead end remain. “Wasting Time,” on the other hand, feels like the end of really rough day – once the chorus starts in it's clear we're not going to let the “pain to see the curtain fall” kill all hope of spirit. Folmer's vocal distortion juxtaposed against his raw guitar make for a fitful awakening. Folmer manages to match his lyrics and music in surprising ways. “Open Arms” is immediately recognized as straight-up Texas. Sure enough, we're “back in Texas,” but once the song ends we're “six feet underground with open arms.” It seems I've died and gone to Austin. “Flying Shoes” starts in, and I get the feeling I'm walking through Noah and the Whale's album, Gently the World Lays Me Down. The song cycle of this album has a similar morose, yet beautiful undertones of one's journey continuing through mortality. There is a great sense of loss here. It finally gets to me during “In the Smoke,” and I have to blink back tears. The sound sits heavy on my chest, quiet and invasive. There is nowhere to go to escape this beautiful, wretched agony. Two songs remain, I hope Folmer will take it somewhere slightly less depressing. Thankfully, “Narcocism” follows the comforting ebb and flow this album provides. The past hour has been a melancholy yo-yo. The sadness is never far away – but neither is the pervasive hope. How will it end? “The Plane” begins, and it does not sound like a happy ending. Nope, we're stuck in the city now, and someone important has left. It's really getting to me now. The music become distorted in pain – Sonic Youth-like pain – and the very last really is downright painful monitor feedback that leaves the ears ringing before you can unplug. I am now curled up in a ball under my desk. This album is incredible. I love it. You must experience it and keep it in your imperative sad day mix. Especially “In the Smoke.” That's one, I promise, I will listen to whilst crying on an airplane someday."


DC9 - Poster Of The Week
Thursday, 15 October 2009
The Dallas Observer's blog DC9 chose our flyer, for the Dead End CD Release Show, as their "Poster Of The Week"

"Brent Frishman of Gutterth Productions created this week's featured poster, which promotes Daniel Folmer's Dead End CD release Saturday at J&J's in Denton. Should be an excellent show, with Dust Congress, Glen Farris and Sabra Laval also on the bill. I like the strapped-down figure, the crumpled background and the typewriter font--and that it's not too cluttered. It's nice when a promoter is able to resist slapping an enormous logo on a poster; I had to look twice to even see the Gutterth moth at all. Even though it's a cool logo, a little restraint is appreciated. As always, thanks to all who sent posters my way this week."


Gutterth Podcast 9
Tuesday, 13 October 2009
We've posted a new Podcast!

The ninth episode features songs by The Paper Chase, Ryan Thomas Becker, Silk Stocking, Dust Congress, Shiny Around The Edges, The International, Malise, The Angelus, New Science Projects, Sarah Jaffe, Will E Lee, Sabra Laval and an exclusive interview and live acoustic recording with Daniel Folmer.

Subscribe to the Podcast via the iTunes/Zune or any other RSS feed capable program with these feel urls:

Gutterth Podcast 9
Tuesday, 13 October 2009
We've posted a new Podcast!

The ninth episode features songs by The Paper Chase, Ryan Thomas Becker, Silk Stocking, Dust Congress, Shiny Around The Edges, The International, Malise, The Angelus, New Science Projects, Sarah Jaffe, Will E Lee, Sabra Laval and an exclusive interview and live acoustic recording with Daniel Folmer.

Subscribe to the Podcast via the iTunes/Zune or any other RSS feed capable program with these feel urls:

Today We Find Ourselves - Special Release
Wednesday, 07 October 2009
We're extremely happy to announce we will be releasing a special limited pressing of Joel North's 2005 (mom) recording
"Today We Find Ourselves" on October 30 through Gutterth Records, with a one time only performance of the album!

"Some of the warmest and most endearing quilts are made from old and previously used fabric. In 2005 Joel North recorded an EP under the name "mom," weaving together the foundation for what would later become "Sleep Whale." Gutterth Records has found a home for that original peice of cloth (shinning some light on its beautiful patterns) and will be re-releasing a limited number of the recording as "Today We Find Ourselves." Please join us on Friday, October 30th for a special local release show in the basement of J&J's Pizza in Denton to celebrate the release with our good friends Melting Season (Bruce Blay) and Sunnbrook (Paul North). Only 100 copies of the album will be pressed, so make sure to pick one up before the blanket is put away."


NTXShowlist - Best Of Dallas
Friday, 25 September 2009
NTX Showlist won this year's "Best Local Music Site" in the Dallas Observer's "Best of Dallas" awards!

"There's not much to it, really. In fact, NTXshowlist is solely what its name makes it out to be: a Web site that does nothing but display each day's concert listings, offering up gigs from touring and local acts alike. But, in today's convoluted, Flash-driven and commenter-ruined Internet age, the site, run by Gutterth Productions' Michael Briggs and Brent Frishman (who are also maybe the two biggest music fans in the entire region), the site's biggest strength is its simplicity. There are no pictures, no descriptions of the shows, and no critiques of the bands playing. Again: It's. Just. A. List. Here's how it works: Briggs and Frishman, ever-attentive watchers of the local scene, keep an eye on each venue's upcoming calendars, compile them into one place and add in the shows that their readers send their way. And that, an incredibly simple but undeniably useful tool, is all it needs to be."

Pick one up for free in newstands around the Metroplex throughout the next week.

Daniel Folmer - Dead End Release
Friday, 18 September 2009
We are happy to announce we will be releasing Daniel Folmer's new album "Dead End" on October 17 through Gutterth Records.

Please join us Saturday, October 17 at J&J's Pizza in Denton for a (free) release party
with special performaces by Daniel Folmer, Dust Congress, Glen Farris and Sabra Laval.
Come check out the album and say goodbye before Daniel goes on tour with The Paper Chase.


RGRS Free Week Friday - Review
Monday, 07 September 2009
My Denton Music published a really nice review of the show we hosted for Rubber Gloves' annual "Free Week" this year.

"Free week at Rubber Gloves always brings in scores of Dentonites, and Friday night was no exception. This was due in no small part to the brilliant lineup put together by the boys at Gutterth. 435 people came out for the show, according to the final count. The crowd featured an even mix of seasoned hipsters and fresh faces ready to take in Denton’s offerings for the first time. Many of them might have come because the show was free, but they stayed because the music was good. That’s a testament the talented musicians who played Friday night.

Emil Rapstine, of The Angelus, opened the show. He may technically reside in Dallas now, but in a way he will always be Denton’s son. The first time I saw The Angelus live, I was blown away. Their music brings forth images of gothic castles, frigid moors and forbidden trysts between long-dead lovers (at least in my mind). Rapstine’s solo shows are equally breathtaking. Though nothing compares to a performance by the full band, Rapstine can captivate an audience armed only with an electric guitar and his angelic voice. He’s garnered comparisons to Morrissey, though I think his voice is much smoother than the beloved Moz. When I hear his unique brand of experimental folk, I feel like I’m in the presence of a modern-day troubadour. Though only a handful of people were present for his set, all stood at rapt attention, with a few hardcore fans singing along. Rapstine’s quiet set was never overwhelmed by the usual din of audience chatter.

I was sad to discover that I missed the set performed by New Science Projects, a band composed of Dale Jones and a rotating roster of occasional guest musicians which include the likes of Daniel Folmer, Ryan Thomas Becker and Tex Winters. I stepped out to get a glass of water, sit for a bit and chat with a friend. By the time I made my way back to the stage, the all-too-short performance was over. But I am definitely a fan of Jones’ material. His unique brand of frenetic folk has the guts of genuine rock and roll. If you have the chance to see him live, don’t miss out on it like I foolishly did.

Geistheistler performed a truncated set that I was actually lucky enough to catch. I will honestly say that, with a few exceptions, I generally do not like bands that fall under the category of “noise”, “instrumental” or “improvisational”. Geistheistler could be labeled as all three, but I can’t get enough of them. And the crowd, which by this point had filled the venue and spread to a spot smack dab in front of the band, was with me on that. The band consists of simply a drummer, slamming out primitive beats, and a guitarist. The songs were at once entrancing and heavy enough to tempt even the most stoic hipster into head-bopping and fist-pumping. The music is nearly-perfect technically, but it still has balls like the best punk rock.

Dust Congress followed Geistheistler with an equally impressive set. The band sprinkles hints of ragtime tunes and sea shanties in with their dreamy folk ballads. Nick Foreman, who tackles vocals and guitar/banjo (while simultaneously covering the bass drum and hi-hat) has a voice that borders on scratchy and off-key, but it simply punctuated the emotions of the songs (which have some of the best-written lyrics I’ve heard). Ryan Williams (one of Denton’s most talented and most active musicians), on upright bass, provided backing vocals to perfectly complement Foreman’s lead. Although Tara Wood (bassoon) left an obvious empty spot on stage, James Kerr (trumpet) and Jeff Barnard (marimba) beautifully rounded out the sound, leaving no holes in the music. As captivated as much of the crowd was by the songs (as with other acts that night, Dust Congress had loyal fans gazing, swaying and even singing along), the noise of conversation still managed to rise about that of the band on a few occasions. It prompted Foreman to at first politely shush the unruly chatters. But eventually he resorted to telling everyone to “shut the fuck up” while they played a quiet song, with the promise of a louder, livelier song to follow.

As much as I enjoyed the rest of the show, the highlight of the night was Sleep Whale. I first saw the band a couple of years ago when they still called themselves Mom and consisted of only two members, Bruce Blay and Joel North. I thought they were perfect and ethereal, that they could not possibly be from Denton. Rather, they sounded like they came from another planet, a magical, utopian world that also birthed the likes of The Books, Grandaddy, Sigur Ros and Mercury Rev. They seamlessly wove together strings (guitar, violin and cello) and electronics to create cozy, relaxing music. It evokes the spirit of a lazy summer afternoon spent frolicking in grassy fields. I couldn’t help serenely smiling during their entire set and I wasn’t the only one. I didn’t think they could improve their sound until Friday night’s set. Paul North (guitar) and Spencer Stephenson (drums) add something I didn’t know was missing. The main difference was in the percussion. Stephenson and Blay played their respective parts in blissful synchronization, as if they were not two separate drummers but one mythical four-armed drummer. Blay and North seem to have carefully planned the changes to the band, and they’ve resulted in a richer, fuller, more invigorating sound. When Sleep Whale played their final song, nobody wanted it to end and many fans clamored, though unsuccessfully, for an encore.

Once again, Gutterth impressed me with their lineup. I expect free week, this show in particular, to do its job by drawing in new fans for Denton’s thriving music scene. In fact, it renewed an almost-dwindling interest in the scene for this jaded Dentonite. If you don’t understand the hype around Denton’s musicians, take a listen to any of the bands who played Friday night. They’re just a sampling of the talent and diversity this little town has to offer."

NTDaily & Pegasus News - Writeup
Friday, 04 September 2009
"With Denton being a town full of musicians and bands of every genre and experience level, two area recording studios are lending their services to local bands wanting to take the next step in their careers. From recording to promotion, the Panhandle House and Gutterth Productions are doing what it takes to get Denton’s finest the support they need.

Gutterth Productions: Adding promotion to the mix
Business partners Brent Frishman and Michael Briggs began Gutterth Productions in January 2006 when the two wanted to put on a show of their favorite local bands. They started naming their music showcases “Gutterth Presents,” numbering each show in episodes as they went on. “We are just big fans of music. There are a lot of local bands we like a lot,” Briggs said. “At the time, there were not very many shows they played together though.” Then came the idea to have a recording studio space where these musicians could put together their own albums while Gutterth was promoting them for shows. Even if the band decides to record elsewhere, Briggs and Frishman organize CD release shows, submit albums for review and give the bands online promotion. Briggs said Gutterth will support a band of any genre as long as the music they are playing is worth listening to. “The genres we promote vary, but we do a lot of stuff that is folkish,” Briggs said. “Then again, we do have some pretty loud rock metal and experimental shows.” Local band Sleep Whale member Bruce Blay said his band played in Gutterth’s eighth episode in 2007. Although the band works with several promoters in Denton, Blay said it works with Gutterth the most. “They put on these really good showcases, and they treat the bands really cool,” Blay said. Sleep Whale doesn’t record at Gutterth’s studios but goes there for booking shows and “moral support.” The band will also be featured in one of the production company’s podcasts next month to promote the November release of its latest album. “They just love what they do, and they share that with people, and that is amazing,” Blay said. Gutterth is now in the process of including artist promotion through including art shows with their showcases. The studio has done 38 episodes since 2006 and will be doing another for Free Week tonight at Rubber Gloves Rehearsal Studios with Sleep Whale, Dust Congress, New Science Projects, Geistheistler and Emil Rapstine."


Pitchfork - Sunnybrook Forkcast!
Friday, 28 August 2009
Pitchfork did a "forkcast" on our good friend Paul North of Sunnybrook!


Episode XXXVIII - Writeup
Thursday, 27 August 2009
The "North Texass Bullshit" blog posted a writeup I emailed em, regarding "Episode XXXVIII" this Saturday.

"I asked Gutterth for a quick briefing on what is going on this night. With the visual art, it sounds very interesting.

Gutterth: The event is an art and music showcase, featuring mostly "heavy" rock influenced/driven music by Drink To Victory, Hawk Vs Dove, Kaboom and Dear Human. The visual art is a collection of some of our favorite (and incredibly talented) local artists; ranging from painting, screen-printing, lithographs, illustrations, assemblage and installation peices. We've constructed temporary walls that will allow the artwork to be displayed in the main room of RGRS while the bands are playing. Unfortunately, im not a very good art journalist/historian, so instead of trying to describe the artwork myself ive attached a .zip folder of some of the artists work for you to preview. I was unable to find any work from Hank or Taylor exhibited online, but there's quite a few images from Kris Swenson, Michael Little and Terry Horn. Hopefully you dig it."


HSS - CD Release Show Review
Wednesday, 19 August 2009
The "Adventures In Live Music" blog posted a pretty solid review of The Heartstring Stranglers CD Release and Going Away party.

"was feeling kinda restless on sunday night, in need of a live music fix, an adventure, and maybe somewhat of a bender. found out about a show in denton being put on by the gutterth boys - 5 bands, in a house, starting at 7, free, and BYOB. i thought, perfect. showed up at 7:30, hung out in the backyard with a bunch of drunk-ass, funny-as-hell guys half my age, who made me feel right at home. gawd, i love the Denton music scene. back inside the house and up the rickety staircase in the attic, Roy Robertson started things off. Was very impressed by Roy - loved his voice, his songwriting, his guitar-playing - everything. Liked the non-standard structure of some of his songs. Really enjoyed it. Told me his influences were Dylan and The Beatles. i should mention - this whole show was completely acoustic (demonstrating how committed the music scene is to lowering its carbon footprint. or maybe they were just trying to keep the cops from busting down the doors & shooting whatever dogs they could find, in response to a noise complaint). sorry - bit of a tangent there. Back downstairs, Febrifuge (which is just one dude, Chris Day) was up next. Really liked what i heard on myspace from this guy. Of course, what i heard sunday was a very much stripped- down version of his recordings, so it wasn't quite as compelling, but i still enjoyed his set. Really dug his voice - quite a range - very Thom Yorke-like in places. He played acoustic guitar and autoharp, and tapped a tambourine with his foot to add a percussive element. Very nice set. Will definitely be looking out for Febrifuge shows in the future (I assume he plays with a full band at times). Ryan Thomas Becker then played in a different room on the bottom floor. Seen him perform many, many times, and i'm always amazed by his voice. very unique, incredibly soulful. great stuff, as always.back upstairs in the now-sweltering attic (did i mention that the house had no AC?), New Science Projects did his thing. It was funny to see him smearing what looked like fake blood on himself down in the laundry room before his set (ok, i dono why that was funny, but it was). Anyhow, it absolutely amazed me that almost the entire crowd (and that attic was packed) seemed to know every word of every one of his songs. you don't see that very often. i thought the addition of a cello player to some songs was a nice touch. i'm not a huge fan of NSP - it's a little over the top for my taste, and i don't care for his voice at all - so after 4 or 5 songs (during which i sweated off half my body weight), i headed back downstairs and outside to the relatively cool summer night. last to perform was Heartstring Stranglers - this was actually their cd release show and going away shindig. couldn't really see the whole band - the whole bottom floor of the house was jam-packed (guess that's why they invented stages, eh?), but i think there were five of them. nice collection of (hard to describe - old-timey? ethnic? gothic?) folk tunes. very nice. bought both cd's. violin player drove my pants crazy (sorry!). all in all, i had a blast - good booze, good people, good music. can't ask for more than that."


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