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RGRS Free Week Friday - Review |
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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."
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