This is why I do what I do; why I spend endless hours searching for new music on the Internet, at the record shops and in clubs. I’ve seen more great shows than I can ever count (plenty of terrible ones too), but every once in a while I get turned on to something truly exceptional. Otis Grove falls into the latter category, and if their new album, The Runk, didn’t prove it on its own, their CD release party at the Lizard Lounge did. (Continued.Read the full review here.)
This is why I do what I do; why I spend endless hours searching for new music on the Internet, at the record shops and in clubs. I’ve seen more great shows than I can ever count (plenty of terrible ones too), but every once in a while I get turned on to something truly exceptional. Otis Grove falls into the latter category and if their new album, The Runk, didn’t prove it on its own, their CD release party at the Lizard Lounge did.
The club itself is something special. It has the feel of a dark, sexy basement living room. The super-low ceiling, flickering candles on the walls, oriental carpets on the floor and dark red lighting all support a very intimate feel. The fact that the band plays in what amounts to the middle of the floor, with no stage to speak of, completes the homey feel. It’s as though the band is playing their own jam space to an audience of close friends. The acoustics of the room are impressive too, with driving, thumping bass at a reasonable volume which doesn’t leave you with bleeding ears at the end of the night.
When I got an advanced copy of The Runk a couple of weeks ago, I was floored by the combination of influences and styles - funk, soul, jazz, metal, hip-hop, jams. I knew these guys could play but nothing really prepared me for the musicianship I witnessed in the live experience. They opened with a triplet of songs from the new album; “The Bunk,” a classic sounding funk/soul number, segued into “Rock City,” which is, as the title alludes, a driving rock instrumental, then into “Bobby Nosox,” another jam in the classic funk/soul vein.
Otis Grove are a spectacle to watch - Sam Gilman playing the role of a white Stevie Wonder, eyes closed and head a-swaying; Blake Goedde drumming with a ferocity that would make Neil Peart envious; Tyler Drabick, a geeked-out guitar god. Each song was layered with drum fills, keyboard flourishes and guitar work but with every note in the groove. For all the technical musicianship there’s never a wonky moment. Every note contributes to the mood. There’s not a second of showmanship for showmanship’s sake. Everything instead comes together in an organic, jammy flow.
The songs are so hook-laden that, just before the end of the first half of their set, my friend turned to me and said, “Hey, I just realized they’re not singing.” That, I think, is the key to why Otis Grove works so well. Without any lyrics they manage to connect and communicate with their audience directly through the music and between song banter. Even their more throwback style songs sound modern; making great use of the Pixies/Nirvana loud-quiet-loud method to pull their songs through whole series of emotions without ever uttering a word.
At about the half-way point the band introduced Brighton native, Mr. Lif, to MC a series of songs they’ve worked on together. Mr. Lif’s skills are legendary and in another context the short set would have been thoroughly enjoyable. For me, though, the introduction of vocals to the mix was such a jarring transition from the mood that had been building earlier that it left me wishing they’d performed these tunes in an opening set instead. That’s not to say that the songs weren’t good. They reminded me of some of the Beastie Boys more groove-laden work and Mr. Lif pumped the crowd along with a vast well of energy.
After the short hip-hop interlude Otis Grove get right back into it, running through a scorching Jimi Hendrix medley that hit “Little Wing,” “Hey Joe,” and “Purple Haze,” among others. As the night wore on I started to worry that they weren’t going to play my favorite track from The Runk, the album’s opener, “The Monarch.” Fortunately, I wasn’t let down. Finally, in their next to last song, I heard the classic, Deep Purple-esque, dual guitar keyboard riff that opens the song. They killed it, complete with an Emerson, Lake and Palmer-like organ breakdown in the middle. They closed the set with their interpretation of Black Sabbath’s “War Pigs,” a seven-plus minute jam that turns the classic heavy metal tune into a wandering jam session. I’m not sure which was more entertaining, hearing the guitar and keyboards mimic Ozzie Osbourne’s vocals, or watching the entire crowd singing along, trying to step up into the role of the Prince of Darkness.
Saturday, 10/23 at the Rosebud, The Autumn Hollow Band (Band of the Month nominees) release their new album, "Love Letters and Ransom Notes." The band's heartfelt americana should warm the room despite the numerous autumnal attractions the band has planned. Attendees of the show can bob for apples and eat donuts from strings ("It has the potential to get weirdly competitive," the band says, and there are already challenges thrown on the Facebook event page), and there will be a carved pumpkin contest. They've also apparently arranged for one-night-only "Love Letter" and "Ransom Note" drink specials, named for the album. And if all that wasn't attractive enough, the first fifty Narragansetts are free, and your cover cash also enters you to win one of any number of raffle prizes. One amazing party set to a lovely soundtrack. Also performing are The Points North, Coyote Kolb, and Big East. Get there 'round 8pm to get that 'Gansett and sign up for the games.
I saw DOM on Wednesday night during my "Deli CMJ marathon" when the five-piece band opened for Neon Indian and totally dug their sound – a mix of lots of electronic beats, fuzziness, catchy guitars and a I-don’t-give-a-rat’s-ass kind of attitude (which by the way, works well for them). It was a good switch from droning lo-fi and compelled me to make moves to new places. Plus now I can’t get “Living in America” out of my head – “you’re so sexyyy/living in America.” - Read the rest of Alex Vann CMJ report here.
NYC based independent record label MPress Records has a roster of interesting singer songwriters based - mostly based in the Big Apple and Massachussets. The lable will showcase its talents on 10.21 starting at 6 at Gallery Bar on Orchard St (just north of Delancey St.) Besides local rootsy pop stalwart Rachel Sage, we are curious to see singer Bostonian singer songwriters Lindsay Mac (in the picture above), a talented cellist singing intimate songs, and Melissa Ferrick (picture below), whose tracks reveal a more rocking attitude. On the bill also Walter Parks, who has forged a distinctive international carreer as the lead guitarist for legendary NYC folk innovator Richie Havens.
The24rd issue of The Deliwas delivered to the most rocking NYC neighborhoods yesterday.
If you don't live in NYC, don't dispair, because now YOU CAN NOW ALSO SEE IT ONLINE HERE!!! With interactive liks, dudes! Enjoy!
What do you get when you start with funk-soul grooves, throw in some jazz stylings, add jam band sensibilities, layer on the heavy guitar and organ riffage, and finish it off with prog-rock wackiness? Oh yeah… and remove the vocals for an all-instrumental delivery. Given that mish-mash I would have guessed you’d get a train wreck. Thank God my guess would have been wrong. Otis Grove’s newest release, The Runk, is an instant classic.
The Runk opens with “Monark” and a dual barrage of guitar and organ straight out of the Deep Purple songbook. About a minute in, it takes a hard left turn into Emerson, Lake and Palmer territory with a crazy time signature shift and a Keith Emerson-style key solo. Then the tune suddenly comes back together with a meandering Santana-esque guitar solo before swinging back to the Deep Purple riffs to end the song. That’s a lot of ground covered in a single track and I knew I was in for a treat.
The next two tracks, “The Bunk” and “Basket Case," stick to a more traditional funk/jazz style, reminiscent of Fishbone mixed with Medeski, Martin and Wood. Both songs pay homage to a retro-soul sound while remaining thoroughly modern in their delivery. The album continues on this cycle through seven more tracks, alternating between heavy jam band rock-influenced tracks and classic funk/soul/jazz.
Late in the album, “I Won’t Forget” brings me back to my youth in the '70s. During my summers in New Hampshire I would frequently go roller skating at an old rink on Lake Winnipesaukee. Instead of playing Top 40 hits they instead had reel-to-reel tapes of old organ music, like some ancient form of Muzak. Listening to the keys on “I Won’t Forget” suddenly turned me into a 10 year-old klutz, circling the rink and trying desperately to look cool in a velour shirt and homemade plaid pants.
The Runk closes with “Fausto." The track highlights their drumming chops, opening with a short drum solo. Those drums remain the driving feature of the six and a half minute track and end this amazing album on a simmering groove.
- George Dow
Catch the Boston CD Release for The Runk on Friday, 10/15, at the Lizard Lounge! Supporting the release are Club D'elf and The Squabble, and Otis Grove will perform with special guest Mr. Lif. Friday 10/15 Lizard Lounge / Doors 8pm / $10 adv $12 door / 21+
Stereogrove, the Boston-based rock/reggae/funk/hip-hop quartet, kick off an October residency at the Precinct tonight at 9pm. In and of themselves, they put on a live show more than worth the cover charge; their music is made for the stage, vocals flying or skatting over rhythms by turn rock, funk, dub, and uptempo reggae. Although it's dance- and energy-minded, the structures are thoughtful and the juxtapositions of jiving, swinging, and diggin' into it are more than interesting fare for those who prefer to sit or stand and appreciate instead. But consider this a challenge to not, at the very least, tap your toe along to it.
The band has been working on new music and has apparently written four different sets, one for each night, which is quite a feat on its own and promises for a dynamic residency. And although you'll surely be drawn to the stage by the magnetism of Stereogrove's grooves, this residency sweetens the pot with opening DJ and slam poetry sets, art showcases, live art making, some great supporting music, and live jams at the end of each night. Check below to find out who else you can expect to see ripping it up - with bills like these, these should be some jams to remember!
The following information is from the band's website. Each evening of the residency begins at 9pm, is 21+, and has a cover charge of $7.
10/6
DOORS: 8:30
DJ SET/SLAM POETY SET: 9:00 – 9:20
STEREOGROVE: 9:30 – 10:00 – (Set Picked By Aj) THE FEW: 10:15 – 11:15 (classic rock/jam band)
JAM SESSION: 11:30 – CLOSE
ARTIST: TONY HOLLUMS – MUSIC ON PAPER AND SURREALISTIC PEN & INK
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10/13
DOORS: 8:30
DJ SET/SLAM POETY SET: 9:00 – 9:20
STEREOGROVE: 9:30 – 10:00 (set picked by Tony) MODUS: 10:15 – 11:15 (dirty funk/jazz)
JAM SESSION: 11:30 – CLOSE
ARTIST: MEGHAN CHIAMPA – PSYCHEDELIC INSPIRED PAINTINGS AKA “WHAT A UNICORN SEES ON ACID”
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10/20
DOORS: 8:30
DJ SET/SLAM POETY SET: 9:00 – 9:20
STEREOGROVE: 9:30 – 10:00 (set picked by Matt Butler) KING’S DUB: 10:15 – 11:15 (reggae/dub)
JAM SESSION: 11:30 – CLOSE
ARTIST: ELIZABETH MCBRIDE – RETRO POLAROID PORTRAITURE
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10/27
DOORS: 8:30
DJ SET/SLAM POETY SET: 9:00 – 9:20
STEREOGROVE: 9:30 – 10:00 (Set Picked By Matt Smith) PIPELINE RIOT: 10:15 – 11:15 (rock/reggae/funk)
JAM SESSION: 11:30 – CLOSE
ARTIST: JOSHUA OLIVEIRA – ABSTRACT CUBISM PAINTINGS
