Live: The Whigs, The Features, Mean Creek at The Black Cat, 12/10

Before the show, WGTB spoke to Whigs drummer Julian Dorio on-air. Listen to the whole interview and a new Whigs track here.

Athens, Georgia band The Whigs brought their brand of boisterous rock to The Black Cat on Thursday night, filling up the modest-sized venue with what seemed to be a large constituent of Georgia natives. The band made its entrance to the Atlanta Braves theme song while the crowd performed the signature tomahawk chop. They launched into their hour-plus set with “In the Dark”, the title track from their forthcoming third studio album. Highlights of the show included one of the band’s biggest hits, “Right Hand on My Heart,” a rendition of “Already Young” with a killer drum solo, and a two-song encore. The performance seemed to be the perfect soundtrack for a backyard party down South, and it played great in such an intimate setting. The three-man band was loud, tight, and full of energy, and they left the crowd buzzing, both in their ears and of excitement.

-- Jared Iversen, "Jive Talkin'," Thursdays 12-2 p.m.
Check out more pictures of Mean Creek, The Features, and The Whigs after the jump!

Review: Son Volt, American Central Dust

Artist: Son Volt

Album: American Central Dust

Released: July 7, 2009 on Rounder Records

As a fairly hardcore devotee of alt-country music, I cannot avoid the importance of Son Volt and the work of its bandleader Jay Farrar. Son Volt has stuck to their roots throughout their existence, avoiding the more divergent path into different genres taken by Jeff Tweedy and Wilco. With American Central Dust, it’s very evident that Son Volt has not abandoned that unmistakably American sound, woven together once more by Farrar’s lyricism built on a nostalgic obsession for the past and the inevitable presence of fiddles, pedal steel guitar and piano. There are some gorgeous tracks on this latest effort—that can always be counted on with Farrar.

Nonetheless, that predictability also seems to be my one critique of Son Volt and especially this album. I don’t think it would be fair to call American Central Dust static but it quite simply sounds like everything else they’ve ever recorded. Son Volt has a great sound and Farrar is one of the best songwriters of all time, but there seems to be a lack of energy or spontaneity to his group. In any case, it doesn’t I mean I won’t enjoy listening to it or that the intensely proud Americana music fan base won’t universally praise it. Fans can count on the usual mix of melancholic ballads and easy rockers with heavy imagery and wistful hints of twang.

-- Cole Stangler, "The Cosmic American Music Radio Hour," Tuesdays 12-2 p.m.

The Whigs: On-Air Interview

In case you missed WGTB's recent on-air conversation with Julian Dorio, drummer for The Whigs, you can now listen to it here. This interview aired Thursday, Dec. 10.
WGTB: Interview with The Whigs by wgtbmusic


WGTB also enjoyed seeing The Whigs, The Features, and Mean Creek perform at The Black Cat Thursday night-- comments on the show and photos coming soon.

The Whigs are an indie rock band from Athens, GA, on tour right now with openers Mean Creek. With two albums under their belt and a third one on the way in early 2010, the Whigs have made a name for themselves through their upbeat, fun, hard-rocking sounds and southern-rock influences. You can score a free download of a new Whigs song, "Hundred/Million," on their website: http://www.thewhigs.com/news.

Review: Tyler Blanski Out from the Darkness

Artist: Tyler Blanski

Album: Out from the Darkness

From his twangy, folksy guitar sounds to his slight Southern drawl, Tyler Blanski seems to thoroughly embody the style of country music. However, it is the creative touches that set him apart, such as the flurry of typewriter keys that accompany the opening strains of the first song on the album, “Two Inches Apart” and his beautiful yet ordinary lyrics. His songs tell everyday stories fraught with emotion—for example, in “Two Inches Apart” he laments that he has forgotten “the way you taste / when we kissed by the car” but still remembers that, when drinking coffee, “you always added cream / and stirred it with a knife.” These little snapshots provide the simplest details of the stories told in his songs, and to great effect: they make the songs lovelier and more memorable for the listener. As Tyler Blanski himself has said, “I want to write songs that people can relate to…songs that convict and inspire, songs that make a grown man want to swing on a swing set.”

Review: Lissy Trullie, Self-Taught Learner

Artist: Lissy Trullie

Album: Self-Taught Learner

Released: Oct. 20, 2009
Call it the renaissance of the New York Underground scene.  Before recognized as a band, this troop was recognized as another part of the sprouting gang of models, DJs, and rising socialites.  Even in Lissy Trullie’s music video of their first single, “Boy Boy,” front girl and band title, Lissy Trullie is observed strutting the streets of Downtown New York in the token skinny jeans and, a novelty Lower East Side designer, Alexander Wang, jacket.  The rest of the up-and-coming crowd joins Trullie with cameos by: Chrissie Miller (Sophomore clothing designer), Harley Viera Newton (NYU student-turned-underground-DJ), and the princess of the scene, herself, actress/model Chloë Sevigny. 

Review: Dirty Projectors, Bitte Orca

Artist: Dirty Projectors
Album: Bitte Orca

From the opening song on Bitte Orca (the somewhat creepily titled “Cannibal Resource”), the listener can immediately tell that Dirty Projectors wants to stand out in every way possible. Along with echoing, almost twangy guitar and David Longstreth’s mournful-sounding voice comes almost poppy background rhythms and, oddest of all, a eerily harmonious chorus of disjointed female voices—band members Angel Deradoorian and Amber Coffman—singing wordlessly. This song is a mélange of such different elements that somehow all work together, indicative of the band’s quirky style. Even the lyrics represent an innate kookiness, ranging from the lovely (“Two Doves”) to the fantastical (“Stillness is the Move”). As “Stillness is the Move” asks, “Isn’t life under the sun just a crazy dream?” Isn’t the life just a mirage of the world before the world?”