Tuesday’s all-metal bill at the Larimer Lounge was a reminder of the power of guitar rock. The Sword, Priestess and Early Man ruled the night with guitar solos, drum solos and shrieking vocals that belong in metal – three variations on the ear-piercing subgenre of unrelenting stoner rock.
Early Man closed its set with a potent slam of its perfectly mixed metal complete with crystalline vocals. Priestess was not as unique in its drum-led approach.
This show belonged to The Sword, which was assured and without pretense. The Austin, Texas, band shredded without fail, and its dual-guitar riffs tore up the packed room and made up for the fact that singer J.D. Cronise doesn’t quite have the vocal chops to keep up with his wicked guitar mutilation.
– Ricardo Baca
Swearing at Motorists
Indie rock duos are a dime a dozen – think Quasi, Tegan and Sara, Arab Strap or Lightning Bolt – but when they’re good, they’re ingenious. Swearing at Motorists, consisting of wild-eyed guitarist/vocalist Dave Doughman and drummer Joseph Siwinski, falls on the latter side, using its basic set-up to cut to the heart of their already concise guitar riffs and drumbeats.
The duo sounded particularly forceful at their Monday night Hi-Dive set, with Doughman bouncing around the stage like a rubber-
footed Pete Townshend while Siwinski’s clockwork timekeeping propelled it all.
Doughman pulled off some stunning vocal acrobatics during the lament “Timing Is Everything,” from the band’s latest platter. “The cover of a magazine is one place you won’t find me,” Doughman sang, his crooner’s timbre buzzing like a downed power line, then added, “and that’s fine with me.”
– John Wenzel
Sigur Rós
Sigur Rós’ sold-out Feb. 23 date at the Paramount Theatre was the most awe-inducing concert to play Colorado in the last five years.
It was jaw-on-the-floor beautiful – sonically and visually – and goose bumps, tears and shivers ran throughout the respectful crowd that followed the Icelandic band from the mammoth builds of “Glosoli” to the moody, unison strings of “Hoppipolla.”
The band, backed by opening quartet Amina on strings, has a way of presenting its atmospheric music – silly at times, given that half the lyrics are gibberish – with earnest sincerity. Here’s a prediction: The image of singer-guitarist Jon Thor Birgisson’s silhouette projected onto a screen stretched across the stage’s apron, tearing away at his electric guitar with a cello bow as he wailed in his haunting falsetto, will become as important to rock music as Bowie’s Ziggy Stardust days and Axl’s bandanna dance.
– Ricardo Baca
The Omens
The Omens’ neo-’60s rager “Destroy the ESP” was easily one of the best local albums of 2005. And its fiery centerpiece, the two-
minute fireball “Make Time,” was the blistering highlight of The Omens’ gig at the Old Curtis Street Bar Tuesday.
The set was typical for The Omens. Lead singer and guitarist Michael Daboll still owns a room, and the band’s throwback sound is still tragically underappreciated. (Most of the crowd sat at the bar.) It would have been just another night, save for the fact it was their first show with the group’s new organist. And if this pre-South by Southwest show is any indicator, the group is in prime shape to tear up Austin again in a few weeks.
– Ricardo Baca
