Art Brut
If you think it’s difficult to explain music verbally, just try describing the look on Eddie Argos’ mustachioed face as he and his band, Art Brut, tore up the Hi-Dive on May 5.
As far as faces go, it wasn’t rock ‘n’ roll royalty – nor was it indie rock hero. It was more lounge singer – only with the ironic smarts that go along with Art Brut’s simple music and lyrics. Rarely did Argos ever rock out. Most of the time he simply talked to the crowd, half-singing his straightforward (and straight-faced) witticisms to the packed crowd’s absolute delight.
Art Brut is smart, but the British rock band is tight too. They have a potent set – which could be longer, but they are supporting their first full-length, “Bang Bang Rock & Roll,” just released in the U.S. And it was like a timeline of the past three years, from the formative brilliance of “Formed a Band” to the contemplative, rear-view-mirror simplicity of “My Little Brother” and “Emily Kane.”
The band is more refreshing than it is great. The band’s uncomplicated approach to rock ‘n’ roll is what makes its music so appealing.|Ricardo Baca
Laura Cortese
In a perfect world, Scottish-influenced folk fiddlers would draw huge, raucous crowds ready to step dance until their feet turned plaid. In reality, older fans of such music often approach concerts with more modest goals, preferring to clap along in folding chairs instead of letting their hips speak for them.
Boston-based fiddler Laura Cortese’s May 6 set at Acoustic Music Revival, a popular guitar shop on South Broadway, fell on the folding chair side. Switching up sets and bandmates with fellow Halali member Lissa Schneckenburger, Cortese opened her set with songs from her new disc, “Even the Lost Creek.” Drummer-guitarist Neil Cleary provided spot-on accompaniment, occasionally adding delicate harmony vocals to Cortese’s gorgeous alto.
“Blow the Candle Out,” the lead-off track from “Creek,” was one of the highlights, with Cortese replacing the finger- strummed acoustic chords on the album with nimble, clipped fiddle notes. It was probably as close to pop-rock as the audience members had gotten in awhile. In fact, after a spirited clap-along Cortese entreated the seated assembly to get up and dance. “But we’re old!” was one tongue- in-cheek response. Touché.|John Wenzel
The Dead Science
The Dead Science and its free-jazz/pop blend requires patience and a concerted effort to not pass judgment. You really have to shut up and listen. And while it’s an acquired taste, it’s one that’s worth developing.
The group brought its unpredictably soulful glitch-pop to the Hi-Dive on Monday, and the gig was a strong showing of this dangerous brand of experimental post- rock practiced by many underground bands, perhaps most notably by Xiu Xiu. (The bands are close, sometimes sharing members.)
One of the most intoxicating things about the Seattle trio’s set was the way drummer Nick Tamburro and bassist (both electric and upright) Jherek Bischoff faced off and played to each other. They kept the bottom jumping all over the place, accenting singer-guitarist Sam Mickens’ eyes- closed, falsetto control of each piece.
Tamburro plays with sticks, mallets and his palms when he’s not messily dragging his wooden bangers across the tops of the individual drums, just loud and clumsy enough to make it audible to the pick-up mics. But it’s Mickens who gives this outfit its awkward life, its strange blood.|Ricardo Baca
