Show Review: Cherry Glazerr Takes Over the Crocodile

This past Wednesday at the Crocodile saw Cherry Glazerr come through, touring in support of their sophomore LP, Apocalipstick, along with fellow Angelenos Slow Hollows.  The dingy Crocodile Cafe was a good fit for the night, especially for the headliner, with Clem Creevy feeding off the dirty energy of the place with some dirty energy of her own.  The show promised to be energetic, eccentric, and distinctly feminine, and it delivered on all accounts in spades.

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Openers Slow Hollows started things off in a quiet, contemplative mood.  Merging some twinkly guitar leads of the current emo wave with a very post-punk feel, the quintet did a great job as the opener: they were a very well put together act, but they hardly tried to steal the show.  The five college boys stood mostly still on stage, with an energy that was very understated but quietly snuck up on you.  The guys from Slow Hollow may almost look asleep from time to time, but if you let it lull you to sleep then you’ll get shaken awake by some very sneaky musical climaxes.  Standout tracks from the set were “Luxury of Lull” and “Last Dance” from their 2016 album, Romantic.

Though from the same city of origin, Slow Hollows could hardly be more different from Cherry Glazerr.  After the openers left the stage, crew members and some of the headlining band came out to set up their equipment.  And their stage decorations.  Which I didn’t really notice until right before they stepped onto the stage.  Which were vaginas.

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This set a clear tone for the rest of the set: this is a show by women, for women.  Not to say non-women couldn’t enjoy the show, but it was clear from the start that this was a female show.  So when frontwoman Clem Creevy introduced a song with “This song is about period blood and being on your period, and that’s awesome!” I wasn’t really all that surprised.  This is a band that has never shied away from its femininity, and they weren’t about to start now.

The set started weird and ended weird.  With her bassist, drummer, and synth player all onstage, awaiting her arrival, Creevy came out swinging.  Literally.  She swayed on stage in the middle of a wall of noise, swaying wildly and flailing her arms in all directions.  And thus began the set.  A healthy mix of old and new, the show was a very good one.  Creevy made sure to acknowledge her grungy influences from Apocalipstick (the encore was a cover of Nirvana’s “Territorial Pissings,” which also served to energize the hell out of the Seattleite crowd), and also made sure that those influences didn’t ruin the garage-rockiness of some of previous work.  “Grilled Cheese” and “Trick or Treat Dancefloor” fit perfectly along with newcomers “Told You I’d Be with the Guys” and “Only Kid on the Block”.  And all the while, Creevy and bandmate Sasami Ashworth injected a bit of light humor into the set with their banter between songs.

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Overall, I thought the show was very satisfying.  Slow Hollows were a very good, very lowkey opener, who set the stage perfectly for Cherry Glazerr’s jagged vocals and sharp riffs to cut through straight to the audience.  If I heard these two were touring together again, I’d snap up my tickets early.

John Morse

Slow Hollows on Bandcamp

Cherry Glazerr’s Website

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Live Review: Car Seat Headrest

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Last weekend I had the chance to see indie rock band Car Seat Headrest, perform live at the Neptune Theatre in what was probably one of my favorite shows I have attended. I’ve been kind of obsessed with this band for most of the year, so finally getting to see them live was a pretty great experience. They were touring in support of their latest album Teens of Denial, definitely one of my favorite albums of the year so far.

The show kicked off after a strong performance by opening band The Domestics, a group I was not familiar with until this concert. Car Seat Headrest then opened with a short Leonard Cohen cover, before kicking the show off with the popular lead track “Fill in the Blank” from their newest album. This was when you could feel the audience really get excited; the level of audience engagement at this show was high, particularly in the front, where many of the people around me were singing along passionately.

The band played many other recent songs including “Vincent” and “Destroyed by Hippie Powers,” as well as older songs such as “Maud Gone” and “Sober to Death,” skillfully mixing different points in their discography. The Teens of Denial tracks stood out especially good live, although I was expecting them to be played, so the older songs were a nice surprise. “Maud Gone” was particularly nice to hear as I was not expecting that song to be played, and it also provided a brief respite of calm among the more high-tempo rock songs surrounding it on the setlist. The audience gave a particularly loud cheer when front-man Will Toledo announced they would be playing a song from Twin Fantasy, probably the most popular of their early albums. The band also experimented with a shortened version of “Drunk Drivers/Killer Whales” which was reworked in preparation for an upcoming TV performance. Guitarist Ethan Ives’ guitar skills really shone through live, and Will Toledo’s vocal performance was excellent. 

The most enjoyable songs live, in my opinion, were “Strangers” from their 2015 album Teens of Style (a re-recording of an earlier release), and the encore in which the band was joined by Naked Days for covers of “Psycho Killer” and “This Must Be The Place” by Talking Heads, which they brought impressive energy to, and closed off the show on a high note. Overall, it was a great performance and a strong end to the tour.

Car Seat Headrest: Bandcamp / Twitter

Photo Credit: Kevin Tosh

-Noah Prince

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Artist Profile: American Wrestlers

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American Wrestlers is a relatively new band, having formed in Missouri in 2014. The band began as the solo act of Gary McClure, originally from Scotland, and a member of the British indie band Working For a Nuclear Free City. He initially released the band’s first album, self-titled American Wrestlers, for free on Bandcamp. After the band began gaining popularity on the internet, American Wrestlers was re-released by Fat Possum Records in 2015. Following this, McClure assembled a full band, with Bridgette Imperial on keyboard, Josh Van Hoorebeke on drums, and Ian Reitz on bass. They have a new album out, Goodbye Terrible Youth, just recently released on November 4th. 

American Wrestlers’ music employs a classic indie rock sound that should be familiar to any fans of the genre. While their debut had a more lo-fi sound, as is typical of home recordings, with fuzzy, distorted guitar, their new album has a cleaner, bigger sound, with jangly guitars and catchy riffs. The band’s newer songs are faster and louder than those on American Wrestlers, as the band’s sound evolves, yet they retain the same quality songwriting that drew attention to them in the beginning. As their first album as a full band, Goodbye Terrible Youth shows a lot of promise, and hopefully marks the beginning of a strong career.  

Recommended for fans of: Working For a Nuclear Free City, Yuck

Key tracks: “There’s No One Crying Over Me Either,” “Real People,” ”Give Up,” “I Can Do No Wrong”

Soundcloud / Bandcamp / Twitter

-Noah Prince

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Artist Profile: And The Kids

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Back in March, I decided to accompany my friends to the Ra Ra Riot show at Neumos on a whim. Arriving after 9, I expected the opening acts to be finishing up their sets, but the first band, And The Kids, was just taking the stage. Normally, I’d honestly be a little pissed that a concert would be going so much later than I expected on a school night. This time was different. I’d never been to a show where I ended up liking the opener more than the headliner until that night, when I experienced the girl-power rock majesty that is And the Kids. 

Hailing from Northampton, Mass., the trio consists of singer and guitarist Hannah Mohan, drummer Becca Lasaponaro, and bassist Taliana Katz. The three members combine their talents to form upbeat, catchy, riffy rock jams with just the right amount of pop. Their debut album, Turn To Each Other, released last year, is packed with one catchy song after the next. Mohan’s vocals, ranging from deep and heavy to light and breathy while always staying packed with some great folk-y vibrato, frequently intertwine with countermelodies in songs like “Cats Were Born” and “All Day All Night” to produce layered and interesting tracks that are sing-alongable in more ways than one. A spot on Ra Ra Riot’s tour, opening alongside PWR BTTM, as well as an NPR Tiny Desk session, put the group on the map. They’re also embarking on a small tour with Vundabar (unfortunately, Seattle isn’t on the list of stops).

The group is gearing up to release their second studio album, Friends Share Lovers (which drops early June), performing some of the new songs on tour and, more recently, at their new Audiotree Live Session:

The band’s new material definitely seems to building on its strengths of writing great riffs and interlocking melodies (especially in “I Can’t Tell What the Time is Telling Me” and new single “Friends Share Lovers”). The group also does a great job of transferring the energy of their music to the stage (with a little help from an inflatable deer…you’ll see what I mean if you ever have the pleasure of going to a show).

If one thing’s for sure, it’s that you’ll have at least some of And The Kids’s material stuck in your head all day after you listen to a few songs. The band’s perfect combination of catchy lyrics, danceability, and just the right amount of shred shot them right to the top of my long list of current favorite artists. Also, who doesn’t need more all-girl rock in their life? No one. Bottom line: just check ‘em out. You owe it to yourself.

For fans of: Chastity Belt, Tacocat, Cherry Glazerr

Notable Tracks: “Secret Makeout Factory”, “Wiser”, “Cats Were Born”, “I Can’t Tell What the Time is Telling Me”

Bandcamp // Twitter // Instagram

-Ann Evans

Live Review: Wild Nothing Sells Out The Crocodile

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As I meandered down to Belltown on Monday night to see Wild Nothing at The Crocodile, my groggy self was beginning to wonder if I had made a good call. Looking like a total dork in my Nocturne-era Wild Nothing t-shirt, there I was, hungry, tired, and putting off a whole lot of homework to be there. It was already past 9, the opener, Whitney, hadn’t come on yet, and I had a 9:30 the next day. I stood for a good 30 minutes, alone, having a pity party for one, until I did what you are probably telling me to do now: I decided to suck it up because ROCK AND ROLL AIN’T FOR QUITTERS!!!

As soon as the music started flowing, though, I really stopped giving a damn about my 9:30.

Whitney opened with upbeat, folksy tunes that were definite toe-tappers. Songs ranged from a Bob Dylan cover to anthems with catchy horn riffs a la San Fermin. After they left the stage, the venue really started to get packed with trendy thirtysomethings, many of whom looked like Amazon employees or something smart like that (I swear to God, the guy standing behind me looked JUST LIKE Jeff Bezos. I swear!!). The Monday night show was a sellout, and I could sense early on that Seattle was anxious for some good ol’ dream-rock action.

Here’s the part where I have to tell you that I don’t have any good pictures. I’m sorry. I really tried. But what’s a girl to do when the under-21 section is, like, 5 shoulders wide and a 6’3” lumberjack-type with a beanie sitting on top of a pile of frizzy hair stands in front of her? Take really shitty snapchats that you don’t want to see here, that’s for sure. I’m sad about this too, friends. Wild Nothing is one of my favorite bands ever. But it’s all about the EXPERIENCE, remember?

Jack Tatum, the man behind the project, swiftly walked on with his band, and the small yet crowded venue howled. After the first song of the set ended, someone yelled out “Hey, whatcha drinkin’?”, to which Tatum playfully answered “Why, Rainier!”, posing with can in hand. The crowd erupted in laughter (maybe aggressively so?) at the venue-appropriate beverage, setting the tone for the rest of the night as one of camaraderie, foolishness, and all-around good vibes. Throughout the impressively long set, Tatum played off of the crowd’s energy and heckling as he got progressively more tipsy and progressively more comfortable jamming out (I was especially impressed with this, since they had already played a live session at KEXP earlier that day. I’ve seen a lot of artists in the past who are a little tuckered out playing twice in a row). After a few songs, the band decided to continue the set with whatever songs they wanted. At the end of “Lady Blue”, Tatum insisted on playing his favorite “shred” at the end of the song again, because it wasn’t quite right the first time. Unsurprisingly, the crowd went wild, myself included.

The energy of the crowd and band made this show. It felt intimate and casual, and Tatum was noticeably comfortable goofing around while also delivering a long set with all the hits, new and old. I found myself laughing at the onstage antics more than at any other show I had been to. After the band left the stage, it only took a couple minutes for them to come back on for the encore. The quality of the music was equally phenomenal. The synth and guitar lines the artist is known for shone through in all the right places. The live renditions of a few of my all-time favorite songs, “Only Heather” and “Summer Holiday”, were truly life-changing, if I do say so myself. I rode home in the Uber regretfully looking at the clock, regretfully looking at the red stain on my t-shirt from the wrist stamp, but most of all, regretfully realizing that the show was over (that was really sappy but really true, okay??).

At one point during the show, Tatum slightly-slurred something along the lines of “If this show had a Yelp review, I’d rate it 15 stars on a scale of 1 to 10.” I’d have to agree.

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Ann Evans



Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!