Concert: Parkay Quarts

By Rhett Guenthner

Parkay Quarts took the stage at a sold-out DC9 on November 6 as “more of a Parquet Courts cover band,” frontman Andrew Savage described while the smell of fresh bread wafted through the air for some reason.

The difference between Parquet Courts and Parkay Quarts is essentially the lineup. Savage and guitarist Austin Brown are in both groups while the bassist and drummer positions get switched out for Parkay Quarts. The second Parkay Quarts release came out the week following the show, the darker, experimental LP Content Nausea. Featuring covers of The 13th Floor Elevators and Nancy Sinatra, the record is Savage and Brown’s second of the year, following spring’s Sunbathing Animal under the Parquet Courts name. It also shows them continuing further in the direction Animal started. Feedback is used more, as well as periods of repeated rhythms and wild, electronic distortion. Savage also leans even more towards his nearly monotone, Lou Reed-like vocals.

Despite having a whole new record’s worth of material to pull from, they chose to mostly play Sunbathing Animal and Light Up Gold tracks, keeping it light. They launched into a set full of fast, loud songs that had some on the verge of moshing through “Black and White,” “Vienna II,” and “Master of My Craft.” Despite having some gear problems that caused Savage to play a Squier and an ornately designed Telecaster he borrowed from local opener People’s Drug, the whole band was perfect at hitting all the abrupt stops in tracks like “Vienna II” and “Borrowed Time” that last just quite long enough for people to start cheering, only to be cut off by the band continuing.

Instead of saying the usual, “We love you, (insert city name here),” Savage told the crowd that Richmond and Baltimore had been saying some awful things about D.C., but he then reassured the crowd, “you’re not so bad.”

The band did get around to some slower stuff throughout the set. They covered 13th Floor Elevators’ “Slide Machine” and played “Dear Ramona,” which Brown chose to dedicate to “Obama for getting re-elected on Tuesday.” Near the end, they played “Uncast Shadow of a Southern Myth,” the closing track to Content Nausea, which shows the band in a whole new light. The six-and-a-half-minute track sprawls with a dark, strumming guitar as Savage calmly tells a cryptic story that sounds like a composed retelling of a tense, moody western. Likely as a result of gear problems, Brown was without a slide, so he used an extra pedal for his lead guitar parts. He soon finished his beer and rubbed a sticker off so he could have something a bit less unwieldy for his meticulous plucking. The song builds into a clash of Savage’s vocals and the rest of the band as he repeatedly screams, “It was the uncast shadow/ Of a southern myth.”

Following “Southern Myth,” they chugged out the even-longer “Instant Disassembly” before finishing the show with “Light Up Gold” and “Sunbathing Animal.” No encore. Some people started to cheer to try and get them back quickly, but soon most of the crowd just stood there in the dark waiting to see if the band would come back, but content enough with the set filled with many of their best songs, that it would be perfectly fine to end the show.

Concert: Graham Colton w/ Cumulus

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by Jon Howard

 

I honestly didn’t know what to expect heading into Jammin Java to see Graham Colton play for his local fans.  Between my lack of knowledge about the musician and my unfamiliarity with the venue itself (I apologize for my ignorance of the world around me), I walked into Jammin Java completely blind. I’m glad to tell you that my eyes were certainly opened wide before the night ended.

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Concert: Frightened Rabbit

By Ben Simpson

They may not have the mainstream audience locked down yet, but judging from the rabid sold-out crowd at DC’s 9:30 Club, Frightened Rabbit will never have to worry about filling up a venue for the rest of their careers. Smack dab in the middle of their tour supporting their latest effort, their 4th studio album Pedestrian Verse (released on February 5th on Atlantic Records), the five-piece Scottish-folk-infused group conquered the crowd with high energy ballads and the same unique sound that has followed them throughout their 10-year run.

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3rd Installment of the Intimate Concert Series: Shelby Blondell

In association with Mason Cable Network, WGMU is producing the 3rd installment of the Intimate Concert Series. Acoustic performer and songwriter Shelby Blondell will be performing on Friday, March 30th from 7-9PM in the Side Pocket of SUB II.

With an eclectic source of influences, Blondell does not restrict herself to merely one genre of music. Her wide range of lyrical and rhythmic sounds is guaranteed to entertain a variety of musical fans. At such a young age, Blondell is already  a multi talented artist as she writes and performs both her lyrics and music.

The concert will feature a live performance as well as interaction with Blondell herself. Show up for a chance to hear great music and wine prizes!

Rogers and Whitetop Opening…with Jukebox the Ghost!

Sustainable Opening Ceremony of Rogers and Whitetop Hall featuring Jukebox the Ghost


WGMU is thrilled to be co-sponsoring the Sustainable Opening Ceremony for Rogers and Whitetop Hall on Wednesday, April 11th from 2- 5pm in the Rogers and Whitetop Courtyard.

Come out to enjoy an interesting panel discussion on sustainability at Mason, delicious food from Everlasting Life Cafe, and an amazing performance by Jukebox the Ghost!  This fantastic event, part of Mason’s Earth Week celebrations, is free for all Mason students, staff and faculty.

Jukebox the Ghost

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