Helio Sequence-Opolis-Norman, OK

Speechless.

 

            That’s what I was for a good 15 minutes after Helio Sequences spectacular splash down in Norman this past Saturday night. I’m just thankful that I was given the time to write this after the fact, because I don’t believe the “uhhhh” you would have elicited from me at the time would have done them justice.

 

            I went into the show a casual fan of the band, impressed with their indie-rock splattered against the blippy electronic canvas. I left, however, a prophet, shouting, from the street corners, the Word of Helio.

 

            Another stellar show at the Opolis (oh how I love the cats) that stood head and shoulders above the rest I’ve caught there so far this summer. It rolled to a start with the sunny stylings of Kansas’ D*R*I* who filled the room with light and warmth. They were as golden as field of wheat, breezing through an unhurried set that left the crowd warm and assured. The bright and dazzling vocals and windswept guitar was a great set up for what would prove a more frantic headliner.

 

            The Portland two-piece, The Helio Sequence, have enjoyed a fruitful career. They have opened for the likes of the Pixies, Modest Mouse, the Shins and most recently British maestros Keane. All four of the releases have been well received, chiefly their most recent album “Keep Your Eyes Ahead.” They have also benefited from the backing of their indie stalwart label Sub Pop, a dream for lead singer Brandon Sumners.

 

            “One of the first cassettes I bought was “Bleach” by Nirvana and it really inspired me. I thought ‘wouldn’t it be awesome to be on Sub Pop?’ Sure enough, x amount of years later, here we are.”

 

            The Helio Sequence hit a major road bump in 2005 when Sumners temporarily lost his voice. He came out of the event a new man, and the duo became a new band. They had to change the way they approached their music, though many will argue it was for the best, Sumners included.

 

            “I feel like I came out of it completely different. The way I look at a song, everything really. I look at it as a fateful adjustment though.”

 

            Helio Sequence seems to be all the stronger for the incident, and don’t look to be slowing down anytime soon.

 

            The band fluttered through Norman almost exactly a year ago to the day, and even then didn’t let a torrential downpour of rain and tornado sirens in the distance put a damper on things. This time around we saw them celebrating their tenth anniversary as a band, although it was hard to gauge whether the anniversary couple or the crowd as having a better time.

            The band launched into things on a bit cautious pace with the more deliberate “Can’t Say No.” From then on out, however, things would be moving at a breakneck pace. They dabbled between hectic electro heavy floorburners, like the insatiable “Don’t Look Away” that got the crowd moving, and poignant, though still energetic anthems like “Lately.” The music filled the crowd’s ears and kept on beating like the Energizer bunny; there was no time for breaks, as though the crowd would have even wanted one. That is one thing the band is in no short supply of, energy. It’s that energy that made the crowd lively pulse the night away. And every bit the band gave the crowd, the crowd gave right back.

           

            Frontman Brandon Sumners strums the life out of the guitar and plays the harmonica like a madman. He is consumed with the music, and seems to play it out of his body like the plague. But despite all of this energy he refuses to sacrifice any vocal integrity and never seems to miss a note.

           

            Drummer Benjamin Weikel is a sight to be seen. I’ve never seen a drummer to be so entertaining by simple playing along. He carries a unique technique to drumming that is beyond words. Musically, he is tight, precise and heavy, maintaining a perfect driveway for Sumner to glide across.

           

            The crowd felt a shock of excitement as they turned into the illuminating “Keep Your Eyes Ahead.” They seemed to jump into a whole other gear as the notes bolted across the walls as the place felt like it was on the verge of implosion. They quickly wrapped up the set, and after a short encore, the band called it a night.

           

            So I stood there, speechless. And despite a full recovery, I am still at a loss of words, struggling to find the perfect words to encapsulate this performance. I think you just had to be there.

           

 

Telekinesis-Opolis-Norman, OK

 

            Telekinesis stormed through Norman this past Sunday night. I came to the show expecting a quaint, intimate evening. The openers, Justin Rice and Sherree Chamberlain, kept the night on that peaceful path before the headliners decided to crash down with a roar of thunder. And nothing is quite as good as the unexpected.

            Seattle’s Telekinesis has been buzzing all over the music scene since early 2009. They were the darlings of SXSW, and have been supporting acts like Margot and the Nuclear So and So’s, Ra Ra Riot, and Cut Off Your Hands since March. The came to Norman on their own however, and I have a feeling their next time through they’ll be occupying a much bigger stage.

            Their brand of power pop is that straightforward, familiar type of music that instantly feels as though you have heard it before. Though it could be easy to be cast off as generic with that sort of song writing, Telekinesis has found a way to keep these down-to-earth melodies fresh, interesting, and miles away from boring.

            The night began with the darling Carly Gwin (of the Workweek), followed by a solo performance of Student Film’s front man Justin Rice, whose superb solo stuff sounded strikingly like the Decemberists. Then it was time for Sherree Chamberlain to take the stage. Her set was relaxed and intimate without the full band backing her. She debuted several new songs and sounded absolutely stellar with her inspirational, folksy ditties. Her lush, unassuming voice bounced along the walls of the Opolis like a beautiful echo. Then it was time for the headliner.

            Telekinesis is basically the one-man act of Michael Benjamin Lerner, but he is accompanied by three fellow Seattle musicians on tour. Lerner helms the drums on stage, but continues as lead singer without skipping a beat. The debut record has a very relaxed, gentle feel to it, but performed live, the songs take on a much more vigorous, frantic form.

            The launched into the set like a tornado, with a fast paced, frenzied dashing between the songs on the set list. They are one of those few bands whose songs might actually sound better live. “Look to the East” and “Tokyo” scurried along hysterically with Lerner’s drums thudding dominantly. They took well deserved breathes with the sauntering “Plankton” and “Awkward Kisser” and even rendered a cover of the Kinks “House in the Country.” The show was at its absolute best with “Calling All Doctors,” which darted around daringly, and the power pop perfection of “Coast of Carolina” which the band elected to close with. You would be hard pressed to find anyone that wouldn’t instantly fall in love with the beautiful melody and enchanting lyrics of this song to a distant lover. If your life was a movie, this is the song that would play over all of the happiest moments, and Telekinesis provided me with one of my happiest moments of the summer with there pleasantly unexpected show.

            This show hit me like a ton of bricks, and I was probably happiest buried beneath all the rubble.

Red Cortez: The Opolis 5/19

To those of you who have not yet heard of Red Cortez, rush to the nearest computer and take a listen. No, they are not an extremist militant group. They are, in fact, one of the most interesting bands to burst on the scene in the past few years. Coming to the end of a three month long tour, the band made a quick stop in Norman this past week, and though the crowd was small, one by one, the crowd was slowly converted into a new legion of fans.

            Hailing from Los Angeles, the band has been quietly plugging away the last few years, honing their craft and getting rowdy on stage. But a band this good couldn’t stay hidden for too long.

            Over the past year, Red Cortez has exploded onto the scene. The launch began when Morrissey handpicked the band to open for him over a short jaunt across the US. It was then on to SXSW, an experience lead singer Harley Pritchel-Cortez described as “hectic, amazing, and unforgettable.” They got to open for bands as diverse as Black Lips, Delta Spirit, and Viva Voce. Since SXSW, the band has trekked across the States and has steadily amassed an army of fans.

            Opening for the likes of Tallest Man on Earth, the Submarines, and the Mother Hips, I am all but sure that Red Cortez has stolen the show nearly every time. The played to a sold-out crowd at the Bowery Ballroom in New York City and were surprised and intrigued when the played a show for a strict Christian college in Indiana where the crowd participation was limited to clapping in a seated position after the conclusion of the song. If you have seen the band, you will know how hard it must have been to stay seated.

            Red Cortez live is an unforgettable experience. The crowd at the Opolis probably could have been counted using just your fingers and toes, but the second they rip into that first chord you feel like you are in a sold-out crowd at the Madison Square Garden.

            Pulsing with energy and passion, the band performs like their lives depend on it. The drummer plays on a small set, yet makes a sound bigger than dual drummers. Guitarist Calvin Love slashes and rips through the set, jumping into the crowd without missing a beat. The true spectacle is lead singer Harley Prichel-Cortez. He leaps between songs with the guitar, piano, and harmonica, howling and wailing the entire time. Witnessing the conviction he embodies brings to mind a maniac street preacher, twisting and turning like a gymnast. And the music doesn’t suffer for the theatrics.

            The music of Red Cortez is a puree of punk, bosa nova, blues, soul, and a rock and roll. These diverse influences make for an unmistakable. They bounce between frantic, hurried rock songs to gorgeous blues melodies with unparalleled expertise. “Fell on the Floor” exemplifies that energetic compassion they are known for on the stage. “All the Difference” shows just how light and beautiful they can play.

            So do yourself a favor and go take a listen. I know you will thank me. Just continue to spread the word.

TV on the Radio: Diamond Ballroom 5/18

TV on the Radio stomped through the Diamond Ballroom this past Monday. It was not a show to be missed.

            Most music fans are familiar with TVOTR in some facet. Whether unknowingly listening to “Wolf Like Me,” seeing them on Colbert Report, or reading about them in any of the countless “Best of the Year” articles. Their talent is undeniable. Their blend of rock with electro, jazz, and soul is unmistakable. Their performance at the Diamond was unforgettable.

            What TV on the Radio does best is capture the mood of America today. Much like Bruce Springsteen did in the 80’s and Nirvana did in the early 90’s, TVOTR holds that impeccable skill to capture the feeling of being alive in that timeframe. Their music is largely dark and brooding, but what makes it so exceptional is that ability to grasp that light at the end of the tunnel aspect in their music. There’s a very experimental, avant-garde facet to their songs, but being grounded in straightforward song structure makes the music accessible and remarkable.

            TVOTR’s recordings are complex and layered. It’s the quiet subtleties in their music that makes it feel complete. Sprinkled with synths, horns, and other unworldly tones, every release from the band is a music lover’s staple. The ability to translate these tunes to live shows will blow your mind away.

            The night started with Sweden’s Little Dragon warming up the crowd. Though bewildered at first, the crowd quickly grew more embracing of the band’s electronic soul jams. They proved the perfect opener for the maestros waiting backstage.

            The anticipation grew and grew as the stagehands worked to set up the equipment, you cut have cut the tension with a butter knife as the instruments laid their quietly on stage. Then the band hurtled onto the stage. The place erupted.

            The show began with the swirly “Whirlwind” and after some older, deeper cuts, the place really began to shake was the atmospheric “Halfway Home” churned throughout the ballroom. The crowd boogied along to the lively “Golden Age” before a collective shiver went through the spines of all in attendance as they launched into “Wolf Like Me.” We gazed and swayed along to “Love Dog” before “Staring at the Sun” burned through the crowd like a fire. They finished the set with the menacing “DLZ” that burst through the venue like a tornado, feeling as though the roof might just be torn from the foundation at any moment. For an encore Tunde hopped on the stage for a hauntingly beautiful rendition of “Family Tree” before what felt like everyone back stage must have come up for a percussion dominated “A Method.” The night came to a close with “Young Liars” smoldering like embers as the crowd slow drew away.

            Though the Diamond Ballroom’s sound set up was less than suited for the aforementioned subtleness to some of their songs, it was, however, the perfect environment for the grittiness of songs like “DLZ” and “Wolf Like Me.”

            If you want a glimpse of what music is all about, make sure to catch TV on the Radio the next time the whirl through. I promise you won’t ever forget it.

Live Review: Manchester Orchestra with the City Lives

The Oklahoma Memorial Union was rocked by the likes of Atlanta based Manchester Orchestra and hometown heroes The City Lives. It’s safe to say this was the first time I left the Union with my ears ringing.

Moved indoors to the Will Rogers Room due to inclement weather, the bands pulverized the standing room only crowd with blistering songs and their energized delivery.

Thoughts of SAT analogies kept popping into my head throughout the night, my mind finally settling on this revelation: Mustaches are to beards, as The City Lives is to Manchester Orchestra. Not only do the lead singers of both these bands exhibit said facial hair, I also think this sums up the bands perfectly: The City Lives is still growing, while Manchester Orchestra has fully matured. The progression is exciting, and made for a very interesting evening.

The City Lives loosened up the crowd with their well-honed power pop. Busting out tunes from their album “American Kids” and several new demos, TCL has shown much progress since I caught them last, and I’m looking forward to hearing more from them in the future. Their melodic rock tunes blend equal parts Kings of Leon with All American Rejects and the band’s set was a very pleasant surprise.

Then Manchester Orchestra stormed the stage, blasting the crowd away with their foot stomping riffs and Andy Hull’s searing, emotive vocals. I can’t help but think that including “orchestra” in their name was more than appropriate; their sound is just as big and hits you like a wall. Early in the set, Manchester ripped through a blazing triad of “Now That You’re Home,” “Raised By Wolves,” and capped it off with the stellar “Golden Ticket” that had the crowd singing louder than Hull.

Manchester Orchestra’s music translates perfectly live. The band dices through songs both slow and fast, hard and soft. The result is an exciting, unpredictable show that barrages you in some moments, and lets you recover and dwell in the beauty in others. Every Manchester fan is hooked by the band’s passion and conviction, and bandleader Andy Hull makes sure that this passion translates into a gripping live show.

A good chunk of their set was devoted to introducing the crowd to new songs off their upcoming release “Mean Everything to Nothing;” the highlights of which came in the form of “I’ve Got Friends” and “Shake It Out” that left the crowd to marvel at how far the band has come, and anxious to see where else they will go.

Manchester closed the night with “The Party’s Over,” Hull somberly singing, “So turn out the lights/the party’s over/they say all good things must come to an end.”

I wish they didn’t have to.

You can pick up Manchester Orchestra’s new release, “Mean Everything to Nothing,” Tuesday.