Upcoming shows you should check out
DR. DOG DRUMMER PLAYS AN EARLY ONE AT NYP
When drummer Eric Slick isn’t anchoring the intuitive polyrhythms of Philly psychedelic rock band Dr. Dog, he’s manages to stay rather busy. If you’re lucky, you might catch him and his sister Julie holding down the insane rhythm to “Thela Hun Ginjeet” alongside prog legend Adrian Belew during his Power Trio shows. He recently contributed to a great EP by Grizzly Bear guitarist Daniel Rossen, and likewise with the funky little theme to one of lo-fi pacesetter R. Stevie Moore’s innumerable releases. Among his best, longest-running diversions is Lithuania, an ultra gritty garage duo with DRGN KING frontman Dominic Angelella, and they’ll play a relatively show early show this Wednesday at New York Pizza in support of a new seven-inch release entitled Domesticated God. The record itself has three songs of the frenetic, noisy variety that you won’t really find in either of their main catalogs, and the physical release some in an extremely limited run of 50 lathe-cut discs. The show starts at 7 p.m.
Of course it made sense for steel-pan savant Jonathan Scales to call his four-piece Fourchestra upon forming it. The musical vapors that swirl in Scales’ mind tend to manifest themselves as something much more complex than most quartets can muster: in tightly stratified melodies and rhythms, either component capable of toggling into the other’s role — the luxury of building a band around an idiophone. Scales’ Fourchestra is now three after deep-pocket drummer Phill Bronson joined alongside bassist Cody Wright, but the fourth element remained in a more elusive sense for last year’s self-titled album. Flecktones Victor Wooten and Howard Levy, along with violinist Casey Driessen and members of Michael Buble’s band all made appearances, but it was another Flecktone who helped give rise his most recent work.
Scales cites Roy “Futureman” Wooten as the inspiration for his recently released Mixtape of Yonder Symphony Mountain on Ropeadope Records, the band’s first attempt at a long-form, classically constructed String composition. Band It manifests over five movements, a reprise and an encore, interlacing influences from Bela Fleck to Jay Z with a sophisticated, yet challenging approach. Scales has two area performances this week: The first comes Wednesday at the Blind Tiger in support of the Duhks, while the second is a headlining spot at High Rock Outfitters on Thursday.
NO NEED TO REEXAMINE TOAD THE WET SPROCKET
Last month, Consequence of Sound published a piece calling for a critical reevaluation of a handful of popular ‘90s bands upon which opinions might have soured over time. The Gin Blossoms, INXS, Fastball and the Cranberries were among them, all of which experienced ups and downs commercially and critically, but one of those mentioned may not need reevaluation. Between 1990 and 1994, Toad the Wet Sprocket was the benchmark for emotionally gripping pop rock that gave little resistance for enjoyment. After their somewhat unpolished debut Bread & Circus, they released the mostly overlooked gem Pale, which the band recorded it for just a few grand before getting a major label to pick it up. Though it didn’t chart and hardly got radio play, songs like “Don’t Go Away” and “High On A Riverbed” are still some of the strongest lyrically in their catalog, and great rewards for those digging into the pre-Fear excellence to come. Last year, Toad the Wet Sprocket released their first record in 16 years, Kickstarted to the tune of $250,000, so the fan fervor is obviously still there and likely will be when they come to Ziggy’s on Thursday. Tickets are $25 in advance and $28 at the door, and the Alternate Routes, a band that carried their torch during that downtime, will open. !