Pnuma Trio, Dirty Dozen Brass Band - Athens, GA (3.27.2010)

Terrapin Beer Co.
Dirty Dozen Brass Band - The Melting Point
Pnuma Trio - New Earth Music Hall


Terrapin Beer Co. was my first order of business in Athens. Terrapin, in addition to Sweetwater, seems to be one of the only Georgia beers I can purchase on store shelves down here. But there’s no question it’s tasty. If you go during tour hours, ten bucks gets you a souvenir glass and 8 drink tickets. What they don’t tell you… one ticket only gets you a half a beer (regular ales, etc.) and it’s two tickets for a half a glass of something a bit stronger. If you want them to fill up your glass with a nice, hefty beer, it will cost you four. Most importantly, they fail to inform you that they allow everyone and their dog inside this massive brewery, forcing people to wait in line for 25 minutes just to get their paws on a cold one. I literally saw people getting a fresh beer and then walking straight to the back of the line so they could find themselves at the front again by the time their glasses were empty. They didn’t advertise the tour very well either. At Sweetwater, they walked around with big signs letting people know that another tour was about to begin. Not here. I must have been waiting in line, cause I missed both of the scheduled walk-throughs. Despite this misfortune, as well as having to listen to one of the shittiest cover bands I have ever heard, the outside scene was really hoppening. An enormous backyard area allowed patrons enough room for frisbee, bean bags, croquet, and general hootenanny while their ears were pierced by this Steven Tyler meets Prince character on the outdoor stage. Younglings were running around, enjoying the spring weather. I think I even saw a few people with picnic setups. All in all, it was a pretty chill atmosphere. With a few friends and a different band on the billing, Terrapin would be a legitimate good time. I gave the remainder of my drink tickets to a gracious young couple and headed towards downtown Athens.


Athens, GA – home of the University of Georgia and recognized by Rolling Stone Magazine as the “#1 College Music Scene in America”. Not that Rolling Stone should have the final say or anything… but Widespread Panic (and R.E.M.) did get their start in Athens. And there is certainly no disputing the fact that this city attracts a constant wave of some of the most well known up-and-coming artists and musicians from all over the Southeast. It is a truly notorious medium for the arts and I would have given my left eye to have such a prominent live music scene back home in East Lansing. Not that I don’t consider The Green Door to be a second home for me. But the occasional UV Hippo appearance at Mac’s Bar (dirty, stinky old Mac’s Bar) and Wednesday evenings with Griff and John at Crunchy’s just can’t compete with the ever-flourishing scene around Athens. Although my visit was brief, I took note of the strong sense of community that was present amidst this downtown area. Local shops dominated the storefronts and there were no McDonald’s or Starbucks polluting the atmosphere (although I’m sure there are numerous within city limits). An assortment of bars, eateries, and nightspots flooded the area, all with patios set up so that patrons could soak in the environment around them. It sort of reminded me of the Ann Arbor culture. “Artsy-fartsy” as Kerry Drake would say. He means liberal.

The Melting Point definitely fit the bill. A skinny patio area sandwiched between two large brick buildings accommodated the smoker’s lounge. Inside it was a classy, multi-layered venue fit for live music. Everything seemed to be centered around providing a view of the stage. I think more venues should be constructed in this way. After a tasty chicken salad and a $2 PBR, the Dirty Dozen Brass Band was ready to go. DDBB has been around since the late 70’s and I knew for a fact that they were about to bring some serious New Orleans flavor to downtown Athens. The stage presence of the Dirty Dozen (more like the Dirty Half Dozen Brass Band) was immense. Right from the opening notes, this band was blowing their horns with a heated passion. A drummer, tuba player, two trumpet players, as well as a tenor and baritone sax player were laying down some of the funkiest, dirtiest, most soulful sounds that I had ever heard live. The guitar player, although appearing slightly out of place amidst his large, African-American band mates, was stomping all over his wah pedal and adding a really groovy jazz-funk sound to the mix. In fact, the whole band had the ability to break into these jazz-fusion sort of jams that really caught me off guard. Needless to say, these guys knew how to throw a party. In the right venue, with the right crowd, you could be in for one raucous good time. But I had seen all I needed to see and after the first set, I was off to my next location for my weekly dose of electronica.





The New Earth Music Hall, from what I can see, plays host to an almost exclusive list of electronic musicians and DJ’s from around the country. It was most definitely a club sort of atmosphere with very minimal seating, a jam-packed dance floor, and a heavy, heavy bass sound that hit me square in the chest as soon as I walked in. Pnuma Trio had just gotten started. The live art theme remained steady once again as two painters huddled around their canvas off to the side of the room. In addition, the same fluorescent purple Tyrannosaurus Rex from the EOTO show last week decided to make an appearance. The Pnuma Trio, who began playing in Memphis, TN about 6 years ago, has been making all kinds of waves since then. These guys have become regulars on the festival circuit and after having seen them, it is easy to understand why. The Trio consists of Alex “B” Botwin on bass guitar, Lane Shaw on drums, and Ben Hazelgrove on keyboards who, in my opinion, really puts this group in the spotlight. Having studied classical music at Berklee College of Music, Hazelgrove brings a real acid-jazz sort of feel to this music that I think is unique amidst the electronic genre. In a similar yet very different way, his playing reminds me of Garaj Mahal keyboardist Eric Levy. He brings to the table a quick pair of hands that strike a lot of notes that seem to be a bit unconventional in the realm of electronic music. When you combine this with the undeniable presence of Alex B on bass, and the steady, powerful beats of Shaw, you have a trio of talented young artists who are relentlessly making a name for themselves in the underground electronic music scene.

The bass inside of New Earth was rattling my bones. It was one of the heaviest sounds that I have heard in a long time. The bass inside the Tripolee Domes is heavy, but it’s outdoors. Inside New Earth, it engulfs you. It takes a hold of your entire body and just vibrates you from the inside out. Whether it was the venue, or the band, is still up in the air. I guess I will find out next month when Lotus comes to town. In summary, it was a beautiful evening in a city that I will undoubtedly re-visit. Athens is alive and kicking and I am glad that I took the opportunity to check it out. The Dirty Dozen Brass Band was as funky as funk could be and The Pnuma Trio turned my organs inside out. Check em’ out if you have a chance. These two very different acts will surely show you a good time in their own two very different ways.

EOTO - King Plow Arts Center, Atlanta, GA (3.23.2010)

Listen while you read...

EOTO - Live at Downtown Brewing Co., San Luis Obispo, CA (2.5.2008)



When I set out towards the city for the EOTO show (pronounced “Kyoto” without the K) on this comfortable spring evening, I was still unsure about where the event would be going down. On EOTO’s Myspace page, the band had “King Plow Arts Center” listed as the venue, however, the address underneath was for a different place; a club called “The Masquerade”. Early on in my Atlanta residency, I made my way to The Masquerade to see an act who calls himself RJD2. It was grungy, hot, smelled like body odor and had a layer of spirits covering the floor; making the simple task of walking around a strenuous burden on your calf muscles. Needless to say, I was hoping to avoid a return to this stink-pit. On EOTO’s Jambase page, they also had the King Plow Arts Center listed as the venue, along with a different address that I threw into Google maps and found to be the correct location (despite listing The Masquerade as the venue’s official website). And of course, just to make things more difficult, neither of these places had anyone manning the phones. So in hope that the show was indeed going down at King Plow, I plugged the address into my GPS and headed towards the city. I was thrilled when my Garmin, or “Falcon” as I call him, had me getting off at an exit a ways north of the city. It offered an incredible view of the beautiful Atlanta skyline at night, and it was closer to home as well. As I headed towards my destination I took note of a cozy-looking hole in the wall that had a huge neon sign out front that read “Live Blues”. My curiosity took over and I began to wonder what sort of Atlanta underground blues legends might frequent that club. Every big city has a good blues scene; “you just got to poke around”. I grew closer and closer to the venue, passing a number of trendy bars, galleries, and restaurants along the way. Atlanta changes at the drop of a hat. You round the corner and drive no less than a half a block and it is a totally different scene. Spray paint covers every available surface and the buildings deteriorate rapidly. King Plow, however, was in its own little universe. This collection of buildings began construction in the late 1800’s. It had the feel of an enormous abandoned factory, stretching for hundreds and hundreds of yards, totaling 11 or more individual sections. I saw virtually nobody walking around outside and pulled into a number of different false driveways before questioning whether or not I was at the right place. Unwilling to head downtown to The Masquerade, and on the verge of calling it a night, I ran into a couple of younger kids who seemed a bit out of place. They informed me that I was indeed at the right spot and showed me where I could find free parking. I walked up to the front doors and remembered thinking that I was lucky to have even found this place at all. The front entrance was nestled into some sort of cove, slightly out of sight from the two main roads that straddle it. There was an enormous sculpture of an angel-like figure out front and finally, I began seeing some other show-goers.

Outside the walls of the King Plow, things were dead; but inside, this place was alive. I found out that King Plow plays host to an entire community of photographers, sculptors, writers, painters, dance halls, art galleries, fashion and model agencies; a commune of more than sixty-five tenants who live, work, and perform in this revitalized cooperative. As a recipient of a number of different design and architectural awards, this collection of buildings is a living representation of the shift from early 1900’s masonry and wood construction, to the mid 20th century steel structures that came to epitomize the progression of the industrial revolution. Large wooden timbers intertwined with heavy steel beams collaborate to form expansive open spaces with high ceilings, arched windows, and skylights. This was easily the coolest place I had been to in Atlanta. I couldn’t help but wonder how much fun the Pretty Lights party must have been two nights before NYE 2009.

I made my way through the corridor, passing a pair of dancers practicing their stuff in a large studio lined with mirrors. I had a feeling that their party was about to be rudely interrupted. Inside the room where the music was set up, massive pieces of art hung from the wall. Once again, there was live art off to the side of the room. A young man who was completely engulfed in a world of his own sat painting a large, fluorescent purple Tyrannosaurus Rex. Not long after my arrival, the Atlanta based band, EP3, hit the stage with a thunderous groove. I was right at the front of the stage absorbing the progressive electronic sounds that came bellowing out of the speakers. At first, I was extremely impressed with this band. They had some screaming lead guitar work and incorporated some samples and whobbly-bass dubstep sounds as well. It didn’t take long for things to fall apart though. The drummer, although skilled, did not seem to have the endurance to keep up with the intensity of this performance. He dropped the beat a number of times and seemed to be exerting an unnecessary amount of energy into his playing. With sloppy rhythm, the entire band seemed choppy and their sound lacked a certain element of fluidity. With about 5 minutes to go in their set, EP3’s lead guitar cut out and I watched in annoyance as the guitarists ripped up and down the neck of his instrument, with nothing coming out of the speakers. It was nails on a chalkboard for me because he was clearly jamming. Needless to say, the band ended on a very anti-climatic note and it was clear that somewhere along the lines, there was a disconnect. I did see great potential in their music however, and intend to check them out the next time I get a chance.





On my way over to the bar I noticed Jason Hann standing and talking to another fellow. Jason, of String Cheese Incident fame (in case you didn’t know) plays drums for EOTO as well as percussion and general madness for the Incident. The man is an absolute monster behind the kit. Most people seemed to be unaware of his presence, and I knew I would kick myself later if I didn’t at least try to approach him. So I went up, shook his hand, and gave him my thanks for bringing such positive vibes to the 2009 Hoxeyville Festival. Unfortunately Jason had to run and start getting his stuff set up for the show. Although extremely brief, this was an encounter that avid Cheese fans dream about. And it was as close as I had gotten to a member of SCI since I took a leak next to Bill Nershi in the Bell’s Brewery bathroom.

Before long, EOTO hit the stage and the room was instantaneously crowded. Michael Travis took his position behind his patented three layer keyboard/synth/computer stand and began to get loose. When I mentioned in my piece on Zach deputy that Zach had enough instrumentation to “fly a small plane”, well, Michael Travis and Jason Hann have enough instrumentation to take command over the Starship Enterprise. This was probably the largest amount of digital equipment that I have ever seen. If you have never experienced an EOTO show before, there are a few things you might want to know. EOTO plays absolutely 100% improvised music that is created in the moment and then recorded, mixed, and remixed live on the spot to create a dynamic, evolving musical experience for the listener. The allure of witnessing a completely unique and original show every single time that EOTO hits the stage is definitely a characteristic that keeps fans coming back for more. This is the only band that I personally am aware of that can make the claim of 100% improvisation. You will never see the same show twice, and it will ALWAYS be fun, fresh, and entertaining. The duo touches on a variety of different sub-genres branching off of the greater “electronic” taxonomy, exploring the realm of dubstep, break-beat, house, and straight drum and base. EOTO thrives off of the energy of the crowd. Michael Travis is literally scoping out the crowd on an ongoing basis to see how receptive they are being to the music at that moment. If people are dancing and vibing, then he rolls with it or cranks it up a notch, building off of the sounds and the groove of that moment. If there is a lull in the crowd, then he knows its time to switch directions. Maybe steer the music towards a different place that has yet to be explored that evening. The result: a completely personal, unique, and engaging musical experience that continues to evolve throughout its entire lifespan.






If you have seen EOTO before, than you know what this music is all about. A few things might have changed since you’ve seen them last. The boys have really begun incorporating vocals more and more into their live performances, using pitch shifters, vocoders, and a variety of voice effects to make themselves sound like anything but themselves. The equipment that this band utilizes continues to grow and develop with time, as does their proficiency with using it. But what I really admire most about this band is their work ethic. EOTO tours relentlessly for months and months at a time, often taking as little as 2 or 3 days off per month. I think the fresh, improvisational nature of their music allows them to embark on such vigorous tours and never tire of the shows they perform on a nightly basis. In my opinion, however, there is one member of EOTO who works leaps and bounds harder than the other. Jason Hann might have more stamina and endurance in his pinky finger than the drummer from EP3 had (I suppose this is what you get when you have been playing music professionally since the age of 12?). He just does not quit. And I can’t help but feel like he is up on stage absolutely busting his ass while Michael stands behind the comfort of his digital tools, fooling around with knobs and buttons. Throughout the entire course of the show, Travis briefly picked up his bass guitar one time for a quick loop and then resumed his traditional position behind his keyboard stand. He did this with his electric guitar once or twice as well. I would really like to see him experimenting more with these instruments. Please understand that I am not trying to take away from anything that Michael Travis does. I just can’t help but feel like Jason Hann drew the short straw when they were assigning roles within EOTO, especially considering that Michael Travis is probably as equally skilled a drummer as Jason.



All in all, this was an incredible performance from a band that falls just inside the perimeter of my own personal musical tastes. I like it because it’s improvised. I like it because it’s fresh and because the duo has the ability to bring it up, and then break it down; adding color and character to the experience as opposed to hitting you in the face with 100,000 lbs of whobbly, head-crushing bass for 3 hours straight. Others like it because it’s danceable, or because they are fans of String Cheese. Whatever the reasons, the troops are heading out en masse to see EOTO and there is no end in sight (at least not until SCI re-unites to play Red Rocks and Horning’s Hideout this summer!). So do yourself a favor: go experience the phenomenon known as EOTO. And whenever possible, go see a show at King Plow Arts Center in Atlanta, GA. It is a truly surrealistic atmosphere.

Zach Deputy - The 5 Spot, Atlanta, GA (3.20.2010)

Listen while you read...

Zach Deputy Live at The Electric Company, Utica, NY (12.6.2008)

(Note: Cycle through songs using the back and forward buttons on the media player. Or just let it play...)


I arrived at The 5 Spot unusually late on this Friday evening. I paid my dues and headed inside not really knowing what to expect. The joint was absolutely packed. This was only the third time that I had been inside The 5 Spot, but there were way more people here than at either of the two shows I had seen prior to this one. I head towards the bathroom to empty my bladder and overhear a couple of guys making small talk. “Are you here to see Zach Deputy?” one of them says. “Yeah man, I love this music.” the other responds. “He just has so much…” he pauses for a second and then finds his word, “soul”.

I head out towards the floor to scope things out a bit. People seemed to be generally psyched and anxious to see Zach get started. Although I regretfully missed out on the opening act, Wisebird (Sorry Will!), I was just in time for The Deputy’s appearance. I ran into this Will character hanging out by the merch booth. He plays guitar for Wisebird who had just finished up. Will was a cool dude. I asked him what he thought about Zach… “What’s it like?” I asked. “It’s Zach, I don’t know… he does everything”. He sported a smile and a sort of “you’ll find out soon enough” tone in his voice. “But it’s got soul.” That was the second time I had heard that. I think to a certain extent, there exists this general belief that using tools like drum machines, digital instruments, heavily affected sounds, or looping systems for example, contribute to the removal of a certain degree of what some call “soul”. Whether this is true or not, one thing is for certain… music that has true soul is hard to come by. It’s sort of an indescribable element that exists in music. It’s hard to quantify it, but when you hear something that has it, you know it right away. The only thing you can really say is that it feels good. It resonates not only with your ears, but with your body, mind and soul too.

I explained to Will why I couldn’t make it in time for his show. Michigan State basketball had just given me a near heart-attack and I was lucky to be alive at all. I think he understood. Shortly thereafter, I ran into another fellow Spartan. Christian had the Block S on his chest even though neither of us realized that the other was wearing any sort of State gear until about 3 minutes into our conversation. There was an instant connection. He was psyched to hear the news of our victory. We shot the shit for a bit and he gave me his thoughts on Zach. “I hate having to describe it to people.” He said. “I don’t want to label him as a one man band, you know what I mean. I think it sort of takes away from what he does.” I think what he was trying to communicate is that you have to experience Zach Deputy for yourself.

After grabbing a beer and making myself comfortable, Zach came to the stage and took his position – surrounded by what looked like enough knobs, controls, pedals, and instruments to fly a small airplane. Christian had been telling me that this was the most gear that he had seen Zach with for a couple of years now. Will pointed out that not too long ago, Zach had an entire van full of equipment stolen from him. “He still doesn’t have everything he wants.” He said. He was explaining to me Zach’s passion for using and experimenting with everything that modern technology has to offer.

The Deputy was a big dude, and as I would soon find out, his musical presence was even bigger. He sported a pair of baggy cargo shorts, flip-flops, and a thick protruding beard. He was absolutely glowing with life. Zach started out the show with a rootsy acoustic tune that had me curious about what came next. Slowly but surely, Deputy began implanting more and more sounds into his performance, using his mouth to create drum breaks and his nylon stringed guitar to command a whole plethora of sounds. With the flick of a switch, Zach was laying down funky baselines, shredding a raw guitar solo, or even conducting an entire strings or horn section with his guitar. His drum pad and natural knack for beatbox added percussion and foundation to an already groovy sound that had everyone in The 5 Spot moving around in a delightful trance. Zach’s songs start out as something small and just continue to blossom and develop until he looks out at the crowd and feels a connection with them. Only then is he satisfied. If he is receiving the vibe, and the smiles, than he rolls with it. There was this engaging quality in his performance that I have never really experienced before. He was quite literally feeding off of the energy in the crowd. In an interview with Zach on the Music Marauders website, Zach goes into more detail, stating that he loves seeing people groove to his music and allowing them a “release from the day to day grind of life”. And that is really what this music is all about. I listen to it, and I feel good. My soul feels good. And that’s something that is important when choosing the soundtrack of your life.

As I said before, this was my first time seeing Zach Deputy. Unfortunately, my unfamiliarity with his music is preventing me from reporting on any sort of specific set-list. And even more unfortunately, I didn’t see anyone taping the show for addition to the Archive on this evening (if anyone is reading this and has access to this show's set-list, drop a comment or shoot me an email. I would love to see what was played). Towards the end of the show, Zach brought out the boys from Wisebird and the gang went absolutely crazy. This was the last stop for the collaboration between Wisebird and Zach Deputy, and they really ended it on a high note. The drums, bass, keys, and my boy Will commanding the rhythm guitar with a glass slide on his pinky finger made for a true brew of southern comfort and warm jammy tunes. Even with a band behind him though, Zach’s stage presence was undeniable. Fans' attention just gravitated naturally towards him. The electric guitar in his hands seemed dwarfed in comparison to The Deputy’s sheer size and presence. He moved across the guitar neck with ease; passion seemed to be oozing out his pores as he shredded with an enormous smile on his face. He looked to the Wisebirds for confirmation that they were INDEED jamming. “He’s got a really good ear too”, Will was saying to me. “When we are jamming… he just always knows which notes to play.” I certainly took note of these improvisation skills. But even more impressive was his timing and chops; essential in making a performance such as this work. Did I mention Zach's unbelievable vocal range? This guy was hittin' MJ-like notes the entire night.


“Island-infused drum & bass. Gospel ninja soul.” This is the phrase underlining Zach Deputy’s name on his main website. I liked this quite a bit. Island infused with hints of calypso, reggae, and world music; Drum and bass as in dancehall, hip-hop, beatbox and the most funky and groovy of all bass-lines; Gospel as in sitting inside that church where everyone in the house is up out of their pews, grooving around in their Sunday’s best while the choir belts the soul, rhythm and blues, and Motown tunes that not one of us have the ability to deny; Ninja as in the aggressive, fluid, and explosive forces behind his music; And soul, as in mind, body, and soul. Organic, roots rock. My vote? Zach Deputy for Sheriff.





The Goods:
Zach Deputy Tour Dates
Zach Deputy Music For Sale
Zach Deputy Free Live Music
Music Marauders Interview
Wisebird on Myspace

Artist Showcase: Ultraviolet Hippopotamus

Sights: Ultraviolet Hippopotamus @ Bell's Brewery, Kalamazoo, MI (1.29.2010)
Sounds: Ultraviolet Hippopotamus - Live @ Czar's, St. Joeseph, MI (10.19.2007)




I can’t help but close my eyes and dream about the phenomenon known as the Ultraviolet Hippopotamus. I picture an exotic hippo, of the most fluorescent pink and purple colors wading through the rivers and lakes of northern Michigan, splashing and rolling around in the mud. He totes an enormous smile and an air of confidence, stopping every once in awhile to scan his surroundings for intruders. At the drop of a hat, the hippo’s vibrant colors will fade to gray as he disappears into the waters that surround him. Stealthily, he ventures on to some other remote destination, where once again he will flaunt his colors in blissful delight.

You may have your own perception of this rare river cow, but the fact still remains – there is undeniable gravity in the music that the beast swims to. I had my first run in with the Hippo at the 2009 Hoxeyville Festival. I was completely and utterly unprepared for the sounds I would hear that evening. I had caught wind of this band a number of times prior to Hoxey, hearing stories of their increasing prominence in northern and western Michigan, and their ability to send concert-goers into some sort of raucous trance with funky, danceable grooves and a high energy demeanor on stage. Frequent appearances at Bell’s Brewery in Kalamazoo (picture on right), Founder’s and HopCat in Grand Rapids, and a whole slew of Michigan summer festivals have allowed fans to experience this music in some of the most cherished bars, brewpubs, and festival grounds that Michigan has to offer. I personally have had the chance to see UV numerous times since that special night at Hoxeyville, rarely passing up an opportunity to catch a show even if it required an hour’s drive on a weeknight. I can’t help but think of one chilly evening at the annual Harvest Gathering where I was sprinting bare-footed back and forth between stages trying to hear as much UV Hippo and Rootstand as I possibly could… torn amidst a SERIOUS scheduling faux pas in my opinion. Michigan, however, is only a portion of the ground that this band has begun to cover in recent years. Larger Midwest tours have become the norm and just recently, the guys returned home after an 11 gig stint in Colorado. The band has even paired up with jazz fusion giants Garaj Mahal for a billing that you would NOT want to miss. I caught the duo at Papa Pete’s in Kalamazoo that season and it was a night I wish I could recall in greater detail. Due to my buddy Andy B’s preference for whiskey, or “brown water” as he calls it, things get a bit fuzzy that evening. One thing I recall is Russell, one of the band’s two guitarists, standing at the very front of the stage and going absolutely crazy for the music that Garaj Mahal was putting on display. These guys are SERIOUSLY talented musicians and it was cool to see the guys from UV Hippo so psyched about playing with them. UV’s music is oozing with GM influence and there is no doubt that they look up to this band.

But what sort of influences aren’t present in the music of Ultraviolet Hippopotamus? Funk, jazz, fusion, reggae, psychedelic and progressive rock, bluegrass, jam-tronica… no genres go unexplored. And no music is safe from reinterpretation either. Hearing them perform Pink Floyd greats like “Welcome to the Machine”, or the entire “Animals” album will give you a new found appreciation for their ability. They might have one of the most psychedelic versions of “Jessica” by the Allman Brothers Band that I have ever heard. But the covers don’t end here. UV has been known to play tunes by Grateful Dead, Van Morrison, Umphrey’s McGee, and Bob Marley just to give you an idea of how diverse their musical influences really are. And lets not forget about Garaj Mahal (naturally) and my personal favorite, Frank Zappa. Think about it… how many bands are you aware of that have the ability to cover the music of Frank Zappa or Garaj Mahal and to cover it well? Yeah… not that many.

But let’s not allow this to overshadow the Hippo’s uncanny ability for composing original material. This is quite honestly some of the most dance enticing music that my ears have ever experienced. I absolutely PROMISE you, no matter what type of music you are into, that UV will show you a good time… even if that means having to bend over at the end of the night to pick up all the little pieces of your face that have fallen to the floor. The Hippo takes you up and down on a wild ride of funky jams and trance-like grooves that have your body moving in ways you might not have thought possible. The band’s undeclared anthem, “North Coast”, is a fast paced tune rich with bluegrass and americana undertones that pays homage to nearly every Michigan bar, venue, band, festival or landmark that you could possibly think of. And the natives just eat it up. Beyond that, tunes like “Square Pegs, Round Holes” and “Dusty’s Trumpet” are the sort of electro-progressive rock songs that really fuel my passion for this music. The band's humor is often intertwined into their performances as well, teasing the crowd with Star Wars or Top Gun themed guitar riffs. When a band is visibly enjoying themselves onstage, that energy is transferred to the crowd and the vibes are that much more positive. Nobody exhibits this trait like bass guitarist and chief vocalist Brian Samuels. Brian, the founding member of UVH, can be found standing in the center of the stage, wide stance, eyes closed, head swaying to the sounds of his bass, and toting an infectious, pleasurable smile… the same sort of smile that the UV Hippo himself carries with him on his journey throughout Michigan. And then there is Russell James. Russell takes off with some of the most intense guitar improvisation work that you will likely hear anywhere else. He stands poised to the left of Brian, visibly mouthing every note that comes screaming off of his guitar. On Brian's right there is Sam Guidry, another musical giant with a guitar in his hand. These two guitarists give me the same sort of anticipatory feelings that I get when I see Jake Cinninger and Brendan Bayliss play. At any moment either one of them could break into an absolute fury with their instruments. The excitement is hard to bear. Combine this with the percussive presence of Joe Phillion and Casey Jones, then toss in Dave Sanders on keyboards and Moog madness, and you have yourself one powerful group of musicians.

So if you have yet to hear the music of Ultraviolet Hippopotamus, please make a point to do so. You can download UV’s live music free of charge on the Live Music Archive. Or better yet, buy their CD. Or even better yet, go see a show. The fluorescent beast is sure to pop its ears out of the water in a town near you… just be sure to be there when it happens, otherwise you might miss it.

The Malah - The 5 Spot, Atlanta, GA (3.17.2010)

Listen while you read...

The Malah - Live at the HGMN Party, Mebane, NC (3.28.2009)


(Note: Cycle through songs using the back and forward buttons on the media player. Or just let it play... that works too. Go to the Internet Archive to download The Malah's live music. Most of the shows that they have posted are of extremely high soundboard quality)

Here I sit less than 8 hours since I left Little Five Points. It’s that time of morning again where I drag myself out of bed, throw on some combination of the various slacks and button up shirts that line my closet, and prepare myself for the mindless, mundane tasks that I will surely carry out over the next 8 hours. But today, refusing to let this place be the death of my creative ingenuity, I write. Not because I’m bored or because I think that I have some sort of knowledge that I need to share with everyone… I write because it offers release. It allows thought and emotion to be released from the constraints of the mind and forces you to take a step back and look at things from a different perspective. Sort of the opposite effect that this cubical has on me. Besides, is there something better I could be doing? I truly believe that having the ability to harness your imagination and convert it into some form of the arts has a value that most people never realize. So often I hear people say “I’m such a terrible writer” or “I could never learn to play the piano like that”. But the attempt is absent. By simply trying to express yourself creatively, you are already succeeding, whether you realize it or not. I have been playing the guitar for almost 5 years now and I could probably tell you next to nothing about the technicalities of the instrument itself. All I know is that it creates sound, and when I play those notes that resonate well with my ears, it offers an incredible form of release.

After getting home from work last night, plopping myself on the couch, and popping off the top of a #9 in celebration of St. Patty’s day, I texted my friend Frazier to get his insight on the local show going on that evening. “Should I check it out?” I inquire. His response: “1,000,000 times yes”. Frazier gets down on a whole slew of jam-tronica madness at his home base in Chicago and if I were going to be taking anybody’s advice on this type of music, it was going to be his. 1,000,000 times yes… good enough for me. Besides, it was St. Patty's Day. If I couldn’t be on some East Lansing lawn with a PBR in one hand, a burger in my mouth, and tossing a bean bag at a small hole from 30 feet away, The Malah might be the next best thing. So I scarf down some dinner and begin my journey towards the city. It’s sort of a hassle living 15 minutes north of the city. And that’s with no traffic. 90% of the time, there’s traffic. Regardless, I never mind taking a trip to Little Five Points. Plenty of bars, record stores, and other nooks and crannies you can get lost in. If you can avoid all the hipsters frantically running around, rummaging through the vintage clothing shops all hopped up on Mocha, chances are you will run into a few like-minded folk to sit and have a drink with – share perspective. I had been to The 5 Spot once before to see a man who calls himself That 1 Guy. It was an entertaining show to say the least and I really loved the environment. Reason #1 – they had Two Hearted Ale in the bottle. A little taste of Michigan. Reason #2 – the general lighting, use of space, and artwork hanging on the walls. Good vibes for certain. Reason #3 – the watering hole. Ever since a trip to The Orbit Room in Grand Rapids that Karrin and I took to see Umphrey’s McGee, I have been particularly observant of this. I think I can easily recall a conversation I had with a security guard that night.

Me: “Excuse me, where are the drinking fountains?”
Douche Bag Security Guard: “We don’t have drinking fountains here. You can buy a bottle of water up at the bar for $5”
Me: “Are you serious… you guys have a lot of metal shows here don’t you?”
DBSG: “Yeah”
Me: “You guys sell nothing but alcohol… and there are probably a lot of kids doing drugs here too, right?”
DBSG: Shrugs
Me: "So... a lot of people probably getting dehydrated out there?" His general lack of concern has me infuriated. I turn away in disgust.
DBSG: “Hey, hey, come back here. I’ll tell you a secret” he motions for me to lean in closer and says “you can take your cup, head into the bathroom, and fill it up there” pointing to my empty beer cup and smiling like he had just given me the world’s greatest secret.
Me: “Thanks a lot… buddy.”

There should be some sort of law concerning access to free water. This particular fiasco happened after the staff refused to let us enter the venue with an empty Nalgene… those bastards. Bell’s patrons hover around the Eccentric Café’s watering hole like thirsty buffalo’s, splashing a little bit on their faces so they can sober up and make a realistic attempt at getting home. The shit is gold. The same orange jug sits inside The 5 Spot and after a pair of Two Hearted ales, I’m thankful they have it.


I arrived around 10:00pm thinking that the band had probably already started. I found the place empty and had an opportunity to snap a few shots of the venue before it filled up a bit. The easel set up on stage had me intrigued from the get-go. I am growing increasingly accustomed to seeing a whole plethora of Apple laptops, midi controllers, synths, pedals and other electronic gadgets plastered amidst the more familiar sight of guitars, amps, and drums. It’s a digital playground. The evolution of modern music has been taking place right under our noses, almost without notice, and it is changing the way we perceive music. I first heard STS9 about 3 years ago. “Too digital” I thought. “Where’s the talent? Anyone with an Apple can make this sort of music.” My views have evolved as well. These musicians have talent (to say the least), vision, and a boundless number of tools at their disposal to bring that vision to life. The bands that are standing the test of time these past few decades are the ones who have shown an apparent ability to adapt to the dynamic realm of digital music. Umphrey’s, String Cheese… there is nothing traditional about these live performances. It’s an onslaught of genre jumping, thought provoking, musical innovation; The Malah fits the bill.

Shortly after my arrival, the trio takes the stage along with an artist whose name I wish I could recall. I had seen this done before. SCI at Rothbury maybe? Anyway, the band lets it be known that they are going to do an acoustic set, and follow that up with two sets of electric music. The Malah is a band of few words and it wasn’t long before they were off and running with the first jam of the night. The sounds hit me like a pulse wave; like some Star Trek character was hiding inside the speaker stacks shooting sonic waves out of some little space weapon. Synth textures and methodical beats filled the spaces inside The 5 Spot while the bass guitarist made a statement early on. I couldn’t help but feel like this acoustic set was a bit empty however (this I realized only after hearing them play the next set). It was just hard for me to listen to these light fluffy acoustics over what seemed like a background of much more dominant and omnipresent tones. I was enjoying it nonetheless. The Malah’s music takes you on a journey. It allows you to travel off to some distant land that only exists in your imagination, or perhaps the imagination of these musicians. It’s your journey; the music is simply your tour guide. “Off to your immediate left you will see an aquatic soundscape filled with the music of bubbles rising to the surface and an underwater volcano raging with fiery pressure beneath the ocean floor. And coming up here on your right we have a rich, earthy atmosphere of electronic grooves that take flight into the outer limits of the solar system.” One thing that makes a band great is their ability to create and resolve tension. They take you on a wild ride that continuously builds pressure and tension inside your head until they ultimately resolve this tension and relieve you of this un-relentless pressure, leaving you gasping for air and happy to be alive. Remember when String Cheese resolved back into “Rollover” at the conclusion of their first set at Rothbury? Yeah, it’s like that… and The Malah does this well.

Not too long into the second set I encountered a group of people who set up shop right next to me. We began shooting the shit and they immediately introduced themselves. The ladies down here all seem to have two first names – Kara Lynne (not to be confused with Caroline), Emmalou, Kay Lee, and… Nick I believe. It was nice to finally converse with some cool people even though it took me a couple rounds of them quizzing me to get all their names right. These southern natives had a couple of years of All Good Festival under their belts and we discussed the jam scene for a bit before taking to the dance floor and embarrassing ourselves for a short while.
This group reminded me of my dance-prone friends back home. The people who dance without concern for how they might look to others are the best people to dance with. And who cares, really, how good or bad of a dancer you are? Is dancing even classifiable? In my opinion, if you’re moving, you’re grooving!

I take a break for awhile to get some pictures of the scene on stage. The man behind the easel has been going nuts since the beginning of the show. I don't know how often The Malah collaborates with artists like this, but they should consider making it a habit. This band provides the PERFECT music for a painter to do his thing and I can’t help but feel like this guy was absolutely psyched to be sharing the stage with these musicians and immersing himself in his artwork in front of an audience. I mean, what a concept. Who would have ever thought mixing two incredible art forms into one engaging, live experience would have been such a good idea... The painting was full of vibrant pastels and organic colors. The image of two women, one of them appearing to be Native American, grew and developed throughout the duration of the show. Her head was immersed in a mirage of birds, feathers and one particularly breathtaking image of what appeared to be an Oriole with its wings wrapped comfortingly around the woman’s head. This artist’s natural ability for creating overlapping colors and textures was truly impressive.

It was time for me to cash out and call it an evening after the conclusion of the second set. It certainly pained me to miss out on the third. Had it not been a Wednesday night, I would have surely stuck around to rage for the duration. But it was late, and the stinky ass breath of reality was panting heavily down the back of my neck. Thank you, Malah, for expanding my perspective. Hopefully we meet again soon.