Today’s a big day for Mat Cothran. Not only is it his birthday, but Pitchfork also debuted the release of his new single “Burn a Church”.

Some Coma Cinema fans might remember “Burn a Church” from its previously released version in 2011. The new version, recorded in Los Angeles and produced by the guys in TV Girl, sounds quit different, cleaned up around the edges and more dynamic. “Burn a Church” stands out on the album with vocal effects and programmed drums, with the other songs opting for acoustic guitar, live drums, and beautiful layers of keys and horns mixed throughout.

“Posthumous Release” out June 11th via Fork and Spoon Records (vinyl/CD) and Orchid Tapes (cassette).

Preorder the 12″ here: www.forkandspoonrecords.net/shop//produ…?prodID=724
Preorder the cassette here: orchidtapes.bigcartel.com/product/coma…ape-pre-sale

There’s something magical about Papa Joe’s Banjo-B-Que. Now in its 4th year, Banjo-B-Que now calls the beautiful Evan’s Towne Center and the Lady Antebellum Pavilion home after spending the first two years at the Georgia-Carolina State Fairgrounds.

The two-day festival gets kicked off on Friday afternoon, with the barbeque contestants firing up their smokers and folks rolling in from all around the Southeast. Some camp, some stay in hotels, some drive back to home for the night, but the one thing everyone has in common is that everyone is there to have a good time.

Banjo-B-Que is one of the most laid back festivals I’ve ever attended. Families and attendees get there early Saturday, prop up lawn chairs, throw down blankets on the lawn in front of the stage, and enjoy the weather. Once you get your home-base set up, the rest of the day is spent wandering around the festival, trying different types of BBQ, watching pigs race around a track and dive for Oreos. It’s a must that you walk around to the different BBQ contestants and get to know a little about them, because mid afternoon Saturday they’ll be on stage for the announcing of the winners.

The Friday night music lineup this year is one of the strongest to date including Carolina Chocolate Drops, Chatham County Line, The Whiskey Gentry, and Seven Handle Circus. It’s common to have bands back from year to year (previous years included Old Crow Medicine Show and Frontier Ruckus). Saturday brings a full day of music, with festival headliners Trampled by Turtles and Jerry Douglas.

And what’s a Memorial Day weekend without Fireworks? Another popular staple of Banjo-B-Que is the fireworks show that takes place after nightfall and just before the headlining band.

Friday, May 24

Carolina Chocolate Drops
Chatham County Line
The Whiskey Gentry
Seven Handle Circus

Saturday, May 25

Trampled By Turtles
Jerry Douglas Band
The SteelDrivers
The Brothers Comatose
The Little Roy & Lizzy Show
The Ramblin’ Fevers
Sibling String

Pictures from Banjo-B-Que 2012

Listen @ queserasera.bandcamp.com

And so the day finally came when our most prized Parisian, a sharp young man appropriately named Pierre, had to leave behind our humid habitat and return home to regale fellow Frenchmen with stories of 40° Celsius weather and $4 40s. His last hurrah was staged at the ever-swanky Speakeasy on Saluda, and, walking up, I noticed the aesthetic contrast of my never-swanky digs. This was exacerbated in the presence of the impeccably dressed/bespectacled Pierre who leaned against a parking meter, answering a question between drags of a cigarette.

“Oh, well, I know there was a band that just blew me away at the Burrito show. With the guy and the girl and all that wall of sound?”

“Que Será Será?”

Pierre grinned. “Yes, this band, they were something good, you know? I was, the entire time-”

He dropped his jaw, opened his eyes wide, and pulled his head back to demonstrate his reaction to their live show.

Of course, when you speak of the devil, he usually shows up, and thus, coming ’round the corner that very moment, no lie, was their bassist, Mitch Thompkins and lead singer Kyle Berry.

Though, with an angel voice coming from his angel face, it’s quite a fallacy to describe Kyle as any kind of devil. After saying hello, I went inside for a few drinks, caught up with some friends, before returning back out front to join Kyle and some other buddies who were curbed up, watching the usual 5-points parade of lunacy go on by.

I asked him about QSS, particularly about their plans. He hinted at future releases, especially an idea for an ambitious music video that really piqued my interest. As he gestured to help me visualize their planned journey for an upcoming tour, I got a sense for this moment’s significance in describing QSS as a band. They were hardly haphazard. They visualized their planned journey through music, as well. Everything was vision.

However, a vision’s manifestation into existence is all it is worth in the end. After all, the Hindenberg was as high-concept and ambitious as all get out. Inspired by (arguably) France’s greatest modern composer, Claude Debussy, with an (indie/post)rock sensibility, or what they describe as popera, they take a very interesting approach, utilizing Berry’s classical training with the rawness of what a four-piece can get across. But like that fated blimp, there are many vulnerabilities ascribed to an over-the-top kitchen-sink approach, especially with a live show.

They released Face The Night, a three-song EP recorded themselves a couple of months ago, so I took an opportunity to load up their bandcamp and listen.

My face was the same way, Pierre. As soon as Berry’s voice cuts and quavers through the fuzz and sparkle above the frenetic calypso drums, singing, “You’ve got me now,” on the title track, the feeling is mutual- you truly get got. The undeniable chops of Andrew Jernigan (drums) and Katie Leitner (vocals) and Thompkins provide further legitimacy to the execution of this vision.

Like an opera, the songs evolve, have movements, building to a frenzy to only burst into a more mellow piano-driven lounge landscape, or other times, a more pleading vulnerable piano and vocal pairing that would be easily accompanied by the singer drenched in a spot light, surrounded by an ornate set, sending a song of longing to an off-stage character, perhaps their paramour.

Paws, my favorite track, brings out the latter image quite beautifully, with its heartfelt and impassioned wails, especially from Leitner, that beg for a backstory, and an ending that reminds me of the series finale of The Sopranos. The final track, Spinning Words, would likely give someone with synesthesia a hallucination of a really entertaining chase scene from a 70′s spy movie/musical, with twists, tone shifts, and syncopation that take you unawares. The synchronized pauses, steady builds, and haunted background vocals all lend to the impressive cohesion of the group as a band. The element of trajectory in their music evokes a feeling of there being some special Que Será Será gene that’s been spliced into each song.

And, apparently, I’m not too far off. As the drinks wore off and yet the night wore on, I found myself in the back of a now-emptying Speak’s discussing the possible origins of music, in all its subjective and abstract mystique, with Kyle and Mitch.

It was then that Kyle gave me a bit of insight into his creative process.

“Think about your basic Do Re Mi scale. I like to employ Do, Mi, and Ti. Just a sequence of notes. And you can either use those in a direct melody line, or you can sing that line, or put it into the chords. I also really like major 7 chords.”

I cut him off with a stupid comment: “Like in that Alicia Keys song? If I Ain’t Got You!?”

“Right. Anyway, I think it’s helpful not only to think of subject matter, but to have a concrete idea when you’re writing out of complete nothingness. You can have the whole structure of the song around this idea of Do, Mi, Ti. My lyrics, and Katie’s as well, have a rise of optimism too, reaching a pinnacle like a Mi, that come down to the Ti, which is below the Do, and you’re left a bit more deflated than when you started. It gets to the point where we have an album that is, 80%, built around these three notes.”

It goes without saying that Kyle Berry studies music, (and you can totally taste it in his songs). But, of course, not everyone enjoys an occasional dive into a tome of musical theory. Confused? No worries-

ENJOY MY DEMONSTRATION

Always a taste-maker in my circle of friends, Pierre’s impression of QSS’s ability to pull off their ambitiously constructed wall of sound rings true- a wall built on a concrete foundation of a solid-ass rhythm section, with the mortar of interwoven synths and energetic guitar between bricks of pure golden vocals. And though he may be back in France, his sense of taste has given us a guide to follow, more specifically, a band to watch. With the amount of thought and effort put into their songs, I’m proud to know that they sprang from our very own Fizzy Pop City, and I’d very genuinely like to see Que Será Será experience great and well-deserved success as a band.

P.S. As a Latino, it gives me great joy that you all put the accent marks over the A’s in Será. Not that it makes a big difference in the US, but I support anything to reduce the number of people asking me if I’ve heard about that band KAY SARAH SARAH. Gross.

(Also, don’t be an ass- be sure to like Que Será Será’s facebook page.)

Vampire Weekend have had kind of a hard go at it as a band. After bursting onto the hip culture music scene in late 2007 with a tour with The Shins, and praise from Rolling Stone and Spin, Vampire Weekend seemed to be set for an enjoyable career of releasing music. Instead they started to receive some backlash from a community that’s nearly impossible to please. The underground started to mutter and pin VW as preppy privileged kids ripping off African music, and the band kind of just dropped off the map. In an interview with Guardian lead singer Ezra Koenig even talked of hanging up the band and finding a writing job.

Instead they took some time out of the mainstream to focus on writing. With the new album they didn’t run from who they are. Recording some in Martha’s Vinyard, and referring to the Kennedy family in their single “Diane Young”, Vampire Weekend is proving that they’re comfortable with who they are, and even spin their own formula with Modern Vampires of the City. They still seem to be chippy in interviews, but as of the release of their album yesterday fans seem to be loving the new album. The new album is successful because it’s bold and brave, but is it really that hard to stand up to bloggers fingers and think pieces about how you’re well off? They are the ones with orange covered Cheeto fingers in their parents basement.  The point being, don’t listen to people’s shit and make music. It’s that simple.

ENTER TO WIN

(Vampire Weekend Prize pack) Winner will be contacted 5/20

Over the years Charlotte, NC’s DIY music scene has grown from an underground hotbed to the mainstream thanks in part to Treasure Fest and Recess Fest, both festivals sharing a lot of similarities. Now in its third year, Treasure Fest takes place mostly in the Plaza Midwood area of Charlotte, with 70 + bands spread between 5 venues over 2 days.

The original idea of this preview was to find 5-10 bands to present as “must see acts”, but listening through the lineup, that’s something that’s nearly impossible. For old school indie rock, hardcore, or emo fans, this festival is a wet dream. Some people’s reaction might be “These types of bands still exist!?, while others will realize that not only do they still exist, but may be as strong as they ever were. A motivated scene, flourishing outside of the spotlight for now, Treasure Fest highlights some of the best bands you’ve probably never heard of from up and down the East Coast, including an array of locals.

This type of “scene” isn’t something that’s bustling in South Carolina yet, but one that thrives throughout North Carolina.

The heart of the festival bucks the popular festival trend of corporate sponsors, and spoon fed advertising, sticking with local sponsors that are embedded in the music scene with views aligning with Treasure Fest principles. Two day tickets are only $25, with most of the money going back towards expenses and paying out-of-town bands. That’s like .35 cents a band, so you’ll have more money for craft brews and PBR.

Again, highlighting just a handful of bands wouldn’t do this lineup justice. High energy bands run off high energy fans. Here’s a list of bands that are more our cup of tea.

South Carolina Bands

Big Awesome (Bluffton, SC)

Death Panels (Columbia, SC)

Rubrics (Greenville, SC)

Apart (Greenville, SC)

Highlights

Old Flings (Asheville, NC)

Muscle & Bone (Asheville, NC)

Motel Glory

Bo White Orquestra

Tyler Brown

Radio Reds (Greensboro, NC)

Red Collar (Durham, NC)

Sea of Storms (Richmond, VA- ex Mouthbreather)

Oddczar

Sundials (Richmond, VA)

Museum Mouth (Wilmington, NC)

Torch Runner (Greensboro, NC)

Viewfinder (Boone, NC)

Center of the Sun

Pullman Strike

Late Bloomer

One Another

Sinners & Saints

Lions to Lambs

Hectorina

Full Schedule

FRIDAY

***the milestone***

Oddczar 1:00- 1:30
Apart 12:15- 12:45
Barrow 11:30- 12:00
Irata 10:45- 11:15
Burners 10:10- 10:35 (side)
Au Revoir 9:35- 10:00
Kato 9:00- 9:25 (side)
Hemp Hill 8:25- 8:50

***snug harbor***

Temperance League 12:30- until
Scowl Brow 11:45- 12:15
One Another 11:00- 11:30
Franz Nicolay 10:00-10:45
Red Collar 9:00- 9:45
Center of the Sun 8:15- 8:45

Museum Mouth 7:35- 8:00
It Looks Sad 6:55- 7:20
Big Awesome 6:15- 6:40
Radio Reds 5:35- 6:00

***lunchbox records***

Sundials 11:45- 12:15
Muscle & Bone 11:00- 11:30
Sea of Storms 10:15- 10:45
Rubrics 9:30- 10:00
Means Well 8:45- 9:15
Viewfinder 8:00- 8:30

***tommy’s pub***

Hectorina  12:00-12:30
Secret Hospital 11:15- 11:45
Black Wine 10:30-11
Brick Mower 9:45-10:15
Black Market 9:00-9:30

***twenty two***

Tyler Brown 9:00- 9:45
Dollar Signs 8:15- 8:45
Mineral Girls 7:30- 8:00

SATURDAY

***the milestone*** 

Torch Runner 1:00- 1:30
Old Wounds 12:15- 12:45
Pig Mtn. 11:30- 12:00
Out Crowd 10:45- 11:15
Test of Time 10:10- 10:35 (side)
Just Die! 9:35- 10:00
Manalive 9:00- 9:25 (side)
Narratives 8:25- 8:50

***snug harbor***

Whatever Brains 1:15- until
Bo White Orquesta 12:30- 1:00
Wymyns Prysyn 11:45- 12:15
Double Negative 11:00- 11:30
Joint D≠ 10:15- 10:45

Chalkies 9:30- 10:00
No Tomorrow 8:45- 9:15
Unholy Thoughts 8:00- 8:30
Devil’s Hand 7:15- 7:45

Manic 6:15- 6:45
Stepdad SS 5:25- 6:00
Cheap Art 4:45- 5:10
Uniform 4:05- 4:30
Rogue Nations 3:25- 3:50
Death Panels 2:45- 3:10 (floor)

***lunchbox records*** 

Old Flings 12:30- 1:00
Mike Bell & the Movies 11:45- 12:15
Bandname 11:00- 11:30
Kicking Spit 10:15- 10:45
Nuclear Santa Claust 9:30- 10:00
No Love 8:45- 9:15
Late Bloomer 8:00- 8:30

***thirsty beaver***

Sinners & Saints 7:30- 8:15
Pullman Strike 6:30- 7:15
Lions to Lambs 5:45- 6:15

***common market***

Funky Geezer 11:15- until
Hungry Girl 10:20- 10:50
Almost People 9:40- 10:05
Amanda X 9:00- 9:25

Bassnectar Family Photo via Bassnectar.net

This past Wednesday, an eagerly anticipated text message was waiting for me when I got off work. It read simply, “You’re Set.” It was from SceneSC’s founder and Editor in Chief David Stringer, and was in reference to my attempts to get press access to the Bassnectar show that night. Since emerging in 2005 Lorin Ashton – aka Bassnectar – has grown to become one of the premier electronic acts in the world today, even getting billed above world heavyweights Skrillex and Steve Angello (of Swedish House Mafia fame) at last year’s CounterPoint Festival in Atlanta. When I saw the Columbia date announced, I knew I had to see it for myself.

This would be my first concert at the Township Auditorium and I must say the recent renovations looks spectacular. Walking into the auditorium from the lobby, the empty floor had a bit of a gladiator pit vibe to it. Given the somewhat aggressive and abrasive nature of a lot of EDM these days, it was a feeling not at odds with the evening’s entertainment. A sizeable crowd was already inside (I would say half capacity) over two hours before Bassnectar was expected to take the stage. At first I was impressed with the costumes and signs that concert goers had crafted for the evening (as the night went on it became very clear that these were essentially a uniform, as 90% of the crowd became an indistinguishable mass of day glo and neon colors), with the “Chicken Soup for the Bass Head’s Soul” sign a particular favorite. After taking in the surroundings, the first opener was set to begin.

THRIFTWORKS

The first opener was Thirftworks, hailing from California. Taking the stage at about 7:45, most of those in attendance seemed pretty disinterested in the music, which was a real shame. Thriftworks brought a very heady vibe to the table, with 8bit heavy hip hop beats that would not have been out of place at the Flying Lotus/Thundercat/Teebs show I attended a few weeks ago. He would occasionally go into trap-style beats, perhaps in an attempt to engage an audience clearly ready to rage, before going back into his hazier, stuttering beats. Any fans of Brainfeeder material should definitely check this guy out.

GRiZ
Next came Grant Kwiecinski, aka GRiZ, and he came roaring out from the start. Equipped with a set of controllers, a laptop and a saxophone, GRiZ’s set began with what felt like a literal explosion of energy. The volume ratcheted up noticeably – (Insert earplug now. I’ve been going to concerts for a number of years now, across a wide variety of genres and venues and this was hands down one of the loudest concerts I have ever been to.), and he launched into a stream of very funky hip hop grooves. As of late GRiZ can be found collaborating with Gramatik (an artist who evokes Bonobo and dubstep equally), and their funk-meets-weird-synthesizers sound was definitely on display. Kwiecinski proved more than capable as a multi-instrumentalist, adding in sax solos and some scratching for good measure.

But these people were here for capital D Dubstep, and GRiZ was not one to keep them waiting for long. (My note at 9:15: DUBSTEP!!!!) Huge drops and a brutally unforgiving level of bass, and really overall volume, was leveled at the crowd and they loved every second of it. His set concluded and the anticipation of the main event began to build.

Bassnectar
At 9:45 sharp, Bassnectar took the stage. He warmly greeted the crowd before the gigantic digital count down began. You can’t help but be over awed by his visual display, as virtually the entire stage was a projection screen. The first chunk of the set kept things in the 90 bpm range, which allowed for a great deal of versatility. Ashton was able to seamlessly move between hip hop, drum and bass and his signature dubstep sound. And the visual display perhaps exceeded my already high expectations (for my money, they were cooler than Skrillex’s).

Another feature of this show that I liked a lot: there were people who decked out in official Bassnectar gear whose sole job was to pass out water to anyone in the crowd who needed it (if I see another t-shirt referencing someone’s good friend Molly…). Whether these were volunteers or actual employees is uncertain. Bassnectar has put a great deal of emphasis on interacting with his fans, regularly answering emails on his website, involving fans with his charity work etc, and it was nice to see an artist take responsibility for his fans (most artists/bands would leave that kind of work up to the venue).

Bassnectar’s music frequently sounds rooted in hip hop, and I was intrigued to see how much of America’s current Trap obsession had made its way into his sound. Tracks such as “Freestyle ft. Angel Haze” and “Vava Voom ft. Lupe Fiasco” were in the same tempo range and wouldn’t be out of place in a trap set, but also had Bassnectar’s undeniable touch. Several of the security guards couldn’t resist this part of his set and could be seen jumping around and dancing as much as anyone in the crowd.

Photos by Andrew Harris

May 12, 2013
New Brookland Tavern, Columbia SC
$12, all ages (buy tickets)
Doors at 7, Show at 8

Southern grown pop/rock band Cartel is making a stop in Columbia at New Brookland Tavern with support from State Champs and A Brighter Life.

Cartel rose to fame with their song “Honestly” off of their 2005 record Chroma and maintained it while participating in Dr. Pepper and Mtv’s Band in a Bubble series, the result of which was their self-titled, and arguably their best, album. The band released an EP in 2011 called In Stereo and recently released their latest studio album Collider, some of my favorites on which are “Second Chances” and “Disconnect.” This album doesn’t disappoint in the band’s consistency; they’ve stayed true to their pop/rock sound coupled with Will Pugh’s awesome vocals and lyrics. They’ve played with the likes of All Time Low, Boys Like Girls, Third Eye Blind, Forever The Sickest Kids, and Simple Plan among others.

I’ve been a big fan of Cartel since hearing “Say Anything (Else)” on their MySpace page in 2005 and have been waiting on an opportunity to see them live since then. They’re a band that sticks with you and while at times their music can be a bit repetitive and a little too familiar, they remain in my mind as one of the most underrated “one hit wonders” of the past ten years. It’s going to be a good show, so bring the important ladies in your life to celebrate Mother’s Day at New Brookland Tavern with Cartel and friends.

Doomslang’s Prophecy (from https://www.facebook.com/pages/doomslang/154786956312)

Petunia failed me again. Petering out on the road, I was forced to pull over. She has a penchant for embarrassing me as soon as I see anyone I know. She knows what she’s doing. So, I had to roll my busted bike up to Bar None to the welcoming committee of wise-cracking cigarette smokers lining the entrance.

“Hey fellas,” fell sheepishly out of my mouth as I stumbled around trying to tie her up to the parking meter.
A short greeting turned into a long reminiscing about the BeyHeyDay of Bey’s with the crowd outside, as they used to all gather in almost the exact same formation outside of Bey’s, which set the tone for the night. Nostalgia was in the air.

1. “What we need is a newer venue! There’s a lot of talent in Columbia, we just need more places to showcase it!”
2. “Yeah man, you know that [insert unfeasible location in 5 pts or the Vista here] is for rent, all we’d need to do is save up a little dough and we could really get some big acts coming through!”
3. “We just need people to commit, man, money’s no issue.”
4. “Yeah, somebody should totally do that.”
5. “Totally.”

Ahh. The boilerplate “Columbia’s Music Scene Needs [Blank]” conversation. I could hear it over the din of the bar as I strolled in much like a favorite song of yesteryear you hear on a charming old jukebox, reminding you how it excited you long ago, when, now, a gradual disillusionment mars its effect. We’ve all heard it before, and no matter how feverish the rhetoric or frenzied the delivery, the conclusion usually comes to “Somebody should totally do that,” followed by a beat and then an order for another round of drinks.

Bracing myself for round one, I found myself at the bar next to a young man with a straw hat, slouching over a glass of booze, quite reminiscent of an Edward Hopper painting. After a very subtle and gradual triple-take, I realized I actually knew this fella.

“Josh McCormack! Doomslang, man, it’s been a second.”

I first knew him from rare appearances at Bey’s, back when I hosted an open mic, and always appreciated his hat choice, the straw hat replacing a fluffy Russian cap that donned his dome in winter. Back in the day.

Of course, nostalgia. As Don Draper said, it’s the pain from an old wound, a pain best complimented with a sweet Mint Julep. Reminiscing as we sat at the bar, we discussed the majesty of Tim and Eric, Louis CK, Neil Hamburger, Lost, The Wire, and, of course, the local music scene. Artfully dancing around the stock conversation, we shared stories of success and failure in our music scene, and, from someone who has only been in Columbia for a few years, I learned quite a bit about the previous generations of music to come through.

Of course, other than a slick hat collection, Joshua McCormack also has a slick song selection he’s been recently polishing for us. Having played with his group Cassangles, he turned towards his solo project, doomslang which also serves as his moniker. Just recently, he released three songs of varying style, Problem Child (Slight Return), Dawgie Lullaby, and Nerf Hospital. Playing alongside a perfectly mixed-in Logan Goldstein (of local homies extraordinaire Pandercakes) on the latter, the tracks contain a range of instrumentation, but still douse you with a syrupy gravy boat of Absinthe in its sparkling haze, through which you can barely make out the ghost of Elliott Smith’s silhouette softly singing a lullaby as he rocks a sleepy baby Danny Elfman (Scissorhands era) to a deep slumber.

I don’t know if I made it clear enough, but these songs sound like the deepest sleep. Finding a suitable instrumentation and level of effects to fit his voice, doomslang puts forth a solid foray into the dream world, particularly with the first track’s twinkling Omnichord, an instrument featured in my favorite episode of Adventure Time (I Remember You), also played by the love of my life whom I met in Dunedin. My favorite track has to be Dawgie Lullaby, for its humble beginnings that evolve into a lofty vocal orchestration reminiscent of a stripped down version of Bright Eye’s symphonic break in Digital Ash’s “I Believe in Symmetry.”

If you like dreams, (not like our actual, absurd, subtly sexual, mostly silly dreams, more like the soundtrack to Hollywood dream sequences), then give doomslang a listen. You’ll find yourself staring wistfully out of a raindrop-studded window in no time. Sometimes it’s just what you need.

Kicking the pedal, holding the clutch, releasing it as soon as I hear the engine rumble slightly, simultaneously giving it just a little throttle, hearing some rumbling, switching on the fuel injection lever, giving it more throttle, I finally saw my baby girl come back to life. The 1980 Pepi Sport has the engine of a fuggin lawnmower, but I love her.

As she roared to life, and I go and pat Josh on the shoulder, promising to give his songs a listen. I reflect, ever so briefly, on the pitfalls of nostalgia. Perhaps we should be more concerned with the now, as opposed to a time we can never reclaim? After all, those in constant reverie never get shit done. But as Petunia zipped down Saluda St, I thought of her as a relic of the past, a product of nostalgia, that still had some kick in her. Pondering this, I cross the intersection to get to the base of the hill, where she promptly farts out on me again.

Bobdamnit.

The night of Sept. 18, 2006, Band of Horses packed up their gear after finishing a Monday night show at Headliners in Columbia’s Vista. Front man and Columbia native Ben Bridwell (located center in above photo) probably didn’t know the club he just played would close its doors for good in 2009, barring his possessing psychic powers that he hasn’t made the public aware of (Tell us now, Ben – what does the future hold?!). By the same token, he probably didn’t know it would be another six-and-a-half years before his group would return to play in his hometown.

Tonight, the audience at the Township Auditorium will welcome Band of Horses back with open arms and open ears for a night of music steeped in southern roots.

Formed in Seattle in 2004, the band relocated their home base to nearby Charleston, S.C., before the release of 2007′s Cease to Begin, which was their first release to crack the Billboard U.S. album chart’s top 40 (peaking at number 37). Horses’ popularity has been on the rise ever since, with Infinite Arms (2010) garnering their best performance on the charts (peaking at number seven) and major summer music festival dates becoming a regular part of their tours.

Much of the band’s success can be attributed to Bridwell’s voice, as its constant treble cuts through the mix with a pristine, often bell-like quality. Layered atop the quintet’s no frills indie-rock instrumentation, his vocals steer the mood and dynamic of each track. Whether it’s through the grit and aggression on the verses of “Ode to LRC,” the inquisitive, almost panicked use of his upper register on “Is There A Ghost” or the placidity of “Infinite Arms,” Bridwell’s versatility shines through as the band’s focal point.

Joining Horses on tonight’s bill are Columbia rockers Josh Roberts and the Hinges and Athens, Ga., alt-country group Futurebirds. Whatever guitar solos the rest of the show might be lacking, Josh Roberts will surely make up for, as he’s easily one of the best improv rock guitarists in the Southeast (NOTE: all audience members should come prepared to have their faces melted, only hoping and praying that maybe Ben Bridwell’s soothing voice can work as an aural aloe to heal their rock-induced burns). Futurebirds make their home somewhere in between the Hinges’ and Horses’ places on the rock spectrum, melding belted harmonies and a wall of reverb guitar sounds with a Southern rock swagger to create a mystique that perfectly treads a thin line between beauty and dysfunction.

————————————————————————————————————–

Band of Horses / Futurebirds / Josh Roberts and the Hinges

Friday, May 3 at the Township Auditorium (1703 Taylor St., Columbia, S.C.)

$35 floor (no seating); $30 reserved balcony

Doors open at 7 p.m.; show starts at 8 p.m.

DanManor

Last week Upstate filmmaker Daniel McCord traveled to Columbia for the Indie Grits Festival to check out some films and do a little Q & A after the screening of his own short “Don’t Kill The Messenger.” McCord made the wise decision upon leaving Greenville of bringing his film equipment in case the opportunity to films some bands arose.  In addition to filming other peoples movies, filming and directing his own, he has a passion for music, both hosting house shows and filming musicians playing in different environments for his DanManor series.

So as the Indie Grits Festival was winding down, McCord filmed Aaron Graves of Those Lavender Whales playing some tunes out back behind the Nickelodeon Theatre in downtown Columbia. Graves also brought his daughter Elvie along, who steals the videos by being so adorable sitting in his lap for the recording of both original songs.

Both “The Night Before Kite Day” and “Interview” are from Those Lavender Whales 2010 album
Pilgrims, Friends, & Blood​-​ties and are available on their Bandcamp page. They’ll be performing Friday in Lake City at the ArtFields Epic Art Competition and Celebration  event with fellow Fork and Spoon Records bands Can’t Kids and Say Brother.