A week from today, our newest venture (EP label Aural Slate Recordings) will launch with the release of Caverns’ EP We Lied. Caverns have long been one of my favorite local artists, providing a unique take on the stale formula of rock and an explosively engaging live show. I’m really proud to have them on-board as our inaugural release. The first release show will be on Friday February 19th at Comet Ping Pong in DC with Detox Retox, and Prisms. Release shows in Frederick and label party in Baltimore will follow in the spring.

We Lied was recorded with Chris Freeland at Beat Babies, and J. Robbins at the Magpie Cage. Mixing duties fell on Chris Freeland and Matthew Leffler-Schulman of Mobtown Studios, who also did the mastering. Album art was designed by the multi-talented Caleb Moore of Lands & Peoples.

To give all you loyal Aural States readers a taste of the album, today we present the opening track (and lead “single”), entitled ”Arctic Phantoms.” Coincidentally, it is also the only track on the EP recorded with J. Robbins at the Magpie Cage, and really sets the stage for the rest of the EP.

More from lead guitarist Kevin Hilliard:

The opening track, “Arctic Phantoms,” operates as the mission statement for this EP. In fact, we titled the EP We Lied because this song steps outside of the purely instrumental confines our music has remained in up to this point by incorporating a heavily effected vocal melody and atmospheric synths into the mix. Our drummer, Ross Hurt, programmed glitchy electronic drums to add yet another texture previously absent from our compositions. The beginning of this track might even sound like the work of an entirely different band if it weren’t for Patrick Taylor’s lead piano line, which maintains a continuity between “Arctic Phantoms” and our earlier work. As for the lyrics…we’re not at liberty to discuss them, but if anyone figures out what they are, we’ll give you a free t-shirt.

Find out more than you ever wanted to know at our label site (including more track previews, links to buy etc), and stay tuned for more exciting announcements throughout the year. Starting next Friday, a limited run of 200 CDRs will sell for $5 at shows, and the album will be available digitally on Bandcamp (which means you could even get it lossless!) for $4.

I did some show hopping last Saturday, first catching DC’s premiere instrumental rockers Caverns in their opening set for MD legends Clutch. Spreading their wings on the Main Stage, Caverns seemed a bit lost on the big stage. They definitely work best in smaller venues, but thankfully their massive sound fills out any gaps left untrampled by guitarist (and sole kineticist) Kevin Hilliard’s frantic scrambling and freak-outs all over the stage. Their second time opening for Clutch, they’re no stranger to the tunnel vision that often dominates the minds of many in Clutch’s fanbase. But ever resilient to chants and heckles beckoning for Clutch, they chip away more and more fans as their sound grows ever more massive in their set.  Quite possibly the loudest I’ve seen them since Aural States Fest.

They are sure to be even louder tonight at the Hexagon with bastard cousin Solar Powered Sun Destroyer, locals Lexanne and headliners Night Horse.

Caverns

From there, an abrupt mood and style shift as I headed over to mope territory at the Ottobar with Cursive and Tim Kasher’s emotive yowls headlining, and the ever-effusive Love Language opening.  To be brutally honest, I was underwhelmed by Cursive.  Progressively more adventurous in their latest efforts, to me they still fall short of capturing lightning in a bottle that was The Ugly Organ, that mixture of catchy, sappy, and adventurous that feels just right.  Sad but true.  Kasher’s bubbling stew was plenty big, but lacked much punch.

By contrast, openers The Love Language proved even more effusive than my last time seeing them. They are 2 for 2 wowing me with phenomenal live performances and presence.

Cursive

Caverns @ Aural States Fest

We’d prepared you for weeks and finally, this past Friday, the loudest bands in DC and Brooklyn combined for a night of earsplittingly beautiful rock and roll: the Caverns Video Release Party featuring A Place to Bury Strangers and True Womanhood.

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Download full video: MOV

The nature of music videos has been evolving just as fast, if not faster, than the nature of albums in the age of broadband and digital media. Now, even the most amateur videographer can pump out a video for a single of his/her band, damning any notions of style or quality to hell in favor for expediency, gimmickry and fast, viral PR.  But for Caverns’ first foray into this realm, things are very different.  Caverns have never been much for following the trends or current moods. Everything they do is meticulously planned, distinctive and shaped by discriminating taste and style, a watertight DIY ethos and a fun-loving outlook.

Now, they lay upon the world their first visual offspring, a music video for “Dance You Son of a Bitch” off their Kittens! EP.

The song is classic Caverns, a showcase of their signature modus operandi and lays plain their artistic manifesto. The razor-sharp, craggy edges of Hilliard’s scraping guitar riffs open the song with a shower of sonic shrapnel. Taylor’s suave, full-toned piano comes in and sets up fantastic melodic contrast, dripping into your ear like sweet golden aural honey. Hurt’s percussion comes in and ties it all together with a taut and coasting rhythmic bow, feeling almost relaxed if it wasn’t for the heft behind each hit. The spiraling, dueling melodies from guitar and keys build and build into an addictive riff before disintegrating. The video captures all this perfectly: tense and searching (but never ADHD-addled) camera work, alternatingly the smooth and the frenetic, prodigious and tasteful lighting (no surprise considering Caverns earlier live shows with extensive lighting) and was filmed and cut in-house by Taylor, who doubles as mastermind behind D dot Films.

This is a complete 1-2 punch when you consider Caverns has lined up Brooklyn-based wunderkinds A Place To Bury Strangers and fellow District-dwellers True Womanhood to play their video release show this Friday June 5 @ Rock and Roll Hotel.

June 5: DDot Films and Aural States presents the Caverns Video Release Party w/ A Place To Bury Strangers, True Womanhood @ Rock from Greg Szeto on Vimeo.

Solar Powered Sun Destroyer opened what was sure to be a memorable night. At first, I wasn’t sure if they were on the right bill or not.  Having not seen or heard them before, I didn’t know what to expect. They were good, don’t get me wrong, but they weren’t really what I was expecting. I guess seeing a show headlined by Frodus, I was expecting more of a scream-y band.

Now, I’m not making a case for bands that sound different not playing shows together. Their sound was post rock-ish, and compared to what I knew lay ahead, just didn’t really blow me away. Better suited to open a Mogwai show, I felt. I guess it was just the whole mood of their set which was much more hushed and restrained than everyone else who played this evening. The set started, ended and re-started abruptly because of a loss of sound, which I’m told was possibly due to their own lighting (awesome, by the way, pretty blues and whites in an otherwise completely dark Talking Head).

I missed Caverns at Aural States Fest. I had heard they were pretty active, and I wasn’t misled. It seems like Early Humans have been channelled by 2 of DC’s finest new bands: Imperial China and Caverns,  and I couldn’t be happier. What’s more, just like Early Humans, both bands are 3 pieces.  Coincidence?

Caverns play a form of instrumental and highly technical metal/punk augmented by piano. Guitarist Kevin Hilliard commanded attention, from the stage and the floor, for the duration of their set. Back and forth he runs like a madman. Into the crowd, back to the stage, hardly ever stopping except to heap praise on the night’s stars: a recently reformed Frodus. He utilized every inch of floor space he could find, and when he ran out he pushed his way into the crowd to open up an even larger hole. At one point he accompanied piano player Patrick Taylor with his foot (a welcomed display of histrionics). The band chugged along at breakneck speeds, propelled by Ross Hurt’s drumming. Several times throughout the show Hilliard paid homage to Frodus. “The best band ever from DC,” according to Hilliard. I don’t know if I’d go as far as to say “best band ever,” but definitely in the top ten. I reserve the best spot for Fugazi (speaking of bands reforming…).

Sick Weapons, I must admit I had never heard of, and I felt guilty because I got the feeling I’ve been a little behind the times. It was apparent that I may have been the only one there who hadn’t heard of them before. The crowd gathered much closer to the stage for their performance. Singer Ellie Beziat swigged from her bottle of Natty Boh, and even rapped a little, recalling a grade school project. It’s not the rap they’ll be remembered for, but the way in which they pumped everyone up for what was still to come: the gods of spazz, Frodus. Sick Weapons played sleazy Baltimore punk with no filler or frills, just the way we like it. Just like blue crab and Old Bay, that’s all we need.

Frodus is a band I that I’ve known about since their release Fireflies but had never seen live…until now. My expectations were high, and I was anxious to see them. Fortunately, they did not disappoint. I really never thought that I would ever see this band perform live, so the news that they were back together was so great to hear. The place really went apeshit for these guys and it’s easy to see why.

Drummer Jason Hamacher started things off with a little “deep tissue massage” on a willing member of the audience, just to loosen things up. Then on went his gloves, and for the next hour Frodus rocked the Talking Head. At one point someone asked Hamacher to try and kick him in the face. That never happened, but he did make his way from the stage mid-song, trading off drumming with guitarist Shelby Cinca.  Diving into the crowd, he was passed along the ceiling and then back to his kit to finish the song without missing a beat. This show may as well have been billed as “Frodus Karaoke” because I’m not sure who sung more, Cinca or the audience. It was clear that a lot of people in the audience knew this band, and knew them well. This was clearly who everyone was there for.

The evening ended with the  classic “Cha Chi” to which Cinca told the disappointed crowd, begging for more, “DC bands don’t do encores.” When it was all over I picked my jaw up off the floor and tried to clear the sound of sirens from Cinca’s bullhorn from my ears into the next morning. If Wall Street is reading this, your asses best be hiding right now because Frodus is back in a big way (and I think they’re gunning for you).

Sick.  Heavy.  The sonic apocalypse (as tagged by the UK rag Metal Hammer).  It could only be Caverns.

Caverns
Aural States Fest
Talking Head Club
Baltimore, MD
January 30, 2009

Source: mg sms2000/200 > tascam hd-p2 (oade – acm) @ 44.1/16 bit
Compression: cdwav > flac
Taper: Steve Sanford

Download the full set formatted as: MP3 or FLAC

Stream and download individual MP3s after the jump.

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Wye Oak is already posted, and over the next 11 days we’ll be posting the rest of the live audio and tons more coverage from our first annual Aural States Fest! Thanks for coming out!

All photos: Shantel Mitchell

OK, I am sure I am not alone in thinking that this was one of the best shows that I’ve been to in awhile. Not only did this show run so smoothly with both stages in action at all times, but it was also a night filled with some of the best bands from Baltimore and DC. I mean, 12 bands on two club stages over a period of about 6 hours – for only $10 bucks: who could want for more? Well, there was also free coffee (thanks to Zeke’s Coffee in Parkville) and door gifts for those who came early – filled with vinyl, CDs, books, and other goodies (thanks to Soundgarden, Atomic Books and a slew of record labels).

This was the perfect event. If you were there, I am sure you are agreeing with me and if you weren’t, well then you missed an awesome show! Here are my photos from the evening. I was able to get all of the bands but two: Title Tracks and Hollywood (so sorry!). I picked out a few from each band. If you want to check out everything, you can see them here.

Andy Abelow

Andy Abelow, a solo artist who also performs in Small Sur started the evening, featuring accompaniment by Austin and Bob from Small Sur, Caleb Stine, John Varrone and Bethany Dinsick.

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OK everyone, gather round! The line-ups and venue info are all finalized. Here we go:

January 30th (Performance Night) @ Sonar Club Room/Talking Head Club

$10 // 2 stages // Doors 630PM // Music 730PM // Tickets

Free grab-bags including CDs, MP3s, merch & Video Americain rentals. Handed out to paid entrants starting at doors until supplies run out.

Arbouretum

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MP3: Arbouretum – Buffalo Ballet

Wye Oak

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MP3: Wye Oak – For Prayer (Live)

Lo Moda

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MP3: Lo Moda – Buildings Dansante

Pleasant Livers

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MP3: Pleasant Livers – Destroy Tokyo

HOLLYWOOD

Sri Aurobindo

Small Sur

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MP3: Small Sur – Roots

Andy Abelow feat. Caleb Stine, Austin Stahl, Jamie Saltzman, Brendan Sullivan, Bethany Dinsick

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MP3: Andy Abelow – Inside This Calm 

Title Tracks (ex Q and Not U, Georgie James)

Imperial China

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MP3: Imperial China – Mortal Wombat (Live)

Caverns

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MP3: Caverns – Brodown High Noon

CANNOT BE STOPPED

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MP3: CANNOT BE STOPPED – Dull Fangs

January 31st (Dance Night) @ Whole Gallery

Donations

CEX

Craig Sopo

Garret McIndoe