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Title Tracks – Every Little Bit Hurts

To start, Title Tracks sound nothing like Q and Not U, whose raucous clatter compelled DC post-punkers to dance in the early part of the last decade. Neither does Title Tracks remind you of the energetic indie pop of Georgie James, John Davis’ first post-Q and Not U band. Instead, Title Tracks produces mid-tempo power pop with all the requisite influences, {insert The Jam/Big Star reference here}. And they follow this formula quite well, crafting some tight and exciting songs in the process.

That’s the good news — if you enjoy that sound and feel, you’re probably gonna eat this up the way I ate up Abe Vigoda (who?) a year and a half ago. But frankly the formula is weary, old, and been done before, many thousands of times over. If you’ve decided to step into this arena you have to face the fact that there are a thousand other guys out there playing the same chords and singing the same “la-la”s. So what’s there to distinguish you from them? Usually the answer lies in strong vocals and melodies, and on both counts Davis is fine. In a world where ex-post punkers are embarassing themselves at an alarming rate, give the guy props because he certainly succeeds more often than he fails, but I wish he would take enough chances to do either on a large scale.

Read the rest…

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My roommate silently stalked over to my computer and asked what I was listening to.

“The new Title Tracks single,” I replied. Looking over my shoulder at the four or five possible concepts I had sprawled out on a sheet of printer paper, he asked if I was writing about this song. “Yes,” I said, trying to quiet his apparent suspicion. He began to chuckle as he stared at my notes. I asked him what he’s laughing at, to which he responded: “Nolan, it’s a freaking pop song.  Quit analyzing it like one of your David Byrne albums or something.”

He probably walked off mumbling something about a punk band, but I wasn’t listening. He was right about one thing there: Title Tracks (and their debut single, Every Little Bit Hurts) does not attempt to revitalize pop music.  In fact, I think it’s safe to say Title Tracks do nothing but add to the already-crowded guitar pop genre.

That being said, “Found Out,” the better half of Every Little Bit Hurts, shows a lot of promise from these DC indie-poppers. It stars some extra-tense guitars working like a loaded spring, only gaining a moment’s rest during the pop-standard chorus.

The sugar-soaked tune (clocking in at a whopping 2:35) is just long enough to allow a fair amount of familiarity, but somehow feels like it could still use some trimming. The first verse introduces itself like a walk through an uncomfortable neighborhood at 3AM, and before you know any better, it transforms itself into a liberating power-chorded refrain.  It just gets a little irritating when you hear the same chorus for the third time in less than three minutes, almost as if you know they simply decided to throw in the once-delightful bit wherever they could.

Title Tracks seem to have this issue all over their single. While each individual piece of any given song is strong, their copy/paste outlook ruins much of the enjoyability that may have been possible. If they clean up their song structure a little bit, I’ll be looking forward to see what these guys do with an album.

Photo credit: Greg Szeto

DC’s Edie Sedgwick is a unique performer that you might say bears little in common with his namesake.  The original Sedgwick was a socialite actress most recognized for starring in Andy Warhol films.  

The Sedgwick in question (pictured right) purports to be the original’s transgendered reincarnation and is signed, interestingly enough, to legendary Dischord Records.  Odd until you realize that Sedgwick is a brazen and adventurous pop culture parody act.  

With track titles culled from celebrities and cinema, Sedgwick’s songs are lined with funky, post-punk dance-beats, an undeniable hip-hop swagger and a personality born for performance that ultimately carries the show when the music gets too repetitive. Read the rest…

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