Seepeoples & Green Lemon :: 04.02.05 :: The Pour House Music Hall :: Raleigh, NC
It was almost surreal how he moved from one instrument to the next. Starting out on the guitar, he then went on to the bass and the drums before setting up shop behind the keyboards. Playing well beyond his years, Liam Bradford, the three year-old son of SeepeopleS bandleader Will Bradford, displayed his penchant for multi-instrumentation by testing out each of the quartet members' noisemakers. This was the scene as it played out at sound check a couple hours prior to the highly anticipated Homegrown Music Network (HGMN) 10th anniversary party at The Pour House Music Hall in Raleigh. Hoots and hollers resonated throughout the venue as the crowd, comprised of Pour House employees and Colorado based Green Lemon, cheered on the young talent. Upon completion of the stage setup, Liam's mini Strat was safely put away in its soft case, and he was then escorted back to the hotel for the rest of the night.
Liam and Will Bradford :: 04.02 :: Pour House, NC
By Victoria Karol
The venue was filling up nicely by the time the opener hit the stage. Originally from Oklahoma, Green Lemon started up the festivities, setting the table for the East coast electro-rockers, SeepeopleS. Though many had not heard much about them prior to the show, Green Lemon provided a surprisingly excellent set that featured tireless genre-hopping. At times, they were emulating euphoric techno grooves similar to The New Deal but with an infusion of funk and reggae influences. At other times, it was a crosspollination of Phish, Shootyz Groove, and The Disco Biscuits with a pop edge similar to 311. When reading up on these guys, I was not aware they had a sound that stretched this far, but maybe I'm hearing it differently than others. Regardless of impressions and expectations, the band did not disappoint, appeasing even the toughest critics with their eclectic combination of varied styles.
They opened the celebration with a Jekyll and Hyde song named "Vitamin Death." An aggressive tune at the onset, almost punkish, it featured heavy guitar riffs, Jon Cordero's rant, and some interesting vocal harmonies. They pulled a 360 in the middle, slowing the song to a mesmerizing crawl highlighted by Chris Cox's ambient cymbal work and Cordero's well placed vocals. Segueing out of the opener was a signature song from their repertoire named "Whitecap." Peaking guitar riffs, slapstick bass lines, and shared vocal duties were combined with an airy keyboard groove to produce a tight Green Lemon staple. "Yo check it out," a tune I tagged as "Pop-Funk," featured bassist Matt Fioravonti on lead vocals with support from guitarist Wayne Allen. This song changed up the set and displayed another avenue of Green Lemon's varied songwriting. Preceding the finale was a ten minute moon ride called "Los Federales." The song would have been perfect for a techno club in space, exhibiting a tight improvised breakdown between the hard working quintet. An excellent vocal harmony by Cordero and Fioravonti added great impact to a song that featured Steve Schaben chiming in for a lengthy guitar solo. They managed to squeeze in a hard edge rap/rock song ala The Beastie Boys to cap off their opening set which clocked in around an hour. While still relatively new on the scene, the band displayed professionalism by graciously thanking HGMN and SeepeopleS for sharing the stage on the festive evening.
Headlining the night's celebration was Will Bradford and the crew dubbed SeepeopleS. Their kaleidoscopic melding of rock, pop, and trance, injected with dub infusions, always seems to put on a full scale stage assault. They opted to begin their set with the radio friendly and surprising choice "Dinosaur." The crowd soaked up the mellow opener then quickly erupted at the first notes of the indie rock opus "The Way the World Will Fall." The second track off The Corn Syrup Conspiracy, this song has quickly become a favorite of fans and a staple of live shows. Continuing with the rock attack next came the engulfing and bass heavy tune "It's not so Fun."
Bradford's crew posses a major talent in Dan Ingenthron who really locked in on this tune, digging the notes out of his screaming bass and laying a concrete rhythm with counterpart Tim Haney on drums. This song featured an eruption by Peter Keys on his Moog, including a full on blowout ending to this well-composed indie anthem. The politically and electronically-infused "Butchers” followed the near ten minute onslaught. Smothered in break beats, Tim Haney locked in on drums and Peter Keys really pushed the limits on the boards. The opening bass line to "View from Here," a spacey groove, featured an entrancing bass line and Bradford hunched over a couple keyboards. A song that would benefit greatly from a saxophone provided a fluid segue into what I refer to as "victory-rock." "Oceans of the Abandoned," an inspiring tune, was the finest song in the first set, perfectly displaying Bradford's attention to composition. Next was "Dog Days," a song that takes the award for being one of the loudest songs in SeepeopleS' arsenal. A booming sample and thunder-like bass line opened the tune, followed by searing Middle Eastern guitar riffs. This is "electro-rock," with Peter Keys adding some serious chops on the keyboard from the corner of the room, complemented by Ingenthron's booming bass line. This song not only appealed to the hipsters in attendance, but also the spiked punk-rockers who could be seen circulating throughout the venue.
Dan Ingenthron of SeepeopleS :: 04.02 by Chris Gasper
Two For the Good of the Nation songs, "All Wrong" and "It's Not Your Fault," filled out the middle of the set. These tunes allowed the crowd to catch their breath after the scorching opening half of the show. "Send Me a Line" saw Bradford go to his frameless acoustic/electric to perform the airy, free-flowing social tune. Filled with ever present political undertones, Bradford's vocal refrain toward the end of the song was reminiscent of Sean Kelly of The Samples. The live debut of "No One Sees," the final track on The Corn Syrup Conspiracy, clocked in as one of the longest songs of the night. This versatile tune featured a healthy dose of Peter Keys and included a piercing guitar solo by Bradford before falling back to a mellow ambiance with electronic teardrops. Every song preceding this point in the night served as preparation for the absolute smack down aptly named "Here We Go." A full on explosion by Ingenthron on bass highlighted this electronic punk rocker, which features mind-bending genre fusion and a monster dub jam. This was clearly some of their tightest as well as loudest material. Haney cascaded mind boggling combinations of drum beats and cymbal crashes while Keys injected a schizophrenic backdrop of synth-work and "Moog swings." This song built to mammoth proportions and, as the band says, "can make your ears bleed." Ending with a frenzy of delays and reverb, Haney wasted little time fearlessly drumming the quartet into the opening notes of The Beatles song "Tomorrow Never Knows." Bradford and Haney were the definite standouts for this classic cover tune, which featured hard-knocking drums and a large helping of guitar wanking.
Following an overpowering request for more music, SeepeopleS returned to the stage and busted their alternative take on the Porno for Pyros song "Pets." Their version was slow and funky with well placed vocal delays by the soundman. SeepeopleS' original "Roslyn," an upstart pop tune, dropped the curtain on an over the top 10th anniversary bash at the Pour House.
JamBase | Raleigh
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