Dave Quick had told me about Elvisfest several years ago,  but I was unable to attend until this year.  All of Dave’s events are top notch,  so I knew that it would definitely be worthwhile, even bravign colder than usual weather here.   Finding the venue was easy, and while parking initially appeared so bad that I was All Shook Up,  I was very lucky.    I entered the hotel in the middle of the Straight 8’s set, and there such a crowd by the band that I was unable to get close enough to take photos.   But even from the back, there was no question that they are very good.   The first few songs I heard were proof that there would be some Good Rockin’ Tonight.  The Stages were aptly named Heartbreak Hotel and The Jungle Room.

The crowd was a bit different from Heavy Rebel, but everyone seemed friendly and the focus was clearly on just having a good time.   The crowd seemed to about an even mix of Rockabilly types, Elvis fans, and regulars.At unfamiliar events, I tend to hang back a bit and observe for awhile, and I found a nice spot right beside the jukebox.   Coming down the steps, a rather cute girl stumbled and nearly fell on top of me.   When I asked her if she were OK, she appeared to think it was a come-on, but really it wasn’t, and fortunately she seemed none the worse for her near fall, so I thought That’s All Right Mama.   Richard of the Bo-Stevens came by and said hello.  Greg admired my T-shirt, which incidentally happened to be a B0-Steven’s shirt!

When The Straight 8’s great set ended I immediately  headed to  the stage to make sure I had a front row spot.  A few minutes later the Bo-Stevens began setting up, and when they began playing it was hard not to Shout It  Out. First,  they did Homage to the King with  a rousing cover of “Blue Moon”, followed by “Burning Love”, and “That’s All Right/Mystery Train”.    To my delight, they soon launched into one of my favorite songs of all time,  the Bo-Steven’s own “My Baby Got Gone”.    Performing songs from both “Can’t Never Could” and “A Little More Road” such as “12 Ounces”,  “One More Town”, “Stop” and “Saturday Night”, as well as  classic ’50’s  numbers like “Little Sister”, the Bo-Stevens proved once more that with  this kind of music, Any Place is Paradise.  Richard played with his usual flair and energy, while Greg’s guitar strings were  smoking with blistering chords.  The versatile Jeff  added harmony, and put the pedal to the metal of his steel guitar.  Can you really have this kind of music without a little mandolin?  Nope.  Meanwhile, the Reverend slammed the drums like Judgement Day was dawning, while Daniel slapped the double bass with serious aplomb.  It was time to seriously Rock- A-Hula, baby.    Just when you thought it couldn’t get any better,   Richard invited the talented John Howie, Jr. to the stage.  The Bo-Stevens set ended all too soon.

Between bands the DJ  put on a 50’s extravaganza while several couples began swing dancing, and everyone had a generally good time.  Next up was Killer Filler, with their roaring mix of Surf, Soul, and Rock N’ Roll.   How Can You Lose when add a little Cha-Cha to the mix?  Soon Killer Filler had he audience dancing like we were in trh tropics instead of the middle of the coldest spell of the year.

I wandered out to the Jungle Room, where the immediate drop in temperature reminded me that we were indeed far from the tropics, but with the incomparable John Howie, Jr, and the Rosewood Bluff on stage, the chill was soon forgotten.   Everyone was putting some serious mileage on their Blue Suede Shoes, while John Howie and his crew laid down some serious high octane country, underground style.  The crowd was very forgiving when I weaved my way to the stage to take some pictures. On the way I ran into Dave Quick, who was as solicitous and  affable as usual.    John Howie Jr and the Rosewood Bluff have some of the most energetic fans around, who were clearly thrilled to see the band.  I thought I recognized one of the girls who was right in front of the stage, but I was not sure, until John called some special guests to the stage, none other Richard Boyd and Billie Feather.   The girl was indeed the talented Billie Feathe, lately of the Bo-Stevens and currently a member of the simply amazing Darnell Woodies.  John Howie and friends brought the set to a rip-roaring finale that insured no one in the audience was standing still.

Afterwards, I spoke at length with Billie, who is certainly one of the nicest pople in the local music scene as well one of the most talented.  She introduced me to John Howie, Jr.  who is also very friendly.  I look foward to seeing them both on stage again.

Afterwards I made by way to the even more frigid parking lot, and the thirty something odd miles home.   David Quick kas once again put on a truly enjoyable  event. Even is Elvis isn’t your Teddy Bear, you are sure to have a good time at Elvisfest.  Due to a malfunction I was regretfully unable to get any video footage, but I hope that the pictures give some idea of this fine event.

I was there! (Thanks, Billie.)

I must convey my profoundest  apologies to The Extraordinary  Contraptions for the lateness of this review.    To be honest, this has been a very difficult review to write.  Not due to any deficiency of the music, mind you, far from it.  Indeed, the exact opposite is the case.  My difficulties in reviewing this superb CD stemmed from the fact that I could not find a way to adequately explain exactly what the music evoked in me.  For some time, I listened to the CD with a stirring of nostalgia.  But I could not identify exactly what this nostalgic feeling was for, since the music herein is decidedly unlike anything musically in my past.   Finally, after much introspection, it dawned on me that this was how music on ‘70s radio should have sounded.  (Don’t get me wrong: there was talent, but in the end it had nowhere to go except into the maw of the  music industry, which imposed mediocrity in the name of accessibility.  Then Punk showed it was possible to circumvent the assembly lines.)   Instead of the sappy, (but earnest) guitar singers, the swirling,  muddled “art” albums,  and boring gut-bucket boogie, this is what ‘70’s music should have sounded like.   With  Aelus Kristof von Stadberg on guitar,  Dimitri von Stadberg on bass, Corbin Able Welch’s percussion, and the lovely Sephora Bostwick on keyboards,  the Extraordinary Contraptions have produced a fine CD.  I’ll add that  “Inappropriate on Purpose”  is appropriately produced by Gilded Age records, a music consortium founded by Joshua Pfeiffer and Evelyn Kriete where the DIY spirit is alive and well.

“Breathe” is a thrilling combination of rollicking guitar and fine vocal harmonies which are just discordant enough to be interesting. There is a great bit of falsetto here somewhere too.   If you want to chill out, listen to Simon and Garfunkel.  If you want to groove, play this.  Strong keyboards give a wonderful counterbalance to the whole piece.

‘Kiss from a Girl” begins with an excellent sort of chopping retro-guitar.  The song has some hard guitar riffs which are just awesome, giving a hint of early Jethro Tull.   Mesmerizing Keyboards weave wonderfully through the spaces between, over, and underneath,  like a serpent winding through the branches.  The bass holds steady throughout the song.  The lead vocals careen between the extremes of short, punkish bursts, and  old R & B.  “Just tell me Baby, how to win a kiss!”

“Light Feet Do First Impressions Make” has a very ‘full’ sound that surrounds the listener.   The guitar pounds along like a freight train on a decline, with keyboards and percussion stoking the fires.   The whole thing desperately spirals  towards a dramatic vocal and instrumental cacophony, only to brake and then pick up steam again.  Right when you think it’s finished, the song roars into life again.  I love the guitar.

“The Lights” begins very poignantly, with light keyboards and percussion. Dimitri’s bass has a cool funky groove, then Aelus adds faintly grungy guitar in a combination that works admirably well. But wait, this song features the captivating Sephora on vocals. She is soulful, yet sultry, and tinged with melancholy.  Her keyboards keep a steady, moody pace, while the supporting vocals soar soulfully in a gripping counterpoint.  Aelus has a nice, rock-style solo, and Dimitri’s bass emerges from where it has been hovering just under the surface.   The song rises to a climax of swirling, wrenching vocals.  The Extraordinary Contraptions show that a little bit of Motown goes a long way!

“Fine” hits the listener very viscerally. The vocals are deceptively smooth, and the guitar riffs are addictive and edgy.  Keyboard and backing vocals add delicious layers and then the song rises to an anthem-like chorus. Corbin’s jazzy percussion adds emphasis at just the right times. Then Sephora adds a harmony that strikes the listener like a silver bullet.   The song races, with each element in superb interplay, to a sudden finale (of seem, worthy of  the Emperor of Ice Cream).

“This Kind of Love” has a catchy Metal-style opening, rolling into tight vocals and  harmonies  that bring early Queen to mind. High keyboards add a harpsichord-ish air, with Corbin’s percussion riding herd.   Dimitri’s  bassline leads a sudden heavy charge, with everyone churning furiously, before descending to a harmonic close.

I simply love the opening keyboards on “Policy of Honesty”, which have an almost Latin flavor.  Aelus’s vocals are a bit harsher than usual, a perfect math for the absolutely blistering guitar.   A metallic guitar solo puts on the heat.  The last segment of the song is a rousing sonic blast,   with backing vocals that don’t just soar, but skyrocket  magnificently into a Gotterdammerung chorus.  Great song. Play it loud!

Rapid fire guitar riffs herald the beginning of “Ms. Intangible”, setting the pace for very energetic staccato vocals, which alternate with a speaker-type vocal embellishment,   and well integrated background harmonies.  Aelus wields a mean guitar that sounds positively punk and then suddenly grunge, while Dimitri’ s bass is subtle power behind the throne.  Likewise, Corbin’s percussion is very strong, charging into the finish as the song ends on a riveting keyboard flourish and then a few random guitar notes that fire like the final shots of an ambush.

“Burn” continues with a fast paced Deathrock guitar riff and a bit of echoing diabolic laughter.  This song again highlights the dynamic vocal arrangements of the Extraordinary Contraption.   Everything is face paced, with the guitar suddenly sounding very ‘90’s-ish.  The pace slows with a bit of solo guitar, and then shifts back into gear.  There is a very edgy bit of keyboard in the middle somewhere, along with a bassline that reaches out and grabs he listener unexpectedly.  Vocals reach a crescendo and then suddenly the song stops.

“Smote” has another wonderful Latin-esque tone, down to the percussion.  There is a interlude of spaghetti western guitar, and then silence, like the seconds before a gunfight.  The song suddenly resurrects with keyboards and the tone drops to a deadly growl, held by melodic and militaristic percussion, before the song surges into a  strong Latin-esque keyboard sequence, and finally  a thrilling grungy guitar burst reminiscent of Neil Young and Crazy Horse. The ending is as fast and dramatic as the OK Corral.

The CD aptly closes with “Never Halfway Only”.  Heralded by a touch of percussion, this is a very moving number with Sephora’s vocals flowing smooth as Sade, smoky and magnificent.  The percussion is very integral to this song, yet is masterfully understated.  Both guitar and bass manage some very evocative chord changes, and the backing vocals add to the sense of utter poignancy of the song.   Keyboards are a firm foundation of the song, slow and dirge like, as the bass shadows them like a memory, before emerging into its own right.   Sephora’s vocals also bring to mind both Joni Mitchell, particularly on the like “I hear things are changing now…” and invoke the sad expressiveness of Roberta Flack.   “I will be there for you ‘til my dying day….”    The song ends with a striking acoustic flourish. Simply a phenomenal song.

I could say much, much more about “Inappropriate on Purpose”, but would still not give the reader an adequate appreciation of the CD.   For me, some of the most extraordinary qualities of The Extraordinary Contraptions are the brilliance of the arrangements, both vocal and instrumental.  The discordance which I have already mentioned works admirably to heighten the effects upon the listener.  The band are all very, very talented and compliment each other exquisitely, performing both fast and slow numbers with equal ease.   They combine many diverse elements into a unique sound, and the diversity insures that the CD is never monotonous.  This is the hallmark of bands that play in the Steampunk scene, not all clanking and horns.  They combine elements that may seem disconcerting to a casual ear conditioned to the superfluous, momentary catchiness of the mainstream into something far more creative with infinitely more staying power.   Oh, and The Extraordinary Contraptions have excellent fashion sense, too.

For the discerning listener of all sorts of music, “Inappropriate on Purpose” is simply a must-have.   If you can catch The Extraordinary Contraptions in concert, by all means, do so!  Not only are they talented, they are also very nice people.

http://www.theextraordinarycontraptions.com/

http://www.myspace.com/theextraordinarycontraptions

Over the past couple of years it has become fashionable in certain Goth and Deathrock circles to criticize Steampunk.   On a prominent Deathrock forum,  Steampunk was recently characterized as “silly” and “stupid”.   I find it curious that members of a subculture who have always chided the Mainstream for being “intolerant” can be so intolerant themselves. Deathrockers and Goths love to portray themselves as being “individualistic” and “nonconformist”, yet in cases like this they are remarkably disdainful of those who not conform to their standards.   In effect, these people have become exactly what they claim to despise:  intolerant conformists.

On that particular forum, the primary complaint against Steampunk seemed to be concerning the music.  Steampunk was  derided as somehow not being a valid subculture, because its music  “is already covered under other genres”.   These  critics of  Steamkpunk apparently do not  understand that Steampunk is not a music subculture.  Unlike the Goth and Deathrock “scenes”, music is not the definitive factor of Steampunk.   Steampunk is a visual subculture.  Music is strictly secondary, being simply something to add to the mood at social events.  As Joshua Phieffer of Vernian Process says,

“…[T]here is no defining element to Steampunk music. Steampunk music is different to every individuals interpretation of it. The only true definition could be; ‘Music created by Steampunk fans, or music that Steampunk fans find invokes the atmosphere they expect from a Steampunk setting or aesthetic‘.”

To the Deathrockers who recently sneered that Steampunk music is already covered by existing genres, yes indeed!   It’s covered by everything from Ragtime to Goth. And therein lies the beauty.  While a few bands do call themselves Steampunk bands, this is usually in more of an aesthetic and philosophical sense more than an attempt to create a new musical genre.  An analogy might the way that  different bands toured with the Grateful Dead and became part of Deadhead culture, but were nothing musically like the Grateful Dead.  DJs  at Steampunk nights spin songs that simply that fit in with the atmosphere.  Personally, I find Frightdoll’s “Endings” and the Darnell Woodies’ “Booger” eminently suitable for a Steampunk event.  But these  are certainly not “Steampunk” bands,  and might even be horrified at the suggestion.   At The Clockwork Ball, hosted by the talented Davenport Sisters, of course you will probably hear hear Vernian Process and The Unextraordinary Gentlemen.  You might hear Rasputina, The Squirrel Nut Zippers, the Decembrists, and Jill Tracy.    You might hear Classical, Jazz, or Darkwave.    But it is the song that is important, or rather, the feeling that the song invokes, not the “genre” of the artist.   Indeed, someone can be a Steampunk aficianado and not listen to any particular music at all.    This is where Steampunk differs from music subcultures.    It is especially ironic to hear Deathrockers bash the Steampunk subculture on musical grounds, when a couple of the most prominent Deathrock “models” are not fans of  Deathrock music!

Apparently, people are trying to make Steampunk fit their own notions of their own scene.   A couple of years ago on the same forum, one  Deathrocker sniffed something to he effect that Steampunkers are just LARPERS in top hats and goggles.    Well, I’ve known far more Goths who are LARPERS than I’ve ever met in the Steampunk scene.  So what?  The implication that Steampunk is somehow contrived and devoid of real substance is a charge that was leveled at most burgeoning subcultures.  Let’s be real: Steampunk is no more “silly” than  than Goth or Deathrock.  This is the pot calling the kettle black, so to speak.  It is truly ludicrous for one such subculture to be bashing another.

Steampunk is not Goth. It is not Deathrock.  It does not try to be.   So what is the problem?  All three of these have far more in common with each other than they will ever have with the Mainstream.  Instead of bashing people who are trying to be different, why not show a little of the same tolerance that you want the rest of the world to show you?   Or at the very least, bother to find out a few facts before you trash something out. A few places to start might be here:

http://steampunkscholar.blogspot.com/2009/06/steampunk-pastiche-elements.html

http://www.tor.com/index.php?option=com_content&view=blog&id=58014

http://brassgoggles.co.uk/blog/

Held Oct. 29-31st 2009 at the elegant Mansion 462 in downtown Chapel Hill, NC the Eccentrik Festival VI “The Mariner’s Revenge”   upheld its six year tradition of hosting a truly underground event “by the scene for the scene”.  Last year, I was only able to attend a single night of this outstanding event, but this year I enjoyed two nights of excellent music, DJ’s, and company.

On Friday Oct. 30th, I arrived on Franklin Street, the main cultural artery of Chapel Hill and nearby UNC, shortly after Mansion 462 opened its doors. As always, the staff of Eccentrik and mansion 462 were friendly and welcoming. As it was sometime before the bands began, I spent some time talking with Emmett and Klaude Davenport, the energetic and eminently capable organizers of Eccentrik.  To my surprise, Brad, the congenial owner of Mansion 462 recognized me, welcoming me back to the establishment.  Wandering through the crowd unwinding a bit after my journey (traffic on I-40 on a Friday night brought back shades of Miami),  Soon the dashing host and MC, Mister Kantrip, officially began the evening’s musical festivities with his own inimitable brand of humor.  The lights dimmed, and The Extraordinary Contraptions took the stage.  I had never seen The Extraordinary Contraptions before, and was truly astonished at the musical mastery and stage present of the band.   Any band with a double bass automatically gets a few points in my book,  but this was a mere premonition to what was soon to transpire.  With Aelus Kristof von Stadberg on guitar, Dimitri von Stadberg on bass, Corbin Able Welch on percussion, and the most lovely Sephora Bostwick on keyboards, The Extraordinary Contraptions performed material from their future classic “Inappropriate On Purpose”, as well as their upcoming CD.   Not only are they musically adept, but they are very friendly.  I must have annoyed the band mightily after their performance, but they took it in good grace and we had several very conversations about the band, and music in general.   Their fashion sense is superb, too. Sort of like the Wild West meets Dr. Who.

Then Lemming Malloy took the stage.  As you may have deduced from my reviews, I consider Lemming Malloy one of the key bands, and perhaps THE key band,  of the talented musical scene centered around the Triangle area.   They are amazingly versatile, and as usual their set was fantastic.   The Two Man gentleman band from NYC was next, straight out of the Roaring Twenties, or at least, how it should have been.  Andy Bean and Fuller “the Councilman” Condon delivered a rousing, rip-roaring performance of demented dixie-land, hot jazz, and a non-stop repartee that was as entertaining as the music.  They are not afraid to veer into the risque, or actually, crash and burn into the risque.   Oh, did I mention they play kazoos?   After the bands finished, I spoke briefly with Unwoman and various others in attendance.  All agreed it was a wonderfully entertaining evening.

I was afraid that the trek to downtown Chapel Hill on Halloween would be rather traumatic with Franklin Street closed to traffic , but this was not the case.  It was a short walk from Carrboro, which was rather pleasant and a nice way to see the Halloween crowds.  I again arrived somewhat early at Mansion 462, and spent some time observed the clientele.  Fashion ranged from the the expected Steampunk attire to elaborate Halloween costumes,and some people were in street clothes.  All mingled freely and there were not visible boundaries, as in so many clubs and events.  I chatted pleasantly with Emmett before she turned her attention to the turntables.  Between the bands, she and her DJ’s kept the crowd moving.  At one point during the night I was thrilled to hear my favorite song by the Squirrel Nut Zippers, “Suits Are Picking Up the Bill”.   The evening began with none other than Roberto Cofresi (of the New Town Drunks), a one Pirate act of pure nautical intensity.  With ballads, sea chanteys, and songs of undetermined origin, Roberto unflinchingly steered the good ship Eccentrik out of port and  into the wild unknown.  Towards the end of his set, I was itching to request “Spanish Ladies” or “Health to the Company”, but I could see he was in dire need of a dram or three after his musical exertions.  There appeared to be a small technical difficulty setting up the stage, but this turned out to be an unexpected blessing.   None other than The Extraordinary Contraptions quickly set up near the front for an impromptu second performance and completely acoustic set!   The lines between audience and band were blurred as they played nearly among the audience, with passersby peering in the door and windows , as Eccentrik-ites wandering freely about.  One of the extraordinary things about The Extraordinary Contraptions is that not only are they most proficient with their instruments of choice, but they are fine vocalists as well.  Aelus, Dimitri, and Sephora all took the lead vocals during the set, as they had done the night before, seamlessly moving through their excellent repertoire.   Sephora’s melodica lent an enchanting, and vaguely nautical air  to the festive set Too soon, the Extraordinary Contraptions, finished.  If the evening had ended right there, it would have been a memorable Halloween.  And yet, there was more to come!

None other than cellist extraordinaire Unwoman was next.  With exquiste vocals and cello backed by occasional electronics, Unwoman gave a mesmerizing performance.  I was very pleased to see, or actually, to hear, that her electronic backings are usually very minimal. They do add depth on some tracks, but are not overpowering.      This is in stark contrast to some other bands who, while they are skillful string musicians, their music ends up being mainly Industrial/Dance with some classical elements thrown in.  Unwoman, on the other hand, showcases her  superb cello and voice.   She played a range of pieces from throughout her career, including her marvelous cover of Chris Isaacs‘ “Wicker Game”; “haunted”; “Survivial“, and the intriguing “Witchwife“.  “Witchwife” is the the poetry of Edna st. Vincent Millay set to music, from Unwoman’s album “Blossoms”.)   Unwoman left the stage all too soon.  Next was Durham’s own “Veronica Diabolique“.  Looking dashingly deathrock, Veronica Diabolique gave a smashing performance that soon had the audience dancing.  With a strong post-punk sound that also incorporates deathrock and gothic elements, Veronica Diabolique fittingly performed The Cure’s “Three Imaginary Boys” in a manner that was much more than a mere cover. They also performed “Breathe” from their 2007 EP “Cafe Solitude”.  Dark, yet energetic at the same time the music of Veronica Diabolique is laced with allusions and references to literature, which I enjoyed immensely.  If the Symbolists had formed a Goth band, they would probably have sounded a bit like this!  The evening concluded with the inimitable Vernian Process, fronted by Josh Pfeiffer, who needs no introduction in these quarters!  Ranging up and down the musical spectrum like aural marauders, Vernian Process gave an exciting, blistering, performance that the audience will not soon forget!  They were  joined on stage by Unwoman, who lent an added sense of grandeur to the  occasion.  Joshua ran amok with his empassioned vocals, while bassist Janus literally leapt among the audience. For a moment, he  actually disappeared.    Ash left the audience Dazed and Confused with his versatile guitar work and bawdy bowmanship.  Vernian Process gave their all, and were visibly exhausted as they left the stage much too soon.

Coming from as far away as South Florida, attendees generally agreed that one of the great things about Eccentrik is the sense of camaraderie.  Apparently the laid back attitude of DJ Mouse, her staff, and her regular patrons, rubs off.   “I’m not really into the Steampunk thing”, admitted one patron, “but everyone is always friendly.”  His girlfriend added that whenever she attended Eccentrik and the Clockwork Ball, people would always speak and be sociable, but sometimes she would see the same people at Goth events in the area, and they would appear not to recognize her.   I did run into a couple of people who seemed to be migrants from the regular club scene.  They were not exactly unfriendly, but did exude a rather frsoty and condescending air that I know well from certain Goth/Industrial clubs. Their offhand comment that they had never been to “anything like this” explained it.  Hopefully they will return, and join us on the…Steamside.

People who assume that a Steampunk themed event will feature little more than  boring  music based on stale Victorian affectations could not be more wrong.  (I seriously wonder if some of  these critics have ever actually attended a Steampunk night.)  The music at Eccentrik was richly varied.  Fans of such diverse genres as Deathrock, Industrial and Classical can find something to enjoy. (See my article on Steampunk and music.)   Eccentrick is  about attitude, not affectations. An attitude is of simply having fun.  Patrons who were dressed to the nines mingled freely with others in their street clothes.  I have seen small Goth shows were the bands played and left immediately, but such was not the case at Eccentrik. The bands were as accessible as the DJ’s, who did not sequester themselves in the DJ booth like some DJ’s,  but spun right alongside the dance floor.  DIY is the order of the day, and no preconceptions or judgements are visible.

Even if nothing else, Eccentrik is a welcome change from the usual club fare.  From Chicago to Miami, it’s easy to find weekly Goth/Industrial nights that play pretty much the same music,down to the BPM.  DJ Mouse and her tireless entourage have  worked very hard to produce an alternative, and a fine one it is.     Everyone enjoyed the music and company at one of the most unique events in the US.  DJ Mouse has deliberately kept Eccentrik at a level that is conducive to the true underground spirit.  I am greatly looking forward to Eccentrik VII.  Hopefully, by then I’ll a decent camera that can capture even more of the fun and excitement that is Eccentrik. After all, you can’t go wrong with Mouse in the House!