That Was The Show That Was: Walter Schreifels | Great Scott | 21 May

Well, this certainly isn't where we expected to find Walter Schreifels. We don't mean physically, of course -- after all, there he was, hanging out at the sound booth before the show in his grey hoodie, and there he was up on stage plugging in a weird vintage guitar and rocking out. No, we mean stylistically. After blazing trails through hardcore, post-hardcore, indie rock and acoustic folk-pop, Mr. Schreifels has decided to go deep with the latest iteration of his solo guise, back to some of the early sounds that presumably he and many of us grew up with: sludgy, blues-descended proto-metal, a la Black Sabbath and its many followers. And, like we said, it was a surprising place to find Schreifels stylistically, not only because the choice finds Schreifels breeching the barrier represented by the punk revolution of 1976 and 1977 (and the subsequent, perhaps even more crucial, post-punk permutations), but also because working within a proto-metal, groove-oriented idiom seems to impinge somewhat on Schreifels' extraordinary gift for writing melodies. Even so, Schreifels and crew's fearlessly pure, carefree performance of all new material Wednesday night at Great Scott in Boston before an appreciative throng was a delight to behold.

We say fearlessly pure because Schreifels made no effort to curry favor with the crowd by playing anything from his deep, deep catalogue, which stretches back to 1987 when he began writing songs for New York Hardcore legends Gorilla Biscuits. Instead, Walter succinctly -- and confidently -- introduced a series of new songs (with his typicaly boundless charm, of course), one after the other, about 10 in total. That's about as many songs -- we'd venture -- as might comprise a forthcoming album? A planned Schreifels solo set for years has been referred to under the title Jesus Is My Favorite Beatle (see third item here), and it could be that is what fans were treated to the other night. Song titles we can recollect from the show include "Basic Cable," "Hyacinth" and "36 Chambers." We previously reviewed a solo performance by Schreifels right here in Sept. 2011.

Schreifels' present band features ex-members of New York hardcore mainstays Bold, Cults and Youth Gone Mad (although second guitarist Paul Kastabi looked a LOT like Styx' James Young), and Wednesday's show was the third of four dates (the final date was last night in Philadelphia at The Barbary) lined up to showcase this new band and the new material. One very enjoyable aspect of the set was how fresh and exciting the experience of playing the music seemed to be for Walter and the band. There was a lot of glee shared in quick glances between drummer Drew Thomas and Schreifels after many of the songs, and while there was a negligible amount of tentativeness, as well, that only added to the thrill of the show. For the most part the band executed some very tight dynamic changes, while also slowing down to work grooves and establish atmosphere with some more improvisational solo and noise sections. It's a far cry from the light, amazing pop songs on the 2010 solo set An Open Letter To The Scene, which we reviewed here, and which we named our second favorite record of 2010, and which you may stream via the embed below. But the fact that Schreifels can so deftly and convincingly shift styles without losing any of the appeal inherent in his songwriting is a tribute to his skill as a musician, and puts him in a rarified strata of songwriter populated by Clicky Clicky favorites like Kurt Heasley, among very few others. We eagerly await an album announcement.

Walter Schreifels: Interzizzles | Facebook | Soundcloud | Twixels

Today's Hotness: She, Sir, Velcro, Quicksand, Occurrence

>> For most music fans, there are usually one or two bands so beloved and pure that with each new second of recorded sound they offer, the results feel like a lovingly wrapped gift from an old friend. Here at Clicky Clicky HQ, one of those groups is Austin's thoughtful and restless She, Sir, which is touting a new, free digital single "You Could Be Tiger," available here. Like most long-term relationships, a fair amount of patience is required in order for things to bloom, and the quartet -- founded by the duo of Russell Karloff and M. Grusha -- are no exception. Unconcerned with churning out rushed laptop sessions or pointless album filler, She, Sir is devoted to the cult of the song, fervently, almost spiritually, calibrating and exploring tones, drum patterns and complex academic harmonies in order to perfectly realize their psychedelic mini-suites. Schedules, studio money and the disposable hustle of contemporary indie rock be damned; there are more timeless motives at play here. "You Could Be Tiger" is the best summation of the band's approach yet, highlighting She, Sir's talent for pounding instrumental passages and quick verses and refrains in less than two-and-a-half minutes. Like the material on 2010's Yens EP [review], "You Could Be Tiger," which will not be included on a planned LP, further refines the band's ability to mix its established avant tendencies (dream-pop textures, complicated time signatures and unique alternate tunings) with '60s-inspired psych-pop songwriting. Along with the band's usual delicate analogue production, the highlight here is the gorgeous 12-string acoustic melody and outro solo which repurposes jangle rock touchstones like The Byrds and later, The Rain Parade and mid-period Lilys. It’s all just further testament to how this band, like their hero Brian Wilson, exudes the prodigal coolness of a visionary lost in a room full of instruments, in search of some greater truth. The She, Sir web site notes that new singles from the planned album will materialize later in the year, so here's hoping that the presents keep on coming. -- Edward Charlton



>> It's time to acknowledge that there is simply something in the water in Australia and New Zealand to account for that corner of the globe's glut of quality guitar-pop songwriters producing innocent, unpretentious and glistening nuggets of indie pop, year in and year out. The Clean, The Go-Betweens, The Lucksmiths, Eddy Current Suppression Ring, the list goes on. And now add to it newcomers Velcro, a Melbourne-based trio that trades in mellow and ramshackle strummers of the Aussie variety. As much is clear based on the strength of the act's forthcoming debut EP Dreamboat, due Aug. 13 on cassette from the new London-based Njord imprint. Velcro bucks today's typical indie-rock production trends by featuring a very dry run-through of their occasionally Pavement-esque songs. The snare drum is front and center, with no affectations. The electric guitars cut through with plenty of attack and each string in the chords can be heard individually. And fronter Curtis Wakeling’s warbly Grant McLennan-by-way-of-Adam Green vocals offer up pure sincerity. Title track "Dreamboat" opens the EP with an up-front, diving female vocal hook, but the tune hinges on the descent into the second part of the chord progression, where things go from plucky and melodic to punchy and throbbing; the repeated low chords approximate a snap of the senses after a mid-afternoon daydream. The Dreamboat EP is available from Released By Njord for four pounds, and you can click through the Bandcamp embed below to purchase. Fans who are wholly smitten may want to peruse Velcro's own Bandcamp page, which appears to feature a mess of additional songs. -- Edward Charlton



>> From the "This Is Awesome" department comes word that the kind folks at ShopRadioCast (and, in Canada, Dine Alone Records) will reissue post-hardcore standouts Quicksand’s 1993 masterpiece Slip. The re-release will be pressed onto crisp 180-gram vinyl in a limited edition of 1,500 pieces and will be available Sept. 11. Fans will be excited to learn that Quicksand's undeniable cover of The Smiths' "How Soon Is Now?," originally released as a b-side to the "Dine Alone" single, is included on the reissue. Domestic punters so inclined can choose between red-and-black or green-and-yellow swirled LPs (Dine Alone is selling the good ol’ black). And the whole she-bang is remastered! The blogosphere was set abuzz in June when the band reunited to play a one-off show for Revelation Records’ 25th anniversary. Now the band has just announced a show in Brooklyn for Sept. 25, the night after a previously announced date at Bowery Ballroom in Manhattan; Quicksand are also slated to perform in Los Angeles at FYF Fest in September. Is there more to come? We don't know, but we do know that fronter Walter Schreifels is very busy, and apparently too busy to release his hotly anticipated second solo record any time soon. In the meantime, pre-order Slip at ShopRadioCast and pass the wait by screaming "Head To Wall" in the car, because that's what this reviewer plans to do [I'd choose "Too Official." -- Ed.]. -- Edward Charlton

>> Cambridge, Mass.-based electronic concern Occurrence, the long-time musical outlet of playwright and deeply cool dude Ken Urban (who, among other things, indirectly introduced us to Superchunk in 1992), has officially annexed frequent collaborator Wayne S. Feldman into the band. Mr. Feldman's musical pedigree is both long and curious, but most recently he has helped Mr. Urban mix the last two Occurrence records and contributed guitar and sonics to the band's contribution to Clicky Clicky's Ride tribute compilation Nofuckingwhere, the track "Nowhere." Feldman also starred in the crushingly poignant, Jeff Stern-directed video for Occurrence's "Bleeder," which you can watch here. Mssrs. Urban and Feldman are currently writing and recording a new record, but you can stream their exquisitely dark take on "Nowhere" below.

That Was The Show That Was: Walter Schreifels | Great Scott, Boston | 14 Sept.

We're surprised as you to say that, after all these years and all these bands, Wednesday night was the first time we had ever seen Walter Schreifels, who has been affiliated with more awesome bands than the average American owns records, perform live. Mr. Schreifels founded and has been the primary songwriter in New York Hardcore luminaries Gorilla Biscuits, as well as post-hardcore giants Quicksand and Rival Schools, among other things. After more than two decades in so-called alternative music, Schreifels finally released in 2010 a solo record under his own name. Titled An Open Letter To The Scene, the more rootsy collection was astonishingly good [review here], and we named it our second favorite record of 2010 right here. Needless to say, we were tremendously amped for Wednesday's solo show.

And we were not disappointed. With apologies to our favorite musicians, there likely is no more charming a man in indie rock than Schreifels, who delivered his set from atop a stool via single-pick-up Gibson hollow body and occasional harmonica. We expected him to simply stand and play and then stop playing. But the extremely affable Schreifels spent a fair amount of time speaking as well, occasionally in the middle of songs such as "Arthur Lee's Lullabye." He gave incredibly funny accounts of driving his "champagne"-colored Toyota Camry, watching pro wrestling and dreaming about meeting Sammy Hagar in a room entirely filled by an out-sized hot tub. It's not an overstatement to say the easy-going Schreifels -- who drove himself to the show and carried and set up his own gear and manned his own merch table and interacted graciously to fans-- likely could have entertained the eager crowd simply by telling stories all night. But as it was, he delivered a sonically spare but terrifically enjoyable set of old and new material wedged between the thrilling (and substantially louder) melodic hardcore of locals Daltonic and scene veterans Samiam.

From An Open Letter To The Scene, Schreifels played "She Is To Me" (which was apparently written in Boston, and about which he quipped "it's a fuckin' wicked awesome song"), "Arthur Lee's Lullabye" and the title track. It was particularly thrilling to hear him dip back into the his repertoire for a reinterpretation of Quicksand's absolutely crushing "Too Official" (from that band's 1993 collection Slip) and Gorilla Biscuits' "Forgotten." Interspered throughout were some covers and snippets, including a bit of Boston hardcore legends' DYS's "City By City." After a hysterical bit of musing about what Ian Mackaye must think of a new pro wrestler who affects a Straightedge persona, Schreifels churned out a folksy rendition of the Minor Threat shouter "In My Eyes."

It was refreshing to see Schreifels not taking things too seriously, not putting his songs up on the same pedestal as fans. Instead, he would change up vocal melodies and timing, play a song in a different tuning (leading to a very funny explanation of drop-D), occasionally tune in the middle of a song, or -- as was the case with "Arthur Lee's Lullabye" -- stop mid-song to insert the recollection of the dream about hanging out with Mr. Hagar. All of this was done without dampening the emotional punch of the material, from the wistful la-da-da-das of "She Is To Me" to the angst of "Too Official." "An Open Letter To The Scene," dedicated to deceased Warzone singer Raybeez (from whom some of the words of the chorus to "Open Letter" were borrowed), closed out the night. Bostonians won't be without Schreifels too long. He returns to Boston, in fact to the very same nightclub, with the post-hardcore foursome Rival Schools Oct. 24. We can't wait.

Walter Schreifels: Internerds | Tumblr | Facebook | YouTube

07 Arthur Lee's Lullaby by Dine Alone Records

Walter Schreifels - Open Letter To The Scene by bsmrocks

09.17 -- Otto Bar -- Baltimore, MD
09.18 -- Strange Matter -- Richmond, VA
09.20 -- Smiling Moose -- Pittsburgh, PA
09.21 -- Horseshoe Tavern -- Toronto, ON
09.22 -- Katacombes -- Montreal, PQ
09.23 -- Mohawk Place -- Buffalo, NY

Review: Walter Schreifels | An Open Letter To The Scene [MP3]

Perhaps the most surprising thing about Walter Schreifels' new record is that it sounds completely effortless, like the hardcore/post-hardcore luminary is not even breaking a sweat, like the music simply exists out there in the universe waiting to flow through whenever Mr. Schreifels picks up a guitar and opens his mouth. There are, of course, other surprises: for example, sometimes when Schreifels here picks up a guitar and opens his mouth the music sounds like Squeeze, or John Cougar, or Maritime. But these surprises do not eclipse Schreifels' startling ease with acoustic pop in the wake of decades in which he helped define New York Hardcore with Gorilla Biscuits and then mapped successive escape routes from the genre beginning with the incendiary post-hardcore act Quicksand. More years and more bands followed, and now, finally, Schreifels released last week a record under his own name.

Let's reiterate: it is odd -- at least for those of us who have only anecdotally followed Schreifels' career for the last decade -- to hear one of the most important figures in hardcore music release a record of beautiful acoustic pop. Schreifels' web site contains a note stating this is the sort of material he has been playing in acoustic sets in recent years; the note also states the songwriter had been looking to The Beatles, The Byrds and Donovan for inspiration as he was writing An Open Letter To The Scene. But it is not the influence of classic rock bands that makes the record special, it is the synthesis of those bands and others, and a synthesis of that music and Schreifels' facility with hooks and emotive lyrics.

The addictive album opener "Arthur Lee's Lullabye" is perhaps as much about the legendary fronter of Love as it is about Schreifels himself proclaiming his own freedom from his musical past ("the scene, you don't need them"). The title track may be, as friend and Daily Buzzard scribe Jim suggests, Mr. Schreifels' eulogy for the hardcore scene or CBGB's (or both). Our take is the tune is a light-hearted shot at those who have taken hardcore and Schreifels so seriously that he is compelled to write a song that closes a chapter in his life. In that context, An Open Letter To The Scene is a classic Dear John letter. It's not you, reader, it's Walter. Even so, discussion of the larger themes at play does a disservice to the sublime moments scattered across the record: the da-da-da's in "She Is To Me;" the world-weary drawl of the first line in the second verse of "Save The Saveables;" the poignant, soft electric piano in the tragic "Wild Pandas;" the explosion of hooks that is the smile-inducing "Ballad of Lil' Kim." Because, in the end, it is about great songs, and not about where Schreifels has been or where he is going. An Open Letter To The Scene certainly summarizes Schreifels' musical past -- so much discarded snake skin -- but more importantly it frees him from its confines once and for all.

Walter Schreifels -- "Arthur Lee's Lullabye" -- An Open Letter To The Scene
[right click and save as; MP3 via Schreifels' promo co. Okay! Okay!]
[buy An Open Letter To The Scene from Dine Alone here or Big Scary Monsters here]

Walter Schreifels: Internerds | MySpace | YouTube | Flickr

05.14 -- The Tower -- Bremen, DE
05.15 -- Gruner Jager -- Hamburg, DE
05.16 -- Bunker Ulmenwall -- Beilefeld, DE
05.17 -- Schlachthof -- Wiesbaden, DE
05.18 -- Blue Shell -- Köln, DE
05.19 -- St. Gallen -- Gabenhalle, CH

YouTube Rodeo: Walter Schreifels' "Arthur Lee's Lullabye"

Wonderful lead track from musical journeyman/New York hardcore legend Walter Schreifels' forthcoming solo set An Open Letter To The Scene. Mr. Schreifels has been releasing music -- much of it capital I Important -- with various bands (Quicksand, Rival Schools, Walking Concert, etc.) for an astonishing 22 years; Revelation Records issued his first release, Gorilla Biscuits' debut 7", in 1988. Toronto-based Dine Alone Records releases An Open Letter To The Scene Tuesday; Big Scary Monsters issues the set in the UK May 10. The limited-edition vinyl version of the record is bright, translucent green and features as a bonus track My Bloody Valentine's "When You Sleep." Schreifels recently wrapped a strand of shows in the U.K., but he has numerous live engagements inked for the U.S. and Germany in the coming weeks.

05.05 -- The Studio @ Webster Hall -- New York, NY
05.07 -- North Star Bar -- Philadelphia, PA
05.08 -- Town Ballroom -- Buffalo, NY
05.14 -- The Tower -- Bremen, DE
05.15 -- Gruner Jager -- Hamburg, DE
05.16 -- Bunker Ulmenwall -- Beilefeld, DE
05.17 -- Schlachthof -- Wiesbaden, DE
05.18 -- Blue Shell -- Köln, DE
05.19 -- St. Gallen -- Gabenhalle, CH