For those who have been following the House of Blues New Music Nights competition (powered by Sonicbids), the results are in: L.A.’s Brian Buckley Band took the most pledges. Congrats to them. All that’s left now is the best part – the showcase. Each of the participating House of Blues Venues (L.A., Las Vegas and San Diego) are showcasing three local bands followed by the Brian Buckley Band as a reward for receiving the most pledges. The San Diego showcase is going to be spectacular. It’s on July 11. We’ve got three excellent bands, hand-picked by the organizers of San Diego IndieFest, and me.
Here is my impression of each, based on their Sonicbids electronic press kits (EPKs).
San Diego is not really known for its hip-hop scene, but believe me, there is vibrant one bubbling just beneath the surface. And rising to the top of that scene is hip-hop and spoken word specialists, theBREAX, which has a sound, style and quality of production that set them above the rest.
Consisting of two former Baltimoreans and an Armenian refugee, theBREAX is instantly identifiable as the real deal. I couldn’t tell you who their influences are since I’m not—you know—them, but atop the ice cream sundae that is their music I hear plentiful sprinkles of Jurassic 5, Saul Williams, Black Sheep, Boogie Down Productions and Michael Franti.
What I like best about theBREAX—aside from their incandescent beats and the different cadences of the various lead vocalists— are the lyrics, which are smart and genuine and range between funny, serious, uplifting and angry–sometimes all in the same song (though not in the bad way).
On their EPK, they write that they, “decided to make music that could help change the world.” I find that choice of words to be refreshing because, unlike many hip-hop bands with “socially conscious content,” theBREAX are not so full of themselves as to believe their music will change the world, only that it could “help” change it, that it is part of a movement toward change and not the movement itself. I like that: high goals, moderate ego. I don’t often make lofty predictions, but I think these guys might go big, as in nationally big, which would be excellent because it would finally put San Diego hip-hop on the map.
P.S. The spoken word is kickass too!
It’s a good thing the band doesn’t play like they write press kits. “Look no further for a Powerful Rock/Pop band that has a totally unique sound!!” says the opening sentence of the bio. “Finally, a Band that can DELIVER!!! No one sounds like this Period!”
That’s a total of six exclamation points and 12 grammatically unnecessary capital letters in a three-sentence paragraph.
HOLY FREAKING CRAP!!!!!!!
It’s as if they’re yelling at us to like them. Gratefully, their music doesn’t do that. Oh, they know how to mount a crescendo and break it back down in a fury of guitars, drums and vocal caterwauling—but it’s precise, and appropriate. And when the music does reach the point of poetic bellowing, it’s not like they are bellowing at us, rather, to us—as if calling for assistance from the bottom of a canyon. I can’t say what their influences are, but I hear abundant doses of Gwen Stefani, Pink, The Pretty Reckless, and even Avril Lavigne (not in the bad way).
The Inheritance was founded by brother and sister team, Ian and April Hoey, who gathered some friends to make what they call, “Power-Pop Experimental Rock” music. I’m not really hearing the “experimental” part so much, but Power and Rock? Hell yeah!
Goose pimples formed on my arms when the first acoustic notes of “Enemy” trickled from my speakers, as if the notes were clearing a small forest foot path for the singer to follow. “Enemy” is a soft but ballsy breakup ballad with the mood of Morphine and the styles of Wilco, Stones, Beatles (circa “Blackbird”) and Ween (circa “Japanese Cowboy”).
The EP immediately takes a musical U-turn before arriving at track two, “Down Hill March,” which is appropriately named for the way it struts, and conjures the tex-mex style of Stan Ridgeway and the delicious sarcasm of Warren Zevon.
“Cope,” is a paranoid bi-polar romp (Modest Mouse meets The National), “Postcard” and “5th of May,” smolder in a completely different manner than the first two, as much as they differ from each other, and ditto how they differ from the last two: “The Great Awakening” and “No Worries,” all of which make for an EP as schizophrenic as any of my imaginary alter egos (though not in the bad way).
So there you have it, three great San Diego bands jockeying for your love and appreciation. Why not show them a little and pledge in their favor. Then come hang out the IndieFest hotties and me at House of Blues on July 11 for a night of kickass local music. Oh and don’t forget to “share” and / or invite your friends to the Facebook app.
Ed Decker
