There are a few things that I’d like to divulge to the readers of these articles, in case it hasn’t been clear in the last 33 weeks of reviews. Essentially, my job is to write reviews that will encourage the music-listening community to come out to The Republic on Wednesday nights, which is a modest charge. Most people don’t need that much prompting to go listen to a few good bands.
There are a few things that I’d like to divulge to the readers of these articles, in case it hasn’t been clear in the last 33 weeks of reviews. Essentially, my job is to write reviews that will encourage the music-listening community to come out to The Republic on Wednesday nights, which is a modest charge. Most people don’t need that much prompting to go listen to a few good bands. And truthfully, I am pleasantly surprised by about 80% of the bands that Radio Rubber Room recruits for these delightful Wednesdays. Occasionally, I’m stretched to shine light on the favorable parts of a bad band/performance. I don’t feel cheap for doing this, because it’s nice to see the good in as many things as possible. The problem I run into is when a band comes along that I almost completely disagree with. Let me explain why I don’t like Floodwall.
It’s important to take your music seriously, just the same as it’s important to not take yourself too seriously. Otherwise, no one will take you seriously. Even Thom Yorke cracks a smile on stage from time to time. Speaking of Thom Yorke – the majority of people who see Floodwall must be correct when they conclude “it sounds like Radiohead.” Radiohead is clearly a big influence for Floodwall.
It seems to me that Radiohead was so successful for a reason–that reason being that they progressed naturally. They started where they should have, as a pop-rock band. That’s not to say that Floodwall should write pop-rock songs, by any means. However, Radiohead had vast credibility before they crossed the line of electro-ambience – credibility backed up by a gradual progression.
Floodwall is comprised, all-around, with fine musicians. Capability is hardly a problem in the band, and I imagine they’ve chosen their sound with care and concern. But I’m wondering how this band will progress from the present point. Maybe the progression will be inverted, and their music will become more accessible with time. Only posterity will say. In the meantime I suggest they lighten up and get back to their roots, whatever they may be.
So, following Floodwall, the near-polar opposite Northerners took the stage. I think it was this juxtaposition that distilled my opinion so clearly. Over the last months I’ve gotten pretty familiar with these songs. At their core the songs are complete, but there are still fringe alterations being made. Last Wednesday I heard changes in the intros of several songs; natural build-ups that sounded like they’d been written long ago. Basically, it sounds like The Northerners are truly coming into their own – they’re harnessing their own sound. The rise of The Northerners has been swift, and they are challenged by no other band because their sound is unique to this city. So I asked frontman Justin Khoury what’s next for The Northerners.
“The next step is pretty clear,” says Khoury. “We really need to get something recorded for public consumption, for people to take home. Right now we’ve only got live recordings from The Republic on Bandcamp. So we’re thinking of doing a solid live EP until we get started on the first full length album.”
Aside from that, The Northerners are ready to go regional, with hopes of breaking into Charlottesville, Chapel Hill and Asheville. For the time being, catch The Northerners at The Yerb! this Saturday, at The Republic on Feb. 13, and at the Speakeasy on Feb. 15.
This Wednesday at The Republic, our old friends The Dream Machine are back, ready to snatch us up for a stroll down memory lane, when times were simpler. They’ll be joined by Dreadlock Robot, an electronic dub reggae project that seems a fitting pair for The Dream Machine. As always, the sweet action starts at 10pm, at The Republic.
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Words by Dan Mulrooney
Images by Tyler M. Conta
