LIVE REVIEW: Chris Dave and the Drumhedz @ Highline Ballroom

Chris DaveChris Dave has recorded and performed with a slew of chart topping artists, from Beyonce and Adele to Wynton Marsalis and Dianne Reeves.  Far from a chameleon, he brings his own dangerously unique technique to each artist’s sound, and stamps his signature style on a handful of different genres.  He reinvents the musical tropes we’ve come to know with a groundbreaking approach to rhythm, and performs with a tricked out drum set most drummers only dream of.  The Drumhedz gives Dave a chance to show off his revolutionary style and indulge in technically staggering drum solos and experimental song structure.

Chris “Daddy” Dave took stage at Highline Ballroom this Sunday evening by setting down an open bottle of Patron in arm’s reach of his drum kit.  He then addressed the audience to “open your mind, close your eyes and join us on the journey.”  Dave, who stated his hatred for public speaking, only addressed the crowd at the opening and closing of the show, and careened through the set list without waiting for any applause.  In fact, the only true pause he took in the entirety of the show was to affix a Sabian Hoop Crasher on his snare during the middle of a song.  The whole band paused so he could add it, and fans had to smile that Dave’s extreme attention to detail could hold up the whole show.

Band members alternate from show to show, but musical expertise remains a constant.  An occasional surprise guest artist is known to show up as well.   Superstars Beyonce, Mos Def, and others have made unannounced cameos during Drumdhedz shows.  Tonight included the talents of Pino Palladino on bass, Isaiah Sharkey on guitar, and Kebbi Williams on sax and flute.  The members all have long track records with top recording artists and collectively have a few Grammy Awards under their belts.

The drum set Chris Dave plays on could be mistaken for a wizard’s laboratory.   Zildjian Spiral Trash cymbals hang down several feet on either side of him, and his clear Plexiglas suspended floor tom and kick drum give the illusion of a half invisible kit.  It was easy to spot the drummers in the crowd, as a number of them pushed up to stage right side to catch Dave’s every move.  The music of The Drumhedz centers on  Dave’s playing, and the performances showcase mostly original compositions.

When describing the sound of The Drumhedz, Chris Dave emphatically points out his music should not be pinned to one genre. Indeed, the band takes pride from drawing on many influences.  The show opened with a non-traditional cover of John Coltrane’s “Giant Steps” and rounded off with Jimi Hendrix’s “Hey Joe.”  The band also cites inspiration from artists D’Angelo, Fela Kuti, Radiohead, and J Dilla.  The sound is an amalgamation of R&B, funk, rock, jazz, hip-hop and electronica, and the band switches genres at the drop of a hat.  Besides mixing genres, the musicians play with the audience’s perception by overlapping different rhythms on top of one another.  The result is heady, intelligent layering that requires its audience to pay close attention.

Technical flair does overshadow emotional intent, and this imbalance can dampen the mood.  By the encore, my ears were fatigued of hearing such densely packed rhythms and intricate, lengthy solos.  Chris Dave is undoubtedly an impressive, well studied artist, and he specializes in impossible, obtuse rhythms that somehow fit in with the overall picture.  But he over stimulates his audience, and could effectively hold back a few times to pack a punch, rather than playing full out the whole set.  I craved a song that could let us see Chris Dave exercise an ability to withhold for dramatic or emotional effect.

Kebbi Williams played an electronically enhanced saxophone and flute, which allowed him the ability to morph into a gritty, gravely wail, a reverb drenched echo, or into other instruments entirely.  Williams brought soul to the performance, and carried the melody line for much of the show.  As a strikingly tall man rarely to be seen onstage without his signature top hat, Williams was an unforgettable, indispensable part of the band.

Since the 90’s, Chris Dave has been attributed with redefining the role of the drummer.  His highly stylized, well-honed approach has earned him accolades, and scores of drummers cite him as a major influence.  The Drumhedz gives Dave a chance to forge original music that breaks away from the pop mainstream and gives listeners insight into his un-categorizable technique.  This turn away from the mainstream is particularly exciting to hear from an artist so well versed in established music styles.  Chris Dave breaks every mold he’s ever been placed in.

Chris Dave’s Drumhedz Mixtape is now available for free download at http://chris-dave.com/

SHOW REVIEW: Bosnian Rainbows @ Highline Ballroom

Bosnian-Rainbows-3_652x367Longstanding The Mars Volta fans packed into Highline Ballroom this February 19th in anticipation of guitarist Omar Rodríguez-López‘s new music project.  The performance marked the band’s fifth show under the Bosnian Rainbows billing.  Rodríguez-López surprised fans throughout the night with his embrace of new ideas and fresh performance approach.  The night’s first twist was the presence of an opening band, which Rodríguez-López is usually known to forgo.

Opening band Marriages is most accurately described as mood-rock.  Singer Emma Ruth Rundle’s haunting, smoldering vocals are lulling yet carry weight. Her voice floats amidst power driven drum beats and an undertow of guitar slides, pitch bends, and rock guitar distortion.  The band is comprised of Greg Burns, Andrew Clinco, and Emma Ruth Rundle, who previously performed together in the post-rock collective Red Sparowes.  The group signed to Sargent House label in 2011 and released the album Kitsune in May 2012.

Marriages sound is uptempo yet darkly crafted and slightly unhinged.  The band is subdued in comparison to the following act, yet embodies similar emotional content.  The overall structure of the songs did not vary greatly, and I would have loved to hear the musicians step out into more experimental or unconventional instrumentation and delivery.  “Ten Tiny Fingers” was a stand out song in the set, with catchy guitar riffs and stark, punchy lyrics.  Other times the guitar effects create a wash of sound that carries over from song to song, and leaves less room for contrast.  At times the music delves into a sort of hypnotizing soundscape that results in some beautifully vulnerable moments.  Marriages has a strong sense of identity that will continue  to carry the music into deep, richly mood-driven territory.

Bosnian Rainbows is the new incarnation of Omar Rodríguez-López’s music project following the break up of his band The Mars Volta. The group consists of former TMV member Deantoni Parks on drums and keyboard, along with new members Nicci Kasper on keyboards and Teri Gender Bender on vocals.  Bosnian Rainbows holds on to Rodríguez-López’s past musical influences, but performs shorter, more stripped down songs with hooks and refrains geared more towards mainstream radio play.

Rodríguez-López considers Bosnian Rainbows to be a break away from the pattern in which he’s approached music over the last ten years.  In a 2012 interview with Australian Musician magazine, he states  “My first hurdle that I need to jump over is collaborating with my own band members, because for the last ten years it hasn’t been that way.”  Rodríguez-López goes on to say he’s held the reins as “dictator” of The Mars Volta, and he now seeks to harness the spirit of collaboration in his music writing process.  Bosnian Rainbows is the result of this new creative freedom.

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Hardcore TMV fans may be inclined to size Teri Gender Bender up before hearing and seeing her, and I admit I found it hard to imagine another lead singer taking the place of larger than life Cedric Bixler-Zavala.  Cedric’s distinct vocal contributions to The Mars Volta branded the music with raw emotional intensity, and a tortured, pressurized narrative.  Listeners can undeniably pick his voice out in mere seconds.  Yet when Teri Gender Bender took the stage at Highline Ballroom, I was won over by her wildly expressive voice and dangerous abandon, all within the course of the opening song.

Teri’s performance is exhilarating to watch as she becomes so absorbed in the music that at times she looks as though she’s forgotten the limitations of her own body.  She dances as though possessed by the music.  She throws herself out into the crowd without a moments notice. At one point she became so worked up that she punched herself in the throat while singing.  People in the crowd glanced at each other in shock and awe at witnessing such “rock n’ roll” conviction.  She’s a powerhouse.  Previously the lead singer in the punk rock duo Le Butcherettes, she is no stranger to the stage. Her vocals employ frankness and strength, and a beautiful depth of vulnerability, anger and theatricality.  She shines on songs “Torn Maps” and “Turtle Neck”, which give her more of a pop format to follow, and she is versatile enough to transition into effect heavy songs that wind on in Rodríguez-López’s expansive tradition.

The most thrilling aspect of Bosnian Rainbows’ performance is the excitement and passion these seasoned musicians imbue into their performance. The signature guitar stylings of Rodríguez-López were ever present, yet the songs had fresh influences contributed by Parks, Casper, and Teri.  Each band member has a dynamic personality that brings character to the performance, but audience members will find it hard to take their eyes off Teri Gender Bender.  She exudes endless energy throughout the  the show, and steals the spotlight with her intense conviction to the music.

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This new project seems destined to make a mark in the commercial world, as well as among TMV’s mainstream-defying, dedicated fans.  It’s too early to tell if Bosnian Rainbows will be the first in a series of Rodríguez-López collaborations, or if the band will solidify and compete with TMV’s long track record.  Either way, Bosnian Rainbows embodies the rawness and excitement of an underground show, and the musicianship of seasoned performers.  The combination is a promise of many more surprises to come.