Austin has been waiting a long time for a record from electro-pop group Belaire. But the wait is over. Helmed by Cari Palazzolo, the line-up also includes Cari’s twin sister Christa and Matt Simon and Jason Chronis, formerly of Voxtrot. To celebrate the release of their new album, Resonating Symphony, the band hosted a release party at 29th Street Ballroom that included Deep Time (formerly Yellow Fever) and Good Field.
With their styling of straight-forward, laid-back indie rock, Good Field distinguishes themselves by vocal overlays and Paul Price’s not-quite-baritone register. Early reviews of the band’s self-titled album accurately pinpoint the band’s strongest asses—they make no-frills rock that’s rounded and solid, avoid the inaccessible pretension that accompanies many indie-rock outfits today. The band does still feel unpolished live, but seeing such a young band figure it out on stage is actually a refreshing joy to behold. If during live shows they can nail down the sound they get on record, they will truly be a force to reckon with. We highly recommend checking out the video for “These Dreams” on their website (http://www.goodfieldband.com/).
Yellow Fever has been an Austin mainstay for years now, and even before that, singer-songwriter Jennifer Moore fearlessly led The Carrots into the hearts of the bands adoring fans. Now, the band has changed their name to Deep Time, though the lineup remains Moore and drummer Adam Jones. The name change comes preceding the release of their second full-length, as they move from Vivian Girls’ label to Hardly Art out of Seattle. The duo sounded as tight as they ever have, if not more so. Jones is an impeccable drummer and Moore’s vocal melodies move from low tones to higher delicate notes with ease. Their songs are defined by tight choppy rhythm, punchy vocals, and quick, subtle shifts that somehow maintain a consistent, floating feel, without ever being disjointed. Deep Time has all of our hope that the listening public will receive their new effort with the warmth and support that Austin has been showing the band for years now.
When Belaire finally took the stage that night, the crowded 29th Street Ballroom erupted in applause. Cari Palazzolo attempted to hold back a grin, an occurrence that would continue for the duration of the set, but her smile insidiously spread across her face. Some bands never appear to have fun. Those refreshing groups that do seem pleased at their achievements or joke clandestinely with each other onstage. Belaire just seemed happy to be playing together again. “We haven’t played together in like five years,” Cari commented. If the same holds true for practicing, then we’re duly impressed.
Under the direction of an always energetic Cari, sister Christa’s back-up vocals, Simon’s drums, and Chronis’ bass were spot-on as the band delivered their Tropicália-influenced, synth-based pop numbers that flow and float lighter than air. Belaire played older songs as well as highlights from their new album, including the down-tempo, wah-wah title track, the dreamy “Technicolor Beaches,” and the infectious “This Could Take All Night.” You could feel the audience’s hope, desperately wishing the night could go later than the 2 AM closing time. It remains unclear if Belaire is back for a longer stay or if this show represents a one-time occurrence. (Christa’s band Boy Friend may occupy her time as that duo heads out on tour again soon.) However, if we are to endure another long period of waiting for material from this beloved pop group, at least we have Resonating Symphony to keep us company in their absence.
All photos by Holly Griffin
