Other than the outstanding Marmalakes show at Mohawk on the first weekend of Free Week, I had a strangely quiet experience with this year’s event, despite the fact that the “week” has now stretched into two. I did greatly enjoy a beautiful, low-key set from the The Villettes at Parish Underground on Wednesday. The trio of ladies has picked up a drummer who filled out songs that are equal parts the tenderness of the Softies and the somber power of Aimee Mann. Saturday night, all quietude halted as I made my way to three different venues and saw four bands in as many hours.
I began the night at the Foxing Quarterly party at the Parish to catch Acre Yawn, the collaborative project of romantic interests Chase Weinacht of Marmalakes and Haley Barnes of Houston’s Buxton and Ancient Cat Society. I’ve been a Marmalakes fan for some time, and I fell in love with Barnes’ voice from her work in the aforementioned bands. Despite the fact that I went into the set with high expectations, I still came away impressed. The duo not only possesses endearing onstage chemistry, but also the ability to deliver excellent vocal melodies that entwine perfectly. The duo has a Johnny and June sort of appeal without the simmering, latent turmoil—instead fueled purely by obvious and genuine affection. The spare simplicity of Acre Yawn’s songs functions beautifully against the pair’s emphasized vocal interplay. Maybe I’m a sucker, but the reality of this couple’s relationship works for me, as opposed to, for example, the phony posturing of a duet band like She & Him. Their set genuinely moved me. See them soon. For now, you can see a video of them performing “Whisper Through the Walls” here.
From the Parish, I headed up the street to catch Tiger Waves’ set at Red 7. I arrived only in time to catch the final three songs. Unfortunately, there was a good bit of sound drift from the forcefully rocking Featherface on the inside stage, which didn’t help the nuanced sound of Tiger Waves’ songs. Still, the band sounded good, if a little less polished than I had hoped to find true of their live show. Closer, “Weekends,” which is one of the best singles released in Austin last year made up for that fact, and the song has been bouncing around my brain since then. I’m looking forward to catching the band again soon, in a less hectic setting, on January 22nd for their tour kickoff.
I ended the night at the Mohawk for The Couch and the Sour Notes at the No Play Music curated show. I had to kick myself of missing Shivery Shakes as I settled-in down front with my Peacemaker to watch The Couch (for the first time ever). Though this raucous four-piece bar rock band is an Austin staple, I’ve somehow missed them continually. Despite Free Week angling toward its end, a raw energy coursed through the veins of the members of the Couch. These guys and girl know how to savor those final precious moments of a Saturday night before the dawn of the workweek returns. The Couch powered through songs from their recently released full-length as the audience formed a mosh pit inside the Mohawk’s small room. Everything was going right in the set, so when singer and multi-instrumentalist Sara Houser accidentally turned her Lone Star into a volcanic eruption of foam, she instinctively shook it, spraying wildly into the first few rows of fans. The Couch plays again on February 1st at Stubb’s for the Tontons 7” release party.
As you may know by now, I’m an avid Sour Notes fan. This sprawling lineup of players creates music (especially live) that requires several viewings to fully take in and appreciate. Sour Notes are always tight and well practiced and this show was no exception. The band rode the wave of energy and excitement through this final performance of the night to deliver a raucous set of complex songs such as “Hot Pink Flares,” which delivers soaring instrumentation and vocals by Jared Boulanger, before taking a sharp turn and morphing into a 50’s pop influenced number led by Courntey Howell. It is this kind of diverse and risky songwriting that makes Sour Notes great; just when you think you have them pinned, they always surprise you.
A Sour Notes song achieves fullness and forcefulness, not by volume or distortion (mostly), but instead by a broad arrangement of instruments. Without the pressure of having to thrash away at their instruments to reach full force, the members are left to focus on conducting their parts with greater fidelity. This phenomenon can be witnessed in Amarah Ulghani’s bass lines, which provide plenty on the low end but remains treble-heavy in a way that translates into crisp progressions. Erin Howell’s drums stand out as another highlight for the band. The loss of the Sour Notes drummer might be the best thing that has happened to the band recently. After a split while on tour, Erin Howell began filling in on drum parts, playing standing up with only a floor tom, snare, and a few cymbals. Her deliberate and sparse parts create a distinctiveness that sets them apart from other Austin bands. My free week ended something like my last year—at a No Play Music sanctioned show. In my view, there may not be a better way.
