Hectagons
The Milestone
Feb. 18, 2012

Incorporating Between the Buried and Me's Dan Briggs into an experimental, progressive three-piece which combines sax, bass and drums, the anticipation for Trioscapes swept the Milestone on Feb. 18. When a side-project that intriguing, one might expect the band to dominate a show. Little did concert attendees know that Hectagons was en route to rage and would cap the night off with a tight set leaving witnesses in awe.

Following headliner Trioscapes, Hectagons had huge shoes to fill, but there was no hesitation in living up to the challenge. Quizzical looks appeared while each person in the crowd attempted to take in the meticulousness of the Charlotte band's upbeat, melodic instrumentals. Hectagons inspires nodding heads and rocking hips as the crowd takes in the music's psychedelic overtones of instrumental progression and indefinite passion.

From their beginnings in 2008 as a three-piece progressive, psychedelic-metal group, Hectagons have entranced their audiences, leaving people amazed. Over the past couple of years, through their constantly progressing techniques and incorporation of Justin Aswell on his Mashine, they have allowed the group to expand experimentally and through the addition of live electronic beat production.

As guitarist Buck Boswell grits his teeth, smiling in a sinister manner of release, he slays his guitar using a handful of delay pedals, leading the melodies as his hair flies behind him and flops in front of his face like a rabid cowardly lion. Beside him, Aswell massacres his Mashine, keeping the beat catchy and complex in order to meld with Rick Culp's intricate drumming. Korey Dudley is a beast in his own right, holding down the funky bass lines on his stand-up, jamming like a heavy jazz band with a stature to match the overly dominant instrument's presence.

Although Hectagons shined the brightest in their hometown, that's not to say Trioscapes wasn't of equal talent and originality. They, too, were amazing — a three piece of progressive jazz metal that entertained a large and enthusiastic crowd with heavy-hitting drums, screeching, melodic saxophone and funk-infused electric bass. They played a set that ended far too soon, at the height of everyone rocking out to the saxophone-infused jazz metal. However, at the end of the night it was Hectagons' show and their well-rounded sound which is as complex and solid as ever.

Winter Luau f. The Aqualads, Chalkies, Modern Primitives
The Milestone
Jan. 27, 2012

Typically, when it comes time for the Milestone's Winter Luau, people are prepared for a cold, ironic party filled with surf jams and good times. This year, the irony lay elsewhere as 2012's winter weather patterns mimicked that of early spring. It was upwards of 60 degrees, even after dark, and nobody had on scarves or sweaters over the requisite Hawaiian shirts they wore for the January 27 celebration.

With tiki decorations and Chalkies' singer Mark Lynch performing in a grass skirt, the vibe felt downright summery. Leis and tropical drinks were staple accessories for the celebration that commenced when Modern Primitives took the stage.

The Aqualads closed the night as headliners for the second year in a row. The band's surf-rock twang is the perfect showcase for the event — Charlotte's own poster child for fun in the sun. With floating guitars and bright melodies, their music wisped the audience away like the summer breeze, bringing the crowd back to the sunshine in their minds.

Young and in the Way, Weekend Nachos
The Milestone
Jan. 23, 2012

The Milestone floor was marked with trails of blood as the night came to a close at the Young and In the Way LP Release show on Jan. 23. It wasn't a shock considering Young and In the Way's blackened ferocity has gained a large following in Charlotte since their debut in 2009. With opening acts Iron Flag, Weekend Nachos and Full of Hell, the show was almost begging for some out-of-hand moshing.

That energy was evident early. On tour from Chicago, Weekend Nachos were second on the bill. With the fervor and tenacity which most headliners exude, Nachos proved dangerous as an opening act. When the first notes struck, the floor transformed into chaos as patrons slammed against one another to the grinding melodies speckled with sludge. Adorned with a Bart Simpson t-shirt, Weekend Nachos' vocalist prowled the stage, blasting his vocal cords' power over the intense, driving breakdowns as people flew across the floor. And to think — the rowdy members of the crowd were only warming up.

By the time Charlotte's Young and In the Way took the stage as the headliner, spectators were so enraged with the cathartic release of shoving and hardcore dancing that it nearly seemed a risk just to step out on the floor. People were jumping, pumping themselves up, before the band had even begun. Needless to say, as soon as the music started, people were shoved in every direction so fast and ferociously that those surrounding the stage creeped backwards to avoid getting clobbered. It was a scene that continued throughout the band's set.

Live Review: The Young Electric
Tremont Music Hall
Jan. 19, 2012

Established verterans and fan favorites like Madina Lake and Hawthorne Heights brought the crowd to Tremont Music Hall last Friday, Jan. 19, but the little-known four piece The Young Electric created so much buzz that they turned the indifferent audience into screaming fans by the end of the set.

The four rockers from Provo, Utah, that form The Young Electric could have been utterly forgettable, playing in the middle of such a heavy lineup. But the band owned it as the members walked out on stage in their black getups, sending out the vibes of shy school boys until they completely transformed when the first notes rung out. Though they looked lost and scared while setting up, they completely changed when the lights hit them. The lead singer skulked along the side of the stage, hiding behind his curtains of black hair, before resembling Gerard Way as he leapt up onto the speakers in an effort to get every person in the crowd dancing. It was as though the first guitar chord flipped a switch and brought him to life.

From the moment The Young Electric began playing their unique blend of light rock and screamo, every eye turned to the stage and more than a few people matched the band scream for scream as the band restored the energy which had been drained from the room by the seemingly out-of-place first band, Charlotte’s The Local Traumatic.

Husky
Snug Harbor
Jan. 8, 2012

As lights reflect on multicolored tinsel strewn behind them, Husky enchants the crowd with deep bass-driven compositions floating within the melodies of peaceful guitars and crashing cymbals. With the heart of a jam band, the trio emits a projection of psychedelic breakdowns and often galloping melodies and catchy beats. The instrumental grooves made way for a solo dance party by one flamboyant man and the victims he accosted from the audience.

The man's bold behavior proved contagious to the crowd, inviting others to have their own physical reactions to the music as the room became one big social interaction — a bubble of sorts. People danced with each other and those alone nodded their heads in appreciation of their musical and physical surroundings.

Between songs, Husky communicated with those around them as if the band was sitting at the bar, bullshitting with the bartenders and asking for more drinks. And with a handful of new material, it was a subtle celebration — fans were in as much awe towards the newer, more dreamy, psychedelic material as the familiar tunes they heard before.

Live review: Homewrecker, Voice of Pizza
Snug Harbor
Jan. 4, 2012

Judging by the balance of people who walked out the door vs. the number who stayed up front and soaked up every note and nuance, Charlotte's Homewrecker hasn't broken the mold of music being a polarizing form of entertainment.

Philip Shive, a former booking agent for the Milestone, has found a way to incorporate his two loves — film and music — under one roof. He shared a few of his short films at a Snug Harbor pizza party on Jan. 4, before a performance from his main custom music outfit, Homewrecker. It's a strange scene to watch people pull out camping chairs and blankets at a music venue.

My initial intent was to give my thoughts on the highs and lows of 2011. However, out of the 116 concerts I attended last year, a large number of them were really good. Then I figured any shows that were that horrible didn't even need to be mentioned. So, instead, I'll focus on 10 memorable moments (in random order) of the last year that stood out to me:

Rodney Lanier Memorial — This event left me thinking, "If this is the way everyone's life is celebrated, there'd be no fear of dying." Featuring brief sets by Sunshone Still and Sea of Cortez, friends, family and fellow musicians gathered at the Chop Shop to celebrate the life of Rodney Lanier. It was all capped off by a New Orleans style parade to the Evening Muse. Words can't describe the emotions that poured through the streets that night...

Grids — No fanfare or bullshit. The hardcore-punk band threw down at its last show at The Milestone, with plenty of friends surrounding them. Keep an eye on Brain F=, No Power and Double Negative for your fix of the band members in the aftermath.

Dancing on the Darkside — Kudos to Eric Mullis and company for having the guts to put together an original project that combines dance, visuals and music. This event paid tribute to Pink Floyd and he's put together another series called the Telepresence Project that continues the idea with a more original soundscape.

Brandi Carlile — The folk singer performed a solo show at the Knight Theatre that showcased her vocals and was spotlighted by an in-total-darkness a capella version of "Amazing Grace." Amazing, indeed.

My Morning Jacket — The most memorable part of this show was the fact fans didn't move a muscle when the rains came pouring down. They stuck through it and waited until the band came out, even if it was an abbreviated set.

Hayes Carll — The country/folk artist performed for more than two hours at the Stage Door Theatre. When the show was over, he headed to the Thirsty Beaver for another impromptu set for a small crowd. Having fun is the best way to do it...

Manu Chao — The folk singer made his Charlotte debut at The Fillmore and brought an unending energy to the stage in several languages. The show wasn't sold out, but that only made more room for the crowd to dance their asses off.

Ronnie Burrage/Branford Marsalis — If it wasn't enough that Ronnie Burrage came to Petra's Piano Bar for a night of jazz, the fact that he brought along Branford Marsalis sealed the deal. Unfortunately, jazz like that doesn't come through town often enough.

Avett Brothers — The group returned home for a sold-out concert at Bojangles Coliseum. Hopefully they'll be back before too long — especially if it's for another release party.

Charlotte Identity Crisis — John Thomsen of Grown Up Avenger Stuff organized this show outside of Salvador Deli that featured Charlotte bands (The Spiveys, GUAS, The Between, HelloHandshake, The Chelsea Daggers and The Jupiter Tide) covering other Charlotte bands. A great inaugural event that I hope will continue in its efforts to bring the music scene closer together.