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He’s My Brother She’s My Sister with Dry River Yacht Club
October 3, 2013 @ 7:00 pm - 9:00 pm$8 - $10
Nobody Dances in This Town is a great title for the debut album from L.A.’s He’s My Brother She’s My Sister. In Southern California’s music scene, most audience members watch bands with their arms crossed—and many of them are also in bands. But the title also references HMBSMS’s secret weapon, Lauren Brown, who peppers the percussion with microphoned tapshoes and an oversized drum that she dances on during performances. “Tales That I Tell” opens sounding like glammed-up pirate-folk. Over glitter-rock guitar riffs, siblings Rachel and Rob Kolar (hence the band’s moniker) sing shanty-like pop gussied in rootsy instrumentation. The band’s description of its sound as “cabaret blues” applies to the following “Let It Live Free,” a festive romp through Tom Waits’ garden. But the group also calls some of its songs “cirque rock”; this makes sense when listening to “Clackin’ Heels,” where heavyhanded guitar riffs and big bouncy rhythms stop and take breaks for Brown’s percussive tap dancing.
“A gritty trip from the barstool to the vaudeville stage…and just about everywhere in between.” – Filter
“He’s My Brother, She’s My Sister is about far more than just the music they make, which is eclectic in the truest sense with elements of psych, folk, country, western, gypsy, vaudeville and several other adjectives that probably are more likely to be used to describe fashion movements or underground burlesque shows. Above all else, and owing to their theatrical roots, they’re about putting on an entertaining show. Music is one component of this, but so are the band’s clothes, so is their movement on stage, so is their energy, so are the opening acts, so is the venue and, perhaps most importantly, so are the audience members.” – Paste Magazine
DRY RIVER YACHT CLUB
The DRYC has been steaming up the burgeoning Phoenix music scene with their unchartered narrative. Their psychologically, seductive performances and portentously potent vision, which holds the listeners imagination hostage have created a cult-like hype machine uniquely its own. The depth and range of musicality of each of the instruments is uniquely illuminated in a cohesive balance of creative symmetry by which a paranormal netherworld comes to life. Exceptional dynamics give rise to a wide expanse of emotionally provocative imagery only made more raw and palpable in the incantations of their sinuous siren, Garnet. Ever mindful of her symphonic cauldron, DRYC’s frontlady/ enchantress, hexes you immediately with sonic expressions reminiscent of Bjork’s theatrics and Ani Di Franco’s lyrical imperative.
Ever evolving, the band’s categorically elusive gypsy-western-folk designation seems progressively constricting as the intensity of the songs takes on a harder-hitting swagger. Yet, in the midst of this energetic swell, the softness of a lullaby or operatic tragedy reveals itself and won’t allow you to listen perfunctorily. Ages three to ninety three are enchanted by their melodic zeal and passersby stop to stare curiously as they are unwittingly devoured by a web of joyful macabre. Let yourself be consumed and join the club on a musical voyage from which you’ll never want to return.