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Review by Josh Darr
Harlem @ The Empty Bottle, Chicago, IL.
May 1, 2010
As the floor shakes beneath my feet, most of the crowd seems to be either inebriated or full of derby glee from the day’s earlier festivities. Harlem begins their set with a clatter and bang from Curtis O’Mara’s drums while Michael Coomers (wearing a derby like lei of roses) sings his inner most desires from the heart. The transplanted Austin trio have made a large splash with their lo-fi garage rock sound whose songwriting shines above many other bands of the same genre and keep their listeners nodding their heads yearning more. The Empty Bottle was overpacked with a rowdy audience, creating havoc on the floor as oversized men try to crowd surf a sea of artsy and feeble music hipsters. Harlem in great spirits egg on the audience who continue to wail their song requests in the air; keeping a casual conversation in between song an open discussion continues obviously creating an impromptu setlist during their performance. Bassist, Jose Moyer jest fully continues to announce “Only a few more songs” while Coomers and O’Mara swap instruments midway through the set. Through their fuzz of chaotic beauty, Harlem are able to beautiful marry the dissonance of angst filled emotion with the gentle waviness of Coomers screeching sound. At the conclusion of their set, the sweaty trio return to stage as the riotous crowd beckons more; Coomers notes an awkwardness of forced encores hinting at their reluctance to play anymore. He ultimately plays two more before calling it an evening.
Harlem are your average white garage band. They’re self-aware hipster slobs that play sloppy music in sloppy little venues whenever and wherever they’re allowed. The only difference between Harlem and local garage band A, B, or C is their ability to write songs—good songs. Like compatriots The Black Lips, The Soft Pack, and The Strange Boys, Harlem are delivering on the promises of their early recordings (see “Witchgreens” and “South of France”). Where other bands have fallen by the blogosphere wayside after producing a Nugget-worthy gem or two, the Austin trio cranked out a surprisingly consistent sophomore album with the help of their new label, Matador. And at 16 tracks long, Harlem proves that they not only have the talent, but also the attention span, to put together such an accomplished garage album. Hippies ensures that Harlem won’t merely be another band whose legacy lies on a Nuggets compilation in 30 years from now. It should however, earn them a place on every “Album Of The Year” list come December. -
Photographer: Thirst’n Howl III
Venue: Detroit Bar
Location: Costa Mesa, CA
Date: 3/4/10
Harlem come to Orange County. Ears rejoice as new sound prevails. Finally, a new tune or two.
Orange County is a place that has far too many connections and ties to music that lingers on the radio and often blares from multiple raised trucks. Sublime, No Doubt and other OC staples will usually make one cringe as they enter your brain constantly harassing you on repeat as though they were Casper the Friendly Ghost searching for a friend. And so it was indeed a treat to have something new and authentic visit from the musical kingdom of Austin, TX. Those in the know were at Detroit Bar to chase such repetitive and stagnant songs from their heads as Harlem ushered in the new catchy. Songs such as Caroline and Friendly Ghost (holy irony!) now are stuck inside my noggin and I couldn’t be happier.
The twangy guitars and the jangly pop of these boys is unmistakably their own. It reverberates through speakers and gives off a care-free and honest sense. Their songs are the kind you would have playing in your tree fort if you still had one. Well, maybe they would be the songs you have playing at the kegger party you throw at your treehouse. Shoeless and stress free and probably some free drugs.
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