Wednesday, Jan. 20th 2010
Mostly Dimes were Mostly Awesome
By Susie Nazzaro
SHiPS, Erik Blood, Daniel G. Harmann & the Trouble Starts, Mostly Dimes @ The Coment, Jan 8th
Mostly Dimes @ The Comet. Photo by Chris Kafader
On January 8th, I was not at the Shabazz Palaces debut at Neumo’s, which followed their excellent record(s) and a palpable excitement about Ishmael Butler’s return to the stage.
I was across the street, where the Comet hosted SHiPS, Mostly Dimes, Erik Blood, and Daniel G. Harmann & the Trouble Starts, in a remarkably refreshing show.
The night started with Mostly Dimes, whose lively songs were restrained by dark, cynical, and entirely timely lyrics. During a song whose theme evoked images of thugs preying on the poor and destitute on streets overrun by the unlucky victims of this recession, a resigned “Detroit is the make and model for us all” was sung, the kind of line that makes you stop nodding your head along to what seems like a happy melody and listen, just to make sure you heard that right. They were also the only band of the night where I couldn’t easily discern the influences upon which their song writing was based. They easily transitioned from guitar-led songs to pieces focused around trumpet, clarinet, and mandolin, suggesting that no one record, genre, or band guides their sound. And they did so with a calm energy that matched the mood of their music. Though quite good already, there is certainly more they can do with the range of instruments and sounds they have at their disposal, and I’m excited to see where they can go.
Daniel G. Harmann (who will soon be joining Mostly Dimes) & The Trouble Starts played a pretty melodic set. It was characterized by moments of slow, beautiful reflection peppered with rhythmic explosions of energy that even had me clapping along. During their last song, they built and layered sound to a point where the song culminated into a loud chord-slapping riff that was simple and lovely, but ultimately unsatisfying. I kept wanting them to go somewhere that they didn’t, and though everything was beautiful, it stopped just short of its potential.
I’ll say it upfront: I don’t get Erik Blood. I found the set derivative and somewhat boring, with such a clear line to shoe gaze past and present that they almost felt like a cover band. This is not to say there weren’t moments of beauty during the set; there certainly were, where they created lush and vibrant walls of sound. It just wasn’t interesting. I have a good friend, whose taste I respect, who thinks I’m insane, who explained that this band is a feat of musical talent and discipline. “Do you know how hard it is for six or seven people to produce that kind of controlled, gorgeous, refined sound? It is phenomenal!” he said over beers after their set. I was shocked to learn that this very same Erik Blood produced the aforementioned Shabazz Palaces record that is so incredibly good; there is definitely some serious talent there. So I may be wrong about them, but during this particular show, I just didn’t see it.
SHiPS were the last band to play, and their debt to Ted Leo is obvious. This was a one man show, to the point that the rest of the band retired behind or to the side of the stage, leaving plenty of space for the front man to carry the day. His vocal talents are undeniable; this guy can sing, he can sing well, and he has the kind of skill that allows him to perform vocal acrobatics without losing pitch or control of the song. If the rest of the band broke free of their introverted stage presence and cautious playing, they could take SHiPS even further.
There was a lot of potential and talent at this show, whether it was on display At the Comet this particular night or in the other projects that these bands/their members have taken on. And while everyone is writing superlative-laden reviews about that other show that happened that night across the street, it’s clear there is a lot going on and more to come from some other corners of Seattle’s local scene.
