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TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0
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Music
 

To the point


Trash rock’s The Gay Blades unsheathe a sound that’s admittedly bombastic, but booming with a heightened maturity.

Joshua Boydston March 9th, 2011

The Gay Blades with Dave Hause, Grey Kingdom and Nash Rambler
9 p.m. Tuesday Blue Note Lounge
2408 N. Robinson, 600-1166
$5

Being two smart guys who studied at Rutgers, James Dean Wells and Quinn English are perfectly aware of how they come across as rock duo The Gay Blades, often labeled and described as sarcastic and sardonic. But that doesn’t make it right.

“It’s a matter of framing. When you name your band The Gay Blades and have songs like ‘Robots Can Fuck Your Shit Up,’ it doesn’t matter what the subject matter is or what you are playing or what you are saying — that’s what people are going to see, but I’m OK with that,” Wells said. “Our personalities are cheeky and sarcastic, but we are both very thoughtful and articulate as we can be. When people get into the records, they get past that bombastic forefront.”

The serious, honest tunes have sometimes gotten lost underneath the sassy song titles and theatrics, but they have been there since the pair’s unanticipated career in music first blossomed three years ago. Wells and English first met working at a traveling flea market and had given two previous bands a try before settling into The Gay Blades as a duo.

The intentions were different then; Wells admitted their shows were more about entertaining themselves than others, really, before it unexpectedly started catching on with crowds.

“It was a glorified art project. We dressed up, wore masks, didn’t speak at all during shows. We had given up on the other bands, and decided to go ahead and get real jobs and had this as a little gag, a sort of rock opera,” he said. “But it built up steam, and after a while and playing so much, the theatrics got difficult, and we brought it to a different level.”

The gimmicks gave way to more straightforward, accessible rock tracks, and high-energy performances followed. Borrowing from a spectrum broad enough to tie Adam Ant and Elvis Costello to Weezer and MGMT, a seriously good style was forged.

The Gay Blades toured about two full years behind their debut record, “Ghosts,” before taking a break to record a follow-up. A number of potentially sobering live events — exhaustion, family issues and Wells’ brother’s passing — gave the pair scope, but didn’t dampen the mood.

“It probably has that darker tone, but we tried to offset that with some different instrumentation: trumpets and stuff like that,” Wells said. “A lot of it had to do with personal experiences, but we were aware of all these things going on and how it could affect our music, so we were trying to sculpt it so that it still felt like a Gay Blades record.”

Besides changing the title from “Bastards” to “Savages,” little else changed. It’s since been praised as a mature, but still true sophomore effort. The two now play with honesty and perspective of profound loss at their backs, but fun, entertainment and a touch of sarcasm are there, too.

“You go with your gut; you write what you know,” Wells said. “We had a bigger production with this record, but it comes from the same place it ever has, those songs that never left you growing up. We don’t follow a trend; we just write what feels right, and it’s worked out pretty well so far.”

 
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