It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
The Flaming Lips’ longevity has allowed them to cover a lot of sonic terrain over the years. Yet they’ve arguably become more adventurous with age, jeopardizing a good portion of their fan base in favor of fascinatingly bleak experiments in sound, beginning with Embryonic in 2009 and, more recently, The Terror.
On recommendation from Matt and Pitchfork, I headed up to the set by The Men as the opener of the day. The four-piece was a stoic bunch, not saying much, but they cranked out a fantastic rock brew. The sound, while still distinctly and definitely rock, was grounded in optimism; although the vocalist relied mainly on yelling, the set still felt upbeat. Their sound is aggressive, but not rebellious; powerful, but not angry. It's the type of rock I'm most fond of, so I had a great time watching the non-descript four-piece hammer out their tunes. Because they didn't say much to distinguish between their songs, the set moved quickly and the crunchy tunes were over all too quickly. It was a strong set from the bunch, who have just released a new album called Open Your Heart.
Continuing our rock day, we headed over to the stage where Cloud Nothings were banging out the last of their set. In stark contrast to The Men, their set was angry, rebellious and dissonant; it was no less engaging, but it was certainly of a different timbre. We caught the last song, but even from one tune it was easy to see that Dylan Baldi and company are a tight, hard-working group. I'd like to catch a full set of theirs in the future.