You’re missed, Kurdt — you erratic, moody baby.
Waxahatchee front woman Katie Crutchfield is a homebody…sort of.
Geographically speaking, she’s relatively nomadic. Born and bred in Alabama, Crutchfield was raised as Southern as they come. Three years ago, however, she left Alabama at age 22 and headed east to Philadelphia, where her band Waxahatchee’s notable folk-meets-pop-punk album Cerulean Salt was recorded. Then shortly after the album’s 2013 release, she and boyfriend/bandmate Keith Spencer relocated to New York, where they now reside.
At 22-years-old, Radiator Hospital auteur Sam Cook-Parrott was just a baby during the early ’90s, when the DIY ethic worked its way into rock music for good. He definitely carries on that modus operandi in Radiator Hospital, his more often than not one-man band.
While other bands often describe their lo-fi sound as “bedroom” pop, Radiator Hospital exemplifies the genre; all of Cook-Parrott’s albums have literally been recorded in his own bedroom (or basement), by himself or with the help of his friends.
Despite the quality sound of Radiator Hospital’s 2013 album Something Wild, it too was recorded in Cook-Parrott’s own basement in Philadelphia, with the help of his engineering-savvy friend Kyle Gilbride. A feverish collection of punk-tinged guitar pop, the LP “sounds like a pro record” despite its modest production, according to Cook-Parrott.
"Can you remember the thrill and the rush/ You’re not out of touch/ Come tonight, you’ll see/ No one here has changed, and no one ever will."
These lyrics from Jicks’ song “Rumble at the Rainbo” might best describe the vibe at Fitzgerald’s Friday night, as Stephen Malkmus and his band played to a crowd who indeed remember both the thrill and the rush of Malkmus’ musical magic — and have been awaiting the Jicks’ return to Houston for more than a decade. In our recent interview, Malkmus spoke of the Jicks’ “fun” vibe, which was instantly apparent Friday. Drummer Jake Morris was perhaps the fun frontrunner, as he took the stage shirtless, his beer-full belly on proud display.
Malkmus strolled onstage to a rowdy applause, sporting Mardi Grad beads around his neck, and white Lacoste sneakers rooting his lanky limbs. He lived up to his “slacker-rock” status straightaway: “It’s Saturday night,” he exclaimed. “And we’re glad to be here!”
(It was Friday.)
For the guy widely known for putting “slacker-rock” on the musical map, former Pavement front man Stephen Malkmus sure stays busy. His current band, The Jicks — which formed in 2000, immediately after the demise of ’90s indie-rock gods Pavement — has now released more albums together than the band that preceded them. Released earlier this year, Wig Out at Jagbags marks the Jicks’ sixth album.
Whereas relations among Pavement members grew static with time, the Jicks (bassist Joanna Bolme, guitarist Mike Clark, and drummer Jake Morris) appear to function on a different spectrum. Malkmus doesn’t overthink why the Jicks have prevailed where Pavement didn’t. Mainly, he credits the Jicks’ functionality with increased maturity and an eased approach.
Several words come to mind when pondering the Pixies, among them “pioneering,” “innovative” and “influential.” Lately, it’s safe to add “resilient” when discussing the veteran rockers.
Since their 1986 inception, the Boston-born band — front man Black Francis, guitarist Joey Santiago, drummer David Lovering and beloved bassist Kim Deal — have been an integral part of the modern alt-rock mold. Last year, however, the Pixies experienced a potentially fatal blow when Deal announced her sudden departure after 25-plus years.
Despite the setback, the Pixies endured, regrouping with the help of touring bassists. Tickets to many shows on their current worldwide tour, which stops at Bayou Music Center on Thursday, have sold out within minutes.