5. The fact that this show was actually at The Magic Stick and NOT at the Crofoot. It’s boring to keep up this conversation about how much better the Crofoot is as a venue than the Majestic Complex. It’s also boring to keep complaining about how much of a pain in the ass it is to drive to Pontiac for a show. With that said, this show would usually be at the Crofoot. Somehow, the Magic Stick got it, and for a Detroit musicgoer who appreciates the history of shows he’s attended in that room, seeing another outstanding show at the Stick made it even better for me. And the sound mix was really good.

4. The 50-year old dude dancing to my left; 16-year-old girls dancing to my right. I knew this was an all ages show, but I didn’t think they meant it literally. While there weren’t any octogenarians with walkers around, I’m pretty sure that some of my fellow concertgoers could have been the grandparents of other fellow concertgoers. I found myself between a sweating, white sneakered, late 50s looking fellow, dancing widely to every song the way that 50-year-old dudes dance, and a group of 16-year-old girls, dancing the way that 16-year-olds dance (grinding, mostly). But while they were doing this, they were pretty much singing all the lyrics. True fans. After I got over being creeped out, I kind of loved it.

3. A Detroit Cab Driver came out to play bongos on “Young Folks.” Apparently, the cab driver that Peter Bjorn and John had used earlier that day (more specifics in just a minute) was a drummer himself. I’m not surprised. If you’ve ever gone to karaoke at The Comet Bar in Detroit, you’ve heard how good Detroit cab drivers are at singing, since there are always some there performing after they finish work. So, they called the guy on stage, he came out with a two-drum bongo and a big smile on his face, the stagehand set up a mic, and turns out this cab driver can play one mean bongo. It was a pretty cool moment.

2. The live, non-synth version of “It Don’t Move Me.” I love this song from Living Thing, but the guitar version of the song was even more sleek than the studio version. In the below video, taken from a show in Madison, note how great the tingy Fender guitar tone sounds in the verses. This is the first time I think I really ever liked that tone. I’m hoping some videos with better sound quality hit the web soon. I LOVED this version of the song.

Click here to view the embedded video.

1. What’s with all the racquet? This is so cool. I got the show early–around 8:30. Got to the front door, got carded, got wristbanded. PBJ’s tour bus was parked outside the venue. As I’m going to get a beer, I see the bus door open and Bjorn and another guy pop walk out in shorts, tennis shoes, polo shirts, and a headband on Bjorn, along with a couple of raquetball raquets, and jump into a cab that was waiting in front of the tour bus, which then speeds off, in search of a court, I’m guessing. THIS WAS 2 HOURS BEFORE THE BAND WENT ON.  Seriously. Where the hell did he find a raquetball court in Detroit on a Thursday night after 8? Regardless, the fact that they went looking for one was pretty awesome on its own.

“It’s Just Blowout People…Relax.” from Detroit Gorilla

P4K has the logistics.

My favorite band to be weirded out by. They’re playing the MOCAD in Detroit on April 17. Let’s get boozed up and get creepy yet strangely beautiful. I’ll bring my glow sticks if you bring your S&M gear and castanets. Also, I’m definitely wearing my old high school varsity jacket to the show. #10! Defensive Back!

Xiu Xiu’s new album, Dear God, I Hate Myself (take that Morrissey!), is available legally on February 23.

Since when did tonight become the night that everything happens? There is so much going on in Brick City tonight and through the weekend, it’s almost enough to make up for the complete dearth of quality entertainment we’ve had since Sonic Youth experimentally jet set and trashed the riverfront back in July. So let’s dispense with the pleasantries and cut straight to the meaty details. To start:

Thursday

A.K.A. tonight. The buzz de rigueur seems to be centered around Cicero’s, where both The Antlers and The Hood Internet will be performing as part of the PLAY:stl Fest (complete schedule here). It’s an admittedly odd pairing, but for fans of both meditative post-rock and hipster-approved jock jams, this is the place to be. I previewed the Antlers for the RFT in this week’s paper, and here’s a lovely video for their song “Two.”

I’m a creature of habit, however, and I’ll be at the Firebird tonight. Cincinnati’s Pomegranates are playing, and as I’ve said before, they’re absolutely fantastic. Their new record Everybody, Come Outside! is one of the most pleasurable, adventurous, and honest-to-goodness exciting indie pop records I’ve heard all year. Lots of trembly guitars and innocent vocals, with surprising detours into homemade afro-funk and uplifting shoegaze. Here’s a song from that album that I included in the Post-Rockist summer birthday mix:

Pomegranates – “Southern Ocean” (buy)
Download audio file (Poms-SouthernOcean.mp3)

If that’s not your speed, Daniel Francis Doyle will be at Lemp Neighborhood Arts Center. He’s kind of a cross between Cole Porter whimsy and Half Japanese anarchy. Alternately, the SLSO are giving a free performance in Forest Park, if you’re in the mood for “Moon River,” the theme from Star Wars, and other MOR selections that would appeal to free concert-goers in Forest Park.

Or, if you hate live music but love supporting local music, The Hibernauts are raising money for their newest record since Chad Rogers’ mustache joined their ranks by bartending at Maggie O’Brien’s.

And there’s always the season premiere of It’s Always Sunny in Philadelphia to fall back on.

Okay, moving on:

Friday

The Republic Tigers from Kansas City are playing at Cicero’s (again, part of PLAY:stl Fest). I don’t know much about them, but I’m told I would like them. So there’s that.

Saint Louisans Troubadour Dali are having their CD release party at the Firebird. I haven’t heard anything off the new record, but the last time I saw them I thought they sounded exactly like The Warlocks and I was totally okay with that.

Saturday

This is a no brainer. I’m sure there are other shows going on Saturday night, but I don’t know what they are and I’m not going. Bradford Cox is one of the most astonishingly brilliant forces in indie rock today — dynamic, inventive, prolific, and responsible for two of the best albums of 2008. (Obviously I’m a total geek for the guy, so I apologize for the hyperbole.) Atlas Sound, his solo moniker, is performing at the 560 Music Center as part of the PLAY:stl Fest. Your guess is as good as mine as to what this venue is all about. The show is “presented” by the Gargoyle, but it’s not at the Gargoyle… so, that’s a good thing?

I included the much-ballyhooed and blogged-about song “Walkabout” (w/ Noah Lennox, a.k.a. Panda Bear) on my mix earlier this week, but here’s another stunning track off last year’s Another Bedroom EP:

Atlas Sound – “Another Bedroom” (buy)
Download audio file (AtlasSound-AnotherBedroom.mp3)

Sunday

Another toss-up. It’s either Ra Ra Riot, who sound like this:

playing at the Firebird,

or it’s The Books, who do weird shit like this:

performing at the Luminary Center for the Arts. Honestly, I might head over to the Luminary Sunday night, not only because I’m curious to check out the new venue, but because I may be desperate for some non-rock band action by that point.

Whew! This was a really long and poorly organized post! If you’re looking for a really long and highly organized essay about the past, present, and future of indie music (including a plainspoken dissection of the tensions between bread’n'butter indie rock groups [e.g., Ra Ra Riot] and noisier, experimental artists [e.g., The Books]), then I would strongly recommend you read this piece.

Post-Rockist stalwarts Titus Andronicus are coming to the Firebird next Tuesday. They play an unapologetically rough and raw style of rock & roll that’s best taken in a live setting to appreciate, and as it turns out, we’ve got one copy of a live Titus Andronicus 12″ to give away to our readers. The Innocents Abroad: Live in London (23/02/09) is limited to only 300 copies in hand-stamped sleeves, and it includes cuts from last year’s The Airing of Grievances, a few unreleased originals, and covers of The Modern Lovers’ “Roadrunner” and The Surfaris’ “Wipeout.” You’d be the envy of all the other art historian punk rockers on your block if you had this little bad boy in your collection.

Here’s how you win: “Titus Andronicus,” the Shakespearean play, tells the story of a bloodthirsty Roman general out to get revenge on his sworn enemy Tamora, the Queen of the Goths. I need you to tell me in the comments some other things that are sworn enemies of goths — and yes, tanning beds and “The Last Train to Clarksville” are acceptable answers. Leave a valid e-mail, because that’s how I’ll be able to notify you when you’ve won the 12″ vinyl. Contest closes Tuesday, September 8 at noon.

Video and complete tour dates after the jump:

Titus Andronicus – Upon Viewing Bruegel’s “Landscape With the Fall of Icarus” (from The Airing of Grievances)

Titus Tours:

09.02.09 Brooklyn, NY Monster Island Basement
09.03.09 Boston, MA Harper’s Ferry
09.04.09 Montreal, QC II Motore
09.05.09 Toronto, ON Horseshoe Tavern
09.06.09 Detroit, MI Magic Stick
09.07.09 Chicago, IL Bottom Lounge
09.08.09 St. Louis, MO The Firebird
09.09.09 Iowa City, IA The Mill
09.10.09 Lincoln, NE Bourbon Theatre
09.11.09 Denver, CO Larimer Lounge
09.16.09 Vancouver, BC Biltmore Cabaret
09.17.09 Olympia, WA The Northern
09.18.09 Seattle, WA The Funhouse
09.19.09 Portland, OR Backspace- Music Fest NW
09.21.09 San Francisco, CA Bottom of the Hill
09.22.09 San Luis Obispo, CA SLO Art Center
09.24.09 Los Angeles, CA Echo
09.26.09 Phoenix, AZ Modified Arts
09.29.09 El Paso, TX Fellini Film Lounge
09.30.09 Austin, TX Mohawk
10.01.09 Houston, TX Mangos
10.03.09 Birmingham, AL Bottletree
10.04.09 Memphis, TN Hi-Tone
10.05.09 Knoxville, TN Pilot Light
10.06.09 Atlanta, GA 529
10.07.09 Athens, GA Caledonia Lounge
10.08.09 Charlotte, NC Milestone
10.09.09 Chapel Hill, NC Local 506
10.10.09 Charlottesville, VA The Southern
10.11.09 Washington, DC Rock and Roll Hotel
10.12.09 Baltimore, MD The Talking Head
10.13.09 Philadelphia, PA Barbary
10.14.09 Hoboken, NJ Maxwell’s
10.15.09 Brooklyn, NY Knitting Factory

All dates w/ The So So Glos

The Lot Music Festival is taking place this Saturday down in the heart of St. Louis. It’s located at the Schlafly Tap Room, so you know there’s going to be an abundance of quality brews, but there’s also going to be red hots, bar-b-que, alcoholic sno cones, Fred Bird, hoosier golf, and something called “What’s Up Homeless Empowerment dunk tank/face painting,” which doesn’t sound very empowering at all (in fact, it sounds like a downright cruel and humiliating way to treat the homeless, but these Metropolis folks have a perverse way of getting their rocks off). Oh yeah, and bands. Lots of ‘em. Czech the schedule:

- The Blind Eyes 5:00-5:30 pm

- The 75s 5:50-6:20 pm

- Hazard to Ya Booty 6:40-7:10 pm

- The Dock Ellis Band 7:30-8:00 pm

- Soulard Blues Band 8:20-9:00 pm

- Jon Hardy and the Public 9:20-10:00 pm

- The Hibernauts 10:20-11:00 pm

- LucaBrasi 11:30-12:10

It’s free. It’s gonna be a good time. What more do you need to know? Click here for complete details.

7:47:25 PM: The blog being http://www.post-rockist.com

7:49:03 PM: “twittering Fucking Awesome Fest” sounds rather dirty, doesn’t it?

7:53:53 PM: Tonight must see: Juiceboxxx

7:54:41 PM: Also, Croff Family Band is fantastic. Haven’t seen them in awhile. Lounge pop goodness.

9:36:58 PM: Pre FAF meal with @MoBz4eva and @mattefinished

10:13:30 PM: Finally on the way and looking forward to Office

10:26:21 PM: Office brought not one but two female drummers.

10:27:42 PM: Double drummer attack sound amazing in Cafe.

10:31:58 PM: If other bands tonight are as good as Office, this is going to be a helluva great night.

10:35:08 PM: R.Kelly: deserving of a ball busting

10:37:26 PM: Nice harms j.freer with Office’s ridculous plans.

10:48:30 PM: Javs: solid. Lanes sound good. It all sounds good. Quite a change for the majestic plex

10:51:28 PM: First time seeing esquire. Keys, moxie, Marcie volen dancing: solid gold!

10:54:24 PM: 60s throwback rap? Yes. It exists and it is Esquire

10:59:08 PM: Esquire got his brandy, got pajamas(?) got brandy, got pajamas(?). I hope it’s pajamas.

11:13:39 PM: Displays have gotten super tight in the last year.

11:14:20 PM: No one has even heard of The Replicas. Let’s see, shall we.

11:18:42 PM: Replica opens with instrumental, a la j headband, kinda

11:19:40 PM: Replica very smiley, still no singy

11:19:40 PM: Replica very smiley, still no singy

11:43:11 PM: Croff family band just started. A little more rock than usual.

11:51:01 PM: Nearly sprang my ankle on gutter at garden bowl. Gonna get sprung till the break of dawn!

11:52:03 PM: Croff band kick drum: “cock strong”

11:53:41 PM: For the mammeries: cock, cock, cock, cock, Xanadu, Xanadu.

11:56:18 PM: Garden bowl sound can’t handle 6 piece band. Mix is poor. This band should sound 19 x better.

11:58:38 PM: Croff: even though the mix isn’t great, the songs are so good that they shine thru the cloudiness of the speakers.

12:04:54 AM: Some lightning love, then juiceboxxx

12:06:53 AM: Boys are always wrong. Alas.

12:07:37 AM: Lots of dancing at LL!

12:08:42 AM: And fist pumping? What is up with this Detroit crowd tonight? Everyone is having a good time. Strange and unusual.

12:13:37 AM: The cafe the best venue the complex tonight. Feels like being in the pike room, except here you can still see the band from the back.

12:16:25 AM: This te loudest and most high energy show of lightning love I’ve seen. They’re killing it!

12:21:13 AM: Pop project in garden bar, not lanes. Blew me away the second I walked thru the door. This night is so great!

12:22:24 AM: PP playing new Zach Curd song–so Stevie Wonder. so fucking good. Everyones new fave dance song.

12:24:18 AM: FU NYC: Detroit is Americas music scene

12:28:27 AM: Juiceboxxx just said this Is his last show ever– doubt it, but he’s performing like it is.

12:32:35 AM: Jboxxxxx don’t want to go into the darkness.

12:39:52 AM: Surprise of the night: every band is running early

12:54:00 AM: TAN coming on stage to “the final countdown”

12:57:50 AM: High fucking energy at Faf for TAN!

12:58:36 AM: Also Update: @jacksonjonathan is laaaaame. (via @beejit)

12:59:55 AM: Scott Allen just played a spray can into the mic

1:00:20 AM: And now he’s handing out goodies to the crowd

1:03:50 AM: TAN loud as hell and crowd is loving it

Although the venue handled themselves responsibly, locals enjoyed piling on the “poncy divas,” the band issued a humorous retort (humorous because of their complete overestimation of the size and dedication of their “fans”), and it somehow ended up with a tweet of mine getting twoted on Brooklyn Vegan. All this comes after the band nearly pulled out of the gig anyway over a dispute over $50 – apparently their booking manager felt the needed more than they had previously agreed to because they had received a modest endorsement from Stereogum or something (hey, Hive Mind follows the Buzz!). I haven’t read the ‘Gum in a while, but I get the impression they have a fairly low threshold for endorsing new bands these days.

As the comments over this isolated tantrum started to grow old and ugly, news started to spread like wildfire over the shocking and tragic death (or, if you’re feeling conspiratorial, the hoaxed death) of the King of Pop, news that entirely eclipsed any attempts at a sunny birthday party being held by a puny little music blog. I spent Thursday night practicing the Moonwalk in my bedroom with tears streaming down my face.

Friday was better. Julie Doiron, who I wrote about for the RFT, came to the Lemp Neighborhood Arts Center and put on an endearing show of low-key, lo-fi granola rock that was ideally suited to the communal hippie vibe of the Lemp. Plus, she did it all with the most bare bones sound system imaginable. It was strangely refreshing to go to a show where the audience is so supremely attentive and reverent of the performer – maybe it had something to do with the median age of the average attendee.

Julie Doiron – “Nice To Come Home”
Download audio file (Doiron-NiceHome.mp3)
(from I Can Wonder What You Did With Your Day)

So Many Dynamos held their release party for The Loud Wars at the Firebird on Saturday, two days after the non sequitor critical thrashing it received from Pitchfork and, in an unexpected meta twist, the review of the critical shortcomings of Pitchfork’s review by Pop Sense. (For what it’s worth, I actually like the album – highly complex song structures packed into tightly-wound pop song formats, complemented with Fripp & Eno-styled cascades and mathy Battles-indebted climaxes.) Unfortunately for the fans, the bands, and the venue, the A/C decided to go on the fritz, and with Saturday already being the hottest day of the year with heat indices well above 100 Fahrenheit, inside it felt like we were trapped in the steamcooker of Satan’s armpits. It wasn’t pretty, but the kids didn’t seem to mind, and skinny arms were a-pumpin’ throughout the Dynabros’ set.

The highlight of the night came, unequivocally, from Emperor X. While all the kids were huddled sweating near the front, Chad Matheny took a microphone from the sound deck in the back of the room and started singing the chant from Michael Jackson’s “Wanna Be Startin’ Somethin’,” and eventually got the whole crowd clapping in rhythm and singing “Mama-se, mama-sa, ma-ma-coo-sa” while he improvised geekily soulful lyrics on top. To call his set “eccentric” or “earnest” or “Phil Elverum-esque” doesn’t really do it justice. Just download The Blythe Archives, Vol. 2 from his site, and plan on catching him next time he’s performing in town.

Emperor X – “Falklands/Malvinas”
Download audio file (Falklands_Malvinas.mp3)

Hopefully, the ol’ ‘Bird has fixed the A/C by now, because they’re hosting a “SnoCones & Lasers Mega Monday Dance Party” tonight that should be worth czeching out. To the best of my knowledge, this event is going to include flavored vodka Sno Cones (for inebriation), borrowed rave lasers (for heightened ‘80s awesomeness), and a veritable round robin of various DJs and “electro” composers (for dancing). Phaseone, who I’ve written about before, is one of the performers, and his recent remix of Animal Collective’s “Daily Routine” has been popping up all over the Hype Machine lately, if you follow those sorts of things. Bring quarters for the pinball machines, in case the sno cones and lasers don’t do enough to transport you back to 5th grade.

Jeff Milo of The Real Detroit Weekly and Deep Cutz blog asked us if we might publish his review of Deastro’s Moondagger. We, of course, said of course. 

Moondagger feels so human. For all its synth-wrung furls and precise rhythms pulsing from that preconceived-computer-perfected genre of electro-pop, it is added a fleshy tremulous pound, a closing of the eyes, a letting go, with a lyrical parade of penetrating questions, of love, of the future, of metaphysics, of feeling. It sings of cosmic intangibles, dream-lands, myths and musings and galaxies, but mixes in earthly mortality with trembling sweat-beaded stares into bathroom mirrors, broken hearts, and the longing for closeness. As singer Randolph Chabot, between spacey skirls and warbled synth-hooks, shouts a throat slashing question, growing more animalistic each repetition, “Can you tell me what I feel, is it real, is it right?” 

Opener “Biophelia” taps in with light cascading 8-bit synths, immediately acquainting the listener with Chabot’s characteristically delectable and hypnotic melody molds – but after four measures these riotous drums like battleship guns start pounding in, sandwiching (as almost every song on the album does) the beautiful, the transfixing, with the urgent, with the upset… It’s as though the album were a study in the tumult of emotions that can follow from what seems like the insignificant questioning of an individual, of himself and of all he sees. Shambly synth cymbals shimmer like a sparking line of gun-powder leading to the ammo shed and the full band explodes outward with Chabot’s pained chorus (of ended love) sliding down in this melodious groan, the guitars aligning with the high-toned synth inflections adding in a surfy-toned reverb, as the drums pound on…

“Biophelia,” acknowledges that things must change, “What was is dead and gone and no two cells are alike / and no ghost will find us here, in the places we have been…” The drums seem to reach a peak before tumbling down into an idyllic dance-pop jostling as Chabot plainly sings, “There is no poetry, this is how I feel…”

“Parallelogram” explodes out the gate with shiny-toned synths with fiery guitar riffs for its wings in a melody ready-made for some lost Saturday morning cartoon action squad theme song. Moondagger’s quiet, meditative searching clashed and blazed with exertion and catharsis is represented nicely (on “Parallelogram”) by an almost two-minded lyrical delivery, the verses sung in Chabot’s timorous, childlike high-tone (sliding over a steady bass grove) and the chorus spilling out with a deeper, louder voice that almost trips over its preceding verse as though it can’t hold back, as these punchy, echoey drums resemble thunder and shimmery guitars cut like lightning.

“Toxic Crusaders” is side 1’s prime display of (the often-spotlighted) Chabot’s band mates -drummer Jeff Supina, bassist Brian Connelly and guitarist Marc Smak – a pensive polyrhythm slides into a danceable shimmy, the bass booms and hums along under playful chimes while the guitar gets down right funky. Chabot’s musings on metaphysics continues as his yearning croon follows the chimes “Are we not made of the roots of the planets and the trees – I’m a prophet of how things should be…”

Centered in Moondagger is “Pyramid Builders,” featuring mostly Chabot at his nest of synthesizers, computers, samplers and drum machines (reminiscent of the solo-form in which the Deastro project started out in 2007). “Pyramid Builders” has a jittery beat under intertwining melodies stepping up up up and down down down, blipped and shunted by a few video-game jaunts and a brief harpsichord-ish shashay; synthy bell chimes give it this very restorative feeling. 

The bass blurts out in its most distinctive buzz under achingly beautiful guitar tones at the opening of the epically titled “Daniel Johnston Was Stabbed In The Heart With The Moondagger By The King Of Darkness And His Ghost Is Writing This Song As A Warning To All Of Us…” yet another example of a initially delicate dream-pop opening gets an anthemic front row fist pumping vibe as the bass booms on and Chabot assures the building up of a town the saving of a boy, the winning of a fight!

Tight, prickly, new-wave-ish guitars start to blaze like the sun on rain-soaked pavement over “Vermillion Plaza,” building into this tumbling, ultra-fuzz-wrapped chorus sung in this deep 80’s faux-operatic tone that (almost Morrisey-ish) combines a standoffish boom with a vulnerable delicacy.

“Greens Grays and Nordics” starts out quiet, but the guitar feels so taught and tense in its steady knocking –opening the door of the song to the rolling rhythms of bass and drum under jittery synth jetstreams “I’ve got your picture in my pocket stained with rainbow watermarks” goes the chorus –and it brings me back to my humanistic vision for this album – almost imagining a body itself, cold yes, and a bit stoic – as it’s effected by all this futuristic atmosphero-pop and computer blips – but pulsing vibrantly from each orifice with a different color of the rainbow, burning bright, cutting and splurging out like untamable adrenaline. The body is the band, but maybe it’s Chabot, having all of these feelings, many of them close to an anger-born-from-confusion, some of them a sadness-from-heartache, or perhaps a hope, a love-born-from-potential, for community, for anything. Listeners can often find in Chabot’s music this umbrella application of love or unity to solve struggles – Moondagger is ripe with this, but with the album having been such a long and trying process for the band, they’ll likely be onto something much different for their next project. Moondagger is born from the struggles of a prince in a dream land against a King of Darkness and the corruptibility of power (and yes, the inevitability of love’s potential to conquer all that).

All these pent up feelings seem to reach their breaking point during the stormy chorus of “Moondagger,” sliding in just one track before the album’s conclusion. The verses are charged by relentless rhythms, the synths seem to lumber along with growing grumbles, the guitar feels like its throwing space-toned one-two-punches and all cylinders seem to fire in some hotblooded fuzz-fire, like some overwhelming Michael-Bay-ish over-explosive ending action sequence. 

And that makes “Kurgan Wave Number One” feel like the perfect soothing closing credits song – delivered as a twilight dance ballad with New Order-recalling laconic beats and heart swooning, softly brushed melody.

So then,…We can gobble up the wide-eyed balloon-pop, the synth swirled vigor, the heart-pounding dance-rhythms, the immaculate hooks and compare Chabot to classic/aristocratic/infallible pop song writers, to experimental prog-rock composers, but it should be noted that Chabot is a lucid soul as much as he is a lucid songwriter – he is using these sounds, these swirling tones, these words to help himself understand a myriad subjects, settings and times. And his view, his understanding, is going to transform within the innards of each album. Answers are rarely found inside Deastro’s songs (even if the search never ceases); love may not always work, evil might not always be suppressed, and it may not always be assuring when Chabot t-t-t-t-t-tells us “we’re gonna be fine” (in “The Shaded Forest”) – and future songs (as much of Moondagger’s subtext suggests) may start concerning us, all of us, in bigger, less palpable ways. Rebirth is on the horizon, as “Shaded Forest” (presented here as a b-side), one of Chabot’s older (and most initially popular) songs now features a since-added lyric over the chorus, “Let me be reborn…let me see with new eyes…”

By Jeff Milo

Click here to view the embedded video.

This Friday, Detroit celebrates four new releases by some of our best bands.

The highlight of the night is Deastro’s inevitable break-out release, Moondagger. This album is sure to launch Randy and his band onto the national scene. Be sure to catch him tonight, because it’s likely he’ll be touring places other than Michigan widely for the rest of the year.

The Silent Years, who have done their fare share of national touring, will be releasing a new EP, as well as new releases by Manna and Quail and The Summer Pledge.

This is going to be a fantastic event. Be sure to be there, break out the old tux or evening gown, and enjoy a track from Deastro’s new album:

Deastro – “Parallelogram” from Moondagger.
Download audio file (Parallelogram.mp3)