Stew Review
 by Leeming

OK - let's just get this right out in the open:  The Aardvark is my favorite venue to watch local bands.  Proximity to where I live is a major plus, as is the friendly, laid-back attitude of patrons as well as employees. Memories of hanging out there when it was The Hop don't hurt, either.  And now they have remodeled to make it just a little bigger (but not too big) so that just adds to the list of positives about this little piece of local flavor.  (Not to mention that a scene from the movie "Born on the Fourth of July" was filmed there.)  So, I chose to go take in a triple billing at said establishment consisting of three local bands - one of which is a fast moving vehicle of success that has recently gone to Chicago to record an album with a well-known producer.  I was prepared to be blown away by one of the bands.  And I was.  But it was the wrong band.

Alan began the evening with a very creative set.  They are a four piece band consisting of a drummer, a guitarist/singer, a bass player, and a keyboardist.  That's right - keyboards.  And the keyboard player, God bless him, stole the show.  His energy, whether he was actively playing or not, was contagious and fun to watch.  Call me campy, but it was clear he wasn't providing antics for the sake of grand standing.  He was genuinely having fun, and that made it fun to watch.  The music had tints of Rush (think of their "Signals" album) while the singer's range varied from Lennonesque to classic alt-rocker Robyn Hitchcock to current alternative fave Live.  The music was all over the board, which sometimes brought the songs down. It seemed that sometimes the tempo (and the basic song structure) would change for the sake of change.  From soulful to grunge, from introspective to balls-to-the-wall.  I like it when bands have different approaches to songs, but many of these changes seemed forced.  I suspect that the more they gel, the more they will steer clear of these types of gimmicks and will incorporate these different styles as different songs, rather than different parts of a single song.  All in all, it was an intriguing set by a band I will be keeping an eye out for.

Bindle was next, and as they took the stage, I couldn't help but notice what an eclectic mix they seemed to be.  Plus, the band members were older (nah-let's use "more mature") than your average local band.  This five member band sported a drummer, bass player, two guitarists (who both proved more than capable on rhythm and lead), and a singer that was a dead-ringer for NY Met Mike Piazza. (Take it as a compliment, Tony.)  What followed was about an hour's worth of excellent music.  It would be a disservice to try to classify their style into any specific genre, but for the reader's sake, I realize I have to try.  So, the best that I can come up with is that they are a jam band in the veins of Dave Matthews or Blues Traveler, but without limiting themselves to a singular sound. Bindle's song range was so broad that I could see them at any of the following:  Frat parties, wedding receptions, Caravan of Dreams, or any Deep Ellum club/bar.  Their performance had both energy and artistry, changing musical styles without it feeling forced.  (Sidenote:  The bassist for Alan spent considerable time after Bindle's set talking with singer Tony Diaz.  I hope good things come from this for Alan.) I was actually disappointed when Bindle left the stage.  I wanted more.  It was a fresh sound, creative and original, even though they borrowed from numerous influences. I consider this band a "must-see", no matter your musical tastes.

The headliner was Dallas-based Hi-Fi Drowning.  A little research before going to the Aardvark revealed that this band was highly thought of by local writers and had caught the attention of Keith Cleversley, a producer who has worked with the likes
of Hum, the Flaming Lips, and Spiritualized.  It was written that they have a sound much like that of bands who hail from the U.K., with Radiohead a major influence.  As a big fan of Radiohead, I was really looking forward to hearing what Hi-Fi Drowning sounded like. I was let down.  The first song started very promising, with catchy chords and effective vocals.  However, after a likeable two minutes, the show turned into an orgy of effects pedals:  echo, volume control, etc.  It seemed the band was treating us to some sort of experimentation reminiscent of what could be found on Radiohead's "O.K. Computer" release.  I didn't think it translated well at all during a live show.  Not only was it confusing, but it was very long.  Too long for me.  They had a very loyal following in attendance that migrated to the front of the stage when the set began, but even they seemed to lose interest during this stream-of-consciousness riffing.  To make matters worse, I couldn't tell when the first song ended and the second song began (if, in fact, I was hearing two different songs).  It appeared that the band was playing for their own gratification, not for the pleasure of the audience.  Don't get me wrong.  I understand that ego is a prerequisite for virtually any artist, but not to the extent that the listener is alienated.  Maybe Hi-Fi Drowning thought that because they were playing the "hick" city of Ft. Worth, not the "hip" city of Dallas, that they didn't have to put forth their best effort.  Maybe they did want to experiment that night.  That happens.  Maybe they were feeling emotional.  Maybe I just caught them on a bad night.  Whatever the reason, if there is one at all, I didn't enjoy their set.  But I'm not writing them off, either.

To summarize, Alan has promise, Hi-Fi Drowning needs a second look, and Bindle stole the show.  And it only cost five  bucks.  Hell, I'd pay twenty buck to see Bindle again.  But don't tell anyone...

Leeming