Psychedelic Sounds at Blind Bob’s

Saturday Jan.16 Blind Bob’s hosted three bands, ranging in sound as much as appearance. The two-thirds Dayton showcase brought locals Babbling April and SKRT to the stage with Cincinnati’s Comprador sandwiched comfortably in-between. Each brought a signature sound with elements of their own style while psychedelia was the evening’s theme.

Babbling April started with the most calming, subtle noise of the night, combining guitars with keyboards. Delivering a poppy, atmospheric blend, of 60s electric-folk flavored ingredients, with coffee house indie rock carried with an REM grin. Though no influence was heard, vocalist Vivi Machi sported some Iron Maiden Eddie footwear, prompting new meaning to shoegaze. They played musical tag with their instruments throughout the show.

“All Around” started with jazzy guitar wails calling out to the keyboards ending with a 60s beach buzz influence. Instrumental “Another Kind of Perfume’s” syrupy pick up sticks drum work traveled through dreamy soundscapes ending with a musical sigh.

“On Breath from Esme” had an atmospheric, spacey funk design.

“Sunny Day Records” blew through the speakers with a Cranberries kiss and the breath of The Banshees. “Liars” was a truth telling duet of sooth saying goodbyes.

New Orders “Ceremony” brought it back to the 80s. The unique unexpected trash talk of “Girl Ima’ Babe” teetered between pseudo, masculine, macho egotism and addiction to mind altering things that made you see all the pretty colors.

Cincinnati’s Comprador brought more psychedelia from Southern Ohio. They have one EP and one CD out, the night being their second stop at Blind Bobs.

A show lamented with trippy guitar effects, ambiance and mood changing sounds. Aquatic ethereal notes ended as “Le Reve” introduced, The Cure meets Foo Fighters sound with performance nods to Billy Corgan. Singer/guitarist Charles D’Ardenne was dressed for two, with the pants and belt of the Lizard King and Freddie Mercury from the waist up. He brought out sounds from the strings like a poetry recital on guitar.

“Troubles” began with melancholy mind slanting guitar effects. An ethereal sea, floating with the slight hint of trepidation, into the swirling echoed cavernous darkness D’Ardenne’s fingers explained. “Elisional’s” more upbeat, faster pace delivered darker notes allowing for a chance to go a little “rock star” on stage. “The Bruxist’s” opening was clanky and jangly as a galloping pace traded with a calmer strut.

“Pollinator” carried a downtrodden, melancholy mood with thick bass vibes musically going from slight intoxication to a tripping final drum gong.

Dayton’s SKRT self- described as ‘hen rock,’ “performed by two old lady-men trapped in 25 year old bodies.” Guitarist, vocalist Ashley Pooler proved her passion by quite literary throwing her small but durable frame all over the stage. Contorting face into the mic as she sang and screamed out the words sending her poor but durable glasses from front stage to floor multiple times. She combined the anger and angst of Cobain with the pain and inertia of Joplin and maybe it was the glasses but there was just something Buddy Holly about what she did and how she did it.

Together they brought an old-school garage rock, grungy, punk-twisted ‘cool thing’ to the stage. One things for certain, if you didn’t like the music, she’s fun to watch. Tin can hitter Abbie Romero had the distinction of keeping up with Pooler’s rapid body movement. They started with “Disfunk’s” cathartic movement and pace. “Moon GRPR” had a unique jangly, blues delivery, almost in a “Manic Depression” kind of vein. The fuzzy “Liquid Lunch” was danceable with an early Nirvana sound. They brought out the “Butcher” near the end to cut to the big finish and a crowd-demanded, one more song.

Images by Mike Ritchie

Images by Mike Ritchie

First posted here.