I kept my cards close to my chest about it, but Wendy Eisenberg (pictured above) came to Pittsburgh back in February and added one guitar track and two banjo tracks to the album I'm in process of recording. I really love Wendy's style so I was beyond psyched to hear that their band Editrix was coming to Pittsburgh. The trio was scheduled to come back in February, which was when Wendy was originally going to record the tracks, but the tour was cancelled at the last minute. (They came anyway a few weeks later, without the band, to do the session.)
Wendy's musical output is really varied. Some of it is closer to singer-songwriter with a warped, post-jazz approach to melody and time. Some of it as free and unhinged. The trio Editrix just rocks. In some ways, they sound a bit like early Minutemen - tense and aggressive, ready to stop or shift gears on a dime. But as good as D. Boon was, he didn't have the chops that Eisenberg has. And on top of all that somewhat heavy thrash, there's Eisenberg's voice - high and a bit sweet, but jarring in a way that fits perfectly with the music.
The band's sophomore release is titled Editrix II: Editrix Goes to Hell and their set at the Government Center record store (Saturday, June 11) kicked off with the title track (the second part of it the title) which in turn kicked off with Eisenberg creating the sound of a melting guitar without even using a whammy bar. It was like mutant surf guitar that stayed out in the sun too long. While Wendy wailed on guitar, Steve Cameron played some solid double stop bass lines and Josh Daniel pushed it along behind the drums. The three of them fit the well-oiled machine description, going from song to song with a barely a nod of acknowledgement from one to the others.
Their set skewed towards the tracks from the new album. But they also made room for the great thrasher "Tell Me I'm Bad," the title track to their 2021 album. Eisenberg announced a medley that would evoke Broadway (if I remember correctly) but actually combined the newer "Heiroglyphics" with last year's "Torture," the former sounding both unsettling and relaxing with whispered vocals. Sometimes when you look forward to a show, you build it up in your mind so much that the real thing can be a letdown. Not so last week. Editrix raised the bar.
Both local openers deserve some shout-outs too. The trio Emptier started the night off with what was apparently their debut gig. If that's true, these fellas are off to a great start. They recalled a style of '90s indie rock, with guitar lines that were fairly melodic, built on single string riffs as well as chords. Vocals were tense, not in the lung-shredding way but with a sense of dynamics and drama.
Sometimes, long-standing Pittsburghers microwaves have been a little too heavy for me, but on this night, I was ready to be mowed down by their power. Heavy guitars, sub-bass bass, some weird electronic loops going in the background, screamed vocals that felt like they actually meant something. It all hooked me in. Only the accidental feedback squalls made me head to the other room for a break.
I wanted to look around at the vinyl selection at the store but, between bands, the attention span was just not there. I'll be back over soon.
Illegal Crowns were supposed to tour the US in June of last year. But pianist Benoît Delbecq couldn't get into the US so the remaining members of the group - Mary Halvorson (guitar), Taylor Ho Bynum (cornet, flugelhorn) and Tomas Fujiwara (drums) - went on tour anyway, coming as close to Pittsburgh as Cleveland's Bop Stop (see photos here). But last night (Wednesday, June 15), Pittsburgh got lucky because all four members of Illegal Crowns came to City of Asylum's Alphabet City venue on just the second night of their long overdue tour.
It was clear from the start that this group was different from the other projects I've seen by some of these players, including the trio of them last summer in Ohio. Delbecq has stealthily prepared the strings of the piano using a set of small sticks with tacks in them. For the opening piece, it made the piano resonate more like a marimba. (After the set, Delbecq showed a few of us what he uses on the strings, telling up how he doesn't use metal, in part because metal on metal piano strings can cause damage.)
Throughout the set, the music had a subdued quality too it. Bynum cut loose during a few solos, but it wasn't until the final tune of the night that the whole band really got loud. Fujiwara played at a relaxed level, using brushes frequently. Whacking was not necessary, and the approach worked for the 6/8 foundations of several tunes. There were also a couple pieces that could be considered ballads.
The group didn't back announce any titles, so I can't connect the set to any particular tunes. I could've taken some extra steps to get details, but the unknown quality felt right the way it was. There were some moments where things began to take off, like when Halvorson added a skittery solo later in the set. Delbecq approximated gamelans in another tune where Bynum's cornet and Halvorson's strings played lines together than went against the "vamp" that the other two were laying down.
After the set, I picked up the band's The No-Nosed Puppet album on RogueArt (it was the first time I've ever seen RogueArt vinyl). In the album's liner notes, guitarist Joe Morris says, "I could listen to one minute [of the album] over and over and still find things that I didn't hear before." Here's right. On my second listen today, I heard things that I didn't pick up on the first time. (Which is why, as I feel I state in every review, it's important to keep coming back to albums rather than expecting to have it all revealed on the first spin.) In a similar way, last night there was a whole lot to take in - new sound combinations, new ways of interacting, new compositions.
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