Multi-instrumentalist Jon Rauhouse is one of those musicians whose skill and easygoing manner keeps him in high demand. He started playing in bands in 1977 (on banjo), eventually landing with the Grievous Angles in the 90’s. He’s recorded and played live with Calexioco and the Waco Brothers and even dabbled live with the Boxmasters prior to their tuqes getting revoked.

Jon is an accomplished master of the pedal steel, and has done several recordings featuring the instrument. For the past decade, however, he’s been lending his abilities in studio and on the road to Neko Case. I spoke to Jon following Neko Case’s two sold out shows at the 9:30 Club.

Interview below the jump.

Read More “Q & A With Jon Rauhouse” »

Fresh off a West Coast tour with Orenda Fink (formerly of Azure Ray) Laura Burhenn (formerly of Georgie James) will be opening for the Whispertown 2000 and the other half of Azure Ray, Maria Taylor, tonight at the Rock N Roll Hotel.

Laura plans to roll out some new material with drummer Elmer Sharp.

Tickets are $12 and the doors open at 8:30.

The inestimable Brian Duss has produced gaza:comp, a two-disc benefit CD to raise funds and awareness for the Rafah Rehabilitation Center, a deaf and handicapped kids school in the Gaza Strip.

gaza:comp features 31 songs including tracks from punk icon Mike Watt, Medications, Beauty Pill, Aquarium, French Toast Records’ Les Savy Fav, Palestinian musician Bashir Taha, MC Head-Roc and many others.

Read More “Tonight: Gaza Benefit CD Release Party at the Black Cat” »

The Amazon MP3 store has a bunch of indie label samplers gratis—check ‘em out below the jump:

Read More “Free MP3 Sampler Madness at Amazon” »

Will Eastman fired the opening salvo for his anticipated label release on Kindercore Records by sending out this special teaser track. A remix of Ruby Isle’s “So Damn High” with fat laser beats? It’s no wonder why Will is a dance floor favorite in the District.

Here’s what Master Eastman had to say about “So Damn High”:

The “So Damn High” remix is inspired by French House and keyboard melodies from Prince’s “1999″ album. I come from a indiepop song writing background so when I do a remix I tend to focus on building around hooks and melodies. In this case, the original song was perfectly tailored for a dance remix. The lyrics are all about listening to music, dancing, getting up with your friends and getting crunk and drunk. You can’t really ask for more with a dance remix.

I re-sequenced the vocals to concentrate on the best sections for the dance floor and tried to create a narrative with tension, build, and release. I’ve been playing this at Bliss for a few months now and the response has been good. It’s helpful to try a remix out on the floor then take it back and tweak it before sending the final version to the label for mastering. It comes out officially in May on Kindercore records on the single for “So Damn High” with several other remixes and will be available on Beatport, iTunes, etc. Most of the work was done at Dmerit’s studio here in DC and big shout outs to Micah Vellian and Outputmessage who jumped in on production and Jesse Tittsworth for his helpful feedback.

In addition to the track, Will and Co. will be celebrating their 100th Blisspop at the Black Cat on Saturday with guest DJ Jackie O.

From Friday’s Tapes ‘n Tapes show with opening acts Wild Light and The Subjects.

Read More “Photos: Tapes ‘n Tapes @ the Rock and Roll Hotel” »

The Southern Gothic man-child from NYC, Tim Fite, fuses hip-hop, alternative rock and country as part of an often trippy multi-media show. He opens for Benjy Ferree’s record release show Saturday night at the Black Cat.

I had Fair Aint Fair in my top ten from 08, but any attempt at describing his manic and downright entertaining stage show would come up short.Tim Fite needs to be seen to be believed.

In advance of their appearance on Friday at the Rock N Roll Hotel, I caught up with the bass player for Tapes ‘n Tapes by phone. Erik [pictured, far left] was kind enough to field questions while on a much deserved break from touring.

Read More “Q & A with Tapes ‘n Tapes’ Erik Appelwick” »

I’m fascinated by the notion of influences and inspirations, especially when they’re mashed up and twisted by geographical and cultural differences. Listening to any The Soundtrack Of Our Lives album conjures up bits from the historical nature of rock n roll—how it was served like a flaming tennis ball across the pond to Britain by Chuck Berry, volleyed back by the Rolling Stones and returned again by Otis Redding.

Often they cram the entire playlist of a classic rock station into one song, other times appropriating (doppelganger-style) a signature sound, as in the Doors’ knockoff “Age of No Reply” from Origin, Vol. 1.

For some reason, and much like their fellow Swedes the Hellacopters, it works. It must be the earnestness and reverences they employ. American bands who try this approach end up sounding like Matchbox 20, or are Matchbox 20.
Read More “T.S.O.O.L is the Cheese Beneath My Wings” »

The Sundance Film festival is as much a showcase for documentaries as it is a venue for edgy independent fare. Hoop Dreams, Supersize Me, and An Inconvenient Truth all captured initial buzz from the mountain town festival. The director of Oscar winning Truth, Davis Guggenheim, brought a new film to this year’s festival. It Might Get Loud chronicles the genesis and subsequent evolution of three of rock’s premiere electric guitarists.

The film begins with an appropriately old-timey-clad Jack White building a rudimentary guitar on his front porch in five minutes. He uses blocks of misshapen wood, nails, and one thick strand of heavy gauge wire stretched over the bridge. After extracting several notes that could find a home on any White Stripes album, White wryly asks “Who says you need to buy a guitar?”

Read More “Sundance Review: It Might Get Loud” »