A quintessential Silicon Valley band, Monsters Are Not Myths played at the Media Center on Friday, July 19, 2009. They are quintessentially Silicon Valley because more than any other band I have encountered they address themes that have come to be associated with the flip side of the Silicon Valley dream : meaningless success, loneliness, alienation, and fruitless escapism.

That being said their music doesn’t need the Silicon Valley backdrop to be listened to and enjoyed. If you’re a lyrics junkie like me you’ll find a deep reservoir to swim in. However, if you just want to enjoy some fresh sounds cleverly arranged and brilliantly executed, you need look no further.

Lead vocal and keysman Evan Hamilton and guitarist Nick Giordano founded the band. They added Tyler Null on drums and Annie Nguyen on bass. Nick plays a transparent guitar, no messy chords, clean and crisp. Highly controlled, he’s a trustworthy guitarist who anchors the band. Bassist Annie behaves with extreme humility in every way except in her address of the bass guitar — she is spot on. Together with Tyler, they drive everything; even when the tempo varies in the arrangement – which it often cleverly does, they manage to stay locked in. Tyler is extremely subtle. Rock drummers are often seen flaying away in the back regardless of what’s happening in front. Not Tyler. He adapts his style to each song and to the overall voice of the band. He doesn’t overuse cymbals and is economical in his use of all the components. He uses brushes and other elements — even the glockenspiel effectively. Evan, as the lyricist and vocalist, he propels each song forward with an almost frenetic passion. Evan is an interesting contrast to the other players who in some way could be characterized as “laid back.” However Evan, not a petite fellow, is extremely mobile, active and graceful. He moves around taking the mic with him like a twisted dance partner. When he hits on the keys, he can often be aggressive. He uses his novelty portable electric organ in a way never intended by its manufacturer. The result is an exciting show with elements of controlled intensity juxtaposing with an urgent sense of losing control.

Monsters Are Not Myths opened their five-song set with “Sunday Morning Nightmare.” The slow seductive intro takes the song to a nice build which then hurtles into a driving breakdown that collapses back to a slow outro. Everyone was mic’ed and everyone sang harmony on the chorus. There is repeated use of vocal doubling and tripling — which works well for their songs. Evan as soloist typically sings of loneliness and alienation in several of the verses only to be joined by his “friends” in a “singalong” chorus – a very nice touch.

The second song, “Bits of Sins” has marked variations in intensity, which serve the song’s lyric well. Reggae-esque at the outset, the song’s intensity builds to an inevitable chorus that has frenetic reggae elements. Annie’s intricate and driving bass line pretty much drives the truck on this one. Nick, all business, delivers the textural elements of the song that keep us from going off a Rastafarian deep end.

“Netcat” is yet another cleverly arranged piece. Evan plays a masterful synth and Tyler throws in the glock to create a spooky, late night groove, which matches the lyric “Midnight is a bad place to be.” Nick’s figured chords and guitar arpeggios only enhance the light, transparent feel of this song, which is characterized by brilliant instrumentation, soulful lyrics and a little Leonard Cohen thrown into the mix.

In OldSoul the electric guitar (otherwise Nick played acoustic) opens up with a classic rock riff, which is negated by Evan’s random organ trainwreck, forearms flat on keys. It totally works. The cacophony bursts forth into driving rock guitar, rock novelty organ licks, and then the wonderful use of vocal echoing effects.

The evening ended with Monsters Are Not Myths’ signature closing number “Burrito In My Heart.” Annie and Tyler doffed their instruments and donned shaker percussion. Nick played acoustic guitar and Evan expounded on the love of any Silicon Valley engineer’s life — a middle of the night burrito. Everyone sangs, and they even invited the studio audience to come up which they did. The cameramen stayed put, but pretty much everyone else came up.

Suprisingly I wasn’t hungry for a burrito after they played. But I was hungry for more music, which is why I’ll be at their CD release party October 9 at the Hotel Utah in San Francisco. I suspect they will probably play the burrito song then.

Monsters Are Not Myths on American Songwriter debuts Friday night, July 31, 2009 on Comcast Channel 27 in the Palo Alto Service Area. The show can also be viewed on Blip TV.

Through an Amazon S3 utilized by PEGMEDIA, the Monsters Are Not Myths show will be available, like all the other American Songwriter episodes, for download by the over 250 cable access stations that are members of PEGMEDIA. Other stations are joining every week.

Punchface made its first appearance since rising from the ashes after the band’s extraordinary break-up, which left only one member, the lead singer Justin Alexander, going forward under the banner of Punchface.

It was great to see Zen Zenith of Please Do Not Fight and Layla Allman of Picture Me Broken in the audience. When bands turn out in support of other bands it’s a beautiful thing to see. PDNF is in the studio, due to tour soon; and rumor has it that PMB has a date with MTV in the near future. Both PDNF and PMB are American Songwriter alumni.

So, Punchface played at Slim’s last night, third on the docket, along with Scraping for Change, A Band Called Pain and Solid State Logic. After only 8 rehearsals Justin and new members Jono Beckman, lead guitar, Peter James on bass and Christropher Alexander (no relation to Justin) on drums gave a performance of a band that has been playing together for years. It was unbelievable, a real testimony to the musicianship, professionalism and the chemistry of the new band. Musically, they were really tight and the rhythm section hung together like glue.

I learned that the rhythm section apparently has been together for six years and it shows. Peter and Christopher drove the band forward the entire 8 piece set. And Jono on lead, what a gem. He adapted earlier iterations of the lead riffs and made them completely his own. And he added his “special sauce”, creating new sounds and grooves. From out in the audience, it was a flawless set.

And the feel of the band is different. They have ratcheted down a notch the harder rock edge of Punchface 1.0, and I’m thinking it works better for their music. When there is nothing beneath the sound, a blast of deafening rock is a good thing; it fills the void that lack of musicianship often leaves. But the layers and textures to Punchface’s songs have subtleties that were revealed tonight by the lighter format.

Scott describes it as being able to “hear the richness of the frequency spectrum. Every region of the sound spectrum was filled with lush melodies and counterpoint.” Vocal and guitar did incredible blending which was striking. It’s hard for me, a non-technical fan, to describe but you can hear so much more of what’s there to hear in this new format. It was there all along, but now you can really experience it.

I really liked the three founding members of the band that have moved on and there is sadness there when that potential is lost. They were sound musicians and gave a great show. However, today’s Punchface has the hallmarks of a band that will break. The acid test, can they write together? That was answered tonight. They debuted a new song which was incredible, and consistent with Justin’s ultimate vision. And let’s be honest, without Justin’s vision, there would be no Punchface.

I’m a wordsmith, so I’m biased as hell, but Justin’s lyric and big picture vision are what take Punchface out of the ordinary. He can’t seem to write a commonplace lyric. And then he delivers them with all the impact and meaning he alone as the author can infuse. When lyric and melody and arrangement match the way these young men matched them tonight, the crowd is pleased – which they were tonight. Punchface drew the largest crowd of the four bands. No lie.

I’m not taking anything away from the other bands. I hadn’t heard A Band Called Pain before and they had some great stuff. In fact, I bought both their CDs at the Merch table. This was the best I’ve seen Solid State Logic and I really like the hooks of their songs. They know how to deliver a great show. I got there too late and only caught the last song of Scraping for Change so I’ll recuse myself. But when Punchface opened with Let It Go, people were straining forward to get a bead on what Justin was singing about. To be a great band you have to make us care. Tonight, new Punchface fans were made, I saw it in the kids standing in front of me. They inched forward like a tiny brigade when Justin started to sing. Because when Justin sings, there is something there to care about.

Last night, West Coast Songwriters held its last regular East Bay Song Competition for the 2008-9 season. That was the last chance to compete for a chance to perform in the semifinals and then the finals. The semis is when all the winners from the monthly competitions that we’ve held since October compete and the winner then goes on to compete with the winners from the other WCS song competitions. As many of you know, Sara Bareilles is a graduate of the West Coast Songwriters Competition. She recently performed at a benefit concert at a private residence in Atherton which benefited several non-profs including West Coast Songwriters. She loves WCS. But I digress!

Anyway, it was a packed house and unfortunately we had to turn some of the competitors away as all 20 slots filled up lickety-split.

Last night was pretty special for three reasons … it was the last regular competition to be held at the OLD Freight and Salvage. When the 2009-10 season kicks off, we’ll be at the beautiful new Freight at 2020 Addison just up the street 9 blocks. It will be an improvement to be sure… but there will be a few tears shed when they put the old padlock on 1111 Addison Avenue and take the sign down.

Also, it was special because the caliber of the performers was outstanding, beyond belief. I’ve been working there now since October 2008 and the judges really had their work cut out for them. And that’s why the third reason last night was special was so important. We brought in three ringers for the final competition of the season: Michael Edell is President of West Coast Songwriters, Greg Lamboy is in charge of all the Song Competitions for all of WCS and the third judge, not a WCS heavy hitter, but a heavy hitter in the world of the Blues, was Steven Suen, the owner and operator of Biscuits and Blues in the City. He has recently opened up The Union Room right upstairs from B&B and he is seeking indie acoustic and plugged in acts to fill that venue.

Anyway, it felt like a magical evening as songwriter after songwriter got up and gave a great performance. I felt really lucky to be in such proximtiy to ALL THAT positive talent. Songwriters are by definition nice people. You can’t create like that and be hard hearted. I dare you to prove me wrong. So last night s we cheered on our performers, it was great to be in the house

So the winners last night were … DRUM ROLL… Todd Hammerle for best song and best performance went to Garrick Davis. Todd will go on to compete in the semifinals in early August. The judges, pros that they, are really struggled with the choice, but they came to consensus with the most honorable mentions ever.

I wish all our winners good fortune and I don’t envy the judges at the semis a bit, because it will not be an easy job — as this has been an incredible season for WCS.

If you are a songwriter, you’ve got to check out West Coast Songwriters. Membership is a deal and a half at 70 bucks a year and 40 for students. We have a great conference coming up at Foothills College in September. And membership is worth the price to meet up with Ian Crombie the executive director, and a great board of directors. They are hands on and their bottom line is … it’s all about the song.

http://www.westcoastsongwriters.org

I first saw Ian and Graham Houts perform at the West Coast Songwriters Competition held at the Freight and Salvage in April. I saw them again at the same venue in June and I was hooked. I invited them to play at the Media Center on July 7.

These ten-year old twin brothers already play hard at the execution of music. On stage with them were a keyboard and four guitars. Ian plays keyboard and both guys play guitar and bass. They each play wind instruments as well – which have not made it into the performance mix – yet. Graham usually sings lead with Ian providing the vocal harmony. However, Ian does offer up a very strong lead on some of their songs.

They write their own music and develop their own arrangements. And they work on their music everyday.

The five original songs they performed are really credible. They’re about the kinds of things kids think about: monsters, boredom with chores, being outside, wondering about the future. The lyrics are thoughtfully developed and entertaining. Developing their own sound, they draw heavily from classic blues, rock and folk traditions.

“I’m not Afraid Anything” opens with a classic vocal blues recitative with vocal call and response. And then a guitar riff transitions the duo to a solid rock groove. How did they learn not to be afraid? They put it all in perspective. They know that “the earth is just a speck in the sky and I will just watch my problems fly by.”

“Yawn” opens with skilled sliding fret work by Graham with Ian setting the tone on the keyboard. The song is salt and peppered with musical breaks with Graham using the wah wah pedal and Ian creating the groove with the keys. “Yawn” is about all the stuff they don’t want to do but have to – a nice spin on the issue of “chores”.

“Outdoors” which sports an organ groove straight out of the “summer of love” is just a great song. The lift to the chorus: “Time spins fast when I’m out there” is sung in lovely harmony with the simplest instrumentation behind it, but then the guitar and keyboard give us such a nice build to the chorus. Very satisfying.

Ian and Graham play bass and guitar respectively in “I Don’t Know”. This song has a mellow groove that explores how things might go down in the future: “Will I get a Gibson guitar? Will we ever finish Monopoly?” These kids know intuitively that the lyrics and melody and arrangement all need to match. There is an openness about this arrangement that matches the lyrics: “Will we fly to Jupiter to Mars? Will we find the cure for cancer?” Just another great “slice of life” song.

The boys finished their set with “A Dee in the Life” with Ian singing the lead. This song captures very nicely that feeling of having an inner life as you trip along through your day. While you go along, there is this parallel force going on which Ian and Graham express as “deeing” your way through the day. To appreciate fully the subtlety of this song, you’ll have to listen to it, of course!

The guys get song ideas from every day life, which is exactly where the best songs spring from. Their lives appear simple, but they are already wrestling with junior versions of heavier adult topics – the meaning of life, the balance of leisure and work, and the uncertainty of the future.

The boys got their start early on in music by being avid listeners to all kinds of music. Not musicians themselves, their parents are avid fans and inadvertently exposed their youngs sons to America’s brilliant cross-section of musical experience. Couple that with immense natural talent and we have two boys eager and able to explore original sounds now. Fortunately no one saddled them with the misassumption that creativity is a chore. They make it easy, not at all trivial, and above all fun.

Prove It will cable cast On Comcast Channel 27 in the Palo Alto Service Area Wednesday and Friday nights at 9 pm, through July29. Or you can watch the full show on Blip TV.