Parlor Walls have a bracingly fun ep that for lack of a better word could be called noiserock, a free download at Bandcamp. But they’re way more than that – and they have a lot more material than just what’s up there. A couple of weeks ago at the laid-back new venue Alphaville in Bushwick, they did more onstage in barely half an hour than most bands could do in two. While there’s no predictable verse/chorus structure to their songs and they like noise as much as tunes, their material can be awfully catchy.: when they have to, they keep things simple. They’re playing at 9 PM on June 25 at Cake Shop; cover is $8 and worth it. They’re also at Trans-Pecos the following night, June 26 at 9, opening for no wave sax legend James Chance; cover is $10.
Even though the Bushwick gig was late on a work night, there was a good crowd in the house, and the band kept them there. Frontwoman/guitarist Alyse Lamb – better known as the leader of the very popular Eula – would switch in a split-second from throwing off shards of reverb, to apprehensive postpunk chromatics, a hint of Chris Isaak noir twang, and oldfashioned punk rock roar. Meanwhile, drummer Chris Mulligan held down a thunderously swinging pulse and anchored the songs with deep washes of organ at the same time. This band’s ancestor, lineupwise if not exactly stylistically, is cult classic dark blues duo Mr. Airplane Man.
Guest alto saxophonist Kate Mohanty added an element of surprise, switching between blustery postbop jazz clusters, trickily rhythmic indie classical circles, reverb-drenched no wave acidity, abrasive duotone washes and catchy, blippy, polyrhythmic phrases. There was a menacingly psychedelic, drony quality to a couple of songs, like the Black Angels on molly. Other songs introduced tricky tempos (if memory serves right, one was in 9/8), dreamy/biting organ/guitar contrasts; and half the time it was impossible to tell who was playing the high frequencies, Lamb or Mohanty, the sound was so immersive. Persistent Daydream Nation echoes surfaced and then resurfaced frequently, Lamb’s vocals somewhat less agitated than they can be in Eula. And the trio did all this within the constrictions of maybe three minutes per song at the absolute max.
And there were fringe benefits: Lamb had brought lots of delicious homemade oatmeal-banana cookies. A whole tupperware containerful! They were almost as good as the music. On a night when the trains were all messed up and there was no telling how long it was going to take to get home, and stopping at a deli might mean missing the last train and a long walk to Myrtle Avenue, that hit the spot. Not that there’s any guarantee that there’ll be free munchies at the Cake Shop gig, but…you never know. It is Cake Shop after all.