Tag Archives: Alex Bleeker and the Freaks

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After Midnight, We’re Gonna Let It All Hang Down

December 31st, 2012

Alex Bleeker and the Freaks/Prince Rupert’s Drops – Mercury Lounge – December 29, 2012

Alex Bleeker and the Freaks

There’s an old “Your father used to tell you” saying: “Nothing good happens after midnight.” But I think we can all agree that’s demonstrably false. Take Saturday’s late-night after-party double bill at Mercury Lounge put on by Dog Gone Blog for those coming from earlier shows. This one was an extrasensory delight with old school projector and Day-Glo liquid light show and some deep, mind-altering psychedelic music. First up, Prince Rupert’s Drops played music from their excellent debut album, Run Slow. The pulsing colors behind the band nicely matched the music, strong candy-coated pop one moment—like the single-ready “Almond Man”—and then stretched out taffy-like, with jams like the title track lasting the better part of 10 minutes, the next.

Finishing the night, Alex Bleeker and the Freaks played a decidedly open-ended set with perfectly pitched ambient late-night groove instrumentals mixing with some crowd-pleasing covers. The wee morning suited Bleeker and Co. well: It was as good as I’ve seen them play, nailing a rocking “Sweet Virginia” and a great “Mississippi Half-Step Uptown Toodeloo.” But the highlight was a cover of Phish’s “Bathtub Gin,” which launched a long, coherent space jam that went beyond Phish or Dead territory to the after-midnight place where maybe nothing good ever does happen. Just don’t tell your pop. —A. Stein

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A Great Saturday Bill at Mercury Lounge

February 6th, 2012

Alex Bleeker and the Freaks/La Big Vic – Mercury Lounge – February 4, 2012

La Big Vic

After a reverb-heavy swinging set from Family Portrait on Saturday night at Mercury Lounge, next up came Alex Bleeker and the Freaks, a spin-off from indie-jammers Real Estate, the Frasier to their Cheers. Bleeker, who plays bass in Real Estate but naturally moves to guitar and lead vocals in his own band, requested dim purple lights as the group tuned up with psychedelic swirls behind him. A quick-hit love song made way for a pitch-perfect Grateful Dead transition jam with two lead guitars fluttering around each other like playful birds. It was an impressive “our second team can beat your starters” stretch of music, all loose and nebulous. As the jam melted into more terrestrial roots rock, the ragged nature persisted, giving a cozy just-friends-watching-a-rehearsal feel for the crowd.

La Big Vic finished the night. Gone were the dim purples, in fact, gone was all color whatsoever. In lieu of lights, the band projected images from a laptop on a white sheet. The images were completely black and white giving the whole band in front of it a drained-of-color look. The music was a hypnotic, electronic after-midnight collection of synthesizers, violin, trumpet and guitar burying Emilie Friedland’s voice. As gray digital jellyfish swam across the back wall, the music was equally aquatic, the kind of buzz-enhancing trip-hop you might stumble upon in some early-morning subterranean club scene. —A. Stein

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Experience Something Unique on Saturday Night

February 1st, 2012


The three musicians in La Big Vic have diverse backgrounds. Violinist-lead singer Emilie Friedlander was—and actually still is—a blogger, before moving here from Japan guitarist Toshio Maduda was in a J-pop boy band and he produced hip-hop and commercials and keyboardist Peter Pearson apprenticed as a sound producer. But when the trio makes music what comes out is an amazing stew of beats, hooks, trip-hop and ambiance. This isn’t a case of being different just to be different. No, it’s a unique kind of music, which you can see for yourself when, alongside Alex Bleeker and the Freaks and Family Portrait, La Big Vic (above, doing “Musica” for newtownradio.com) plays Mercury Lounge on Saturday night.