Last week, MTV2 viewers were treated to a mini-marathon of vintage Nirvana clips to celebrate, what else, the eighth anniversary of Kurt Cobain’s death. Not only did this probably cause nostalgic sighs across suburban America, but it also likely sparked laments over the spawn of half-ass imitators the band inspired. And, as the appearance of grungish pretty-boys Bush in town last month confirmed, some imitators are still alive and well.
But of all the Nirvana imitators foisted upon America in the mid-90s, few were as talented songwriters as Local H. At the height of its notoriety, the band made a considerable impression on the inscrutable “alternative” radio format in the brief moment between the commercial wane of alternative superbands such as Pearl Jam and the Smashing Pumpkins and the wax of n?-metal boneheads Limp Bizkit and company.
Featuring an unusual two-man lineup with guitarist and vocalist Scott Lucas and drummer Joe Daniels, the band put its time in the Chicago club scene in the early ‘90s before being snapped up by Island Records in the post-Nirvana “great alterna-rock boom.” After a trio of relatively successful albums, the band was dropped three years ago when Island was consumed by Universal Records. After that, Local H decided to take a break. Daniels parted, and was replaced by Brian St. Clair (of fellow Chicago outfit Triple Fast Action). Last year, the band finally signed a deal with Palm Records, and a new album, Here Comes the Zoo, was released this February.
The band’s finest singles, such as “Eddie Vedder” and “Bound for the Floor,” are enough to instantly leave just about any suburban-raised college student yearning for those middle-school days of yore. Remember that time you went to Wisconsin to buy beer with your older brother in the back of a red Chrysler LeBaron convertible and that damn “keep it copasetic” song came on, and things were right in the world? I don’t?I really hated middle school, even if the music wasn’t so bad.
Regardless, Local H is back to play the Black Cat tonight. Expect lots of material from the band’s latest album, as well as sprinkling of those alt-rock radio classics. Also keep an eye out for openers the Kickovers, which consists of two ex-members of the Mighty Mighty Bosstones, as well as former Weezer bassist Mikey Welsh. The band’s new record, Osaka, is a fairly straightforward pop/rock affair, but considering both of the aforementioned bands have impressive live reputations, the Kickovers might just put together a decent set.
While on the subject of quality imitations, those nostalgic for something predating even Nirvana also have something to check out. Next Wednesday, the Cranes, shoegazers extraordinaire, will come to Black Cat. Hailing from Portsmouth, England, the Cranes are invariably associated with contemporaries and countrymen My Bloody Valentine. Starting in the early ‘90s, the Cranes released a series of records chock full of reverb-drenched dirges. While receiving little of the commercial success known to bands such as MBV and the Jesus and Mary Chain, the Cranes quietly continued to release solid music throughout the decade.
The band is back with its first new record since 1997, Future Music, and it’s a definite return to form. Singer Alison Shaw’s childlike vocals are as otherworldly as ever, and while the guitars might be a little less fuzzy and a little more melodic than in the band’s drone-haze heyday, this band’s music is as fresh as ever. It is especially comforting considering MBV auteur Kevin Shields has been sitting on his ass the past decade, resting on the (admittedly enormous) laurels of Loveless.
So, whether your favorite early ‘90s band’s lead singer is dead or just plain lazy, you should find a decent substitute this week at Black Cat. It’s like those knock-off Georgetown sweatshirts in an 18th Street junk shop: You know it may not be the real thing, but, hey, it’ll have to do.
Black Cat is located at 1811 14th St., N.W.
