Secret History: Heartworms' Space Escapade
As far as side projects go, Heartworms were an especially charming diversion. Featuring members of Velocity Girl and Chisel , two of D.C.'s sharpest '90s-era outfits, this four-piece specialized in noise pop for now people, jangly chords and girl-group harmonies rubbing shoulders with space-case drones and blissed-out shoegaze. One of the first acts ever released by the esteemed Darla label, Heartworms -- along with Velocity Girl, Black Tambourine , Unrest and others -- bolstered the District's reputation as a source of great indie pop, and were further proof that not all of D.C.'s rock acts were cast in the (admittedly awesome) post-hardcore mold.
At the center of Heartworms were Archie Moore, guitarist/vocalist for both Velocity Girl and Black Tambourine, and Belmondo guitarist/vocalist Patricia Roy; the two first started Heartworms in the early 1990s, while living in Prince George's County. "Trish and I lived in a house in Oxon Hill," says Moore. "It was where Velocity Girl practiced every weekday, so we had guitars, amps and drums at our disposal. At some point, the two of us started playing guitar together for fun, mostly just plucking out droning, Yo La Tengo-esque figures over and over, with lots of tremolo, very quietly. We started accumulating a little repertoire of drones and song parts. We were very much into the vibe of the Yo La Tengo album Painful ."
However, in addition to indie rock contemporaries like Yo La Tengo and Luna, Moore and Roy reached back to earlier pop perfectionists for inspiration. "For reasons that are now obscure to me," says Moore, "I bought some basic studio equipment and a drum machine, and the first things I recorded with it, with Trish, were covers of 'Girl Don't Tell Me' by the Beach Boys, and 'Sunday Girl' by Blondie, just to learn how to use the gear. I think we did those in an afternoon. I was pretty obsessed with Flying Saucer Attack, so I tried to emulate their fried guitar haze. The Beach Boys were my favorite band then, and Blondie's Parallel Lines was the first album I ever owned."
Eventually, the drifting melodic vapors began to coalesce around a semi-solid core, and Moore and Roy began to recruit cohorts to transform Heartworms into a more substantial project. Into the fold came Chris Norborg, bassist for Ted Leo-led garage mods Chisel, and multi-instrumentalist Christopher Porter from Belmondo, Sabine and Veronica Lake.
"Trish and I had met Chris Norborg when he was selling t-shirts for Edsel , when Edsel was touring with Velocity Girl," remembers Moore. "We hit it off really well and decided to play some music. At the time, I had never even heard Chisel, though I knew their name and was friends with their drummer John Dugan [who briefly played drums in Edsel].
Acoustic Back In Black Chords - News
Featuring members of Velocity Girl and Chisel, two of DC's sharpest '90s-era outfits, this four-piece specialized in noise pop for now people, jangly chords and girl-group harmonies rubbing shoulders with space-case drones and blissed-out shoegaze.
To top that, the chords of Hallelujah soon rang out, signalling the start of lang's stunning treatment of the Leonard Cohen classic. It was less than half an hour into the show, and she had already earned a standing ovation. Dressed in black like
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From the cheesy synth chords to the flat percussion to the ascending guitar solos and sexy sax lines, it's an absolute wonder to behold. It makes you wonder if "Lisbon, OH" was designed only to be a jarring, though effective, lead-in to "Beth/Rest.
JD played “You Were Cool” solo, a kind of hard hitting anthem that fits in with the It Gets Better movement, but is not without its share of humor (The lyrics begin, “This is a song with the same four chords I use most of the time,” referring to his
Acoustic Back In Black Chords - Bookshelf
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