I know it’s been a while; I’m very aware. Call it laziness, call it writer’s block, call it procrastination. I call it all of those. However, I’m back. Yay.

It was in my full intentions this past Thursday night to go to The Spot, see a friend of mine perform in a burlesque number, and get as many beers as possible for my open-bar-fee. Once I’d had…however many I’d had…and my friend performed, I was just killing time as a band started setting up. I wasn’t really expecting much, seeing as we were in a small upstairs bar with a small upstairs stage in the midst of a small upstairs drunk audience. However, the venue matters not in the case of genuine art, and I was reminded of such a fact as the band started playing. I, in my drunken yet excited state, listened to the first song for a while, then yanked out my planner, grabbed my notepad, and started jotting. I would soon find out that this band’s name was Blah Blah Blah and their music would be right up my alley.

Normally, especially while imbibing alcoholic beverages, I listen to unfamiliar music and nit-pick at it, finding any and every aspect about it I don’t find in my favor so that I won’t have to bother with it. Pessimistic? Yes. Not with Blah Blah Blah. Their carefree approach to their music turned on me and I couldn’t help but bob my head along with the sun-soaked guitar strings laying out a plethora of flitting sounds from the amplifier.

“It’s as if someone opened your soul and poured sunshine in it,” replied band manager JA Powell when I asked him how he would describe their sound. Guitarist/vocalist Solomon Moss gave his own take on that statement when I asked him the same question, responding with a nonchalant “bright colors is what I figure.” Though the band’s descriptions of their own music lay the groundwork to what would seem like a pleasant trip through acid-country with 3-D glasses on, that is not the case. The end product is more in the realm of tensionless rhythm, playful sound-scapes, busy resonating drum beats, complimenting bass grooves, and kind, fluffy, smooth vocals resulting in what would hopefully be peace-inducing comradery.

As far as their live stuff goes, it’s progressive music with a constant flow allowing one song to caressingly bleed into the next. Bassist Stico Von Drake grooved along to the music with a calm swagger, allowing his fingers to do what they do naturally and letting his eyes stay comfortably hidden behind his shades. Solomon Moss approached every song with a confident yet playful carefree physique. Drummer Dario Arcos smashed away at the drums, accenting the light guitar strums of his bandmates with energetic cymbal appeal and persistence. It would seem hard not to pay attention to them in any atmosphere.

Blah Blah Blah exudes calmness even when not onstage. They didn’t seem to mind my attempts at putting on a sober front while still swaying slightly. They just continued loading their gear into their Suburban, readying themselves to be asked my slurred questions. They laughingly accepted the $8 they made from the set, displaying a fuck-it attitude that fits them beautifully. Alright, alright, so they have a peaceful mindset and a lackadaisical attitude. After a while, I found myself wondering just what the hell these guys want out of what they do. And what’s with the froofy rainbow name? “We just want to get in front of people,” stated Moss with a shrug. As far as the name is concerned? “We didn’t really care about the name, we just want to play the music,” said Moss with Von Drake and Arcos nodding in agreement. “So we just said, whatever, blah blah blah.”

Blah Blah Blah have their debut full-length, 10-track album slated as Charm due out in mid-August. I’d check it out if I were you, but you know, whatever.

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