All eyes on Eyebar (review)

We've all heard the criticisms of nightlife in D.C. Over the years, our city's club scene has developed a rap sheet muddled with inexplicably long lines, unwarranted covers, disappointingly impotent cocktails and cramped, noncontagious dancing. You can't help but wonder what perpetuates such a less-than-stellar reputation, until you spend a Saturday night at Foggy Bottom’s Eyebar.

After a four-year reign as the premier hangout for D.C.'s international community, Eyebar temporarily closed its doors in Sept. for major renovations. The club unveiled its new design last week, featuring a revamped VIP section with extra-roomy booths, a cluster of standing tables on the first floor to facilitate intimate conversation, and a soon-to-open heated rooftop lounge with a scenic view of Downtown D.C.

Decor: With a quick scan of Eyebar’s new veneer, it’s clear that the recent renovations were more an attempt to keep up with the competition than an effort to set a new standard. The club adapts a “sleek modern-minimalism” motif that's similar to the other upscale clubs popping up in the neighborhood recently. In a mildly successful stab at stylistic creativity, Eyebar’s designers made a recognizable attempt to keep any nonessential items out of sight: speakers are nestled in the ceiling, small flat screens are built into the walls and fruit trays and napkin holders are hidden behind the bar.

Although the lounge gives off an effectively comfortable vibe, Eyebar’s new décor seems to lack a certain congruency. The low-key first floor is polished and modern with a red and black color scheme; but the style is thrown off a bit by an awkward greenish hue above the bar (think of a Jackson Pollock painting illuminated with Christmas lights). The concrete floors are left bare, technically consistent with the minimalist theme but more reminiscent of a friend’s unfinished basement than an upscale club.

The upstairs lounge fits the bill of a more traditional Euro-inspired dance club (flashy neon lights, wide-open floor space, mirrors lining the walls, etc). A row of flat screens shows muted scenes from B-rate horror flicks – an admittedly cool concept, but presented in a scale that’s too small to have a real effect on the overall vibe.

Crowd: Staying true to its long-standing rep as an international hangout, the new Eyebar continues to attract an ethnically and racially diverse crowd in their late twenties and early thirties. You'll be out of place without a steady income or an affinity for psuedo-European fashion trends.

Drinks: In theory, an $8 Jack and Coke at a Downtown D.C. club is a relative bargain. But that's assuming there’s more than a splash of whiskey in the glass. No wonder why it took so long for everyone to start dancing!

Insider tips: Be sure to take full advantage of the online guest list to avoid an unnecessary (and undeserved) $20 cover. If you’re looking to save additional coin, consider the venue’s half-price happy hour (Wed. through Fri. afternoons). There’s also an open bar for ladies every Wed. and Thu. from 10-11.

Service: By now, we’re all used to the same silly, irrational club trick: displaying a queue of eager fashionistas outside the door to boast the venue’s exclusivity, regardless of how many bodies are actually inside. It’s all in good fun - unless of course it’s 10 p.m. on one of the first chilly nights of the year - at which point a 20-minute wait to enter a near-empty club is flat-out insulting to the customer’s intelligence (not that I'm bitter).

To Eyebar’s credit, the service inside is top-notch. Even when the club reaches full capacity, the speedy and attentive barkeeps make sure you don’t have to wait long for a single drink.

Sounds: The first floor is meant for mingling, facilitated by laid-back techno and trance-pop. If you're looking to really party, you'll have to head up one level, where the DJ thumps an internationally-inspired thread of house and pop mash-ups. Come midnight, the narrow dance floor is packed and each of the artistically-lit VIP tables transforms into its own isolated dance party.

Food: Nothing at this point, but the club plans to open a full kitchen for light fare along with the rooftop lounge.

Dress code: Yes, but club management insists that its actually a “fashion code.” Whatever that actually means, patrons seem to stick to your run-of-the-mill clubware: no sneakers, no flip-flops, no athleticwear, no hats. The result is a sufficiently beautiful crowd, but no one is exactly blazing new trails with their wardrobe decisions.

The damage: If your name’s not on the guest list and you’re carrying a Y chromosome, be prepared to shell out $20 at the door. Ladies always get in free, which explains the roughly 60/40 female-to-male ratio. Steer clear of the bottle service and you can get a solid buzz going without letting your final tab run too far over $50.

Bottom line: The club certainly doesn't win any awards for originality; but if you’re in the mood for a typical D.C. club scene, characterized by trance-inducing house beats, décor that’s chic yet ultimately forgettable, and impeccably dolled-up patrons, Eyebar is a safe bet. On the other hand, if you’re looking for something new, or if you’re at least interested in getting the most bang for your clubbing buck, you can probably do better elsewhere.

http://dc.metromix.com/bars-and-clubs/bar_review/all-eyes-on-eyebar/706050/content

Get hip to your local indie scene

The nation’s capital has always been fertile ground for indie-rock. After making key contributions to the funk, go-go and hardcore movements of the 70s and 80s, D.C. was at the epicenter of the post-punk and dance-rock explosions of the late 90s and early 2000s. Without innovative rockers like Fugazi, The Dismemberment Plan, Q and Not U and Faraquet (all of whom called the District home), there’s little chance that indie-rock would have ever achieved the mainstream appeal it enjoys today.

In recent years, Washington has witnessed a rebirth of its once vibrant indie community. From piano-pop to trip-hop, folk-rock to electro-punk, today’s eclectic scene offers something to satisfy any musical palate. Over the past few months, several D.C. artists have successfully branched out beyond the friendly confines of the Black Cat, Iota and the Rock n’ Roll Hotel and are starting to show up on the national radar. Haven’t been staying hip to the Washington D.C. musical underground? Here's your chance to catch-up! Let Metromix introduce you to six of the raddest indie bands in the Metro area...

These United States
Technically, These United States is only a half-D.C. band. Two of the their five members hail from Lexington, KY, while a third is a recent transplant to the District from the same city. Perhaps that explains their unique style - a musical hybrid of catchy southern-inspired folk and gritty, badass rock. In the band’s 2007 debut album, “A Picture of the Three of Us at the Gate to the Garden of Eden,” singer-songwriter (and D.C. resident) Jesse Elliott demonstrates an impressive artistic range, flashing shades of Dylan, Wilco, and early Jack White. These United States is currently touring the country to promote their second full-length album, “Crimes,” which hit stores last week.

Jukebox the Ghost
Say what you will about piano-pop; but there are few indie outfits that have mastered the art like D.C.’s Jukebox the Ghost. The trio of recent GW grads has drawn a considerable amount of national attention over the past year; largely attributable to their playful hooks, quirky lyrics (ranging from allusions to Charlie Brown to a detailed account of the apocalypse), and the lofty falsetto vocals and contagiously flamboyant stage presence of front man Ben Thornewill. The band’s sound is the product of diverse musical backgrounds: Ben is a classically-trained pianist, Tommy had a stint as a guitarist in a jam band, and Jesse used to drum for a punk band. The boys have been touring incessantly since the January release of their debut full-length, “Let Live and Let Ghosts.” They’ve been bombarded with rave reviews ever since, including flattering comparisons to Ben Folds and a toned-down version of Queen. Not bad company for budding rock stars.

Exit Clov
With a repertoire of titles like “District Menagerie,” “Moving Gaza,” “Strippers and Politicians” and “Communist BBQ,” Exit Clov is arguably the quintessential D.C. indie band. Grounded by the harmonies of identical twins Susan and Emily Hsu, Exit Clov has achieved a difficult balance of accessible (yet sporadically dark) pop-rock and insightful political discourse. On their Myspace page, the band claims to “write songs inspired by the madness of our city. Tunes of resistance, ennui and societal idiocy.” Despite the power of their lyrics, Exit Clov’s style is more reminiscent of a violin-infused Blondie than a fist-pumping successor to Rage Against the Machine. The quintet released their fourth EP, “Response Response,” in 2006.

Vandaveer
Vandaveer is the folk-rock brainchild of D.C. singer-songwriter Mark Charles. Taking evident pages out of the iconoclastic books of Bob Dylan, Nick Drake and Tom Waits, Vandaveer’s sound is simultaneously engaging, dark and artistically beautiful. Charles’ voice is tailor-made for alt-folk, complemented with simple and deliberate strokes of the acoustic guitar and an occasional full-band accompaniment. Vandaveer released their debut album, “Grace & Speed,” in 2007. Since then, Charles has contributed to the latest recording from fellow D.C. folk-rockers, These United States, with whom he currently shares the stage in a nationwide tour.

Middle Distance Runner
Dance-punk is alive and well in the nation’s capital. Case in point: Middle Distance Runner. The D.C. quartet’s sound hints at an eclectic set of influences (think Arcade Fire collaborating with OK Go after listening to mid-90s Radiohead for a week straight). MDR's new single, “Momma,” solidifies their status as an undiscovered local gem, mingling equal parts feel-good pop, psychadelic funk and soulful indie rock. Well, maybe not entirely undiscovered - the band’s songs have already been featured in an HBO commercial and the trailer for Disney’s new documentary, “Morning Light.” Rock n’ roll.

le loup
There are countless classifications of indie rock – post-punk, alt-folk, electro-pop, experimental – and then there’s the seemingly unclassifiable sounds of D.C.'s le loup.

In an age where so many indie bands succomb to gimmicks and frills, le loup concentrates solely on the music. Each of the band’s six members sings and plays an instrument, resulting in a multi-layered, intoxicatingly complex sound. Le loup's tracks are reminiscent of an early Pixies record and saturated with an avant-garde experimentalism akin to popular art-rockers Animal Collective. Following last year's release of their debut album, “The Throne of the Third Heaven of the Nations' Millennium Assembly,” NPR dubbed le loup the #1 “Unknown Artist of 2007.” The band is currently preparing for a North American tour with Stereolab, set to kick off at NYC’s Irving Plaza this weekend.

http://dc.metromix.com/music/article/get-hip-to-your/648675/content