Moonpools Sinks Itself by Putting on Punk Airs

In the middle of Moonpools and Caterpillars’ tweaked version of the Violent Femmes’ “Blister in the Sun,” Tim de Pala handed off his bass to singer Kimi Ward Encarnacion and launched into an inspired bit of break dancing. As the song ended, Encarnacion announced: “We’re an all-purpose band!”

How ironic.

It was clear after its one-hour set at the Galaxy Concert Theatre on Thursday that this Glendale quartet had only one thing in mind--turning its lovely pop music into an sea of crunching, bottom-heavy noise.

On the band’s excellent major-label debut (“Lucky Dumpling”) released last year, Moonpools and Caterpillars created winsome, folk-flavored pop-rock with a knack for catchy melodies and soaring harmonies.

The record’s refreshing innocence and character were lost in concert, as the foursome kicked out an unpleasant jolt by cranking up the volume and turning into a punkish, grungy monster.

Stripped of appealing, subtle textures, its sound was closer to Green Day and Dance Hall Crashers than to Edie Brickell and Crowded House. An unbalanced sound mix buried most of the vocals under chest-thumping bass.

On the positive side, the band--particularly the charismatic Encarnacion--brings unbridled enthusiasm and verve to the live setting. A whirling dervish, she was constantly in motion, and her interaction with the crowd was loose and playful. Her girlish warmth poured out at the conclusion of “Summertime” when she exclaimed “Woweee!”

*

Also memorable were a couple of songs that survived the musical mutation: the propulsive, danceable “Colossal Youth” and “Traveling Song,” which started slowly only to explode in a stew of wailing vocals, frenzied guitars and pounding rhythms.

But more characteristic of the show was a relentless, fast-driving tempo that sapped the beauty from such wistful gems as “Trampling Rose,” “Jubilee” and the harmonica-accented “Crazy Old World.”

In other key songs, the quieter moments of youthful introspection and revelation that form the core of “Lucky Dumpling” were frustratingly smothered by the instrumental assault.

It’s too bad, because Moonpools and Caterpillars could be one very fine pop band. Let’s hope the detour down this punkish, hard-rockin’ road quickly reaches a U-turn or an off-ramp.

*

Second-billed Five Ton Mary served up 30 minutes of thoroughly enjoyable modern pop fueled by the jangling guitar leads of Matt Van Doren and the band’s rich vocal harmonies.

With such hook-filled gems as the Beatles-inspired “There’s Been a Terrible Accident” and the Midnight Oil-like “Revolution No. 10,” this recently formed Orange County quartet (featuring two ex-Factory band members) looks very promising.

L.A.-based opening act Watsonville Patio spiced up its impressive pop-rock with traces of surf-rock, blues and funk. The group’s biggest asset is lead singer Janice Grube.

A mesmerizing presence throughout the brief set, Grube was equally at ease crooning the ballad “Lavender” and belting out the fast-rockin’ “In My Car.” The quartet’s best selection was “Kiss the Boy Good-Bye,” a pure-pop delight whose lyrical twist offered the night’s most pleasant surprise.