The best showcase I caught at CMJ - and probably the best one that there was - was the free afternoon showcase at Knitting Factory on Saturday.
It was my first trip to the new Knitting Factory - they opened their Williamsburg location a month or two ago - and I was pretty impressed. It's a little fancy-seeming both compared to the old Knitting Factory and compared to Luna Lounge, the space's last incarnation. What was once one big room is now split into a front room, with a bar and beer garden style tables, and the room with the stage, visible from the front room through glass windows. The stage is at the back wall, making the area for the audience shallow and wide, good news for visibility. The sound was great too.
The first band I caught was Jeff the Brotherhood, featuring brothers Jake and Jamin Orrall, founding members of Be Your Own Pet. The two rock prodigies, Jake on guitar and Jamin on drums (don't be confused that the guitar says "Jamin," Jake named it after his brother), play irresistible tunes that move deftly between punk and classic rock. Classifying the band is pretty pointless, just resulting in nonsense terms like "psychedelic grunge-pop." Anyway, they sound pleasantly familiar, but refreshingly unlike most of the buzz bands of the moment.
I wrote up the band once before, and was equally impressed this time. Their music has hooks and doesn't try to sound quaintly spare or incompetent. For only two guys, they make a rich, full sound and don't try to hide the fact that they are fuckin good at guitar and drums. Come to think of it, I can't thing of a single bad thing to say about the band. There's no gimmick, there's no detached posturing, there's just rock music at its best. [MySpace]
After this, Screaming Females took the stage. This was the third time I've seen them and this time, they finally completely won me over. The first time, I couldn't really hear the singing (I'm increasingly thinking that was a bad night and not reflecting the band's abilities at the time), and the second time, the sound was a bit too messy for me to get the full effect. This time, everything was perfect.
To put it simply, Screaming Females represent everything that has ever been good about rock and roll. That may sound like an exaggeration, but I mean it genuinely. Frontwoman Marissa Paternoster sings like PJ Harvey channeling John Lennon and plays guitar like every rock hero from 70's arena blues-rock to 90's punky alternative. Despite her unassuming mumblings between songs ("hiwe'rescreamingfemales"), she's one badass lady, giving the finger to the un-edgy leanings of the current indie scene. (Certainly, I'm not the only one who is sick of edgeless bands like Dirty Projectors, Grizzly Bear, St. Vincent and the rest.*)
And if Paternoster is doing more for BIG, un-shy guitar than anyone since the likes of J. Mascis and Billy Corgan**, the rest of her band aren't doing any less to remind the world of what a good ROCK AND ROLL rhythm section can be. The bass leads carry the weight of the songs while the drums supplement head-banging worthy guitar riffs.
I really can't say enough about this band. If the future of rock music rests in their hands, I feel pretty sure we'll be OK. They've got it into them to defeat the reign of hipster crap once and for all. Let's hope they do. [MySpace]
The final act of the show was SubPop's Obits, who were miserably disappointing. I thought the Obits were a punk band. I apologize if I misled anyone into believing this. I'm still trying to figure out if I had them confused with someone else or if I just got the wrong idea from some song I heard. In any case, Obits are basically a bar band. They aren't bad, but there are thousands upon thousands of bands that sound just about the same. [MySpace]
* Just to be totally clear, Screaming Females seem way too nice to hate on other bands. The hating is all me.
** Don't hate! (And yes, I realize that sounds hypocritical. I don't care.)
Showing posts with label CMJ. Show all posts
Showing posts with label CMJ. Show all posts
Wednesday, October 28, 2009
Tuesday, October 27, 2009
CMJ Summary - Part 2
Despite trying to attend as little of CMJ as possible, I felt worn out by the time Friday rolled around. I skipped most of the SESAC showcase at Cake Shop, since I'd just heard and was unimpressed by the Depreciation Guild and wasn't that gung-ho about the other bands.
So my first stop was Little Girls at Pianos. The line-up has completely changed since I last saw them, but the band is essentially the solo project of one Josh McIntyre, who covers vocals and sometimes keys or a guitar. This new group of musicians backing him was particularly low-key, putting the entire weight - for better or worse - on McIntyre. The bassist and guitarist hunched on opposite sides, playing their parts adequately but without any show.
McIntyre, however, has a nervous energy that pulls the audience in. His behavior on stage is full of dramatics too weird and awkward to be a gimmick. No, he's sincere, and lacks any hint of the aloof disaffection of most of the talked-about DIY bands of late. It's refreshing to see someone being honest on stage.
With gothy, Joy Division-esque songs but with less polish and more fuzz, Little Girls certainly start with a tried-and-tested foundation, but from the awkward tension of the stage show, it's clear they wouldn't hesitate to break the rules. There's something extremely raw about the band, not only in that they are young and their sound rough, but also in that they seem incomplete. As with their recent album, this sense that the band has yet to come into its own can frustrate, but it also adds a special thrill to the already jittery music - potential can be more exciting to hear and watch than a final product. And this could be the early signs of true genius. Time will tell. [MySpace]
I caught part of Crystal Antlers at Cake Shop, and found the music far less abrasive than I remembered their recorded material being. It was also generally mellower than I expected - noise rock, but not without its gentle, grooving passages. The noisy parts weren't noisy enough for my tastes, but I can definitely respect the musicianship and creativity of the band. That said, it's not really my thing and since I couldn't even see the stage, I decided to cut out and return with the crowd thinned down. [MySpace]
Next up, after a quick shift from SESAC fo the FYF/Video Thing showcase, were English popsters Let's Wrestle. I've liked Let's Wrestle in the past, after hearing a few songs that ended up on my computer. Live, they were far less wussy than I expected - a raunchier, grittier guitar sound was mixed too low under even more aggressive bass and drums. The punk attitude was a pleasant surprise, but unfortunately, the quality of the songs was disappointingly inconsistent. For every great melody, there were a couple poor ones. Nothing was bad, but it wasn't outstanding either. There are plenty of bands that do the same thing at the same level. [MySpace]
Ninjasonik, jarringly, came on next, storming the stage and starting the set only minutes after Let's Wrestle's exit. Ninjasonik are a party-rap group who for unknown reasons often play with punk bands. Personally, I don't like party music of any variety - having fun is strictly against my religion. And Ninjasonik doesn't have much of an intellectual appeal. The lyrics are occasionally witty but mostly banal or needlessly obscene chants. The music is nothing to get excited about, and the rhythms are all mindnumbingly simplistic. There was no substance anywhere in the set.
However, I will say one thing for the band - they put on a hell of a live show. They got a huge mosh-pit going, and lots of call-and-response from the audience. Their abrupt start and extremely high-energy performance got nearly everyone dancing and shouting along. I can't recommend the band to any serious music fan, but partiers will be delighted. [MySpace]
Finally, the act I'd been most eager to see took the stage, the new SubPop signee Male Bonding. Though I had thoroughly enjoyed the Male Bonding songs I'd heard before the show, I didn't see what about their melodic, lo-fi punk made them stand out enough to get the attention of a label like SubPop, especially when that label is an ocean and three thousand miles of land away from the band's home.
Seeing them live at Cake Shop, it was immediately apparent that this band is something special. Gifted and competent, the three musicians played with an intense precision. These aren't youngsters who can write songs, these are musicians who know exactly what kind of music they want to make and exactly how to make it. You'd never expect a punk band to be more rhythmically complex and adept than a rap group, but Male Bonding drummer Robin Christian Silas could definitely teach Ninjasonik a thing or two.
As a whole, the band seems to follow in the tradition of SubPop greatness, with hooky guitar, solid singing and well-written songs. There was only one problem - when I heard the recording, I know I heard great tunes, but at Cake Shop, I couldn't pick out a vocal melody most of the time. Whether it was a bad night, bad sound at the venue or a lack of skill singing in live situations, it was disappointing to have none of the sunny anthems I was expecting. Still, I think it's clear SubPop made a great choice with these guys and I'll definitely be looking out for their debut. [MySpace]
So my first stop was Little Girls at Pianos. The line-up has completely changed since I last saw them, but the band is essentially the solo project of one Josh McIntyre, who covers vocals and sometimes keys or a guitar. This new group of musicians backing him was particularly low-key, putting the entire weight - for better or worse - on McIntyre. The bassist and guitarist hunched on opposite sides, playing their parts adequately but without any show.
McIntyre, however, has a nervous energy that pulls the audience in. His behavior on stage is full of dramatics too weird and awkward to be a gimmick. No, he's sincere, and lacks any hint of the aloof disaffection of most of the talked-about DIY bands of late. It's refreshing to see someone being honest on stage.
With gothy, Joy Division-esque songs but with less polish and more fuzz, Little Girls certainly start with a tried-and-tested foundation, but from the awkward tension of the stage show, it's clear they wouldn't hesitate to break the rules. There's something extremely raw about the band, not only in that they are young and their sound rough, but also in that they seem incomplete. As with their recent album, this sense that the band has yet to come into its own can frustrate, but it also adds a special thrill to the already jittery music - potential can be more exciting to hear and watch than a final product. And this could be the early signs of true genius. Time will tell. [MySpace]
I caught part of Crystal Antlers at Cake Shop, and found the music far less abrasive than I remembered their recorded material being. It was also generally mellower than I expected - noise rock, but not without its gentle, grooving passages. The noisy parts weren't noisy enough for my tastes, but I can definitely respect the musicianship and creativity of the band. That said, it's not really my thing and since I couldn't even see the stage, I decided to cut out and return with the crowd thinned down. [MySpace]
Next up, after a quick shift from SESAC fo the FYF/Video Thing showcase, were English popsters Let's Wrestle. I've liked Let's Wrestle in the past, after hearing a few songs that ended up on my computer. Live, they were far less wussy than I expected - a raunchier, grittier guitar sound was mixed too low under even more aggressive bass and drums. The punk attitude was a pleasant surprise, but unfortunately, the quality of the songs was disappointingly inconsistent. For every great melody, there were a couple poor ones. Nothing was bad, but it wasn't outstanding either. There are plenty of bands that do the same thing at the same level. [MySpace]
Ninjasonik, jarringly, came on next, storming the stage and starting the set only minutes after Let's Wrestle's exit. Ninjasonik are a party-rap group who for unknown reasons often play with punk bands. Personally, I don't like party music of any variety - having fun is strictly against my religion. And Ninjasonik doesn't have much of an intellectual appeal. The lyrics are occasionally witty but mostly banal or needlessly obscene chants. The music is nothing to get excited about, and the rhythms are all mindnumbingly simplistic. There was no substance anywhere in the set.
However, I will say one thing for the band - they put on a hell of a live show. They got a huge mosh-pit going, and lots of call-and-response from the audience. Their abrupt start and extremely high-energy performance got nearly everyone dancing and shouting along. I can't recommend the band to any serious music fan, but partiers will be delighted. [MySpace]
Finally, the act I'd been most eager to see took the stage, the new SubPop signee Male Bonding. Though I had thoroughly enjoyed the Male Bonding songs I'd heard before the show, I didn't see what about their melodic, lo-fi punk made them stand out enough to get the attention of a label like SubPop, especially when that label is an ocean and three thousand miles of land away from the band's home.
Seeing them live at Cake Shop, it was immediately apparent that this band is something special. Gifted and competent, the three musicians played with an intense precision. These aren't youngsters who can write songs, these are musicians who know exactly what kind of music they want to make and exactly how to make it. You'd never expect a punk band to be more rhythmically complex and adept than a rap group, but Male Bonding drummer Robin Christian Silas could definitely teach Ninjasonik a thing or two.
As a whole, the band seems to follow in the tradition of SubPop greatness, with hooky guitar, solid singing and well-written songs. There was only one problem - when I heard the recording, I know I heard great tunes, but at Cake Shop, I couldn't pick out a vocal melody most of the time. Whether it was a bad night, bad sound at the venue or a lack of skill singing in live situations, it was disappointing to have none of the sunny anthems I was expecting. Still, I think it's clear SubPop made a great choice with these guys and I'll definitely be looking out for their debut. [MySpace]
Monday, October 26, 2009
CMJ Summary - Part 1
The first band I caught at CMJ was Washington DC's True Womanhood at Cameo on Tuesday. They are known for their dark post-punk ambiance, with eerie guitar and vocals over complex breakbeats. When we walked in, the band was already playing and the sheer volume at that moment took the music to a new level. I thought, "these guys are on fire."
Unfortunately, they weren't quite as on fire as I had thought - the sound was awesome in the house, but it seems like they were having some difficulty hearing one another on stage. The drummer stopped at one point because he couldn't hear the guitarist - which was an error, since everyone should ultimately adjust to the drums no matter what. The band was still clearly great, but they weren't playing very tightly. Bassist Melissa Beattie once again, held everything together, keeping the drums and guitar on the same page, taking the lead in stage presence and seeing every song through from start to finish.
TW are definitely worth hearing. Tuesday night was clearly a bit rough, and even with all the setbacks, they still sound more far more interesting than most of their peers. [MySpace]
I stuck around for Naked Hearts and reached a new level of dislike for the band. Now, I used to like Naked Hearts alright, but the beginning of the end was their EP last winter. I liked them live when I only heard a couple of songs at the beginning or end of their set, but as it turns out, trying to sit through from beginning to end is really not for me. All the songs sound the same. When Noah Wheeler sings, he's way offkey. Amy Cooper is better, but even at their best, the band proves nothing more than an excellent example of cliched mediocrity. It's generic indie rock for the generic fan. [MySpace]
On Wednesday, I headed over to Cake Shop to catch the Kanine Records showcase, catching first Depreciation Guild. The more I hear of this band, the more I've cooled off on them. They are a electro-shoegaze outfit, with dense waves of guitar sound over sharp electronic beats (coupled with live drums). Their walls of sound are some of the best you'll find these days, and the beats are interesting.
However, all of the songs sound the same. The melodies, sung by guitarist (and Pains of Being Pure at Heart drummer) Kurt Feldman, fail to hold any interest, and there's not enough variety in the instrumentation underneath to make up for it. It's great for a song or two, especially their best one or two songs. Unfortunately, the rest of their repertoire sounds like inferior versions of the same.
The band also suffered from the lack of their usual visuals. Depreciation Guild are one of the only bands around to effectively use projections to enhance their music - they generally project changing blocks of color behind the band, enhancing the already multicolored sound of their layered guitars. Without it, the band's shortcomings are further unmasked. Though they have some great talent and are doing some things very right, they've stretched their one trick far too thin. Time to break the mold or dissolve into obscurity. [MySpace]
Next up was Ringo Deathstarr, my perennial favorite among contemporary shoegazers. Like Depreciation Guild, their guitar sounds are inpenetrable, but unlike them, Ringo Deathstarr has melodies and songwriting to match. The baritone vocals ground the music in irresistible Britrock pop tunes, while the guitars growl underneath.
Near the end of the set, the band began pleading with the audience to dance, which was a misguided effort - their beats are good for a shoegaze band, but they're a shoegaze band. Singer Elliot Frazier threw himself into the crowd to generation some motion, which was certainly a noble effort and made the show that much more fun - but it's a scientifically proven fact that shoegazers don't dance. However, Dinowalrus drummer Josh Somethingorother took the opportunity to jump on stage and turn up all of the knobs on Frazier's pedal board, ending the song in a screaming mess of feedback and fuzz.
The band got cut short, which is par for the course at CMJ. They may have made a little to much of a stink about it, but they did a good job cramming what they could into the end of the set and narrowing down their setlist to the best of the best. I sure would like to see something happen for this band, but they don't have that aloof DIY cool that seems to be the golden ticket these days. Which is one of the reasons they're so great. [MySpace]
I skipped most of Zaza, who played next, because having seen them a few times, I've become bored with their droning.
However, I stuck around for Dinowalrus, one of my hometown favorites. The band plays drum-heavy noise that doesn't sound enough like anyone else to give me a single reference point to work with. From droning groves to descents into noisy chaos, the band is certainly unconventional.
This set (only three songs, I think?) didn't excite me as much as the last couple I saw. I've mentioned before the band's "lack of structure." Frontman Pete Feigenbaum pointed out that the band spends a lot of time on their arrangements, and so I should clarify what I mean by that point - I never meant that the band was oblvious to structure. In fact, it's clear that what Feigenbaum says is true, the band must arrange their songs with great care. It's just that the conventional elements of structure in rock music - songs, choruses, verses, solos, etc. - don't apply to Dinowalrus. If they did, it wouldn't be the band it is, but it does put them in a tricky position. There is a reason 99% of rock music uses certain structural elements, and if you're going to buck tradition, you've got to make the music work just as well without them. Dinowalrus falls a little short of this, leaving the audience a little lost sometimes as to exactly what ideas the band is trying to convey.
That said, they are still one of NYC's best. And while the first two songs seemed to ramble a bit without really drawing me in, the third was crowned with a sparkling guitar riff that stood out for its straightforward beauty in the dirty, mess of sound. The juxtaposition and the composition surrounding it was nothing less than brilliant.
The main appeal of Dinowalrus, in any case, remains Josh Whatshisname. After watching his CMJ set, I tried and tried to think of a single [rock] drummer who could show him up. But if I've ever encountered one, I've forgotten. I think it's safe to say Dinowalrus has the best rock drummer I have ever seen. It's not just the beats he plays, but the way he plays them, with absolutely natural, organic rhythm, the drums an extension of the man, the man an extension of rhythm in the abstract. He doesn't overplay, he's never flashy, he just plays the drums. Hell yes. [MySpace]
Unfortunately, they weren't quite as on fire as I had thought - the sound was awesome in the house, but it seems like they were having some difficulty hearing one another on stage. The drummer stopped at one point because he couldn't hear the guitarist - which was an error, since everyone should ultimately adjust to the drums no matter what. The band was still clearly great, but they weren't playing very tightly. Bassist Melissa Beattie once again, held everything together, keeping the drums and guitar on the same page, taking the lead in stage presence and seeing every song through from start to finish.
TW are definitely worth hearing. Tuesday night was clearly a bit rough, and even with all the setbacks, they still sound more far more interesting than most of their peers. [MySpace]
I stuck around for Naked Hearts and reached a new level of dislike for the band. Now, I used to like Naked Hearts alright, but the beginning of the end was their EP last winter. I liked them live when I only heard a couple of songs at the beginning or end of their set, but as it turns out, trying to sit through from beginning to end is really not for me. All the songs sound the same. When Noah Wheeler sings, he's way offkey. Amy Cooper is better, but even at their best, the band proves nothing more than an excellent example of cliched mediocrity. It's generic indie rock for the generic fan. [MySpace]
On Wednesday, I headed over to Cake Shop to catch the Kanine Records showcase, catching first Depreciation Guild. The more I hear of this band, the more I've cooled off on them. They are a electro-shoegaze outfit, with dense waves of guitar sound over sharp electronic beats (coupled with live drums). Their walls of sound are some of the best you'll find these days, and the beats are interesting.
However, all of the songs sound the same. The melodies, sung by guitarist (and Pains of Being Pure at Heart drummer) Kurt Feldman, fail to hold any interest, and there's not enough variety in the instrumentation underneath to make up for it. It's great for a song or two, especially their best one or two songs. Unfortunately, the rest of their repertoire sounds like inferior versions of the same.
The band also suffered from the lack of their usual visuals. Depreciation Guild are one of the only bands around to effectively use projections to enhance their music - they generally project changing blocks of color behind the band, enhancing the already multicolored sound of their layered guitars. Without it, the band's shortcomings are further unmasked. Though they have some great talent and are doing some things very right, they've stretched their one trick far too thin. Time to break the mold or dissolve into obscurity. [MySpace]
Next up was Ringo Deathstarr, my perennial favorite among contemporary shoegazers. Like Depreciation Guild, their guitar sounds are inpenetrable, but unlike them, Ringo Deathstarr has melodies and songwriting to match. The baritone vocals ground the music in irresistible Britrock pop tunes, while the guitars growl underneath.
Near the end of the set, the band began pleading with the audience to dance, which was a misguided effort - their beats are good for a shoegaze band, but they're a shoegaze band. Singer Elliot Frazier threw himself into the crowd to generation some motion, which was certainly a noble effort and made the show that much more fun - but it's a scientifically proven fact that shoegazers don't dance. However, Dinowalrus drummer Josh Somethingorother took the opportunity to jump on stage and turn up all of the knobs on Frazier's pedal board, ending the song in a screaming mess of feedback and fuzz.
The band got cut short, which is par for the course at CMJ. They may have made a little to much of a stink about it, but they did a good job cramming what they could into the end of the set and narrowing down their setlist to the best of the best. I sure would like to see something happen for this band, but they don't have that aloof DIY cool that seems to be the golden ticket these days. Which is one of the reasons they're so great. [MySpace]
I skipped most of Zaza, who played next, because having seen them a few times, I've become bored with their droning.
However, I stuck around for Dinowalrus, one of my hometown favorites. The band plays drum-heavy noise that doesn't sound enough like anyone else to give me a single reference point to work with. From droning groves to descents into noisy chaos, the band is certainly unconventional.
This set (only three songs, I think?) didn't excite me as much as the last couple I saw. I've mentioned before the band's "lack of structure." Frontman Pete Feigenbaum pointed out that the band spends a lot of time on their arrangements, and so I should clarify what I mean by that point - I never meant that the band was oblvious to structure. In fact, it's clear that what Feigenbaum says is true, the band must arrange their songs with great care. It's just that the conventional elements of structure in rock music - songs, choruses, verses, solos, etc. - don't apply to Dinowalrus. If they did, it wouldn't be the band it is, but it does put them in a tricky position. There is a reason 99% of rock music uses certain structural elements, and if you're going to buck tradition, you've got to make the music work just as well without them. Dinowalrus falls a little short of this, leaving the audience a little lost sometimes as to exactly what ideas the band is trying to convey.
That said, they are still one of NYC's best. And while the first two songs seemed to ramble a bit without really drawing me in, the third was crowned with a sparkling guitar riff that stood out for its straightforward beauty in the dirty, mess of sound. The juxtaposition and the composition surrounding it was nothing less than brilliant.
The main appeal of Dinowalrus, in any case, remains Josh Whatshisname. After watching his CMJ set, I tried and tried to think of a single [rock] drummer who could show him up. But if I've ever encountered one, I've forgotten. I think it's safe to say Dinowalrus has the best rock drummer I have ever seen. It's not just the beats he plays, but the way he plays them, with absolutely natural, organic rhythm, the drums an extension of the man, the man an extension of rhythm in the abstract. He doesn't overplay, he's never flashy, he just plays the drums. Hell yes. [MySpace]
Friday, October 16, 2009
Upcoming Shows: CMJ Music Marathon
The CMJ Music Marathon is nearly upon us, and it's time I give you my recommendations.
Here is my recommendation: AVOID CMJ. Skip the bands from this area or any you have the opportunity to see in other circumstances. CMJ is awful. It is expensive. It always runs late. The bands are hustled on and off stage in half an hour. Forget proper sound checks. If you want to chance the latest thing, you're going to be in some filthy basement you've never heard of, crushed against the wall by boring hipsters. It is just not worth it.
That said, there are some bands you should hear at CMJ because they don't play around NYC much. Here's my list:
Dum Dum Girls (Los Angeles, CA) - That DIY crowd got old fast, but there are a few bands in the bunch still worth listening to. Dum Dum Girls (actually just one girl, plus a touring band) are one of those, with good songs sung in a beautiful voice. Check it. [RFR Live Review] [MySpace]
* Saturday, October 24 * 8 PM * Mercury Lounge (LES, Manhattan) *
JEFF the Brotherhood (Nashville, TN) - Ex-Be Your Own Pet, these brothers are brilliant musicians who slide smoothly between punk and metal, with a familiar sound that's easy to love but hard to classify (psychedelic? garage? lo-fi?). They will be back in NYC before too long, though, so don't break your neck to check them out at C(rap)MJ. [RFR Live Review] [MySpace]
* Friday, October 23 (technically Saturday) * MIDNIGHT * The Charleston (Williamsburg, Brooklyn) *
* Saturday, October 24 * 10:20 PM * Union Pool (Williamsburg, Brooklyn) *
Let's Wrestle (UK) - Let's Wrestle are a fine lo-fi indie pop band with really, really catchy, lovable songs. I haven't seen them live yet, but love the recordings. [MySpace]
* Wednesday, October 21 * 11 PM * Bell House (Gowanus, Brooklyn) *
* Friday, October 23 * ?? * Glasslands (Williamsburg, Brooklyn) [unofficial]*
Little Girls (Toronto, Canada) - One of my bands to watch, Little Girls just put out an outstanding debut which I haven't written up yet because the release date snuck past me. Gloomy, gothy post-punk, with a very lo-fi aestethic and a nervous, lively stage show, Little Girls are the shit. (The only thing I don't like them is that pedophiles sometimes accidentally end up on my blog when I write them up, due to poor google searches. Not kidding.) [RFR Live Review] [MySpace]
* Tuesday, October 20 * 1:30 PM * Cake Shop (LES, Manhattan) *
* Wednesday, October 21 * ?? [not on CMJ schedule, for some reason] * Union Pool (Williamsburg, Brooklyn) *
* Friday, October 23 * 10 PM * Pianos (LES, Manhattan) *
Lovvers (UK) - Fun, rowdy and somtimes nasty UK punks. Ladies, stand up front for a chance to get a smooch. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 11 PM * Santos Party House (Chinatown, Manhattan) *
? Thursday, October 22 * ?? * Pianos (LES, Manhattan) ?
* Saturday, October 24 * Afternoon * Brooklyn Bowl (Williamsburg, Brooklyn) *
* Saturday, October 24 * 11 PM * Union Pool (Williamsburg, Brooklyn) *
Male Bonding (UK) - I first paid attention to this band because I think I once read that “Male Bonding” was the name of an early incarnation of Sonic Youth and I liked the name when they used it. Presumably, this band’s name is unrelated, since that’s some pretty obscure Sonic Youth trivia (if it’s even true). But I’m glad I noticed the band, no matter the reason, because they are awesome noise punk, with simple, raw songs, endearing melodies and some loud-ass guitar. [MySpace]
* Tues. (actually Weds.) * 1 AM * Cake Shop *
* Thurs. * 11:45 PM * The Delancey *
* Fri. * 11:10 PM * “On the Side” at Seaport *
* Sat. (actually Sun.) * 2 AM * Mercury Lounge *
Ringo Deathstarr (Austin, TX) - The best shoegaze band of our generation, highly underrated, extremely awesome. Massive walls of sound, deep, entrancing melodies, pitch bends and sick beats. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 11:30 PM * Fontana's (Chinatown, Manhattan) *
* Wednesday, October 21 * 9 PM * Cake Shop (LES, Manhattan) *
* TWO NON-CMJ SHOWS - 10/22 & 10/23 - See their myspace page for more info *
True Womanhood (Washington, DC) - Radiohead-esque experiental rock from DC. Up-and-comers who put on a great live show. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 8 PM * Cameo Gallery (Williamsburg, Brooklyn) *
? Saturday, October 24 * 3 PM * Death By Audio (Williamsburg, Brooklyn) ?
Here are some other shows you might want to know about:
Atlas Sound (Atlanta, GA) - Experimental, arty low-key rock from Deerhunter frontman Bradford Cox. [MySpace]
* Tues. * 10 PM * Le Poisson Rouge *
* Weds. * 10 PM * Music Hall of Williamsburg *
Broadcast (UK) - Highly lauded electronic duo with hints of shoegaze and post-rock, but with strong pop vocals. [MySpace]
* Tues. * 11 PM * Le Poisson Rouge *
Busta Rhymes (Brooklyn, NY) - well, duh. [MySpace]
* Thurs. * 11 PM * B.B. King *
Harlem (Austin, TX) - on the thrash end of the hardcore punk spectrum, Harlem are one of the best of their genre today. [MySpace]
* Tues. * 10 PM * Santos Party House *
* Fri. * 8 PM * The Suffolk *
Múm (Iceland) - Beautiful post-rock electronics, though perhaps a bit too gentle for some. [MySpace]
Pissed Jeans (Philadelphia, PA) - noisy, punky band in the SubPop tradition. They are hardcore but not at all off-putting, and make a real racket with their guitars. [MySpace]
* Sat. (actually Sun.) * 12 AM * Mercury Lounge *
U-God (New York, NY) - mem. Wu-Tang Clan. Enough said. [MySpace]
* Tues. (actually Weds.) * 12:10 AM * Southpaw *
And if you insist on checking out local bands, here are the absolute best:
Ambulance LTD - shoegaze-influenced rock with a guitar sheen and good songs. [MySpace]
* Thurs. * 10 PM * Mercury Lounge *
The Antlers - a sad band that has some ambient influences and some electronics but is still a rock band. [RFR Live Review] [MySpace]
* Tues. * 10:15 PM * Music Hall of Williamsburg *
* Thurs. * 10 PM * The Delancey *
The Black Tie Party - some good DIY punky goodness. [MySpace]
* Thurs. (actually Fri.) * 12 AM * The Charleston *
Cold Cave - not actually local, but they play around here a lot these days. A very interesting electronic group that can be really fucking loud and dissonant and in your face. [RFR Live Review] (...they've grown on me since then) [MySpace]
* Tues. * 10:30 PM * The Studio at Webster Hall *
* Fri. * 11 PM * The Suffolk *
Coyote Eyes - post-punk with interesting rhythms, guitar experiments and amazing, distinctive vocal melodies. [RFR Live Review] [MySpace]
* Weds. (actually Thurs.) * 12:30 AM * The Delancey *
Darlings - their simple, DIY aesthetic is kept interesting by their apparent insanity that makes the sometimes appear to be playing completely different songs at the same time. [RFR Live Review] [MySpace]
* Weds. * 10 PM * Glasslands *
The Depreciation Guild - massive electro-shoegaze walls of sound. And good-looking boys. [RFR Live Review] [MySpace]
* Weds. * 8:15 PM * Cake Shop *
* Fri. * 9:30 PM * Cake Shop *
Dinowalrus - off-the-wall, edgy music that defies convention, kicks out insanely complex rhythms and rocks as hard as anything. [RFR Live Review] [MySpace]
* Tues. * 9:30 PM * Santos Party House *
* Weds. * 10:30 PM * Cake Shop *
Hunters - an experimental punk band with a lot of creativity and no pretence. [RFR Live Review] [MySpace]
* Thurs. * 10 PM * The Charleston *
Japanther - local pop-punk with a true youthful spirit and a pretty big following. They aren’t commercialized or dumbed down, they’re smart and uncompromising. They just also happen to be catchy and energetic as hell. [MySpace]
* Weds. * 10:15 PM * Suffolk Back Room *
Knight School - lo-fi indie pop with sweet little melodies and a lot of fuzz. [MySpace]
* Fri. * 8:15 PM * Bruar Falls *
Obits - first-rate hardcore punk. [MySpace]
*Sat. (actually Sun.) * 1 AM * Mercury Lounge *
Screaming Females - PJ Harvey does classic rock? Gutsy guitars, hard rock common sense and a punk attitude, from one very small, very rad woman. [RFR Live Review] [MySpace]
*Weds. (actually Thurs.) * 12 AM * Mercury Lounge *
Screens - I don’t really know much about this band, but from the little I know, I have a good feeling about them. They are probably not the most accessible, but they are doing something original and exciting. I haven’t heard them live, but I have a hunch they’re worth checking out. [MySpace]
* Tues. * 7:30 PM * Santos Party House *
Shilpa Ray and Her Happy Hookers - bluesy and rootsy, but challenging, punkish and just plain weird music by another very small, very rad woman, this one with a hand-powered harmonium and a very foul mouth. [RFR Live Review] [MySpace]
* Thurs. * 11 PM * Pianos *
* Sat. * 11 PM * The Delancey *
Young Boys - like the Jesus & Mary Chain, messy, feedback-laden noise with solid, head-bobbing melodies under the surface. One of the coolest bands in New York these days, and one of the few the scenesters have yet to uncover. [RFR Live Review] [MySpace]
* Tues. * 7:45 PM * Fontana’s *
Here is my recommendation: AVOID CMJ. Skip the bands from this area or any you have the opportunity to see in other circumstances. CMJ is awful. It is expensive. It always runs late. The bands are hustled on and off stage in half an hour. Forget proper sound checks. If you want to chance the latest thing, you're going to be in some filthy basement you've never heard of, crushed against the wall by boring hipsters. It is just not worth it.
That said, there are some bands you should hear at CMJ because they don't play around NYC much. Here's my list:
Dum Dum Girls (Los Angeles, CA) - That DIY crowd got old fast, but there are a few bands in the bunch still worth listening to. Dum Dum Girls (actually just one girl, plus a touring band) are one of those, with good songs sung in a beautiful voice. Check it. [RFR Live Review] [MySpace]
* Saturday, October 24 * 8 PM * Mercury Lounge (LES, Manhattan) *
JEFF the Brotherhood (Nashville, TN) - Ex-Be Your Own Pet, these brothers are brilliant musicians who slide smoothly between punk and metal, with a familiar sound that's easy to love but hard to classify (psychedelic? garage? lo-fi?). They will be back in NYC before too long, though, so don't break your neck to check them out at C(rap)MJ. [RFR Live Review] [MySpace]
* Friday, October 23 (technically Saturday) * MIDNIGHT * The Charleston (Williamsburg, Brooklyn) *
* Saturday, October 24 * 10:20 PM * Union Pool (Williamsburg, Brooklyn) *
Let's Wrestle (UK) - Let's Wrestle are a fine lo-fi indie pop band with really, really catchy, lovable songs. I haven't seen them live yet, but love the recordings. [MySpace]
* Wednesday, October 21 * 11 PM * Bell House (Gowanus, Brooklyn) *
* Friday, October 23 * ?? * Glasslands (Williamsburg, Brooklyn) [unofficial]*
Little Girls (Toronto, Canada) - One of my bands to watch, Little Girls just put out an outstanding debut which I haven't written up yet because the release date snuck past me. Gloomy, gothy post-punk, with a very lo-fi aestethic and a nervous, lively stage show, Little Girls are the shit. (The only thing I don't like them is that pedophiles sometimes accidentally end up on my blog when I write them up, due to poor google searches. Not kidding.) [RFR Live Review] [MySpace]
* Tuesday, October 20 * 1:30 PM * Cake Shop (LES, Manhattan) *
* Wednesday, October 21 * ?? [not on CMJ schedule, for some reason] * Union Pool (Williamsburg, Brooklyn) *
* Friday, October 23 * 10 PM * Pianos (LES, Manhattan) *
Lovvers (UK) - Fun, rowdy and somtimes nasty UK punks. Ladies, stand up front for a chance to get a smooch. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 11 PM * Santos Party House (Chinatown, Manhattan) *
? Thursday, October 22 * ?? * Pianos (LES, Manhattan) ?
* Saturday, October 24 * Afternoon * Brooklyn Bowl (Williamsburg, Brooklyn) *
* Saturday, October 24 * 11 PM * Union Pool (Williamsburg, Brooklyn) *
Male Bonding (UK) - I first paid attention to this band because I think I once read that “Male Bonding” was the name of an early incarnation of Sonic Youth and I liked the name when they used it. Presumably, this band’s name is unrelated, since that’s some pretty obscure Sonic Youth trivia (if it’s even true). But I’m glad I noticed the band, no matter the reason, because they are awesome noise punk, with simple, raw songs, endearing melodies and some loud-ass guitar. [MySpace]
* Tues. (actually Weds.) * 1 AM * Cake Shop *
* Thurs. * 11:45 PM * The Delancey *
* Fri. * 11:10 PM * “On the Side” at Seaport *
* Sat. (actually Sun.) * 2 AM * Mercury Lounge *
Ringo Deathstarr (Austin, TX) - The best shoegaze band of our generation, highly underrated, extremely awesome. Massive walls of sound, deep, entrancing melodies, pitch bends and sick beats. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 11:30 PM * Fontana's (Chinatown, Manhattan) *
* Wednesday, October 21 * 9 PM * Cake Shop (LES, Manhattan) *
* TWO NON-CMJ SHOWS - 10/22 & 10/23 - See their myspace page for more info *
True Womanhood (Washington, DC) - Radiohead-esque experiental rock from DC. Up-and-comers who put on a great live show. [RFR Live Review] [MySpace]
* Tuesday, October 20 * 8 PM * Cameo Gallery (Williamsburg, Brooklyn) *
? Saturday, October 24 * 3 PM * Death By Audio (Williamsburg, Brooklyn) ?
Here are some other shows you might want to know about:
Atlas Sound (Atlanta, GA) - Experimental, arty low-key rock from Deerhunter frontman Bradford Cox. [MySpace]
* Tues. * 10 PM * Le Poisson Rouge *
* Weds. * 10 PM * Music Hall of Williamsburg *
Broadcast (UK) - Highly lauded electronic duo with hints of shoegaze and post-rock, but with strong pop vocals. [MySpace]
* Tues. * 11 PM * Le Poisson Rouge *
Busta Rhymes (Brooklyn, NY) - well, duh. [MySpace]
* Thurs. * 11 PM * B.B. King *
Harlem (Austin, TX) - on the thrash end of the hardcore punk spectrum, Harlem are one of the best of their genre today. [MySpace]
* Tues. * 10 PM * Santos Party House *
* Fri. * 8 PM * The Suffolk *
Múm (Iceland) - Beautiful post-rock electronics, though perhaps a bit too gentle for some. [MySpace]
Pissed Jeans (Philadelphia, PA) - noisy, punky band in the SubPop tradition. They are hardcore but not at all off-putting, and make a real racket with their guitars. [MySpace]
* Sat. (actually Sun.) * 12 AM * Mercury Lounge *
U-God (New York, NY) - mem. Wu-Tang Clan. Enough said. [MySpace]
* Tues. (actually Weds.) * 12:10 AM * Southpaw *
And if you insist on checking out local bands, here are the absolute best:
Ambulance LTD - shoegaze-influenced rock with a guitar sheen and good songs. [MySpace]
* Thurs. * 10 PM * Mercury Lounge *
The Antlers - a sad band that has some ambient influences and some electronics but is still a rock band. [RFR Live Review] [MySpace]
* Tues. * 10:15 PM * Music Hall of Williamsburg *
* Thurs. * 10 PM * The Delancey *
The Black Tie Party - some good DIY punky goodness. [MySpace]
* Thurs. (actually Fri.) * 12 AM * The Charleston *
Cold Cave - not actually local, but they play around here a lot these days. A very interesting electronic group that can be really fucking loud and dissonant and in your face. [RFR Live Review] (...they've grown on me since then) [MySpace]
* Tues. * 10:30 PM * The Studio at Webster Hall *
* Fri. * 11 PM * The Suffolk *
Coyote Eyes - post-punk with interesting rhythms, guitar experiments and amazing, distinctive vocal melodies. [RFR Live Review] [MySpace]
* Weds. (actually Thurs.) * 12:30 AM * The Delancey *
Darlings - their simple, DIY aesthetic is kept interesting by their apparent insanity that makes the sometimes appear to be playing completely different songs at the same time. [RFR Live Review] [MySpace]
* Weds. * 10 PM * Glasslands *
The Depreciation Guild - massive electro-shoegaze walls of sound. And good-looking boys. [RFR Live Review] [MySpace]
* Weds. * 8:15 PM * Cake Shop *
* Fri. * 9:30 PM * Cake Shop *
Dinowalrus - off-the-wall, edgy music that defies convention, kicks out insanely complex rhythms and rocks as hard as anything. [RFR Live Review] [MySpace]
* Tues. * 9:30 PM * Santos Party House *
* Weds. * 10:30 PM * Cake Shop *
Hunters - an experimental punk band with a lot of creativity and no pretence. [RFR Live Review] [MySpace]
* Thurs. * 10 PM * The Charleston *
Japanther - local pop-punk with a true youthful spirit and a pretty big following. They aren’t commercialized or dumbed down, they’re smart and uncompromising. They just also happen to be catchy and energetic as hell. [MySpace]
* Weds. * 10:15 PM * Suffolk Back Room *
Knight School - lo-fi indie pop with sweet little melodies and a lot of fuzz. [MySpace]
* Fri. * 8:15 PM * Bruar Falls *
Obits - first-rate hardcore punk. [MySpace]
*Sat. (actually Sun.) * 1 AM * Mercury Lounge *
Screaming Females - PJ Harvey does classic rock? Gutsy guitars, hard rock common sense and a punk attitude, from one very small, very rad woman. [RFR Live Review] [MySpace]
*Weds. (actually Thurs.) * 12 AM * Mercury Lounge *
Screens - I don’t really know much about this band, but from the little I know, I have a good feeling about them. They are probably not the most accessible, but they are doing something original and exciting. I haven’t heard them live, but I have a hunch they’re worth checking out. [MySpace]
* Tues. * 7:30 PM * Santos Party House *
Shilpa Ray and Her Happy Hookers - bluesy and rootsy, but challenging, punkish and just plain weird music by another very small, very rad woman, this one with a hand-powered harmonium and a very foul mouth. [RFR Live Review] [MySpace]
* Thurs. * 11 PM * Pianos *
* Sat. * 11 PM * The Delancey *
Young Boys - like the Jesus & Mary Chain, messy, feedback-laden noise with solid, head-bobbing melodies under the surface. One of the coolest bands in New York these days, and one of the few the scenesters have yet to uncover. [RFR Live Review] [MySpace]
* Tues. * 7:45 PM * Fontana’s *
Monday, November 24, 2008
Single: "Pushover" - Bearsuit
Single: "Pushover"
Fantastic Plastic, 2008
Rating: ***** (5/10)
British popsters Bearsuit, who generated a bit of buzz on this side of the ocean during the CMJ festival in NYC, have released a new single today. The song is called "Pushover" and it's certainly an odd one.
It may be a little over-the-top, and intentionally so, but it's a fun listen. Light-hearted, danceable, and well-arranged, with a nice sing-song part midway through giving some relief from the rockin' but assaulting vocal riff that dominates much of the song. It's not going to win any awards for originality - it could be mistaken for some of Le Tigre's odder tracks, among other things (Le Tigre?! Yes, I'm as surprised as you!). What's more, this song could be dreadfully annoying if you weren't in the mood for it. But I think if the timing is right (like when you want to have a crazy one-person dance party in your bedroom - and admit it, sometimes you do), it could definitely hit the spot!
Fantastic Plastic, 2008
Rating: ***** (5/10)
British popsters Bearsuit, who generated a bit of buzz on this side of the ocean during the CMJ festival in NYC, have released a new single today. The song is called "Pushover" and it's certainly an odd one.
It may be a little over-the-top, and intentionally so, but it's a fun listen. Light-hearted, danceable, and well-arranged, with a nice sing-song part midway through giving some relief from the rockin' but assaulting vocal riff that dominates much of the song. It's not going to win any awards for originality - it could be mistaken for some of Le Tigre's odder tracks, among other things (Le Tigre?! Yes, I'm as surprised as you!). What's more, this song could be dreadfully annoying if you weren't in the mood for it. But I think if the timing is right (like when you want to have a crazy one-person dance party in your bedroom - and admit it, sometimes you do), it could definitely hit the spot!
Monday, October 27, 2008
Live: The Pains of Being Pure at Heart
When: Friday, 10/24/08
Where: NY Noise CMJ Showcase at Cake Shop
There's been a lot of hype around the Pains of Being Pure at Heart over the last few months and I've been struggling to form an opinion unbiased by the natural resentment I feel towards anyone who is both cuter and more successful than me (please pick one or the other, people! don't be cruel!).
Recorded, the band plays a sweet tweegaze that they accurately describe as some combination of Black Tambourine and the Pastels. The songs are adorable, with love-filled, cheerful lyrics and sing-song melodies, but underneath is a continuous layer of fuzzed-out guitar. Live, the band does exactly the same thing, only about fifty times louder. And, as it turns out, that's awesome. Not only does the band seem to be having great fun on stage, but they actually do know how to rock out (albeit in a rather wussy way).
So far, the Pains aren't doing anything that wasn't done a hundred times over in the UK 18 years ago, but they are doing it better than anyone else these days. And after hearing the shoegazey power of their live show, I have higher hopes that as their sound matures, they could one day break the mold and really move pop in a new direction. But even if all they ever do is play their noisy twee until the end of time, that will be enough for me!
Where: NY Noise CMJ Showcase at Cake Shop
There's been a lot of hype around the Pains of Being Pure at Heart over the last few months and I've been struggling to form an opinion unbiased by the natural resentment I feel towards anyone who is both cuter and more successful than me (please pick one or the other, people! don't be cruel!).
Recorded, the band plays a sweet tweegaze that they accurately describe as some combination of Black Tambourine and the Pastels. The songs are adorable, with love-filled, cheerful lyrics and sing-song melodies, but underneath is a continuous layer of fuzzed-out guitar. Live, the band does exactly the same thing, only about fifty times louder. And, as it turns out, that's awesome. Not only does the band seem to be having great fun on stage, but they actually do know how to rock out (albeit in a rather wussy way).
So far, the Pains aren't doing anything that wasn't done a hundred times over in the UK 18 years ago, but they are doing it better than anyone else these days. And after hearing the shoegazey power of their live show, I have higher hopes that as their sound matures, they could one day break the mold and really move pop in a new direction. But even if all they ever do is play their noisy twee until the end of time, that will be enough for me!
Friday, October 24, 2008
Live: Clairecords Showcase feat. Autodrone, Ifwhen, Brother Kite, Averkiou
As a part of CMJ, the wonderful Clairecords hosted a showcase of some of their finest bands from New York and beyond.
Averkiou - This quintet from Gainsville, FL, plays straight-up poppy shoegaze. They do it well, but it's nothing particularly memorable. My biggest complaint: if you're going to have three guitars, you've got make them all count. To give the band the benefit of the doubt, maybe it was the venue's poor acoustics that masked the details of the guitar arrangements - but the music I heard didn't justify the presence of so many strings, pedals and amplifiers in one place. The one major exception was the second-to-last song in the set (can anyone help me with the name?) which maintained the group's pop sensibility but showed a much higher level of musicianship and composition. If more of the bands songs had such interesting rhythms and three-guitar-worthy arrangements, they would make the leap from the high end of mediocrity to excellence at once.
Ifwhen - This is one of the most pretentious bands I've ever met, but I have to say they've earned it. I was joking recently about creating an uber-pretenious fake genre called "no-gaze," but seeing Ifwhen reminded me that it's already been invented and not as a joke. This band is, as far as I can tell, truly original - which is something I rarely say about any contemporary group. Numerous reviewers have described Ifwhen as sounding like several completely different songs are playing simulateously, and it's true, the music is remniscent of the sound when you accidentally tune into overlapping radio stations - only really fucking loud. I'm extremely dubious of artsy music like this, but there's something genuinely powerful about Ifwhen, and frankly, I am compelled to love them.
Autodrone - These kids are badass in the sweetest possible way - approachable, despite wearing a lot of black and metal and sporting the illest tatoos I've seen in a long while. The band is young and seemed refreshingly nervous to take the stage, but they had no cause for concern. The performance was spot-on, and each member showed remarkable musical prowess throughout. The music was immensely shortchanged by the venue's accoustics, which obscured much of the detailed guitar work by Jeremy Alisauskas and stripped Katherine Kennedy's voice of all the richness you can hear on the band's recordings.
The band made the best of a bad situation, though, and rocked even harder to make up for the acoustic limitations. Their set consisted of their standard shoegaze-inspired alternative rock, with definite hints of progressive influences - I'm pretty sure hear some Mars Volta in there. Their songs are catchy and engaging, but sometimes too long and lose their punchiness by the end. That's small beans though - expect big things from these guys in the near future!
The Brother Kite - Honestly, this band was a disappointment. I've really enjoyed their recorded material, but hearing them live for the first time, I was let down. Like Averkiou, their sound did not justify the presence of three guitars (one of them - for some songs, anyway - being a double-necked 12-string/6-string Epiphone). If you're going to have 30 guitar strings on stage, you've got to show you need them. The sound was less lush than I expected and I don't think the venue's poor acoustics alone are to blame. Though the songs are still well-written, the band's newer material seemed to signify a decline from their earlier efforts. The Brother Kite is still a fun listen, definitely, but at least at this show, the band sadly did not reach its potential.
Averkiou - This quintet from Gainsville, FL, plays straight-up poppy shoegaze. They do it well, but it's nothing particularly memorable. My biggest complaint: if you're going to have three guitars, you've got make them all count. To give the band the benefit of the doubt, maybe it was the venue's poor acoustics that masked the details of the guitar arrangements - but the music I heard didn't justify the presence of so many strings, pedals and amplifiers in one place. The one major exception was the second-to-last song in the set (can anyone help me with the name?) which maintained the group's pop sensibility but showed a much higher level of musicianship and composition. If more of the bands songs had such interesting rhythms and three-guitar-worthy arrangements, they would make the leap from the high end of mediocrity to excellence at once.
Ifwhen - This is one of the most pretentious bands I've ever met, but I have to say they've earned it. I was joking recently about creating an uber-pretenious fake genre called "no-gaze," but seeing Ifwhen reminded me that it's already been invented and not as a joke. This band is, as far as I can tell, truly original - which is something I rarely say about any contemporary group. Numerous reviewers have described Ifwhen as sounding like several completely different songs are playing simulateously, and it's true, the music is remniscent of the sound when you accidentally tune into overlapping radio stations - only really fucking loud. I'm extremely dubious of artsy music like this, but there's something genuinely powerful about Ifwhen, and frankly, I am compelled to love them.
Autodrone - These kids are badass in the sweetest possible way - approachable, despite wearing a lot of black and metal and sporting the illest tatoos I've seen in a long while. The band is young and seemed refreshingly nervous to take the stage, but they had no cause for concern. The performance was spot-on, and each member showed remarkable musical prowess throughout. The music was immensely shortchanged by the venue's accoustics, which obscured much of the detailed guitar work by Jeremy Alisauskas and stripped Katherine Kennedy's voice of all the richness you can hear on the band's recordings.
The band made the best of a bad situation, though, and rocked even harder to make up for the acoustic limitations. Their set consisted of their standard shoegaze-inspired alternative rock, with definite hints of progressive influences - I'm pretty sure hear some Mars Volta in there. Their songs are catchy and engaging, but sometimes too long and lose their punchiness by the end. That's small beans though - expect big things from these guys in the near future!
The Brother Kite - Honestly, this band was a disappointment. I've really enjoyed their recorded material, but hearing them live for the first time, I was let down. Like Averkiou, their sound did not justify the presence of three guitars (one of them - for some songs, anyway - being a double-necked 12-string/6-string Epiphone). If you're going to have 30 guitar strings on stage, you've got to show you need them. The sound was less lush than I expected and I don't think the venue's poor acoustics alone are to blame. Though the songs are still well-written, the band's newer material seemed to signify a decline from their earlier efforts. The Brother Kite is still a fun listen, definitely, but at least at this show, the band sadly did not reach its potential.
Thursday, October 23, 2008
Live: A Sunny Day In Glasgow + My Teenage Stride
I arrived a little later than planned to the After The Jump CMJ Showcase at the Knitting Factory tap bar, just in time to catch what was probably the second song of the acclaimed My Teenage Stride - and boy, did we get off to a rocky start! The song was called something like "You Always Want to Dance to the Happy Mondays but You Don't Do a Thing When I Put on the Sundays" and true to its name, it was dreadful. Not only were the lyrics obnoxious, but the melodies were mind-numbingly trite. Another hyped up, disappointing band - I was determined to write a scathing review!
But much to my disappointment, I actually liked almost everything that followed. Despite horrendous acoustics in the bar, the band played tightly and looked like they were having a hell of a good time while they did it. The most notable skill of the band is their knack for arrangement and composition which kept otherwise sound-alike songs interesting. The melodies and hooks were also strong (with the exception of that "Happy Mondays" song, which I still think is unforgivable). The band may be nothing to write home about, but they are certainly a fun listen.
Following MTS came the slightly-famous, ambient electro-pop group A Sunny Day In Glasgow. The beginning of their set was marred by technical difficulties. On the first song, band leader Ben Daniels played the key parts on a sampler that was almost inaudible, and probably due to the fact that the band could not hear one another, pitch problems made the song grating. Honestly, the band deserves some credit for not completely falling apart, but I do wish Daniels would turn down his effects a tad, especially in a muddy-sounding space like this one.
In any case, the band steadily improved as the show wore on. The final song was probably the best of the set, largely to do the excellent contributions of the bass player - one of ASDIG's biggest shortcomings is that they give the audience very little to hold on to. So it was a pleasant suprise when a punchy base line grounded the final song.
The band was assaultingly loud, with suprisingly aggressive vocals on a few songs - including at least one all-out scream! This was jarring but welcome from a band I've always thought of as somewhat mellow. Let's hope this hints at a new direction for the group as they head into the studio this winter!
But much to my disappointment, I actually liked almost everything that followed. Despite horrendous acoustics in the bar, the band played tightly and looked like they were having a hell of a good time while they did it. The most notable skill of the band is their knack for arrangement and composition which kept otherwise sound-alike songs interesting. The melodies and hooks were also strong (with the exception of that "Happy Mondays" song, which I still think is unforgivable). The band may be nothing to write home about, but they are certainly a fun listen.
Following MTS came the slightly-famous, ambient electro-pop group A Sunny Day In Glasgow. The beginning of their set was marred by technical difficulties. On the first song, band leader Ben Daniels played the key parts on a sampler that was almost inaudible, and probably due to the fact that the band could not hear one another, pitch problems made the song grating. Honestly, the band deserves some credit for not completely falling apart, but I do wish Daniels would turn down his effects a tad, especially in a muddy-sounding space like this one.
In any case, the band steadily improved as the show wore on. The final song was probably the best of the set, largely to do the excellent contributions of the bass player - one of ASDIG's biggest shortcomings is that they give the audience very little to hold on to. So it was a pleasant suprise when a punchy base line grounded the final song.
The band was assaultingly loud, with suprisingly aggressive vocals on a few songs - including at least one all-out scream! This was jarring but welcome from a band I've always thought of as somewhat mellow. Let's hope this hints at a new direction for the group as they head into the studio this winter!
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