Album: The Horrors - Skying

Album: Skying
XL Records
Release Date: July 26 or August or something (in the US)
Rating: ******** (8/10)

The first time I heard the Horrors, they were opening for someone or other at Music Hall of Williamsburg and I thought they were one of the worst bands I'd ever heard - a "goth" band that had probably never listened to real goth music in their lives, a band who ripped off real musicians to create an "edgy" image and used some cheap effects to try to disguise the fact that their music is as formulaic as any mainstream teen radio idol.

But I kept seeing their 2009 record Primary Colours on Best of Oh Nine lists including lists by some people I hold in high regard. Like Fucked Up. I grudgingly sat down with a copy. And was astounded.

I can still hear in the Horrors what inspired my very mistaken first impression. On one level, they are a blatantly derivative 80s throwback. You'd be hard pressed to find any single element in their music that wasn't directly sourced from a UK band circa 1982 (give or take a couple years). And if I'm to be honest, that fact really does prevent this band from full-on greatness. The silver lining here is that they don't sound like most of the other bands of the moment. They sound big and their music resonates with drama and genuine pain. It's a sad truth that a band that doesn't sing about going to the beach is now exceptional. Fuck the beach. Ian Curtis never sang about the fucking beach - not because he didn't like the beach (probably) but because he knew it would be a stupid thing to sing about.

This is all kind of irrelevant because I actually have no idea what the Horrors are on about, except that it’s not the beach (probably). But what I'm saying is that the Horrors are true Romantics and are definitely not into this escapist bullshit. Romantics may be dramatic goofs, but if you can say one thing for them, it’s that they are much too busy getting their hearts broken to think about the beach.

For all its moodiness, Skying is less dark than Primary Colours. Which isn’t saying much. It also sounds much larger than Primary Colours, which definitely is saying something. Instrument for instrument, the Horrors owe their biggest debt to Public Image Ltd and Joy Division. The guitar is straight up Keith Levene (Public Image) with bass recalling Peter Hook (Joy Division) and vocals that are, at most, two generations down the musical family tree from Ian Curtain (Joy Division again). There is another band that ripped of Keith Levene and Joy Division, and they are called U2 and Skying doesn’t sound unlike U2’s first record (okay, it sounds exactly like it), even if the Horrors’ pseudo-gothic image doesn’t exactly jive with golden boy Bono. I haven’t heard anyone rip off Keith Levene quite so well since the Edge did back then (a long long time ago).

This guitar, however derivative, is the highlight of the album. It’s never high in the mix, but below the surface, it twinkles and shimmers like glowing embers. There's some Kevin Shields influence in there too, pitches bending achingly in and out of tune. The sparkling chorus on "Changing the Rain" is stunning and the melting reversed reverb on "Still Life" might take your breath away.

The synthesizers, on the other hand, are entirely lacking in subtlety. The cheesy parts may be hard for some folks to swallow, but at least the band fully embraces them. There's nothing worse than self-aware, apologetic synth pop. If you feel you have to apologize for your music, you shouldn't be making it in the first place. The Horrors offer no apologies when the blaring synth textures introduce "You Said" or when synthesizer riffs burst in rather rudely on songs like "Moving Further Away" and "I Can See Through You." Although the synths do sound modern, their parts unabashedly channel London, 1981. The band is not shy about signposting their New Romantic roots - you remember all those synth bands out of London in the early 80's: Soft Cell, Eurythmics, Spandau Ballet, Depeche Mode and the rest of them? Those guys.

The vocals also owe their biggest debt to that period - direct Ian Curtis descendents though they may be, they are more dramatized and less despondent. Sure, singer Faris Badwan has anguish, but it's the anguish of a showman. The Horrors are writ large and deliver a performance, a production, drama in the sense of theatrics as well as emotion. Like so many of their influences, they draw on glam rock, which draws in turn on cabaret - it's spectacle, it's fully removed from the mundane, it's the soap opera to punk's gritty documentary.

Granted, the band has some roots in punk and garage rock as well. The Birthday Party (Nick Cave's original band) is the first example that comes to mind but the band learns from bands as far back as 60's garage rockers like the Seeds and ? and the Mysterians. But on Skying, they've largely said adieu to their grittier side in favor of a massive, polished sound. They're still noisy, no doubt about it, but they don't have a lot of rough edges left.

The most polished and least dated element in the music is the rhythm section. Just as the vocals are Ian Curtis via New Romantics, the bass is Peter Hook via U2 in as much as it tends to hang on the root a lot and sticks to a lot of quarter notes. But this sort of minimal melodicism fits perfectly with the dance-y grooves of the drums, which unlike the beatz of 1981, have the advantage of having a chance to learn from hip-hop, trip-hop and acid house (of which the last is the most direct rhythmic blueprint for Skying). They've got that whole baggy, Madchester thing down pat, especially on the slower tracks like "Changing the Rain" and "Moving Further Away."

The album boasts a decent amount of variety, ranging from the one rough'n'gritty track, "Monica Gems" to the slick "Changing the Rain," from the Telescopes ripoff "Dive In" to the M83ity "Moving Further Away." The best tracks are the biggest, shiniest, danciest, poppiest, rockin'est ones: "Changing the Rain," "I Can See Through You," "Dive In," "Still Life" and the eight minute opus "Moving Further Away." The remaining tracks are a bit less inspired but work well enough in the context of the LP.

It's hard for me to admit this album is made up entirely of recycled 80's Britishisms and that's probably because I enjoy it so very much. I want to believe in the Horrors. I want to believe they are doing something that matters. I want to believe I'm not buying into an act that merely pillaged a decade and dressed it up all as something new, but I am. And so what? I started asking myself why anyone would want to make an album that sounds exactly like early U2, but I've ended up with a different question - why wouldn't anyone want to make an album that sounds exactly like early U2. Skying isn't important. But it's so beautiful it makes my heart skip a beat. And that's not a bad accomplishment, even if it's fleeting.

Best Albums of 2009, Part 5: #5-1

PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #25-21
Part 3 - #20-16
Part 4 - #15-11
Part 5 - #10-5

#5

The Horrors - Primary Colours
XL

I've hated on the Horrors pretty seriously based on seeing them live, but after a recommendation from my punk heroes Fucked Up, I decided to give the album a fair chance. And I gotta put my foot in my mouth after those snide remarks. This band is what it would have sounded like like if Kevin Shields had been Joy Division's guitarist instead of Bernie Sumner. The guitar itself isn't mixed high, but its twisted reverb and overtones play off the tense Peter Hook-esque bass. The vocals are influenced by Ian Curtis in their flat, desperate melodies, but the delivery is slightly higher and younger - this is no aping. The songwriting may be a throwback to the 80's, but sonically, despite each component's obvious roots, Primary Colours sounds far more ahead of its time than it does retro. Moody but catchy, the Horrors' music is well worth the attention it's garnered. I'm sorry I didn't know that sooner.

How I found it: It was Fucked Up's Best of 2009 list that made me give it a fair chance
Track picks: "Mirror's Image," "Who Can Say"
Link: [MySpace]


#4

Pterodactyl - Worldwild
Brah

As I explained, this is a list of "most exciting" albums, and Worldwild is certainly that. It may not be as professional as the releases by been-around-the-block musicians like Sonic Youth, Raekwon and Flaming Lips, but it proves that it's still possible to find new directions for music in 2009. And though Pterodactyl sound like no one else, they are accessible and melodic. Fast, arpeggiated guitars, jumpy drums and soaring multi-part vocals combine for a totally fresh take on indie rock. The whole album speaks of exploration, energy and elation. Even the album cover, depicting two hikers under a glitchy, digital rainbow, evokes a strange and beautiful otherworld. Unjustly overlooked, Worldwild is good for your brain and your heart.

How I found it: They opened for Oneida.
Track picks: "One With Everyone," "Share the Shade"
Link: [MySpace]


#3

Wavves - Wavvves
Fat Possum

Last winter, Wavves was the first breath of fresh air for me as an indie reviewer. It's a return to the simple, minimal, poppy guitar punk of the 80's. There's no gimmick, there's no bullshit. I know something this simplistic doesn't sound revolutionary, but in a scene dominated by orchestral pop, self-aware art rock and pseudo-ironic hipster club tunes, someone needed to bring us to our senses. And who better than the 21-year-old slacker Nathan Williams whose four-track tunes exploded out of his bedroom and across the indie world last winter and spring, then crashed and burned its way out of the spotlight just as fast? We'll see if Wavves can dust themselves off from their sharp tumble and continue on, but what really matters is that in 2008 to 2009, they were exactly what indie rock needed.

Read more from the original RFR review...

How I found it: I don't remember!
Track picks: "California Goths," "No Hope Kids," "Beach Demon"
Link: [MySpace]


#2

Dinosaur Jr - Farm
Jagjaguwar

In the 1980's, Dinosaur Jr put lead guitar back into indie rock. Without their tuneful but heavy anthems, rock would not be the same today - they paved the way for grunge and 90's punk bands like Nirvana, who, um, might have influenced other bands to say the least. Though J Mascis has most of the songwriting credits, Dinosaur Jr's unique energy has always come from the friction among its three members. Farm can stand alongside the band's best (i.e. first) albums, and for those of us who weren't yet in kindergarten when the band first imploded, it's great to experience Dinosaur Jr not as some historical artifact but as something relevant to our time. They may have some gray hairs, but Dinosaur Jr haven't aged at all. And what could be more exciting than a truly great album by one of the greatest rock bands of all time?

How I found it: It's Dinosaur Jr, duh!
Track picks: "Pieces," "See You," "I Want You to Know,"
Link: [MySpace]


#1

Antlers - Hospice
Frenchkiss

Hospice is the kind of album that changes lives. Exploring the guilt that lingers after abuse and after loss, Hospice is a painful record. Tales of mental illness, terminal cancer and emotional abuse enigmatically intersect while singer-songwriter Peter Silberman comes to terms with the fact that love does not conquer all. Musically, the shaky, dark electronica creates a distinctive soundscape perfect for the psychological decay and hospital setting of the album, while Silberman's high, clear voice unnervingly reveals dark secrets and deep fears. It's rare that an album comes along with the power to mend people, to change their lives permanently. Hospice is one of these albums, surely not for everyone, but for enough of us to be numbered among the greats.

Read more from the original RFR review...

How I found it: Pop Tarts Suck Toasted
Track picks: "Two," "Atrophy," "Wake"
Link: [MySpace]

Live: Coyote Eyes, Mary Onettes + Art of Shooting, Midnight Spin

When: 11/8/09
Where: Mercury Lounge

So my longtime obsession Werewolves cancelled their Mercury Lounge show opening for the Mary Onettes. Their replacement was a band called Midnight Spin. I knew as soon as I walked in the room what kind of music it was going to be. Really young guys, nice guitars, drummer with long hair and no shirt...you getting the picture?

I don't really know how to review a band like that without being extremely patronizing, so I'm gonna be pretty patronizing. It's just that rock'n'roll bands full of enthusiastic young men always make me nostalgic for the guys I knew in high school who dreamed of major label record deals and some huge arena full of shrieking, scantily clad young women. But come to think of it, is that any worse than what we're hoping for now? Ultracool indie label deals and DIY clubs full of good-looking hipsters.

Granted, most indie bands try to be (or at least to appear) somewhat arty and original. Midnight Spin is the opposite of original - they are a living cliche. But there is a reason cliches exist, after all. People have fun making this kind of music and many more people have fun listening to it. It's not in my taste, but at least they aren't pretentious or fake.

Still, I don't think Midnight Spin is gonna make the cut, at least not any time soon. Their songs were fine and they played well. They were clearly well-rehearsed and probably had some formal training not only in playing but also in music theory or composition. But they aren't above average, let alone outstanding. They just don't have what it takes to move beyond bar-band status.

Coyote Eyes were the real highlight of the show. I've been drooling over their arty post-punk for months now and catch them almost every chance I get. But it had been a while this time around, and their set had changed significantly. Most immediately, they've gotten more mellow. Their newer songs were mostly slower and more meandering than the first songs I heard by the band. On the one hand, this adds a lot of variety and maturity to the set and opens up a lot of space for experimentation. On the other, the music lost a lot of punch and the band struggled to get the full attention of the audience - no more than most bands struggle, but more than a band this good should.

The band has yet to properly balance their vocals between bassist Marta DeLeon and guitarist Manny Nomikos. DeLeon's voice is rich, melodic and mostly in tune (which I don't mean as cheap shot at anyone, it's just not that common in indie music). In contrast, Nomikos has a thinner voice and doesn't concern himself with hitting the right pitch. That's a perfectly legitimate aesthetic and the juxtaposition of the two voices could be a powerful tool. Sometimes it is, but too often, the difference is just jarring and the two styles fail to find a common ground. Until they figure out and agree upon their musical identity with regards to vocals, DeLeon and Nomikos risk clashing, not complementing.

Once again, when the band hit the song "Yellow Red" near the end of the set, they had the audience captivated. If they could get that rapt attention from the beginning, they'd make quite an impact. I'd like to see the band start their sets with something more aggressive. Their unconventional pop, with its outstanding rhythms, noisy sonic experiments and curiously infectious melodies, should have their audience transfixed from the first note. Just got to make that first note impossible to ignore. [MySpace]

The Art of Shooting played next and I stepped out for most of their set. This band is just too weird, and not in a good way. There are two women singing in front, very dramatically, and some semi-spacey instruments in the background. Basically, if Blondie and Spacemen 3 had a bastard child, it would look and sound like this - but not in a good way. Maybe they get some novelty points, and guitarist Gavin Dunaway sounds like a young Billy Corgan, but the awkwardness far outweighs any appeal. [MySpace]

Last up were the headlining Swedes The Mary Onettes. I've seen them before and found them enjoyable but unremarkable, an 80's rock throwback. However, their new album has generated a lot of positive press, so I thought I'd give them another chance.

Lyrically, the band has come a long way. It takes some courage for Philip Ekstrom to sing about his aging body, and I admire him for that. Facing the fact that your youth is gone, and admitting that that breaks your heart, it's interesting if a little melodramatic.

However, musically, the band is still an 80's rock throwback. And that's that. I wouldn't avoid them, but I wouldn't seek them out, when there's more exciting things happening all over the place. [MySpace]

Album: Cold Cave - Love Comes Close

Album: Love Comes Close
Matador, 2009
Rating: ******** (8/10)

I'm not sure what to make of the Cold Cave debut album, to be (re)released on Matador this week. Though I normally scoff at press releases, the one accompanying this album actually put a finger on a quality of the music I couldn't quite describe myself: "equal parts of romance and nihilism." That's the essence of Cold Cave and what sets them apart from any other band around.

I first heard Cold Cave nearly a year ago, when I caught the tail end of a set they did opening for someone or other at Bowery Ballroom. I enjoyed them, especially because their sheer volume threatened to make my ears bleed, but I didn't think they were anything special. It wasn't until the spring, when I stumbled upon the track "Sex Ads," that I came around to thinking of Cold Cave as something outstanding.

"Sex Ads," which is not featured on Love Comes Close, is one of the noisiest tracks I've ever heard. It sounds like a synthesizer apocalypse and in its unforgiving attack, reminds me more of the no wave movement than of anything contemporary. The most obvious reference point is Suicide, for those who are familiar with the history of synth music, but ultimately, the splintering shards of static and roar of icy, inhuman noise burying a desperate and inaudible vocal melody - well, they aren't much like anyone else at all.

Sadly, no song on Love Comes Close is quite as as bold as "Sex Ads." The album contains a collection of nine rather more accessible tracks which, if not as striking, have a similar intrigue. The opener, "Cebe and Me," creeps forward at a morbidly measured pace, while synthesizers blink unnerving squalls of dissonance and a distorted voice mumbles an undecipherable speech. The tension breaks over the dark pop of the title track. The somber-yet-catchy baritone melody is reminiscent of bands like New Order and Depeche Mode, but stripped of all hints of 80's polish.

There aren't any bad tracks on the album, so picking highlights is a little tricky. "Heaven was Full" is a classic centerpiece, with a memorable title, a heavy, full sound and single-worthy tune. However, the real highlight of the middle stretch is "The Trees Grew Emotions and Died." The simple, rhythmic vocals and ascending synth riff seems too basic to be the album's best track, but it had me on my knees.

From the dance pop of "Life Magazine" to the would be 80's radio hit "Youth and Lust" and the krautrock-inspired "Laurels of Erotomania," the album is mysteriously refreshing. The sounds are dated and could come straight from the earliest digital synthesizers of the late 70's and early 80's. This is cheesy and gives the whole album a campy sound. Further "campiness" is added by the fact that the actual synth parts are, for the most part, incredibly simple and obvious. But that's not to say the band is just some sort of Duran Duran throwback - the level of noise and the indie rock-influenced imperfection are distinctly modern. Couple this with great songwriting, and you've got something very worth listening to.

Check it out! [MySpace]

Album: Little Girls - Concepts

Album: Concepts
Paper Bag, 2009
Rating: ******* (7/10)

Little Girls first came to my attention last summer when the mythical "Jasper" saw them live and told me they were the shit. I saw them for myself twice, and it quickly became apparent why they were associated with Mike Sniper's Captured Tracks label early on - Mike Sniper (a.k.a. Blank Dogs) is the only other band around making this type of nervous, lo-fi, gothy post-punk. Like Blank Dogs, Little Girls is mostly a solo project, this one of Josh McIntyre, a high-strung youngster from Toronto whose influences span from no wave to hip-hop.

Concepts is a spooky album that does well capturing the band's tense energy - and it's this tense energy that sets the band apart from its peers and makes it worthy of note. On the opening track, "Youth Tunes," the vocals are almost completely inaudible, warning us that McIntyre will be speaking from a dark and distant place. The vocals never really come above the surface on the whole album, so though the press release says the album is about coming of age, the listener's only real clues are the song titles.

Following "Youth Tunes," the ominous mix continues with the atonal, reverbed vocals of "Seeing." "Tambourine" is the first semi-accessible song, with a great riff and vocals, but we don't leave the minor scales until "Imaginary Friends," a tune that manages to be simultaneously upbeat and sinister. The tightly wound, repetitive "Venom" is something of a mess, with the instruments and vocals seemingly fighting for control of the rhythm. [Update: it just occured to me that I should have indicated that comment on "Venom" is a compliment. (11/6)]

However, there are some questions of originality. The dramatic melodies of "Salt Swimmers" and "Thrills" are distinctly familiar - I'm almost positive I've heard the latter in some sort of musical theater or soundtrack. This may be more reference than accident, showing a refusal to be held back from dramatics by any typical indie rock sense of self-consciousness. It's a bold move, but I'm dubious that this was the best way for the band to display their lack of self-awareness.

Moreover, the Joy Division influences are undeniable, and at times a little overboard. "Concepts" has almost the same bass riff as "Disorder" and "Last Call" also borrows more than a few notes from Bernard Summer and Peter Hook. The similarities don't ruin the music, by any stretch, but it is a bit disappointing if you're looking for something new.

The songwriting in general leaves a bit to be desired. Repetition is clearly a part of Little Girls' craft, as is their anticlimactic composition, but the songs sometimes stagnate too much, crossing that thin line from expressing a dark ennui to being, well, a little boring. I appreciate short, simple songs, instead of cramming a million ideas into a single track, but here it sounds a little underdeveloped.

Still, all in all, Concepts is an electrifying album and shows a band with great promise. The uneasy darkness of all eleven tracks demonstrates McIntyre's rare ability to translate emotion into sound, making an indescribable anxiety palpable in the music. However, the band is young and this album wants for maturity in many instances. Of course, the rawness adds to the excitement in a way, but it also frustrates. The unsophisticated songwriting makes this album seem far more trifling than it actually is. However, McIntyre's sharp sense of pop, his innovative ideas about sound, and most of all, his sincerity are unmistakable. He's the real deal.

"Growing" makes a warm closer, as though the tensions of the album have found a little peace. But despite the major key, it's not a happy peace. It's a lullaby for the darkest of hearts, a resignation without resolution and a testament to the secrets told, if never explained, on the previous ten tracks of the record.

Album: A Place to Bury Strangers - Exploding Head

Album: Exploding Head
Mute, 2009
Rating: ******** (8/10)

There are no big surprises on the new album from A Place to Bury Strangers, out today on Mute Records. As always, the band is still something of a one-trick pony. The good news is that that one trick is so very awesome and original that it's far from played out - there are still lots more avenues to be explored, and more importantly, lots more eardrums to be shattered.

APTBS's trick comes, of course, from guitarist Oliver Ackermann's custom Death By Audio pedals. These create a mountain of fuzz, feedback and noise. Static covers the music like a thick layer of snow, while deep rumblings fill in every gap and piercing overtones punctuate songs. It's like My Bloody Valentine or the Jesus and Mary Chain on steroids.

For this reason, APTBS has always been more of a live band to me than one I listen to on record - it's all about volume, about overwhelming the senses and being swallowed whole by the noise. The record isn't the same experience. But then again, Loveless pales in comparison to My Bloody Valentine's live show and it's still one of the greatest records of all time. It's more fair to compare an album to other albums than to compare it to a concert.

Exploding Head starts off strong with the MBV-esque "It Is Nothing," a high-speed pitch-bender with simple but intriguing vocals and extremely tight distortion throughout. The song jumps into the sonic fray with both feet, as melodic overtones add phantom guitars and an deep foundation keeps the listener from ever finding the bottom.

There are a few sequencing problems on the album. Most notably, "Lost Feeling," with its weird Sonic Youth-like steps out of the key signature, is a great addition to the album, but is far too long, repetitive and unmelodious to sit up at track three. Later in the album, the silent beginnings of "Ego Death" break the album's spell and disrupt its flow. It would have been better to fill this space with more audible noise to keep the listener engaged instead of making them stop their concentration to check their speakers.

"Keep Slipping Away" is the album's standout centerpiece. It's well composed, with another simple but irresistible melody and a great sense of structure, driven home by half-tempos, drop-outs, breaks and the perfectly placed bridge. With a dancey, electronic beat and an anxious, repeating lead guitar, it recalls 80's synth music like Depeche Mode, but adds APTBS's characteristic NOISE. "Smile When You Smile" is a more typical APTBS track, but keeps things moving with hammering drums, a short bassy solo and an unforgettable melody. The decision to roll back the noise from time to time sends the tense, disturbed song hurdling forward.

The album goes out strong too, with the gothy, ringing reverb title track, followed by the intense "I Lived My Life to Stand in the Shadow of Your Heart." This closing song is writ large, with an expansive, open melody and a thick, distorted pulse in the bass. Feedback screams over it all until the song descends into its own static until it's only a hint of sound under the roar of white noise.

There isn't a bad track on Exploding Head. It's a solid, accomplished album with no filler and few missteps. It isn't groundbreaking for the band, it's just a further honing of what they've been doing for years. And what they've been doing for years is being more loud, more ominous and more awesome than anyone else around. Fuck yes.

[MySpace]

Album + Live: Blacklist

Album: Midnight of the Century
Weird Records, 2009
Rating: ******* (7/10)

The long-awaited debut LP of gothy post punks Blacklist, dubbed Midnight of the Century, is a relief after two EPs that failed to do the band justice. Though I've never failed to be compelled by the band's live show, their existing releases seemed unfocused and unmemorable. I could never even pin down exactly what was wrong with the EPs, but for whatever reason, the music didn't translate.

On Midnight, however, fans will finally recognize the band they love. However, even this album has its problems, particularly in the production. From a band influenced largely by the dense, layered music of post punks like the Cure, the record is frustratingly wanting for depth and richness. The sonic weaknesses might have been overcome with better recording and production techniques, which these days can be achieved even on a low budget - overdubbing duplicate parts, intensifying reverb, and so forth. Given the credentials of the engineers behind the sound (most notably, Ed Buller, who's resume includes work by Slowdive and Suede), the shallowness is really inexplicable.

With even the sound falling short, the record must stand on songwriting alone. And in this, Blacklist have proven themselves exceptional. There's not a single bad track. "Fight of the Demoiselles" could be an alternative radio hit, with many songs not falling far behind. There's a decent amount of variety, with the subtle trance of "The Cunning of History" and the airy "Odessa" breaking up the rest of the dark 80's sheen.

Unlike many of the darker bands of the 80's, Blacklist only flirts briefly with synthesizers, sticking by and large with the traditional guitar-bass-drum arrangements familiar in the rest of rock. Lyrically, like many goth-inspired groups, they draw upon dramatic images that speak more of modern society than personal moodiness. It's a work with vision, edge and above all, well penned songs.


Live...
When: 7/31
Where: Cameo Gallery

The Cameo show, following very closely on the heels of the album release, was not your typical Blacklist affair. For one thing, Cameo is more well-lit than many spaces, and Blacklist, unsurprisingly, thrives in the dark. Also, with a mostly shoegazing bill, the regular goth crowd didn't turn up.

Still, as always, the band was a powerful presence on stage. Dressed in black, with expressions to match, the band fanned out powerfully and delivered their songs with intense conviction and technical talent. Live shows also give the band, particularly guitarist James Minor, a chance to delve into more experimental sonic territory. Fleshing out their gothic soundscapes with new textures and improvisation, Blacklist expanded on their new material without losing track of the underlying songs.

Much like Ringo Deathstarr, with whom they shared the Cameo stage, Blacklist is not an original band. Both groups cover familiar territory, but each executes its chosen style with such near perfection that they become memorable and significant in their own right.

[Blacklist on MySpace]

Album: Blank Dogs - Under and Under

Album: Under and Under
In the Red
Rating: ******** (8/10)

My last experience with Blank Dogs was being underwhelmed by their performance at the Music Hall of Williamsburg in March. Of the ultra-lo-fi movement of the last year or so, Blank Dogs don’t quite equal the very best of the pack – Woods, Wavves, Crystal Stilts and a few others – but they definitely aren’t at the bottom of the pile either. The ranking among this crowd comes down to songwriting, and while Blank Dogs don’t have nearly the gift of a band like Woods, they do have some pretty nice tunes.

Blank Dogs is the solo project of Mike Sniper, a purposefully enigmatic figure who has been forced to remove his mask (literally and figuratively) by recent success. His new album, Under and Under, comes out tomorrow, and if you’re into little pop songs that are completely obliterated by distortion, I’d have to recommend picking up a copy.

Where Blank Dogs stray from the typical lo-fi template is in the band’s obvious nods to the music of the early 80’s. Their songs are styled after British post-punk (e.g. the Joy Division-esque "L Machine" and "Open Shut"), early synthesizer-based new wave ("Falling Back"), and even goth itself ("Face Watching"). It’s a simple idea, but pretty smart – to my knowledge, translating these styles to lo-fi has yet to be done. By taking songwriting cues and beats from the 80’s, but entirely subverting the era’s emphasis on clarity and polish, Under and Under deserves some distinction.

The album opens up with a trio of strong tracks: the heavy pop of "No Compass" followed by a tense, driving song called "L Machine" and the faintly western "Night Night." The album’s key centerpiece is "Setting Fire to Your House, " a dark, synth-heavy song with creeping, creepy vocals that somehow get more disturbing as they shift from minor key to major, and from understated verse to catchy chorus.

Other highlights include "Falling Back," which manages to withdraw even further into the fuzz than the rest of the album, and "Tin Birds," whose sloppy hooks provide a glimmer of brightness in the midst of an overwhelmingly dark album. And towards the end of the record, the massive gothic soundscapes of “Face Watching” do Robert Smith proud.

However, at fifteen songs, the album feels a little padded. I’m generally a fan of long albums, but only if the material is consistently album-worthy. There aren’t actually any bad songs on Under and Under, but some of tracks in the second two thirds of the album seem just like less-good versions of ideas already expressed. Ultimately, these songs only dilute the album’s quality and make it sound "samey, " when in fact, there’s plenty of diversity here to support a more tailored LP.

Ultimately, Under and Under is a well-conceived and brilliantly executed album, and its successes more than compensate for its flaws. Taken as a whole, it’s not the best record ever, but it’s got more than enough truly great songs to earn my very discriminating respect. And to make me hope that Sniper is just getting started.

[MySpace]

Live: 28 Degrees Taurus, Blacklist

When: 5/16
Where: Cameo, Glasslands, Public Assembly

OK, I know I've fallen really far behind here, but if you can think waaaay back to a week and half ago, there were a whole ton of amazing shows in one night. Luckily, most of them were on the western edge of Williamsburg, so bouncing back and forth between venues was not all that hard.

After grabbing the first couple numbers by My Best Fiend and determining it too mellow for my mood, I crossed N 6th St to Public Assembly to catch the legendary (in my mind) Beluga for their short set. I won't bother to review these lady punks, because I've reviewed them quite enough lately. But it is safe to say I was disappointed by the venue's decision to cut the set short (presumably to make room for DJs who would spin to an empty house the rest of the night. Ugh.)

So I cut back across the street to Cameo where 28 Degrees Taurus had recently begun their set. I wrote up 28DT a while ago but it's been too long since I've caught them live. 28DT play a shoegaze-inspired rock that completely defies classification or description. It is loud, aggressive and unruly, with an arty disregard for convention.

Frontman Jinsen Liu's high-energy noise guitar duels some of the best drumming I've ever seen (yes, I said it) - Greg Murphy plays about ten thousand beats a second, never losing track of the beat and never letting up. The velocity and intensity of his drumming and nearly unmatched. Bassist Karina Dacosta keeps things under control, though, her calm demeanor and rock-solid bass lines anchoring the frantic music and providing a much-needed reference point. The vocals, shared by Liu and Dacosta, are delivered with a careful balance of passion and humor that match the oddly arresting lyrics ("Let's drink / and drive / and crash / and die / Woohoo!"). It's art and it's fun, it's edgy, it's pop and it's just a damn great show.

As they hit their final notes, I bolted in a surprisingly successful attempt to catch Blacklist a few blocks over at Glasslands. I haven't written up Blacklist in ages, and last time I did, they were playing at the acoustically-murky Vanishing Point. For all its flaws, Glasslands has consistently excellent sound, and hearing Blacklist in full clarity makes a helluva a difference. At VP, the band stood on stage presence alone, but at Glasslands, the musical merits could also impress.

Simply put, Blacklist takes everything good from the darkest side of early 80's pop and combines it into a delicious darkwave rock. And it's not dated either - though I'm pretty sure of fans of the Cure, New Order, Sisters of Mercy, Bauhaus and the like will love Blacklist, their dense guitars and lack of electronics set them apart and make them a fully 2009 sort of band.

On stage, the band (dressed in black, of course) command attention with their professional, almost imposing stance. They play tightly and attentively, pouring their energy not into antics but into their solid front. The band's gloomy posturing is never whiny and never fake, it's the real deal. No wonder NYC's few surviving goths flood every show - Blacklist are everything we miss.

28 Degrees Taurus on MySpace

Blacklist on MySpace

Upcoming Shows: Harlem Shakes, Swirlies, Mahogany + more

I already posted these last week, but just a reminder - these are all going to incredible shows!! I highly recommend all of them.

Wednesday, February 25
Tokyo Police Club and the Harlem Shakes @ Webster Hall - East Village, Manhattan - $18
If you missed the Harlem Shakes with Shilpa Ray on Valentines Day, then you really messed up. But all is not lost - you can still see the Shakes before they leave town. They are opening for Tokyo Police Club, another great pop band, at Webster Hall next week. It should be a very solid show. :: TPC MySpace :: HS MySpace

Thursday, February 26
Coin Under Tongue @ Cake Shop - LES, Manhattan - $7
To be honest, I don't know much about Coin Under Tongue except that it includes members of Dirty On Purpose and it's all the rage right now in the NYC underground. The second half of that doesn't really mean anything, but the first part (members of Dirty On Purpose) gives me pretty much blind faith that this band rocks. They are too cool to have a MySpace page, so I guess we'll just have to show up and see what it's all about.

Friday, February 27
Swirlies + Takka Takka, Autodrone @ Mercury Lounge - LES, Manhattan - $12
The Swirlies are a classic shoegazer band from the 90's, here again to capitalize off the current shoegaze fad - and who can blame them? They have chosen well for their supporting acts - Takka Takka is a pretty straight-up weird indie rock band that's been trendy for a surprisingly long time now. Autodrone is a band that could well be on the verge of a major break-through - their 2008 full-length debut reworks the darkest of New Wave ideas into 90's shoegaze soundscapes, with a touch of grunge and even prog just to keep it rocking hard. :: Swirlies MySpace :: TT MySpace :: Autodrone MySpace

Saturday, February 28
Mahogany and Blacklist + Cruel Black Dove and Depreciation Guild @ Mercury Lounge - LES, Manhattan - $10
Go to this show! Trust me. Mahogany's dream-pop and Blacklist's dark 80's soundscapes are going to make a delightfully varied but still cohesive evening (and a busy one for James Minor, who is a member of both bands). My last live review of Mahogany is here and my last review of Blacklist is here. And don't forget, those headliners are coupled with another 80's-esque, goth-influenced band, Cruel Black Dove, as well as electro-shoegazers Depreciation Guild, one of the best shoegaze bands around and also one of the hottest NY bands of the moment. This show is really, really, really going to kick some serious ass. :: Mahogany MySpace :: Blacklist MySpace :: CBD MySpace :: DG MySpace

Upcoming Shows: Werewolves, Harlem Shakes, Mahogany + more

Thursday, February 19
Werewolves @ The Annex (Club NME) - LES, Manhattan
If you have been paying attention, you already know all about the Werewolves. If not, start here. I cannot recommend them enough. :: MySpace

The Secret Life of Sofia @ Bell House - Gowanus, Brooklyn - $5
I feel like I never pimp this band enough, but TSLOS, despite the rather obnoxious name, is a great band. They play shimmering, lonely noise-folk that will draw you in without your even realizing it. :: MySpace

**Update - Apparently TSLOS released a free EP today online, which I totally overlooked until I saw it on I Rock I Roll. I'll give you the lowdown soon, but in any case, I guess this show will involve songs from that release so check it out.**

Friday, February 20
Weird Owl (CD Release Party) @ Union Pool - Williamsburg, Brooklyn - $8
I just reviewed Weird Owl, so check it out here. :: MySpace

Saturday, February 21
John Joseph (Cro-Mags) SPOKEN WORD @ Webster Studio - East Village, Manhattan - $10
I have no idea what this is going to be like, but I do know it involves a member of the Cro-Mags, one of the greatest hardcore bands of all time. It's probably worth checking out.

Sunday, February 22
Team Genius @ Glasslands - Williamsburg, Brooklyn - $6
I've been trying to encourage everyone to check out this band for a while now. There are a whole bunch of people in the band and they play a whole bunch of instruments and make really pretty, fun, comforting pop music. Like the grown-up version of Los Campesinos! You can find my review of their last show at Glasslands (along with a review of their debut album) here. :: MySpace


I'm going to get a bit of ahead of myself here, but I'll repost closer to the date for these ones:

Wednesday, February 25
Tokyo Police Club and the Harlem Shakes @ Webster Hall - East Village, Manhattan - $18
If you missed the Harlem Shakes with Shilpa Ray on Valentines Day, then you really messed up. But all is not lost - you can still see the Shakes before they leave town. They are opening for Tokyo Police Club, another great pop band, at Webster Hall next week. It should be a very solid show. :: TPC MySpace :: HS MySpace

Thursday, February 26
Coin Under Tongue @ Cake Shop - LES, Manhattan - $7
To be honest, I don't know much about Coin Under Tongue except that it includes members of Dirty On Purpose and it's all the rage right now in the NYC underground. The second half of that doesn't really mean anything, but the first part (members of Dirty On Purpose) gives me pretty much blind faith that this band rocks. They are too cool to have a MySpace page, so I guess we'll just have to show up and see what it's all about.

Friday, February 27
Swirlies + Takka Takka, Autodrone @ Mercury Lounge - LES, Manhattan - $12
The Swirlies are a classic shoegazer band from the 90's, here again to capitalize off the current shoegaze fad - and who can blame them? They have chosen well for their supporting acts - Takka Takka is a pretty straight-up weird indie rock band that's been trendy for a surprisingly long time now. Autodrone is a band that could well be on the verge of a major break-through - their 2008 full-length debut reworks the darkest of New Wave ideas into 90's shoegaze soundscapes, with a touch of grunge and even prog just to keep it rocking hard. :: Swirlies MySpace :: TT MySpace :: Autodrone MySpace

Saturday, February 28
Mahogany and Blacklist + Cruel Black Dove and Depreciation Guild @ Mercury Lounge - LES, Manhattan - $10
Go to this show! Trust me. Mahogany's dream-pop and Blacklist's dark 80's soundscapes are going to make a delightfully varied but still cohesive evening (and a busy one for James Minor, who is a member of both bands). My last live review of Mahogany is here and my last review of Blacklist is here. And don't forget, those headliners are coupled with another 80's-esque, goth-influenced band, Cruel Black Dove, as well as electro-shoegazers Depreciation Guild, one of the best shoegaze bands around and also one of the hottest NY bands of the moment. This show is really, really, really going to kick some serious ass. :: Mahogany MySpace :: Blacklist MySpace :: CBD MySpace :: DG MySpace

Fifteen Bands to Watch in 2009 - Part 1

So you want to get ahead of the curve in 2009? Keep an eye on these fifteen bands (alphabetical over three entries) and you'll be the coolest kid in your class. Or not. But these are folks I hope are the future of rock music.


Antlers - Deer-themed names have been blessed the last few years. But more to the point, this atmospheric pop band is innovative and fun and has already captured the attention of some of the big NYC blogs. :: MySpace

Arms - Well-written songs and an excellent guitar-heavy sound should be enough for success, but it doesn't hurt that this band also has earned the interest and respect of a number of established groups. They're not a shoe-in yet, but they've got a decent chance to make it big. :: MySpace

Asa Ransom - This band is still new, but they have big plans. As I said in my live review of them, they have some things they need to work on (like melodies) - but their keyboard-heavy experimental post punk shows promise and they clearly have the drive to follow through. :: MySpace

Autodrone - Grunge-tinged dark wave-spirited shoegaze, these guys have all the talent and mainstream appeal to break through. If the fates are kind, we'll be seeing a lot more of this band. :: MySpace

Bellmer Dolls - Scoring opening slots for Nick Cave bodes well for these garage-goths. As does their superb talent and creep-chic good looks. :: MySpace


NEXT>> Part 2
Part 3

Live: Love Is All, Crystal Stilts and Cold Cave

Next in the stretch of shows featuring 2008 buzz bands was the Love Is All show featuring opening acts Crystal Stilts and Cold Cave.

I'd never heard of Cold Cave and I came in probably two-thirds of the way through their set. From what I heard, they play synth-made electronic dark wave that falls at the high end of run-of-the-mill - nothing original but certainly well-executed with lush, layered sounds. Their performance style involved the three members standing perfectly still, spaced out Kraftwerk-style along the front of the stage. It's not the most interesting thing to watch, but it works for them, helping them cultivate their dark, subtle atmosphere. All in all, it was alright. I wouldn't be surprised if this band becomes rather popular, but I'm not going to place a vote either way.

The band I was really there to see was up next, the heavily-hyped post punk outfit the Crystal Stilts. The band gets frequent comparisons to Joy Division,and watching them live, I could see why. On their recordings, the Jesus & Mary Chain-styled guitar wins out and their songs sound pretty much like Psychocandy outtakes. But live, it's easier to see the comparison of the Stilts' frontman Brad Hargett to Ian Curtis (it's more in his delivery than his voice), and bassist Andy Adler does sound a bit like early Peter Hook.

I like the Stilts, but I worry they are sliding from self-assurance to apathy and this show did little to reassure me. It was evident that they'd been playing a lot of shows lately. Yes, there was a nice level of comfort and professionalism on stage, but the other side of the coin is that they brought a sense of fatigue and lack of spontaneity. In the end, though, it was forgivable (at least this time around), since they were still having fun and making an effort to put on a show.


The Crystal Stilts
In terms of the music, it's rare to see a band with a male singer who can actually sing. On their instruments, the band was more amateur. That's part of their charm but it can be overdone. For example, I have no issue with Frankie Rose's decision to play drums standing up like Mo Tucker, but her improper grip on the sticks made her playing sound noticeably weak. Moreover, the rough-around-the-edges, militantly-simplistic songwriting that made the band noteworthy in the first place may soon become a real bane if they let it tie their hands. This is a great band, and I really did enjoy the show, but it's increasingly clear that they are falling rather short of their potential. Their hype can get them a little further, but if they don't push themselves much harder, their momentum will die out fast.

Headlining the show was Swedish pop band Love Is All. I listened to their album and found it to be pretty generic indie dance-pop. I didn't dislike it, though, and I thought I detected an artistic edge to the music. Live, however, any hints at some sort of intellectual artistry disappeared, and the generic quality of the music came to the fore. Moreover, the music's complete lack of emotion and depth became intensely evident to me. Dance-pop isn't really the most soul-baring of genres but it's quite possible to give it some trace of human feeling without making it less fun.


Love Is All
Adding to the horror, the band includes a saxophone, which is probably the single worst instrument ever invented. I can count on one hand the number of bands who have effectively used saxophone in contemporary pop music. (Yeah, this isn't one of them.) I did appreciate the bass and drums, however, which duplicated the quirky drive of electronica but with all the richness of a live performance. Still, that wasn't enough to make up for the problems and I left halfway through the set because it was really depressing me. There's a fine line between cheerful-and-fun and obnoxious-and-shallow, and Love Is All lands squarely on the wrong side.

Upcoming Shows: This Weekend!

Friday, the choice is easy...

Blacklist @ Music Hall of Williamsburg - Williamsburg, Brooklyn ($10)
This darkwave band will remind you of everything (at least everything gloomy) you love about the 80's, but with all of it brought up to date. They are playing with promising up-and-comers Led Er Est, among others.


Saturday, a hard decision awaits you, as at least four shows I highly recommend will be taking place...

Rasputina @ The Bell House - Park Slope, Brooklyn ($16)
These ladies have been around forever and a half, so you probably know who they are. If not, here's the story - three women hook up electric cellos to distortion pedals and play morbidly funny goth tunes. If you don't know how badass a cello with distortion can be, you'll need to check them out. Because it's something you should know.

Secret Life of Sofia + Naked Hearts @ Union Hall - Park Slope, Brooklyn ($8)
The Secret Life of Sofia play pretty, sparkly, layer-y indie folk rock that everyone loves. The Naked Hearts play catchy, loud, excellent noise pop. You'll like both of them.

Depreciation Guild @ Vanishing Point - Bushwick, Brooklyn ($?)
This is one of the best shoegaze acts around these days. A little electro, but still enough guitar to make a girl like me happy. Thick, bending, distorted, layered guitar. Yum.

Ifwhen @ Studio B.P.M. - Williamsburg, Brooklyn ($8 ~suggested)
"No-gaze" band Ifwhen will destroy everything you thought you knew about music with their avant-guard electronic noisefest. But in a good way. Bring earplugs.

Album: Autodrone - Strike A Match

Album: Strike a Match
Clairecords, 2008
Rating: ******* (7/10)

This isn't the first review I've done of New York four-piece Autodrone (see my live review here). That's partly just due to timing, and not really a creepy obsession on my part, but this band is definitely worth getting excited about.

Autodrone plays a heavy, dark shoegaze, with biting edges reminiscent of alternative metal and post-hardcore - imagine if Page Hamilton or Omar Rodriguez-Lopez played lead guitar for Lush. Though not cutting-edge, Autodrone stands apart from their peers in that all four members of this band are true musicians, evidenced by the relentless complexity of Strike a Match.

The album starts out with the dense, guitar-driven title track which takes all of its spirit from the dark pop of the 1980's and all of its sound from the guitar rock of the early 90's. While the opening track is somewhat limited in its power, the band uses this blueprint on several of the subsequent songs with more success. "Final Days" stands out as an example, featuring some of Katherine Kennedy's most compelling vocals, from her tense, driving monotone in the song's opening bars to her passionate, wailing chorus.

I'm a stickler for songs, so I feel compelled to report that several tracks on the album are filler. But while I won't endorse this, these tracks (primarily "100,000 Years of Revenge" and "Rose Has No Teeth") actually do add to the cohesiveness of the record, making it a true album with a unifying vision, not just a scattered collection of songs. And the instrumental sonic experimentation of "Moth of July" is just plain beautiful.

The order of tracks on the album left me a little uncomfortable, with the album's most upbeat numbers falling at tracks 10 and 11. I think I would have liked to see these songs a bit earlier on, where they could have broken up the near-formulaic similarities of the earlier tracks. But placing these songs at the end does add a concept-album-esque arc to the album, bringing an unsettling and dark journey to a warm and comforting close. If that was the intention, it falls a little short with better transition needed (the major keys seem a little jarring at first), but at the very least, it's interesting.

The stand-out track on the album is, without a doubt, "Sometime." The song, propelled by Dennis Lehrer's rumbling toms, emerges out of a beautiful cloud of sound. Jeremy Alisauskas's always superb guitar truly shines here. Sparkling gently in the verse, it swells to a roar and then bursts into a frantic and beautifully-executed prog-metal riff throughout the chorus.

Though far from perfect, Strike a Match proves Autodrone to be a band of remarkable skill and great promise. They have what it takes to make it big, so keep an eye on them in 2009.

Strike a Match hits the shelves tomorrow. Autodrone is also throwing a release party this Thursday at the Annex, so if you can wait an extra two days to get your hands on this, you can grab your copy there.

Live: Blacklist @ Vanishing Point

When: 10/24 (or actually, the wee hours of 10/25)
Where: Vanishing Point

Sorry, folks, it's taken me a while to get this one posted. But after catching the Pains last Friday, I skedaddled over to Bushwick to catch Blacklist at the new DIY venue Vanishing Point.

In the past, Blacklist's music had reminded me of everything that was good about the music of the 1980's. I associate them with dark, goth-tinged new wave, but from a definitively 2008 perspective.

Vanishing Point, however, is an old brick warehouse, and while the space is wide and deep enough to give it decent acoustics, there's still quite a bit of noise. As a result, the band's sound lost its new wave polish and the raw rock underneath shone through. The downside was that much of the detail of the music was lost in the din. It was hard to distinguish one guitar from another or the bass from either one. The upside was that I heard a whole new side to these musicians, something more raw and more powerful than I've heard in the past.

Blacklist is always fun to watch live, but especially with a good smoke machine going, as at this show. The members fan out on stage and while they don't move much, they are obviously engaged. It's a rare band that really plays for its audience, but Blacklist does - they play with the effortless tightness of professionals who are free to focus their attention on perfecting their music for the crowd's ears. Blacklist seems not only to love their music, but also to love playing it for the throng of goths, many their friends, that crowd every show. This is a band that cares about you, and that makes them great every time.

The band plays again on Nov. 21 at the Music Hall of Williamsburg. Don't miss it!