Album: Eleanor Friedberger - Last Summer

Album: Last Summer
Merge
Release Date: 7/12/11
Rating: ****** (6/10)

Eleanor Friedberger is the singer from Fiery Furnaces, the band that brought you Blueberry Boat, the world's first ever concept album about, er, a blueberry boat. And in answer to your question, no, no one knows what a blueberry boat is, nor what it has to do with a lost dog, tacos and the album's other jumbled subjects. What we do know is that Blueberry Boat was one of the freshest, most original albums of the last decade.

It's not that Last Summer is lacking the elements that make Fiery Furnaces great. Friedberger's rich voice, the relentless quirkiness, the effortless mid-song genre shifts - all of that is here. But where Fiery Furnaces exude a disarmingly pure sense of purpose and charming lack of self awareness, Last Summer sounds a mess. Friedberger can't seem to make up her mind if she wants to create art or play pop music. Of course, art and pop are inseparable, but the two nevertheless unravel here; rather merging, Friedberger's impulse toward the tuneful and her arty sensibilities sound conflicted and each hampers the other rather than enhancing it.

At least, sometimes it does. There's a lot of good ideas here and nothing here to indicate that Friedberger won't get them sorted out by her next release. "My Mistakes" opens the album rather abruptly - without any semblance of an intro, the first sound of the song (and the album) is Friedberger's voice launching into Verse One. Although the song is not lacking for production, the endearingly clunky synth should put a smile on your face. Sadly, the first misstep is a doozy - a reverbed smooth jazz saxophone solo. Whether it's an ironic statement or a post-ironic statement or no kind of statement at all, it's pure shite.

The saxophone solo illustrates exactly where this album goes wrong. The homey, intimate feel of the album, combined with its refusal to observe the boundaries of genre, should make it a winner. However, it veers too sharply in both directions. The experimental elements sometimes (as with the saxophone) sound forced and superfluous, while the singer-songwriter pieces bring the album - at moments - to the brink of sounding generic.

The album has some bright spots, though. The simplest parts are often the best - the first two thirds of the melancholy "Scenes from Bensonhurst," the tempered psych-folk of "One-Month Marathon" and the textbook disco of "Roosevelt Island" (where Friedberger's very un-textbook vocals save the song from being obnoxious, despite its shameless disco groove). "I Won't Fall Apart on You Tonight" is kind of rocking, even. Of course, the spell of such moments is always rudely interrupted by something corny and over-the-top. Knowing Fiery Furnaces, corny and over-the-top could be lovable. But, whether from too much self-awareness or not enough, it just isn't.

Friedberger uses Last Summer as an opportunity to showcase her impressive skills as a vocalist, but like any truly talented singer, she has no need to overdo it. In that sense, the album is exactly what it should be, a chance for Friedberger's curious voice to explore the world outside her brother's avant garde compositions (her brother being the other member of Fiery Furnaces, of course). In addition to having a distinct and powerful voice, Friedberger sets herself apart with her unusual cadence, melodic but conversational and often divorced from the beat in its rambling.

Turning away from the Furnaces' drug-addled nursery rhymes, Friedberger uses her solo album to explore more conventional subjects like regret and New York (the album is packed with Brooklyn/NYC-centric geographic specificity, including no less than two song titles). It's not quite as interesting as the mad whimsy of Blueberry Boat, but Friedberger still seems legitimately off her nut and her take on even the most mundane of subjects is still a bewildering barrage of stream-of-consciousness associations. As in Blueberry Boat, you can follow strands of stories and themes but the connections that seem so clear in Friedberger's confident delivery are, upon closer inspection, entirely inscrutable.

Those who keep listening through the embarrassing arrangements that define much of the album will be rewarded for their patience. The second to last song, "Owl's Head Park" is promising but its cool is spoiled by yet another nauseous saxophone. But the album finally redeems itself with the closer, "Early Earthquake." Starting with simple vocals over click-clacky percussion, the song warms with a restrained choppy rhythm guitar. Instrumental voices slip naturally in and out around this simple skeleton, a waft of feedback, a simple lead guitar and most notably, a harmonica, all executed with exquisite taste.

There should be no doubt, at this point, that Friedberger is a talented musician with a rare spark of originality. Her first solo outing shows that she's far more than just an instrument of her madman brother's wild genius; she is, as we were already pretty darn sure, an equal genius in her own right. But extracted from the creative partnership of Fiery Furnaces, Friedberger seems a little at sea. (The same could be said of some her brother's solo ventures.) Her creativity and god-given musical ability can't fail, and Last Summer is nothing if not promising. It's just going to take a little while for Friedberger to find balance on her own.

Stream the album here.

Album: Woods - At Echo Lake

Album: At Echo Lake
Woodsist, 2010
Rating: ******** (8/10)

OK, I admit, I'm one of those fickle critics (or wannabe critics) who build a band up and then suddenly turn on them and tear them to shreds. I would fit in well in the UK, where they love to generate insane amounts of hype and declare a band the best thing since the Beatles, then in a fit of sobriety or shame or vengefulness, turn the band into the butt of a national joke. You can't with them, or me.

So last year around this time, Woods were one of my favorite bands. But it's been a long year and my thoughts on music have really evolved since then. I wouldn't take back my reviews of Woods or revoke the nine(!) stars I gave their last album, but I am certainly far less excited about anything related to folk music than I was at the beginning of 2009. The ultraconservative attitudes that have hijacked indie rock have grown increasingly obvious in the last year and I've come to see any music that doesn't challenge the backwards backlash as a dangerous and cowardly abuse of the art form.

On the other hand, I can't ignore or deny that Woods write beautiful music. And I wouldn't even argue that they are derivative. They have forged a unique sound that, yes, pulls audibly from Neil Young and the Grateful Dead but spins it as something distinctly post-2000. Drenched in LSD, their warbly, poppy folk and shimmering, folky pop conveys an intangible sense of mystery, like the band is playing from very far away.

At Echo Lake is pretty much like every other Woods album. Of the four, this has the most consistent quality of songs - and keeps them all well under the five minute mark. The arrangements are the richest and most complex the band has offered to date, showing a growing musical sophistication.

The real skill that has always set Woods apart is their ability to write beautiful melodies and Echo Lake shows they haven't yet exhausted the well. Centerpiece "Time Fading Lines" is a particularly notable melancholy masterpiece. Early on in the album, "Suffering Season" shows Woods exploring new layers of sound while earthy, simple songs like "Get Back" keep the record down to earth. And despite a more major-key opening than previous Woods albums, that same darkness lurks just behind the music.

Woods remain one among the finest songwriters on the indie scene today and their sonic experiments are distinctly their own. After seeing Sleigh Bells tonight, a folk-tinged lo-fi psychedelic band seems pretty insignificant in the progression of pop music, but this is pure beauty, at once saccharine and haunting, in sonic form, and that's worth a listen or ten.

[myspace]

Live: Miniboone, Quiet Loudly, the Vandelles

When: 2/26/10
Where: Cake Shop

I wasn't planning to write a review of this show, but it turned out to be worth a few words...

Quiet Loudly was already playing when I arrived. It's been ages since I've heard them and man have they changed! Before, their music was made of angular, teethy guitar and bass lines that would lock together in some sort of bizarre skeleton. Now there are melodies, structures and grooves - the band has hammered their jagged soundscape into a dense, restrained blues rock. Still, from time to time, a sharp guitar will slice through and the band suddenly transforms into their dissonant, broken former selves. But the groove always returns and what before were empty spaces are now filled with a wall of misty guitar and keyboard sound.

Hints of blues always existed somewhere at the very base of Quiet Loudly's sound but only now can they manage the unhurried, sighing phrases that make the genre what it is. Not that they are a blues band - their psychedelic leanings and the shadows of pop that cross their songs are pure indie rock. They've managed to strike the perfect balance of the two genres without resorting to a cliched drunken swagger or country drawl.

Unfortunately, in other aspects their music is not yet balanced. While they still make room for their sonic romps, without their jerky guitar lines, the band risks fading into a background. Moreover, the spaces they do make seem to go on a little too long and accomplish a little too little for their span. The band's long periods of jamming were more enjoyable than many, mostly because a song-oriented sensibility still governs the grounding but nimble bass and kicked-up drums. Still, self-indulgence is always a risk and seldom one worth taking in the world of music. Let's none of us turn into a jam band, okay?

Overall, though, Quiet Loudly are making vast strides, incorporating some (if not quite enough) of their innovation along into far more focused, well thought-out pieces. They're creative and they're on the right track. That's more than you can say for most bands. [myspace]

The Vandelles played next and they fucking ruled, like they always do. There was a bit too much downtime, but when they were playing, all four members owned the stage, sending a wave of feedback hurdling through the room. They seemed a little cramped up there - this is a big-stage sort of band - but they still threw themselves mentally and physically, 100%, into the songs. Their 50's and 60's throwback melodies buried under layer after layer of searing distortion, their drummer pounding primal beats like the devil's personal handpuppet, their deep bass and low guitars rumbling without pause, the Vandelles are a force to be reckoned with, that much is sure. [myspace]

And lastly, Miniboone, a band I've followed a least vaguely since their very first show. Like Quietly Loudly, these guys have transformed. Once they played a freaked-out, intellectual punk a la the Minutemen, with screams and spasms. Next I saw them, they were playing pop, and not just any pop but big pop, the kind with larger-than-life melodies and harmonies, following the finest pop traditions of the 1960's - girl groups, orchestrated am pop and all the rest.

But now, they've finally found themselves as a band. Their manic, brainy Minutemen-like bursts have found a way to fit naturally into their bigger pop instincts. It's awkward, in a way, but in a way that suits them, in a way that's fun and exciting. With jerky stop-and-start pieces coming together into guitar-swinging pop and with vocal melodies that are equal parts sixties radio fodder and eighties punk, Miniboone have found their niche, and they're definitely the only band in it.

But what made this show so extraordinary isn't that the members are gifted songwriters or that their music is unique. What made this show extraordinary was that everything broke. The mics stopped working, the amps were crapping out, nothing was going right, and all this only two songs in. The band was on the verge of giving up, but with some encouragement from their friends in the crowd, they hatched a plan. If the microphones weren't going to work, they would just need to find another way to amplify the vocals.

So they started a sing-a-long. Guitarist Doug Schrashun picked up a floor tom headed for the center of the audience while the band launched into some covers. The audience joined in with the singing(/shouting), also taking turns pounding the tom and playing what percussion they could grab. When the covers ran out and microphones were still out of commission, the band rounded out the set with a couple more originals. Luckily the audience knew most of these too and helped kick the singing up to audible levels.

It was a great show because it was unplanned, because it was a disaster. A good band can do some damage control, but only a truly great one can pull off a feat like this - making the crumbiest night imaginable into an unforgettable experience for all. Even a cold bastard like me left with the warm fuzzies. Miniboone are not just a good band, they are a great one and it's concerts like this that keep me coming out to hear new bands. Sometimes it seems like there are so many bands and so few new ideas that it's not possibly worth it to keep searching. But then I find what I'm looking for - something exciting and new and real. Miniboone may not play my favorite style, but they've got something special, something 99% of Brooklyn bands don't even know they're missing. And that's worth a lot. [myspace]

Live: Coyote Eyes, Frozen Warnings + No Place, Blast Off!

When: 1/14/09
Where: Death By Audio

First things first. At the Death By Audio show a week ago, the bookers had an interesting idea - have a band play short sets in the back room between bands on the main stage. It could have been pretty cool, I guess, except that they selected a group called Blast Off! to fill this role. Blast Off consisted of aimless "jamming" on instruments including saxophone. And by jamming, I mostly mean repeating the same several notes over and over again for twenty minutes with slight variations. The first break I heard them cover sounded marching band-inspired. Tellingly, that was the best part - awful but at least original. It just got worse as the night went on, repetitive, cliche, totally bland. I wish bands like this wouldn't play in the winter; you have to pick between listening to them and standing in the cold. Tough choice. [myspace]

Now, I've been excited to hear Frozen Warnings for a while, the new project of central Werewolves member Brian Amsterdam. All I knew about the band, other than that it involved Amsterdam, was that it was synth-based. My reaction to the set (of which I missed the first half) was a little mixed.

For one thing, the lyrics were...wanting: "Do you come here often?" repeated eighty times again isn't exactly interesting. Also, the synth sounds seemed a little unrefined - I couldn't understand if they were going for old-school or up-to-date, rough or polished. I imagine that's something that will get worked out over time. Obviously, this is a very new band.

And everything else about them suggests they have enormous potential. The songs are as good as any Werewolves fan would expect - enveloping, intense slow-pop songs with spacey melodies. The sounds, though still underdeveloped, are rich and noisy. Meanwhile, the canned rhythms became much less canned as they devolved into breaking polyrhythms, multiple tempos ignoring each other but somehow interlocked. Frozen Warnings have the talent. Let's see if they have the will and the luck to make it to the next level. [myspace]

Frozen Warnings were followed by a band called No Place, who did not fit with the line-up at all. While the rest of the bands, even the unforgivable Blast Off!, had true artistic ambitions, No Place were rockstar wannabes who sounded like a poor imitation of the Strokes. Now the Strokes are fine, but they didn't exactly tear down any barriers. And No Place is a long way from even that level of merit - usually, a little offkey imperfection adds character, but this was more than a little - it was grating. Meanwhile, the rest of the band kept stumbling. They seemed ill-prepared, moved very slowly from song to song and generally showed themselves to be as unprofessional as they were uninspired. [myspace]

But I had to stick around, in order to see Coyote Eyes, long one of my favorite emerging Brooklyn bands. And DAMN I'm glad I did. Although this band has consistently impressed me with their arty post punk, this show was hands-down the best I've ever seen from them. Last time I saw them, they started out slow and failed to grab their audience. This time, they started the set with their strongest and most familiar song, "Yellow Red," which starts with a demanding half-tempo riff. As the band came in with far more volume and force, the difference in the audience reaction was obvious. While at the Mercury Lounge show, with the gradual build up, the audience drifted over towards the stage for the first few minutes of the song, every conversation was wrapped up within 30 seconds of the opening note of "Yellow Red," the audience immediately turning their attention to the band on stage.

Unfortunately, due to some equipment problems, especially with the drums, some of this inertia was lost during a long break after the first song and subsequent pauses later in the set. The downtime wasn't as well handled as it should have been, but it wasn't terrible either - Coyote Eyes have an intraband banter more amusing than most.

In any case, despite some problems between songs, the songs themselves have taken yet another step forward. In another sign of the band's growing confidence, guitarist and sometimes-singer Manny Nomikos is finally coming into his own as a vocalist. Before, he neither used nor hid the idiosyncrasies of his voice, but this time around, he exploited them. Instead of being a typical indie rock guy who can't sing great but does anyway - which is alright, but a little overdone - he's developing a unique voice that turns any weakness into an asset.

On the other side, bassist and singer Marta DeLeon wasn't at the top of her game vocally. I don't know why - maybe she had a cold, maybe she couldn't hear herself, maybe it was just a tough night. She was a touch offkey, and I look forward to hearing the band when both singers are at their best, when her melodic voice and his oddball yelps and hollers are juxtaposed to maximum effect. Next time, I guess.

Meanwhile, the band's material is great. The songs I know are stronger than ever and the newer ones promise even more exciting directions. Drummer Jeremiah McVay, who has always struck me as exceptionally gifted, seemed to be pushing himself even harder, trying out new ideas and bulking up songs in the subtle ways only an experienced drummer can. Over his unshowy but lavish beats, Nomikos and DeLeon strangled and pounded their guitars into a tight mesh of sonic strangeness. Anyone who saw this show should have no doubt that Coyote Eyes is one of the most bold, original and talented bands in Brooklyn. Is it too soon to say "I told you so?" [myspace]

Who to Watch in 2010: Part 4

PREVIOUS >>
Part 1 (reruns)
Part 2
Part 3

Small Black - This enthusiastic synth-based group made a short-lived splash this fall. Keep then on the radar. I have a feeling that their sincerity and their knack for writing great pop tunes will take them a long way yet. [MySpace]

Street Chant - I don't know if hailing from New Zealand will be an asset or a handicap for this band. All I know is that in a world saturated with DIY bands, this young punk outfit manages to stand out. The songs are just that good. [MySpace]

Trash Kit - I don't mean to play favorites, but one member of this band totally let me crash her night out last spring for no apparent reason. But as much as that may have endeared me to this new trio, they deserve to be on this list. With some of their circle getting love stateside (Wetdog, most recently), they might be able to get their foot in the door. And whether or not they manage that, their take-no-prisoners punk ain't nothing to fuck with. [MySpace]

Young Boys - New York's best kept secret for sure, Young Boys are what would be left if you set a pile of Jesus & Mary Chain records on fire. The duo's music is sparse and gritty but with dramatic, sweeping melodies and enough feedback to annihilate a small city. [MySpace]

The Zookeepers - Boston may have been disgraced this year in the world of baseball, but they do have one thing going for them - the Zookeepers. The band doesn't sound as if they've full come into their own quite yet. But there's a diamond in that rough - being amateur will pass. Being creative [hopefully!] won't. [MySpace]

That's it!

Best Albums of 2009, Part 5: #10-6

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


#10

Animal Collective - Merriweather Post Pavilion
Domino

Animal Collective have been charming indie ears for years with their quirky pop and for months before this album was released, leaks and buzz built it up to be the record of 2009. Inevitably, it's slightly overrated - many tracks just aren't that memorable. On the other hand, the best tracks on the album are, simply put, flawless. Every sound has been honed to perfection and mixed into a Brian Wilson-esque three dimensions. And as with the Beach Boys, the band's warm melodies are gently unforgettable.

Read more from the original RFR review...

How I found it: Only, like, the whole internet
Track picks: "Summertime Clothes," "My Girls"
Link: [MySpace]


#9

Sonic Youth - The Eternal
Matador

It's been a year of changes for Sonic Youth, putting out their first indie label release in twenty years and their first release with bassist Mark Ibold. The addition of Ibold, formerly of Pavement, sends the band in their most rock'n'roll direction maybe ever. With dense, heavy guitars, The Eternal is strikingly direct. For Sonic Youth, the songs are bite-sized, though there are still some sprawling numbers and while this is one of the band's more accessible efforts, it certainly sounds like no one else. To say Sonic Youth pushes boundaries isn't accurate because their music is so uniquely the band's own that it can't be described in relationship to rock's boundaries at all. The Eternal is no exception.

How I found it: N/A
Track picks: "What We Know," "Anti-Orgasm"
Link: [MySpace]


#8

Why? - Eskimo Snow
Anticon

Apparently, during the recording sessions for last year's Alopecia, the band recorded another set of songs entirely disconnected from their hip-hop roots. Eskimo Snow is country-tinged indie rock. And that doesn't sound appealing, at least not to me. However, instead, Eskimo Snow is a staggering accomplishment. Yoni Wolf's lyrics are always personal and always clever, but here, for the first time, the cleverness is never used as a shield - Wolf rips himself wide open. The lyrics reveal the deepest pains of early adulthood, and one astounding melody after another make this album extraordinary. Easily one of the year's best and most underrated releases.

Read more from the original RFR review...

How I found it: several ways
Track picks: "Into the Shadows of My Embrace," "These Hands," "Eskimo Snow"
Link: [MySpace]


#7

Raekwon - Only Built 4 Cuban Linx Pt. II
Ice H2O

Few albums have been as long anticipated as Only Built 4 Cuban Linx II, the sequel to Raekwon's 1995 solo debut. It seemed unlikely that after so many years, Raekwon could live up to expectations - after all, his debut was considered one of the greatest rap albums of all time and the Wu-Tang Clan's prime has certainly since passed. But OB4CL2 is every bit what it should be - inventive, hard-hitting and simply a mess of amazing MCing and production. The credits are mindblowing, featuring the entire Wu-Tang Clan (except U-God, who cares), Busta Rhymes, Beanie Sigel, J Dilla, Dr. Dre and a whole lotta others. The only real problem with the album (other than it being a bit musically incohesive) is that it only fulfills expectations, it doesn't defy them. Nothing here breaks the Wu-Tang mold, but it still blows everything else of its kind out of the water.

Read more from the original RFR review...

How I found it: No great story here.
Track picks: "Broken Safety," "House of Flying Daggers"
Link: [MySpace]


#6

Flaming Lips - Embryonic
Warners

I don't think anyone saw this coming. Sure, Flaming Lips have put out great albums many times over, and they have never stopped evolving, but the appropriately titled Embryonic is a rebirth of sorts. Many bands have sought to stay relevant by incorporating electronics, and Flaming Lips numbered among these with 2002's Yoshimi Battles the Pink Robots. But on Embryonic, the band looks back to roots, making their rawest, grittiest sounds in well over a decade. It's not a move backwards though. Embryonic is as bold a step forward as any the band has made today. The dark, hypnotic psychedelia is the band's most professional album, doing away with any hints of indie quirk in favor of large production and unwavering statements. Soft Bulletin remains the band's masterpiece, but Embryonic opens an exciting new chapter and makes Flaming Lips as relevant in 2009 as they were in the 90's.

How I found it: N/A
Track picks: "Convinced of the Hex," "Powerless"
Link: [MySpace]


NEXT>> Part 6: #5-1

Best Albums of 2009, Part 4: #15-11

PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #25-21
Part 3 - #20-16


#15

The Zookeepers - Ballin' Outrageous
self-released

It's been a while I've heard a band that can play in a different genre on every track of an album without sounding like they are having an identity crisis. But Ballin' Outrageous is an explosive record, with creativity flying out in every direction. From the synth-pop anthem that opens the album to the folky indie pop of "Sicky Sweet" to the post-hardcore rant of the title track, it's clear within three tracks, no classification can hold this band. However, the whole album is held together as a single statement because each song captures the same youthful, quirky energy, along with a good sense of melodies and hooks. The album can seem slightly unedited, which is slightly frustrating. But it also makes me think as the band gets older, the next releases will just get better. And this one's pretty damn good!

How I found it: Artrocker, who by the way, has the best "Best of 2009" list I've seen so far.
Track picks: "Chicken," "Ballin' Outrageous"
Links: [MySpace] [FREE* Full Album Download]

*but please donate so they have money to make another album soon!


#14

Here We Go Magic - Here We Go Magic
Western Vinyl

I've been thinking for a while about how to make Here We Go Magic not sound bad. They've got a certain "world music" influence, as evidenced by the marimba-based groove in the opening track, and such nods to African and Asian music have been widely abused in the last few years. But HWGM does it right - it's understated and doesn't sound co-opted. It fits naturally, on an emotive level, with the type of music the band is trying to make. Like a darker Animal Collective, HWGM have enticing, quiet pop melodies and hundreds of tiny sonic pieces perfectly interlocking in intricate layers of sound.

How I found it: Lotsa places
Track picks: "Fangela," "Only Pieces"
Link: [MySpace]


#13

Screaming Females - Power Move
Don Giovanni

Screaming Females are everything a rock band should be. I don't think Power Move is their best album (Baby Teeth has slightly better songwriting), but it certainly their most sophisticated in terms of stylistic breadth and recording quality. Although the attention usually goes to guitar hero frontwoman Marrissa Paternoster, all three members are exceptionally talented musicians. The shredding, riff-rich guitar playing couldn't thrive without its more steady riff-rich counterpart on the bass. And the bombastic drumming keeps the whole thing from ever touching ground. This might be the greatest indie rock band on earth.

How I found it: They opened for Dinosaur Jr.
Track picks: "Bell," "Lights Out"
Link: [MySpace]


#12

Woods - Songs of Shame
Woodsist

The strange psychedelic folk-pop of Woods is certainly some of the most beautiful music of 2009. The amazing melodies remind me of Neil Young and the Byrds, but there's something more distant about Woods that makes their music haunting. It's a hint of something otherworldly, or like looking at something under water - something you can't quite understand or see clearly. The faint but nagging spookiness lurking in every song makes this album truly original and impossible to forget.

Read more from the original RFR review...

How I found it: the internet
Track picks: "To Clean," "Rain On"
Link: [MySpace]


#11

Songs for Moms - I Used to Believe in the West
Thrill House

This is one of those albums that completely dominated my life when I first started listening to it. I was impatient any time I couldn't spend listening to it, and I was even impatient when listening to it because I could only listen to one song at once. Folk/country-tinted punk from three California girls, Songs for Moms have put out a truly great album. The songwriting and arrangements are simple but brilliant, each part filling its roll in the music better than anything else could. Lyrically, the album is a remarkable achievement, the words startling in their honesty but endlessly clever and never cliche. I Used to Believe feels comfortable as an album, everything circling the same images and ideas without quite becoming conceptual. I can't imagine a better folk-punk album than this.

How I found it: Screaming Females via their "Best Albums of 2009" list
Track picks: "With Shotguns," "In the West"
Link: [MySpace]


NEXT>> Part 5: #10-6
Part 6: #5-1

Most Overrated Albums of 2009

This isn't going to be the most surprising list, but I don't want a miss a chance to hate on some bad music!

5. A Sunny Day in Glasgow - Ashes Grammar Borrrrrring. They may make some cool sounds, but they can't write a song to save their lives. And I used to be a big fan of the band. Easily the most disappointing album of the year. [MySpace]

4. Health - Get Color The album art is awesome, but the music, not so much. Like ASDIG, poor composition lands them on this list. This music has been made before and here, it's neither new nor improved. [MySpace]

3. Girls - Album Unlike the two above, Girls succeed as songwriters. Great melodies and tight pop compositions abound. It's just that this is some of the most un-edgy music to come out this year. Don't get me wrong. It's enjoyable. But one of the best albums of the year is young man imitating the Beach Boys in an attempt to get laid as much as possible? I don't think so. [MySpace]

2. The XX - xx This band is just so generic. I don't hate the music, but I don't understand how anyone can get excited about it. Hype works in mysterious ways. [MySpace]

1. Dirty Projectors - Bitte Orca OK, who didn't see this coming? Dirty Projectors suck, folks. They are offensive on too many levels to count. They go against everything rock music was ever supposed to be (as evidenced by their version of Damaged). Hell, they go against pretty much everything art was ever supposed to be. And I still maintain the band is unfeminist, though I know it's only a matter of time before someone loses their shit at me for saying that. (Go ahead...) This band is the distillation of everything wrong with indie music today - the privilege and entitlement that dominates the Brooklyn music scene, the thinly masked 1950's-esque conservatism and the complete, total lack of having any balls. This music is cowardly and unbearable. [MySpace]

Live: Pterodactyl, Fiasco, Childbite

When: 11/13
Where: Death By Audio

Michigan's Child Bite stopped off at Death By Audio a couple of weeks ago and I caught about half their set. They may boast strong northern-Midwest accents, but Child Bite are no stereotype. Their songs are wild and aggressive and fun, capped with spastic Pere Ubu-esque vocals. Any singer whose clearest influence is David Thomas is a singer I love. The performance was high energy and the sound delicious. True, the band wouldn't make my list of all-time favorites in the punk/DIY scene (their individual songs didn't strike me as quite as memorable as those of the very best), but they are definitely worth checking out next time they're in town! [MySpace]

Fiasco played next, and this band might just make that short list of favorites. I couldn't see them at all, since they played from the floor, but what I heard was amazing. It was just one long barrage of high-speed, high energy punk with a slight "post-hardcore" edge (by which I mean there was some serious technical prowess in addition to punk's loud/fast rules). And in addition to all that, there were very memorable songs with great - if intentionally sloppy - melodies. The ring of moshers around the band prevented me from getting too close but I can't think of a bad thing to say about what I heard. Not even anything lukewarm. A+ [MySpace]

Pterodactyl was, of course, the reason I made it out to the show. There's not much to say about the band that I haven't already said. They are boldly original and yet still appealing. Their music is made up of frantic guitars (usually on some major key arpeggios) and frantic drums and slightly more measured, high vocals, all delivered with true passion. All together, it evokes exploration, thrill and pure ecstasy.

And the band only gets better. Since I first heard them last spring, they've never stopped evolving. Their live shows have become increasingly intense, and their music always more exciting. It's so fast and complex, you feel the band and audience alike are holding on for dear life. And now, more than ever.

The only concern I've had about Pterodactyl was that they'd abstract too much from their songs in a way that would become unfocused. After this show, I'm not too worried about that anymore. The band continues to reinvent their songs, morphing some entirely, but the new versions have just as much punch as the originals, and sometimes more. At this show, Pterodactyl incorporated experiments and improvisation without devolving into "jam band" monotony. It's possible yet they'll go down that road - many a great band has - but so far, so good! So good! [MySpace]

Live: Woods, Silk Flowers + No Age

When: October 14
Where: Le Poisson Rouge

So ages ago, I went to see No Age play at Le Poisson Rouge because I couldn't go to their weekend shows. It may have been a really late show on a weeknight, I may have had the swine flu, but nothing was going to stop me from seeing this band.

I got to LPR in time for Silk Flowers, who at first seemed to be some gangly young men playing around with droning, monotonous synthesizers, which looked fun for them, but I couldn't figure out why anyone would think it was a good idea to put them on a stage in front of an audience. However, eventually, one of the gangly youths slouched over a microphone and performed what sounded like a drunk gorilla doing an imitation of Ian Curtis. It was awful, but I think it was intentionally awful, and at least awful in an interesting way. With only a very loose sense of pitch and no annunciation, the baritone drawl slobbered spastically over the songs.

The synth parts were boring and the songwriting sloppy, but the vocals were just weird enough to really excite a small part of me. Over all, I don't think I can recommend this. I think it's just a disaffected imitation of a bunch of trendy bands. But I'm not entirely sure. [MySpace]

Woods, one of my favorites, were up next. Their set was really mixed. It started and ended with obscenely long, self-indulgent jam sessions. This kind of stunt is rude, even when once-good legends like the Grateful Dead do it. It's certainly not a right earned by Woods, whose success is moderate and recent. Anyway, Woods aren't particularly great at their instruments and they aren't particularly amazing noise-makers - their appeal is based on their extraordinary songwriting coupled with a bit of weird sound and delivery. The songwriting is more than half the equation, so what's the point of fucking around for fifteen minutes?

In the middle, though, Woods played like the band I love. Their melodies, new and old, are still captivating, and their sound still weirdly distant and otherworldly. They fixed up their old songs with some well-conceived adjustments, cranking the volume in some parts and adding new vocal harmonies to songs like "Rain On" (which pleased me, since whenever I end up working late, I end up sitting in my office trying to harmonize with that chorus). The band has tightened up, no longer struggling with tempos and locking in seamlessly - months of shows will do that for you!

Unfortunately, they ended on another ridiculous jam. Guys, keep that to five minutes, tops, especially as an opening band. The sound guy appeared to be trying to signal to the band to stop, but they just droned on and on and on. It didn't ruin the set, but still, a bad move. [MySpace]

By the time No Age took the stage, my H1N1 got the best of me (did you think I was kidding?), and I couldn't really enjoy much of the set. It was noisy and good and the band's two members seemed like really nice guys, but I was keeling over in a corner so I don't think I'm qualified to write a proper review. Let's just hope they come back to NY soon.

Upcoming Shows: Jesus Lizard, Shilpa Ray + more

[Upcoming Shows Playlist]
Thursday, November 12

Shilpa Ray and Her Happy Hookers + Soft Black @ Death By Audio | Williamsburg, Brooklyn
Shilpa Ray has more balls than all the men in Williamsburg put together. She's a badass lady who plays a handpowered harmonium without making that gimmicky. She plays slick rock and roll and yells a lot of obscenities. [RFR Review] [MySpace]


Friday, November 13

Pterodactyl @ Death By Audio | Williamsburg, Brooklyn
Pterodactyl are one of the only bands around doing something new. They don't sound like anyone else, and somehow they still rock hard and have amazing melodies. Their audience usually alternates dancing around nicely and crashing into each other, because their music makes you want to do both. Plus, this is a Showpaper benefit, and things with "benefit" in them are usually extra good, be they charitable concerts or hot friends. [RFR Review] [MySpace]


Saturday, November 14

Slumberland anniversary show: Pains of Being Pure at Heart, Crystal Stilts, Brown Recluse, Frankie Rose + more @ Bell House | Gowanus, Brooklyn | $15
At first, Slumberland billed this show as having a secret "special guest" headliner. But then the rest of the bill listed most of their roster, at least on the east coast. I guess they realized anyone with half a brain would be able to figure out who was headlining, so they added the Pains to the list. The Pains are fuzzy indie pop with sheets of distorted guitar and saccharine melodies, adored the world round. The Crystal Stilts are gloomy, disaffected, poppy post-punk with a lot of bass and reverb and bouncy, baritone melodies. The rest of the bands are pretty much somewhere between these two ends of the post-punk-indie-pop spectrum. With such an extensive bill of mostly good bands, $15 is a deal. [Pains RFR Review] [Pains MySpace] [CS RFR Review] [CS MySpace]


Monday, November 16

Jesus Lizard @ Fillmore at Irving Plaza | Gramercy-ish, Manhattan | SOLD OUT
The Jesus Lizard are one of the best post-hardcore bands ever. They came out of that era when that shit was good - people were playing really loud, angry, metal-influenced indie music with great musicianship and a punk rock attitude.


Tuesday, November 17

Jesus Lizard @ Fillmore at Irving Plaza | Gramercy-ish, Manhattan | $25
Same deal, only not yet sold out.

Dinowalrus @ Glasslands | Williamsubrg, Brooklyn
If you go to see Jesus Lizard on Monday or the Tuesday show sells out before you get tickets or you don't have $25 + Live Nation fees (firstborn child or equivalent in gold), go see Dinowalrus at Glasslands. Dinowalrus are an experimental rock band based on doing a lot of drugs (or sounding like it). They drone and groove and make loud noises. It's hard to explain. Like Sonic Youth doing acid and trying to play Krautrock...or something. [RFR Review] [MySpace]

[Upcoming Shows Playlist]

Live: Ponytail + Javelin

When: 10/10
Where: Bell House

Many ages ago, Ponytail played a set at the Bell House, and I went to see them because they are awesome. Javelin opened up. They were some guys doing run-of-the-mill electro stuff . If you like jumping around to run-of-the-mill electro stuff - and who doesn't? - they are not a bad band to jump around to. But if you're not a jumper-arounder, you should definitely find something more interesting to feed your ears.

Something like, say, Ponytail, one of the most boldly experimental, creative bands to emerge in the last few years. Basically, two guys have amazing noise-guitar frenzies (the kind that take a lot of technical skill) and another guy freaks out on the drums at 1,000 mph, while young frontwoman Molly Siegel whoops and hollers gleefully into the microphone and jumps up and down around the front of the stage. And they're all smiles and energy, almost as if they are having fun. (WOAH!)

I've said before that Ponytail reminds me of a rodeo. It's not just the whooping, and guitarist Dustin Wong's ridin-a-bronco imitation when he plays guitar. It's that the only way to keep up with the music is to jump in and cling on for your life. If you like your music simple, melodic and structured, you'll hate Ponytail. If you like your music as a completely untamed burst of youthful energy channelled into sonic form, well, then, you're in luck.

Ponytail's records are good but nothing compared to their live show. Siegel always jumps into the crowd at some point, to crowd surf or just pogo around in people's faces. Meanwhile, Wong and his fellow guitarist Ken Seeno grin at each other from opposite sides of the stage every time they get ready for a particularly exciting part. And there is no other band on earth that sounds like this.

I can't say whether the show at Bell House was particularly amazing, because the band is always an awesome experience. But the crowd, moshing like crazy - but nice crazy - and dancing, headbanging and shouting along, was definitely hooked, and the band was pretty hooked on the audience too. It gives an musty old soul like me hope to see a hundred and fifty kids losing their shit for music this cutting-edge. If youngsters have this much fun with this music, I think we're all going to be okay.

[MySpace]

Album: Cymbals Eat Guitars - Why There Are Mountains

Album: Why There Are Mountains
Sister's Den, 2009
Rating: ******* (7/10)

Earlier this year, the name Cymbals Eat Guitars suddenly began appearing in unlikely places, thanks largely to a slot on Pitchfork's "Best New Music" list. I was pretty surprised, given that when I'd first heard of the band, quite a while ago, I'd stumbled upon them entirely by accident on MySpace and had thought of them a unnotable local act, one I would have forgotten entirely if their rather unusual/annoying name hadn't stuck in my head.

Of course, when this album surfaced this spring, I was confused and surprised. And since Pitchfork said it was good, my instinct was to hate it. But I thought I'd give it a chance and review it fairly upon its rerelease. (It was self-released in January and released again on a proper label this week.) And that's what I'm doing now.

But I've struggled with what to say about this album. I'd like to simultaneously give it a score of 5/10 and 9/10 (so 7/10 is the best compromise). It's bursting with creative energy and some great moments. On the other hand, it's green from end to end. Even the album cover seems amateur and rushed.

Mountains starts off sounding pretty much like a slightly "off" copy of Modest Mouse, with a series of sudden bursts of yelling and noise. Modest Mouse remains the best reference point throughout - probably because Joseph D'Agostino's slightly-too-quirky, slightly-too-young voice is a convincing impression of MM's Isaac Brock. Obviously, I don't mean that as a compliment, but it's not the worst thing either.

As the album wears on, it sounds increasingly like a mash-up of well-selected and well-executed highlights of indie rock/pop's last fifteen years. From the Strokes-esque slick melody and guitar crunch of "Some Trees" to the lush indie pop of "Indiana," CEG cover a lot of ground and master each style with proficient musicianship and strong writing.

Unfortunately, that strong writing only exists on the smallest scale, section to section. Each longwinded track leads nowhere in particular, and the album as a whole is far more confusing that satisfying. You could cut each section out of each song and rearrange them in almost any combination for the same effect. An album should be more than just a collection of good ideas; the whole should be more than the sum of its parts. And this isn't.

There are also quite a few bad ideas thrown in, and while these are outnumbered, they will further frustrate the listener. There are way too many horn parts on the album and as in the subdued "Share," they often just don't fit. The lyrics (where I can hear them) are similarly contrived and overwrought.

What all of this boils down to is that nothing quite comes together - phrases don't form songs or songs an album, words don't quite meld with music, instruments don't lock in sonically with others, beats don't match melodies, hooks and noise don't reveal a larger vision. Everything begs the question "what's the point?"

CEG sound like a band with great promise, but one who have barely begun to iron out their identity. From moment to moment, they sound a lot like a lot of different bands, but never really sound like themselves. The band is clearly experimenting and at the same time holding something back. Mountains gives us every reason to believe this could be a great band in the making. But whether they can complete that process after being shoved into the spotlight a such a tender age remains to be seen. Let's hope so.

[MySpace]

Upcoming Shows: Wavves, Werewolves

Not a lot of good shows going on this week, at least not inspiring enough to override my lazy desire not to write up shows this week. But this weekend...

Friday, September 25

Wavves @ Market Hotel | Bushwick, Brooklyn
Wavves suck and can barely play their instruments. But they are so fuckin' awesome. They are nice kids who write catchy little songs full of distortion and play them with enthusiasm and energy. One of the best. [MySpace]


Saturday, September 26

Werewolves @ Market Hotel | Bushwick, Brooklyn
WEREWOLVES!!!!!!!! Man do I ever love this band. They are hard to describe, because their music spans the entire psychedelic spectrum, from late 60's rock and early garage rock to post punk and shoegaze. If you can imagine Kevin Shields playing guitar for the Doors, that's getting close. Basically, they've got walls of sound, shifting pitchings, measured tempos, catchy-but-weird melodies, weighty beats and a sense of humor. From noise experiments to pop tunes, Werewolves cover a lot of ground, all of it good. [MySpace]


That's it for the week, unless you want to trek out to see Stupid Party at Silent Barn on Sunday, but that's such a long trip for such a crappy venue, I can't recommend it.

Dust It Off: Swell Maps - Jane From Occupied Europe

Album: Jane from Occupied Europe
Rough Trade, 1980

Among the many bands inexplicably overlooked today, none are more inexplicable than Swell Maps. The Maps emerged in the creative explosion in early post-punk UK, and their name is hardly obscure among British indie rockers. However, Americans rarely think of the Maps when considering the best and most influential post-punkers.

But Swell Maps were among the very best and without question among the most influential. Two of the greatest American indie bands of all time, Sonic Youth and Pavement, have cited Swell Maps as a pivotal influence in their careers. And listening to this, the band’s masterpiece, there is little question why.

Jane from Occupied Europe brims with creativity, bouncing from experimental ambience and krautrock to poppy little numbers that sound more like American 90’s lo-fi than anything in their own time. Much of the creativity and variety is no doubt due to the band’s mix-n-match arrangement, with all members contributing to writing at least some songs, no member writing on every song and instrumental and vocal duties divided differently for each track.

Despite all this, there’s also a certain consistency to the tracks. Sonic experimentalism defines even the most accessible of tracks ("Cake Shop Girl," "Helicopter Spies," etc.) while in even the most krautrock-inspired pieces have a certain messy, human warmth. Even "Mining Villages," a brief recording of a typewriter and almost kazoo-like noise, has an accessibly, populist sensibility. With unpolished production, garage-style minimalism and punk energy, the entire album strikes an outstanding balance between the arty avant-garde, and the banging fun of rock.

The real highlight of the album is the final bonus track included on the 2004 Secretly Canadian release, “New York.” The massive sheet of lo-fi guitar is over a decade ahead of its time, complemented by a half-shouted rhythmic melody and crashing drums. Swell Maps have clearly beat bands like Pavement at their own game, at a time when the leaders of 90’s indie rock had probably yet to learn cursive and the state capitals, let alone guitar.

While researching, I found another interesting and thorough blogspot review, so if you'd like to read more, check it out.

Upcoming Shows: Pterodactyl, Marnie Stern + more

TONIGHT! Monday, August 3

Stupid Party @ Cake Shop | LES, Manhattan
I just reviewed Stupid Party. They are ridiculously awesome and you should go check them out. [MySpace]


TOMORROW! Tuesday, August 4

Los Campesinos! @ Webster Hall | East Village, Manhattan
I love this band and their exuberant, youthful pop music. But I'd say, wait until they play a less awful venue.


Thursday, August 6

Darlings @ Cameo | Williamsburg, Brooklyn
Another of those bands I just reviewed (actually at that same show). I think this band is genuinely insane, and I love them. [MySpace]

Marnie Stern @ Santos Party House | Chinatown, Manhattan
Unless I'm much mistaken, Marnie Stern, that bad-ass guitar master whose 2008 album deserves "instant classic" status, will be playing at Santos. [MySpace]


Friday, August 7

Pterodactyl + That Ghost, The Fucking Ocean @ Death By Audio | Williamsburg, Brooklyn
Pterodactyl is easily one of the best bands in Brooklyn right now. Their high-speed math-punk (I guess that's what to call it) is fascinating and captivating. I have heard of That Ghost and the Fucking Ocean and don't know much, but I know I like Fucking Ocean's name and have been meaning to check them out. So, I will blindly recommend them as well, since you're already going to be at DBA for Pterodactyl (Pterodactyl!!!!!!!). [Ptero MySpace]


Saturday, August 8

Sundelles, Wild Yaks @ Public Assembly | Williamsburg, Brooklyn
| $15 (benefit!)
Benefit gigs are super nice. This one helps a school in Uganda. Sundelles are pretty cool lo-fi garage rock with 50's/60's-worthy melodies. Wild Yaks are not the greatest thing ever, but they are solid indie rock and well-beloved. [Sundelles MySpace] [WY MySpace]

RADIO FLYER REVIEW PRESENTS...

It's my first ever Radio Flyer Review show! The bands are truly brilliant and I'm thrilled to have them on my bill. Though shoegaze - and honestly, rock itself - often seem washed up, bands like these three prove that not everything has already been done. All three are pop bands, but none of them sound at all like anyone I've ever heard.

This is the cutting edge.

	[Click for higher quality version]

Oh, and I'll be DJing between sets.

I'll put up directions and a few more details closer to the date. I hope you can make it out!


Thanks to Vanishing Point for lending equipment and sound expertise and our very gracious hosts who have opened up their home for this event!!!

Live: Coyote Eyes + Anabolics

When: 5/30
Where: Flytrap Festival

I've never been to a Flytrap event before, but I decided to check it out, mostly to catch up with Coyote Eyes, whom I haven't been to see for a while. From the looks of things, Flytrap is more of a social event than a music event, which is fine but I don't think I'll be back - too hard to concentrate on the band with three-fourths of people there engaged in high pitched conversations about how happy they are to see one another. I'm not happy to see anyone, as I am a curmudgeon and a total nerd and music is my only friend.

But that's neither here nor there.

Since the show was running later than scheduled, I arrived in time for a set by the Anabolics. I didn't know anything about the band, and I quickly realized that's for good reason. The band isn't bad, but their songs were formulaic pop-rock with adequate but unmemorable melodies, predictable chord progressions and unvaried 144 BPM tempos. The music was pleasant (it's called "pop" for a reason) and everyone was quite good at their instruments. But the whole was nothing more than the sum of its parts. The only components I found interesting were the mobile major-key bass lines. Other than that, if the band was aiming for average, they hit a bullseye.

That said, the trio was have absolutely massive fun on stage. They seemed so genuinely pleased when their friends went wild after each song, it's hard not to warm up to them a little bit. After all, if you're making decent-sounding music that your friends love and having the time of your life playing it, there's nothing wrong with that. That's part of what being in a band is all about. [MySpace]

Next up was the main course, Brooklyn's Coyote Eyes, a band that has been slowly but steadily accumulating hype around the city since last year. When I first saw them, I was impressed but not blown away. But after that show, I found myself increasingly obsessed with getting my hands on a copy of their key song to date, one "Yellow Red." (Thankfully, the band must have telepathically sensed my desperation, as they kindly sent me a set of mp3s including the song. Disaster averted.)

At this show, the band was noticeably stronger. Acoustics were more on their side this time and more importantly, they have a few more months under their belts. Not that they were lacking in confidence or focus back in January, but this time, they appeared to have no doubts at all about who they are as a band.

I may be imagining things, but I think this time around, bassist Marta DeLeon had a higher proportion of the lead vocals. If so, it's a smart move - she has an outstanding voice and a rare ability to write catchy but still unique melodies. The vocals by guitarist Manny Nomikos sounded better Saturday than at the show January - maybe because he's improved, or just maybe because he could hear himself better. His parts are still amelodic (it's a word if I say it's a word), but that adds an entirely appropriate and interesting contrast to DeLeon's style.

As I remarked in January, one of the band's most impressive feats is its use of rhythm. By paying attention to space as well as sound, the instruments and even the vocals create subtly fascinating syncopation. Drummer Jeremiah McVay is exceptionally talented. I'd be willing to bet he has a background in more than just rock music - his style incorporated some tricks drummers learn most often in jazz, various "world" styles, etc. Those little hints aren't dominant in his beats, but even as lightly as they are used, they considerably broaden the band's indie-rock horizons.

The only downside of the band's unconventional use of rhythm is in DeLeon's vocals. The parts she writes are unlike any other singer that comes to mind. But the tricks she uses to accomplish this mostly involve leaping big intervals to create a rhythmic flow - highs and lows add emphasis to different beats while maintaining a strongly melodic current. And using such tricks in so many songs leads to a striking similarity between melodies. No matter what you change between songs, if the melodies are close, the songs will sound alike.

On stage, the band was comfortable, welcoming and entertaining. It's great fun to watch them get caught up in one song after another, and it's refreshing to see a band that gives a shit about playing their best - that's shockingly uncommon. When they finally did arrive at "Yellow Red," the second-to-last song of the set, they kicked everything up a notch, and became nothing short of captivating. If they can muster that energy earlier in their set, they'll be well on their way to becoming one of Brooklyn's best new bands. [MySpace]

Live: Animal Collective (Guest Review!)

This just in from our LA correspondant, Jasper!

When: 5/29
Where: The Wiltern, Los Angeles

What I love most about this band is their unabashed quirkiness; not self-conscious eccentricity, mind you, just a few weird dudes fearlessly being nothing but themselves (or are they just blissfully oblivious to anyone's judgment?). This comes across even more strongly in their shows than on their albums.

AC don't play songs so much as a continuous hour long DJ set of drums and psychedelic synths that unexpectedly yet seamlessly gives way to the Beach Boys-caliber melodies for which they are so famous. As soon as the band emerged it was obvious that these guys were not the cool kids in high school: Panda Bear bends intently over his drums and soundboard while Avey Tare bounces, hops and jerks to the beat. The plainness of their outfits contrasted with the overwhelming intensity of the multicolored lights and rapidly cycling surreal imagery projected onto a huge globe suspended above the band, not to mention the power of the music. There is something awesome about three guys awkwardly hunched over their instruments blasting an ecstatic audience of thousands with a deafening deluge of tripped out melody and pounding percussion.


Animal Collective
As soon as the first recognizable melody emerged (Avey Tare's "Summertime Clothes") I realized something not totally apparent on the impeccably produced albums: there is nothing pretty about Avey Tare or Panda Bear's voices. (I began to understand more concretely why allmusic lists Björk among their influences.) Rather than detract from the power of their the music, however, the contrast of the roughness in their voices, punctuated with piercing shrieks, against such exquisite harmonies is nothing short of breathtaking. If the even the artiest of punk rock draws visceral thrill of loud electric guitars, then AC similarly draw on the even more primal thrill of a good yell.

While the less melodic sections did become excessively drawn-out and repetitive at times, the joy of finally being caught-off guard by your favorite AC tunes made the wait seem worthwhile. And if the band did get a little self-indulgent, with such an incessantly enthusiastic audience (that included both the hippest and dorkiest people in LA) loving every minute of it, who could blame them? With their inclination to make the wild and unpredictable musical, AC have become widely adored by speaking to the weirdos in so many of their fans.

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