Live: Jeff the Brotherhood, Heavy Cream, Hell Beach + more

When: April 2, 2011
Where: Death By Audio

When I went to Death By Audio last weekend, I will admit I was not really in the mood for the music of the night - namely slightly southern-fried, post-ironic-hipster-idol-y, 60's-inflected indie rock.  But that doesn't change the fact that nearly the entire show was a disappointment.

When I arrived, Colleen Green was on stage.  The band is made up of two affected, Ray-Ban sporting women playing guitar and bass over a cheesy drum machine.  That's a setup that could go either way, but in this case, it went in a bad way.  The music was terrible, but that wasn't really the problem - in fact, that provided the only point on which you could argue the band had some merit.  My friend Pepe (thanks, random name generator) thought that the band members were courageous to take the stage even though they were so astoundingly bad.  However, I had the distinct feeling that this wasn't a brave presentation of incompetence in the populist tradition that runs from punk and No Wave through Beat Happening up to contemporary vanguard of bands that at least (sometimes) fake inability to play their instruments (e.g. Stupid Party, Total Slacker).

But Colleen Green is of a different tribe.  To me, their performance reeked of cowardice.  Their incompetence seemed distinctly calculated to allow them to take the stage without threatening insecure men.  This is one of the most disturbing faces of the nostalgia that has overwhelmed indie music and alternative youth culture in recent years - the relegation of women to a sort of Trix Rabbit role (silly girls, guitars are for men).  It's been difficult for me to put my finger on what separates the anti-feminist backlash of bands like Best Coast and Colleen Green from distinctly empowering female figures like Alexis Krauss of Sleigh Bells (who, after all, does not write the band's music or play an instrument, but whose ditsy bimbo character who thought she forgot her sunglasses is delivered with ambiguous derision and balanced with massive, nasty sound and one uncurbed scream).  Not every female in music has to be a bra-burning Riot Grrrl, but if you are female and playing rock or pop music, you are making a statement on feminism, whether you like it or not.  This isn't about what's fair, it's about reality, and in reality, Colleen Green says loud and clear that "girl bands" are a novelty.  We ladies of the music scene are good for a laugh, but let's leave the real music to the men.

Colleen Green were followed by X-Ray Eyeballs, an ultimately forgettable act of two and three chord songs.  I'd give them another chance, but their performance at DBA was not exactly something to write home about.

I wish Hell Beach was as forgettable as X-Ray Eyeballs, but unfortunately, the opening of their set, a song charmingly entitled "Dead Friends" is still seared in my memory.  The lyrics, which you can read for yourself here, are a tasteless, artless attempt to be edgy.  Or maybe it's an attempt to parody edgy rock lyrics.  Whatever they were attempting, they failed.  Actually, I should say vocalist Susan Tinsley failed.  The other two members of the band were pretty alright, with drummer Jolene Boyce having exactly the edge that Colleen Green was lacking.  Brad Holland managed to wrangle some nasty snarls out of his guitar - cliched snarls, but in a way that's more art-smart referential than uncreative.

The band is clearly going for some sort of goth punk or goth grunge.  Don't get me wrong, goth is all about having a sense of humor (a dimension of the genre missed by an entire generation of Hot Topic customers and sickly-looking gloomsters).  Goth's seminal single, "Bela Lugosi's Dead," is one of the of the funniest songs in pop history.  But that song was both lyrically clever and sonically creative.  "Dead Friends," on the other hand, is so obvious that you can actually feel yourself getting stupider as you listen - and not in a fun way.  I mean, c'mon Tinsley, how old are you?

The only band of the night that really did meet my expectations was Heavy Cream.  Part of the reason the band met my expectations is that those expectations had been lowered when I saw Heavy Cream at Union Pool (if I remember correctly) and found them to be nothing more than good Nashville-inflected garage rock.  I had hyped them up in my own mind to be the greatest thing since half-and-half (sorry) but this time, I approached the group with more reasonable expectations.

Nashville-inflected garage rock definitely still summarizes the band's sound.  However, there was something far more punk rock about their performance at DBA.  Part of it wasn't musical at all.  When guitarist Mimi Galbierz broke a string soon after the band took the stage, the set was stalled while the band tried to find a guitar to borrow.  (Jake's guitar, "Jamin," was suggested until the band remembered that guitar would only have three strings to their current five.)  While the band awkwardly pleaded with the audience to supply them a guitar, singer Jessica McFarland began berating the audience for their lack of creative contributions in the downtime.  Whether tongue-in-cheek or serious, McFarland's obvious contempt for the audience brought the show to a new level.  The band's frustration at being plagued with technical difficulties (the guitar being just one of several mishaps) was channeled into their music, giving it a harder edge.  McFarland can be compared to that other blond singer of the young Nashville scene, Jemina Pearl, in as much as both possess the stage with delightful arrogance and a sort of icy sexuality.  But McFarland's presentation is far more mature than Pearl's petulant (if captivating) behavior.

After the venomous performance by Heavy Cream, headliners Jeff the Brotherhood failed to impress.  I mean, they failed to impress me.  The audience seemed to dig it, moshing violently from Jake's first note on.  But the crowd at Jeff shows seems increasingly dominated by the kind of people who use the mosh pit as an outlet for macho aggression.  The pit is all about violence, which is obviously kinda the point.  But every scene where slam dancing dominates eventually seems to draw out a more bullying element, the meatheads who have ruined countless hardcore shows from the early 80's onward.  To be clear, these sort of meatheads didn't dominate the Jeff show - but I can feel a slide in that direction in the increasing roughness and decreasing fun of the audience.  People are starting to come not for the music but because they like to shove other people around.

But that's not the Orrall brothers' fault and it wasn't what made the show such a disappointment.  What ultimately ruined the set was simply the band's straightforward delivery.  The reason Jeff the Brotherhood shows have always excited me is Jake's ridiculous rockstar posturing, his command of the stage and piercing comprehension of rock'n'roll showmanship.  But last weekend, the band just played their songs.  They played well and with enthusiasm, but a spark was missing.  Whether the band is burning out, growing lazy or was just having a weary night remains to be seen, but whatever the reason, the band was simply not compelling or commanding.  Of course, in saying this, I am only comparing the band to themselves, their past performances.  Compared with the vast majority of acts out there, they are still one of the meanest live shows of 2011.  But for longtime fans, their current presentation seems distinctly uninspired.

Let's hope it was just an off night and not the start of the decline of indie's rockingest band.

Live: Jeff the Brotherhood, Screaming Females and Stupid Party

When: 2/23
Where: Death By Audio

This one is gonna be a bit short, because I recently reviewed all three of these bands. But the Death By Audio show was different enough to warrant a few words.

Stupid Party were themselves as they've been lately. There were too long instrumental parts and with their fourth member, they aren't able to be quite as charmingly reckless - at least not yet. But their slurring, unaffected grungy punk is still refreshing and they belt it out with the same fun. They're still the coolest kids in Brooklyn. [myspace]

Screaming Females followed. Their set was a far cry from their recent Bowery performance. At Bowery, the band nailed their rock songs with precision so fans of their albums could follow, note for note. At Death by Audio, though, the band let go. They rearranged their songs to create wide spaces for raging guitar solos and jamming. Familiar songs morphed into something entirely new while our generation's greatest guitar hero, the diminutive and frumpy Marissa Paternoster, cut loose, shredding her strings and our ears into oblivion.

Nothing is without its price, though. The band's reinvention cost them their usual tightness - a close listener could hear more than a few stumbles - and put a dent Paternoster's singing abilities, pitchwise. But the band sized up their audience correctly. The people cramming Death by Audio at midnight on a Tuesday were the band's most loyal fans, true music lovers and notably many musicians themselves (members of Titus Andronicus, Vivian Girls, Woods, Sisters, A Place to Bury Strangers and These Are Powers to name a few). It was an event for the indie community and the band provided its audience with something fresh, something DIY, something you just won't get at Bowery Ballroom or Terminal 5. [myspace]

Jeff the Brotherhood closed out the night with their usual masterful showmanship. Rocking the best riffs anyone's written in years, the two Orrall brothers sparked a moshpit that quickly engulfed at least half the room. They tossed out a couple of large inflatable aliens to surf the crowd, and these were soon joined by some terrestrial surfers, Jake Orrall included. Too my surprise, although we were crossing the 1 AM mark on a weeknight, the crowd did not thin at all. Wall to wall, fists pumped, heads banged and moppy hair flopped to the beat. [myspace]

The whole time, I was haunted by a little sadness. These bands can pack a room after midnight on a Tuesday and for fans who saw them first in crowds of twenty or thirty, this is the end of an era. The secret is out about both Screaming Females and Jeff the Brotherhood, and while that gives me hope for American culture, it also means bigger crowds cramming between me and the stage, the bands rapidly shrinking into the distance. It's right, but it's bittersweet. Congratulations, guys.

Live: Jemina Pearl

When: 2/13
Where: Union Pool

Nashville's Jemina Pearl got her break as the singer for acclaimed teenage punk outfit Be Your Own Pet, who won Thurston Moore's love before they were old enough to drive. They caused some controversy with their song "Becky," in which Pearl described how she was going to stab her ex-friend/new enemy Becky to death. Apparently, Becky was a real girl and that was her real name and their high school administration was not pleased about a student issuing another a violent threat, no matter how catchy the tune.

So it's been no secret for a while that Jemina Pearl, as a punk singer, is not a nice girl. The question has always been, is it just a stage persona? And now I know the answer.

The set started awkwardly. The band, none of them looking a day over seventeen, filed out on stage and took their places. No Pearl appeared. They began looking restless and unfortunately, handled the situation poorly. Rather than exiting again or introducing the band or playing something, the guitarist gave the (new) drummer a quick lesson on how one of the songs was supposed to go, then took out his cell phone and presumably called the tardy singer. It was unprofessional, but I guess it's what one could expect from such young kids.

Anyway, Pearl showed up and apologized, explaining she'd been stuck in the bathroom line. It struck me as odd that she hadn't just cut in front - I would if my band were waiting on stage. But in any case, the set started and it started well. I was immediately stuck by how tightly the band played. Pearl is an admirable frontwoman - it's hard to just dance to punk music and keep it interesting, but she did. I'm not familiar with her solo album, so I didn't know the songs, but quite a few people there did, singing along with every note. Pearl's foil on stage, the guitarist, would dance with her and otherwise share the front, while the rhythm section stayed focused on their music in the back.

Pearl was wearing a Kiss shit and a Raincoats jacket, which combination makes her pretty cool. She spit and shrieked and did everything a young, female Johnny Rotten should. Her delivery at times seemed a little melodramatic, and I didn't quite buy it, but as it went on, I became increasingly convinced it was all genuine. I kept thinking of Courtney Love - bad blond dye job, dramatics and an abrasive, domineering personality. And I like Courtney Love. A lot. So that's a good thing.

But at some point, the Courtney Love-ishness of it all got a little too real. Pearl turned around between songs and began berating the rhythm section for screwing up. Now, they sounded fine to me - better than fine, even. Like I said, I don't know how most of the songs are supposed to go, but the band seemed to be nailing it. But still, in addition to chewing out the bassist and drummer in front of the audience, she also began directing her more nasty lyrics very unsubtly in the bassist's direction. And then, in what should certainly not have been the end of the set, she turned around, flipped off the drummer and bassist with both hands and walked off stage. After a moment of awkward confusion, the rest of the band followed, leaving the audience uncomfortably milling to see if they would reappear. After a few minutes, the crowd started drifting out the door. The band members reemerged to pack up their gear and, with few people still paying any attention to the stage, Pearl ran out with a lit cigarette, which she attempted to put out on her bass player's face. He knocked it out of her hand, picked it up and chased her offstage with it.

This guy next to us asked, "did she just put out a cigarette on his face?" and I said, yes, it appears so. He told me he was friends with the band and that they were 100% for real. It was no act. And if you've never been burnt by a lit cigarette, let me tell you, that shit is no joke.

So the murderous narrator of "Becky" wasn't a persona at all. Pearl is a violent and horrible person. And I like her for that - it's time the wusses cleared out of indie rock and us psychos took back over. I hope Pearl's life doesn't spiral out of control like the lives of the nasty punks of history - Sid Vicious, Courtney Love and whoever else I'm too tired to think of right this second. But I hope she keeps her attitude and never backs down. It's about time someone with balls stepped into the indie rock spotlight. [myspace]

Live: Don Giovanni showcase

I'm happy to say I was right about the Don Giovanni showcase. It was a great punk show, the kind you remember when you’re telling your kids about your wild days in the New York music scene when you’re trying to convince them you were once young and hip too. Much to everyone’s surprise, I think, the show sold out very early on. I can’t tell you how nice it was to see Bowery packed with true underground punk types, most young and all truly there for the music and the community. Well, almost all – there was a mysterious contingent of bimbos around who took off pretty early. Which is fine, I’m glad they’re checking out such good music, I just don’t really understand how they ended up there. But, the more, the merrier!

The Groucho Marxists kicked it off with their hard-edged pop punk. They aren't original and I wouldn't call them bold, but they are true to their punk heritage and could easily be alt/pop-punk radio material, though a damn sight better than most of what makes it on the air. Their live show matched - nothing revolutionary, but certainly energetic. They're a bit more outward looking than most punk bands, just a little more audience-focused rockstar mindset. They're definitely still down-to-earth and having fun, though, and that’s what matters. [myspace]

Black Wine were a surprise favorite and while it’s hard to pick highlights from such a thoroughly amazing line-up, this would have to be one. It’s rare to see a band have so many things so right. Though the parts were fairly simple, they were just right for the songs and all three members played their instruments with comfort and intuition. Drummer Miranda Taylor particularly stood out, but everyone was right on. They also clearly have a knack for songwriting. Again, the arrangements and compositions weren’t too elaborate, but they were exactly right. The only real problem was when the band slid towards emo - I’m not one of those people who hates all things emo, but none of the band members had the singing ability to pull of the slower, more exposed melodies. Off-key singing is a fine aesthetic but it doesn’t work in all contexts and the band’s slower songs weren’t really doing it for me. Aside from that, though, this band shows a rare talent and I will certainly be keeping an eye on them from now on. [myspace]

The Measure played next and I have to say, they were the least memorable band of the night. Of course, that’s not too grave an insult with a line-up like that. They were energetic, with lovable pop punk tunes and creative arrangements. Drummer Mikey Yannich drove their music full-speed ahead, while Lauren Measure and Fid shared guitar and vocal duties with great male-female balance (she leading). You’d have to mosh pretty hard to keep up. [myspace]

Though this was certainly a punk show, it had two rock bands right in the middle. The first of them, Jeff the Brotherhood, positively killed. Guitarist Jake Orrall started the show with the lights out, standing atop his guitar cabinet. While gave the set a grand five-minute guitar solo intro, his brother and drummer Jamin illuminated the scene with a bare-bulb camping light. Jake leapt down and continued to solo while the audience’s anticipation built. When Jamin finally took his seat at the drums, everyone in the room was wrapped around the band’s little finger. They plowed through much of their recent debut, more or less in order, one great tune after another. Jake seems to enjoy playing the mighty rock god, but it’s got a hint of tongue-and-cheek. Only a hint though, because like it or not, he is a rock god. He’s king of the stage and master of the riff and everyone who was in that audience knows it. [myspace]

Luckily for everyone, one of the few acts that can follow Jeff the Brotherhood did - Screaming Females. Screaming Females are the greatest rock band on earth, and at Bowery, they were on fire. Marissa Paternoster is a bonafide guitar hero and an unforgettable singer/screamer to boot. She and her bandmates are a great songwriting team. Although the guitar riffs make take the spotlight, Mike Abbate’s rolling bass lines are just as good and he played them well, despite being already a bit worn out from being in the center of the moshpit during Jeff the Brotherhood’s set. But this band has got as much stamina as they have talent. Which is just one more thing that makes them the greatest. [myspace]

I never got to see Jawbreaker live, but they one of my all-time favorite bands and seeing Forgetters was as amazing an experience as you’d expect seeing one of your heroes for the first time would be. Blake Schwarzenbach is the same as ever, with the same sort of songwriting, the same jumpy guitar, the same lamentable lyrics and low, mumbly, major-key melodies. Bassist Caroline Paquita is different from Jawbreaker’s Chris Bauermeister - Bauermeister played with poppy jumps, while Paquita lays down a more solid foundation. And drummer Kevin Mahon also has his own distinct style, playing with more levity and energy but less rhythmic complexity than Jawbreaker drummer Adam Pfahler. The result is a post-grunge pop punk band with strong, steady songs but without the magical chemistry you usually find in a young musician’s breakout band.

Bringing the night to a close, everyone’s darlings Shellshag celebrated the release of their album. With seven bands, the night ran pretty late and most of the audience had cleared out by time they played. The crowd peaked for Jeff the Brotherhood and Screaming Females, but Shellshag are a cult act. I wouldn’t say there’s a limit on how large that cult could grow, but they don’t have the same mass appeal of some of the bands with whom they shared the Bowery stage.

Large or small, Shellshag’s fan base are intensely loyal and really the best of the bunch. Those left moshing to the duo at the front of Bowery at 1 AM were the true punks, and a great group of kids they were. And Shell and Shag are themselves a wild pair. Facing one another with their Y-shaped mic stand between them, they hollered and twisted to their f-u songs. At the band’s best, Shell’s bare-bones guitar and slurred baritone vocals dominate the band’s sound while Ms. Shag’s dry bells and primal pounding drop the bottom out of the whole thing. It’s boisterous, untamed and charmingly sardonic. No one has more fun on stage that these two. [myspace]

News: Jay Reatard Died Last Night

Jimmy Lee Lindsey Jr., better known as Jay Reatard, died in his sleep last night, at age 29. He was a brilliant songwriter and put on one hell of a live show. Above all, he was an inspiring figure both musically and personally to many in our scene. Our thoughts are with his family and friends.


Official statement by Matador Records...

Best Albums of 2009, Part 1: Rules and Runners Up

Some years in music seem better than others. Last year certainly had some great albums, but it still seemed unsatisfying. This year, on the other hand, was outstanding. From bigger and more established bands to undiscovered kids recording in their basements, this was a year to raise expectations of what a good album can be.

This year was also an important year for me personally. Thanks in part to the influence of "Jasper" and in part to a few bands I heard near the end of 2008 (namely Wavves, Titus Andronicus and Beluga), my tastes and interests shifted towards more confrontational music - in other words, "punk," at least in the broadest sense. In making this list, I've tried to balance my old priorities with my newer ones.

However, this list is a "Best of" list, not a favorites list. And what "best" means to me, at least when it comes to music, is "most exciting." Albums that push boundaries or explore new territory are the most exciting, but some albums are just exciting for being damn good, or for appearing in the right place at the right time or for reminding the world what music has the potential to be. Exciting can be challenging or it can be beautiful or it can be fun - and the most exciting music is all three.

As a side note, I didn't really follow rap this year, so its representation in this list is pitiful. Sadly I can't keep up with everything at once, but I'm sorry that rap specifically has lately fallen through the cracks. Next year, I will do better, I promise!

And now for the honorable mentions! These didn't quite make the cut, but are well worth checking out:

The Brakes - Touchdown (Fat Cat) [MySpace]

Eat Skull - Wild and Inside (Siltbreeze) [MySpace]

Ex-Wife - Everything Was Beautiful (self-released) [MySpace]

Fiery Furnaces - I'm Going Away (Thrill Jockey) [MySpace]

Japandroids - Post-Nothing (Polyvinyl) [MySpace]

Jeff the Brotherhood - Heavy Days (Infinity Cat) [MySpace]

Mos Def - The Ecstatic (Downtown) [MySpace]

Wild Beasts - Two Dancers (Domino) [MySpace]

Next>> Part 2: #25-21
Part 3: #20-16
Part 4: #15-11
Part 5: #10-6
Part 6: #5-1

Live: Jeff the Brotherhood, Dinowalrus, Sisters

When: 12/7
Where: Mercury Lounge

I'm almost getting caught up on my live reviews...

Sadly, I missed Coin Under Tongue, the first of four great bands to play Mercury Lounge last week Monday. When I arrived, Sisters were setting up the stage. I've said enough about Sisters to try to keep this short. Sisters are two guys of different heights who play noisy indie pop songs with exceptional melodies and youthful exuberance. Aaron Pfannebecker makes a really lot of noise with his guitar and Matt Conboy sounds like at least three drummers playing at once. They are endearingly awkward but also confrontational, and make the music our inner 90's-reared teenagers would make if they could play instruments that well. [MySpace]

Dinowalrus were up next. Pete Feigenbaum mentioned to me over e-mail after my last review that their new material is more "baggy" a la Happy Mondays. And watching this set with that in mind, I could definitely see the band turning towards more bobbing acid-house grooves. It's difficult to compare Dinowalrus to anyone, though, past or present. They are definitely doing their own thing. Masterful beats, noisy drones, sparkling guitars, bizarre blasts and electronic pulsing - the band covers a lot of ground, synthesizing a myriad of influences into a single, cohesive style. It's not easy music, but it's not unbearably challenging either - the beats and melodies are strong enough to translate the experimentalism into something easily head-nod-able and very certainly fun. [MySpace]

The infamous Jeff the Brotherhood headlined to a pretty big crowd. Brothers Jake and Jamin Orrall play some of the best guitar rock around, using only three guitar strings and drum kit. Their heavy guitar riffs and great songwriting draw from psychedelic and grunge. With one foot in the late 60's and one in the early 90's, JtB are somehow still fully 2009.


Jeff the Brotherhood (photo by someone named Kahan, I think)
The Orrall brothers, like the other former members of adolescent punk outfit Be Your Own Pet, are children of the Nashville music industry, in this case, the sons of musician Robert Ellis Orrall. If I were them, I'd probably be sick of people pointing out my music pedigree, but it does help explain Jake and Jamin's commanding stage presence. Most musicians their age (early 20's), even when they consciously put on a great show, don't seem to fully step into the role of rock star as performer. Rock star as musician is great, but a concert is an experience that transcends just the notes played. Jake, with his slight 'stache, leather pants and pointed stare, cuts a memorable figure on stage without doing anything over the top. He pulls off a guitar hero pose or two while Jamin's relaxed smile balances the scene.

They may be young, but their old-school common sense and musical skill prove them more professional and mature than most indie rockers will ever be.

What the fuck am I talking about? Geez. Their music is fucking good. That's all needs be said. [MySpace]

Live: Stupid Party, Shellshag, Slingshot Dakota

When: 11/28
Where: Death By Audio

What more can I say about Stupid Party? They are too cool for words. They bang out punky rock and roll with raw energy and a fuck-all attitude. There has been one change, and it's a biggie - the addition of a second guitarist. Ultimately, it wasn't nearly as disastrous as it could have been. Adding a member usually seems to cramp everyone's style, but from what I could gather in this situation, it just helped jack everything up a level. I'm not sold yet - I can still see it weighing the band down and costing them spontaneity. I'll check them out again soon and report back. [MySpace]

I'd never heard Slingshot Dakota before and frankly, they confused the hell out of me. There's a dude who plays drums and a chick who plays keyboards and they both sing (though she sings more) and the whole concept provoked my immediate disdain cause I like guitar and keyboards are usually cheesy. And here's the thing - it was cheesy! The band just played sappy, over-the-top pop songs. Yuck! Right?

But for some reason, I really liked it. The band slammed out their songs with passionate disregard for precision. Each number came out as one simple, sloppy, heartfelt wail. Carly Commando's voice is perfect, tuneful and strong, but with raw, punk-rock abandon. The music as a whole comes unrefined, unpolished and desperate from the bands' hearts to your ears.

The only real problem came between songs. This is one of those bands that thinks it's a super idea to tell everyone what all the songs are about, which kind of ruins them for me. I'd enjoy a song more not knowing for sure that it's about a van. They also got a bit preachy, with the longest little speech regarding sexual assault and rape in the indie scene. I have mixed feelings about this - they said to anyone out there who's experienced this, "we believe you." On the one hand, as a human being, I can't fault anyone for using whatever platform they have to give that message - having someone say they believe you is so necessary and so much harder to come by that it should be, and I'm sure there was more than one person the audience who life was touched by hearing those words. But the music critic in me was unhappy because it indicated that the songs were moralistic,* and if there's one thing I hate, it's overtly preachy music. I prefer to think of music's messages as more sublime. That said, if you have to go all political and have "messages," at least this one is personal.

All rambling aside, I would definitely go to hear this band again. And I'd buy their albums too. In fact, I'm getting a little antsy not being able to get my hands on their music right this second. [MySpace]

Shellshag recently played at my Radio Flyer Review showcase, so I can't decide if reviewing them so close to that is tacky or not. It's definitely not as tacky as reviewing them immediately beforehand, though.

Shellshag are an awesome duo with drums and guitar. I think they are certifiable, which is why they are so awesome live. You just never know quite what to expect - except awesomeness, obviously. They play very minimal hardcore music with out-in-the-open vocals and unconventional drums (a tom-based kit and a drummer with bells tied around her so she has to bounce around in time to the music). At the end of the set, they smashed a drum. [MySpace]

* "Moralistic" does not equal "moral."

Upcoming Show: Shonen Knife, Jeff the Brotherhood

[Upcoming Shows Playlist]
Tuesday, November 17

Shonen Knife, Jeff the Brotherhood @ Brooklyn Bowl | Williamsburg, Brooklyn | $12
Apparently I was suffering from a massive stroke when writing my last upcoming show list, because I listed Dinowalrus as the alternative show to Jesus Lizard next Tuesday. Dinowalrus is mad awesome, but they live here and play around NY all the time. The must-see show for those not at Jesus Lizard is Shonen Knife with Jeff the Brotherhood at Brooklyn Bowl.

Here is what I wrote about Shonen Knife in a listing last time they stopped in town: Formed in the 1980's in uber-conservative Japan, Shonen Knife consisted of three women who worked as secretaries by day and led secret lives as indie pop musicians at night, unbeknownst to their families and employers - it was considered unseemly for a woman to play rock or pop music, but Shonen Knife gave chauvinism the finger and kicked out some jams, motherfuckers. [MySpace]

Here is what I wrote about Jeff the Brotherhood after I saw them play a few weeks ago: Their music has hooks and doesn't try to sound quaintly spare or incompetent. For only two guys, they make a rich, full sound and don't try to hide the fact that they are fuckin good at guitar and drums. Come to think of it, I can't thing of a single bad thing to say about the band. There's no gimmick, there's no detached posturing, there's just rock music at its best. [MySpace]

And do go see Dinowalrus another time soon!

[Upcoming Shows Playlist]

Dust It Off: Wipers - Over the Edge

Album - Over the Edge
Brain Eater / Restless, 1983

The Wipers are one of the great lost bands of the American underground. Formed in the early years of West Coast hardcore, the Wipers influenced everyone from Nirvana to Beat Happening to Dinosaur Jr. Though their music is undeniably rooted in punk, it stands out from its peers by incorporating certain elements of metal and hard rock. This influence is not so much on the guitars, but rather on the wide-open melodies and moderate tempos. It's no coincidence that five years after the release of Over the Edge, the ultimate metal-punk hybrid known best as "grunge" arose in the same northwestern corner where the Wipers made their name.

But unlike in grunge, the Wipers' metal influences are subtle and restrained. Cutting any direct ties between the Wipers and hard rock is the album's pop sensibility and most importantly, its distinct DIY aesthetic. This, their third album, was released more than five years into their career, and combines the best elements of the preceding two. Their unpolished, self-produced sound, always cloaked in distortion, predicts many of the rough qualities that would later be called "lo-fi." This style was also prominent in their sophomore album, Youth of America (1981), but here it is here molded into short, focused songs. Accessible melodies help ease the listener into the album's more edgy sonic landscape.

Though some of the lyrics are lamentable ("Why do people hate each other? / Why can't we just be brother and sister? / what is this thing / human being?"), most are passable. The riffs and choruses of songs like "Doom Town" and "Romeo" are unmistakably fun, but like all good hardcore, the whole thing stinks of youth alienation and angst.

No one can blame you if you've never heard of this lost classic, but if you haven't given the Wipers a listen, now's the time! Seriously, right now.

MySpace (presumably unofficial)

Upcoming Shows: Real Estate, Bob Mould + more

TONIGHT, Thursday, April 9

Bob Mould @ Joe's Pub | E Village, Manhattan | $20
Bob Mould, the main songwriter behind Husker Du and an accomplished solo musician, will be playing Joe's Pub tonight. It would be difficult to overstate the influence Mould and Husker Du had on the development of American independent rock music. With his deeply personal lyrics and poppy yet thoughtful melodies, he's a songwriter of rare talent and inspiration to countless others.

MySpace

Action Painters, Team Genius, Naked Hearts @ Cake Shop | LES, Manhattan | $8
This is an outstanding line-up! Action Painters play your typical indie rock, but far better than most of their peers - they are one of New York's best. Team Genius has long been a favorite of mine on this blog - a multi-instrumental pop group that can warm even an icy heart like mine. And while I wasn't wild about the Naked Hearts' last release, they are a great live band, a gritty boy-girl duo (plus drummer) with noisy, catchy rock songs you won't forget.

Action Painters MySpace | Team Genius MySpace | Naked Hearts MySpace

TOMORROW, Friday, April 10

Beluga @ Pianos | LES, Manhattan | $10
I just wrote up Beluga! If you're too lazy to read that, they are a mostly-female garage-punk band with songs that are at once melodic and aggressive and a front-woman who screams her head off and writhes on the floor. Can you think of anything better? Seriously, can you?

MySpace

Saturday, April 4

Pants Yell!, Knight School @ Dead Herring | Williamsburg, Brooklyn | $?
Pants Yell! are a super-fine pop band from Boston who seem to have been laying a bit low lately, but are now back to be awesome again. I don't know Knight School but I've had them recommended by a very reliable source - I can't tell you who without giving away my identity (at least to him), but trust me, he's someone with good taste. A band called Sisters are playing too and I can't remember what I know about them, but I think it's something good. Plus, though I've not yet had occasion to go to Dead Herring, it's rumored to be one of the best DIY venues in town.

Pants MySpace | Knight School MySpace

Real Estate @ Pianos | LES, Manhattan | $10
Real Estate is the very latest buzz-band from the Woodsist clan (Wavves, Vivian Girls, Woods, etc). They are hot shit, but not so hot that you can't see them at a place like Pianos - and they aren't even headlining. Get 'em while they're fresh! Errr...something.

MySpace

Live: Beluga + Hunters, Oh No! and the Tiger Pit, Trouble & Strife

When: 3/20
Where: Cameo

Hunters - From the first pounding note of their set, Hunters demand attention. A New York-based four-piece, Hunters' music is difficult to classify. It's definitely punk, aggressive and heavy hitting. But it's also got Sonic Youth-influenced artsy experimentation, and to further confuse matters, some crazy rock'n'roll guitar. Like "no wave" bands, they walk the line between overt intellectualism and punk rock nihilism.

All four members are great musicians, particularly Derek Watson on guitar and Odell Nails (also of Mahogany) on drums. The whole band plays a mile a minute of their angular, in-your-face music, and their stamina alone is impressive. The set did seem to slow down a bit as it wore on, growing a little tiresome by the end. Still, I'm definitely eager to see them again.

MySpace

Oh No! And the Tiger Pit - Oh No! is a classic example of a band of excellent musicians trying a little too hard to be edgy. The band played all kinds of rock'n'roll but all with vocals that sounded alternately just like the Pixies' Charles Thompson and just like Pere Ubu's David Thomas. They topped this off with some ironic girl-group moments and random animal noises.

The band was enjoyable and very talented, but the whole thing had the feel of "let's be in a band that's really weird," not "we're genuinely crazy and are genuinely trying to express ourselves." The music was fun and well-played but it didn't make it to a deeper level than that. Oh No! are fine for a party, but in terms of enduring artistic merit, they are only a pale derivative of the bands they parrot.

MySpace

Beluga - One of my favorite NYC bands, Beluga rocked the house. Their music is punk, with a slight post-Nirvana grunge tilt to it and wisps of indie pop tucked in here and there. Frontwoman Isabel Ibsen sounds like Courtney Love waaaay back when Courtney Love was still awesome - whether hushed or screaming, her voice has a rare ability to convey absolute rage. She's a great frontwoman too, jumping in the audience, slithering and rolling on the floor, screaming her head off.

The band was obviously having a few technical problems throughout the show, but they still played well. Unfortunately, it wasn't at all a jumping/moshing/dancing/flailing sort of crowd, and under those circumstances, its difficult for a band like this to build up their momentum to its fullest. But they did an admirable job in the face of adversity.

Last time I wrote up Beluga, my complaint was that other than Isabel, the band didn't move at all. Someone named "Jared" commented that he liked the contrast, and I hadn't thought of it, but when put that way it sounded kind of cool. With that in mind, I was able to appreciate the band better, and the band also met me halfway - while still not a very active band, the three women backing Isabel were definitely showing more energy, even if they turned that energy inward towards their guitars. (Drummer Elliot Glass also showed energy, but of course, it's hard not to when you're on the drums.)

It was probably not Beluga's best show ever, but as always, they kicked serious ass.

MySpace

Trouble & Strife - This hard-rocking band played a punk rock like classic rock - or maybe it was classic rock played like punk rock, I'm not sure which. They were vastly talented, particularly drummer Max (I don't know his last name). The guitars were killer as well. Only one problem - the frontman. Singer S. Sinclair's 1970's rockstar posing was just plain off. It seemed completely staged and hit a particular low when he crushed a beer can with his hand. Playing up the sex appeal by constantly flashing the frayed crotch of his jeans probably kept some of the audience interested, but in the end, he seemed like an impostor. The rest of the band would be better off without him.

MySpace

Upcoming Show: Beluga - TOMORROW!

When I said there weren't any good shows coming up this week, I missed one! Sorry guys! Beluga is playing at Cameo this Friday night (that's tomorrow!). A mostly-female punk band (though they probably don't call themselves "punk"), Beluga sounds like indie pop gone wrong, but in the best possible way. Loud and aggressive, yet still audibly melodic, it's some of the best music around NYC these days.

When: 3/20
Where: Cameo

Beluga on MySpace

Five Forgotten Pioneers: Part 1

I've made a list of five rock/pop innovators who I think are too often overlooked, and I'm going to tell you about them. Here's the first three, yay:


The Swell Maps

This band influenced Sonic Youth and Pavement, but no one seems to talk about them on this side of the Atlantic. And frankly, that's a travesty - they were one of the greatest bands of the post-punk era. Their music is difficult to classify, probably because the songs were written collectively or alternately by the band's vastly differing members. There's a lot of punk here, but also a lot of Krautrock, prog and experimental noise rock. Their albums are hodge-podge, but it somehow works, melding pop energy with visionary innovations. Experimental punk isn't unheard of (e.g. Sonic Youth, Pere Ubu) but Swell Maps were among the first and best.


Squirrel Bait

A punk band consisting of four or five high school students from Kentucky, Squirrel Bait achieved almost no recognition during their lifetime and might have been forever forgotten if its members hadn't gone on to form landmark post-rock bands Slint and Gastr del Sol (among others). There's nothing immediately experimental about this band, until you remember that this is pre-Nirvana and pre-grunge - which puts their metal-tinged punk completely ahead of its time. In 1986, no other band's sound as accurately predicted the future of rock music as Squirrel Bait, whose resemblance to Nirvana is at times uncanny.

Not only did Squirrel Bait combine metal influence with punk and melodic pop first, they also are among the best bands to use this sound. They don't top Nirvana, but might reasonably vie for second place. Perhaps because they pre-date Cobain's first releases, Squirrel Bait has a vitality and an inspired quality that's missing from the later sound-alikes. If you like Nirvana's punkier side (or even if you don't), check these guys out!


Lizzy Mercier Descloux / Rosa Yemen

One of music's true innovators, Lizzy Mercier Descloux deserved to be remembered, but today, almost no one knows her name. Descloux's career was two-fold. First, both as a solo artist and as half of duo Rosa Yemen, she was an innovative minimalist in New York City's arty No Wave scene. Her music involves simple guitar lines, complex rhythms and pseudo-melodic shrieks of nonsense in French, Descloux's native language.

The second part of her career is marked by travels throughout the Caribbean, Africa and South America, where she collected new ideas for sound and rhythm and incorporated them into her albums. AllMusic Guide essentially credits her with the invention of "world music" but that's just insulting. Today, "world music" most often refers to cheap and gimmicky "fusion" of two styles that don't belong together but that someone decided to put through a mixer to look more cultured (I'm looking at you, Sting! Not to mention Peter Gabriel and Mickey Hart.). However, in Descloux's music, the style is as it should be - an organic, open-minded melding of influences. Especially in her earlier "world" albums, her work is truly inspired and truly beautiful.


Part two is coming soon...