When: 6/11
Where: Death By Audio
I've reviewed White Suns recently, so I'll skip it except to say they're rad and I enjoyed them much.
I'd really like to get more into Pop. 1280. They have a lot of elements I like - the nasty guitars and screaming of hardcore/post-hardcore and the foreboding tension of post-punk. But Pop 1280's foreboding/gothic leanings overpower their punkier aspects. Most songs are slow and drony, based around minimal, hypnotic drums and bass (or synth-generated b-lines). Murky guitar and synth textures slide sharply between the pounding rhythms and Chris Bug rants over the top.
So far so good, or so you'd think. But something is amiss. Most of their songs are so alike in tone and tempo that they blend together and well, after ten or fifteen or twenty minutes, the repetitiveness and consistency becomes monotony. Dark post-punk is often meant to be punishing, but there's a subtle difference between punishment and boredom and Pop. 1280 fall just slightly on the wrong side of that fence. And I do mean slightly - there's a lot to love about the band. If their ice stage presence doesn't warm your heart, their fat Suicide-esque synth riffs and harsh tones certainly will (if you're anything like me, anyway). It's just that the impact and enjoyment become noticeably diluted as the length of the set exceeds its content, idea-wise.
In a way, the pieces of Pop. 1280 don't quite come together. There's a disconnect between Bug, out front with the mic, and the rest of the band who are actually physically in the background. Band members don't have to present themselves uniformly but they should have a unified vision of how they want to present the band as a whole. Something about the gulf between the players and the frontman in Pop. 1280 makes it seem like you're watching two separate bands who each need the instrumentation of the other, so they tolerate (and mostly ignore) each other. Musically, it's tight and it works together on paper, but in the delivery, it just doesn't gel. [video]
Of course, the juxtaposition with the Pygmy Shrews can't help - now there's a band who gel. OK. "Gel" may be the wrong word in as much as it evokes something smooth and translucent. Pygmy Shrews are more like a blood clot, the physics remains the same - put the three shrews on a stage together and the result is monolithic. They seem to share not only a sonic technique (loud) but also a sense of humor. They're not a comedy act and they absolutely will fuck your shit up, but true to punk's dadaist roots, the Shrews know how to be fun and funny.
The Shrews are too cool for woords, but musically they are mostly "just" a punk band and their new material seems to be more straightforward than ever. Of course, Ben Greenberg's aluminum guitar gives the band's sound a corrosive post-hardcore feel and Tia Vincent-Clark's bass has a knotted complexity you won't find in your average (or even above-average) hardcore band. Greenberg has also been known to bust out a nasty, shredded solo. It's these relatively small things - along with the band's absolutely perfect attitude - that set them apart from their punky peers.
What is the perfect attitude for a band like this? Well, it's about striking a balance, caring and yet not giving a fuck, showing genuine affection for your audience while also telling them to fuck off and throwing beer cans at them (or whatever). It's expressing real and urgent rage without taking that tongue out of your check. Too many bands take themselves too seriously and too many more don't take themselves seriously enough, failing to grasp the importance of punk and everything it stands for. Pygmy Shrews are a rare breed, a band that's able to issue an equally big "fuck you" to folks on both sides.
But I doubt they'd put it quite that way. I think they just like to play. [video]
Showing posts with label post hardcore. Show all posts
Showing posts with label post hardcore. Show all posts
Wednesday, June 29, 2011
Wednesday, May 4, 2011
Live: Pterodactyl, Lightning Bolt
When: 4/28
Where: Le Poisson Rouge
Pterodactyl opened for Lightning Bolt, which makes sense because even though Pterodactyl are less brutal than Lightning Bolt, they play guitars the way Brian Gibson plays his bass. It's more than just pure speed, although that's a lot of it; it's got something to do with the guitar lines being somewhere between melody and arpeggio. Pterodactyl has long been one of my favorite NYC bands and I was interested to see them on a big (or medium-sized) stage. The band is fairly recently returned from a tour with another kindred band (and another favorite of mine), Parts & Labor. Prior to the tour, Pterodactyl were already moving in vastly different directions, but nevertheless, it's hard not to see some of their recent changes as being at least partly influenced by their tourmates.
First and most noticeably, the band has added a fourth member. Last time I saw them, they were also a quartet, with one of the members of Parts & Labor jumping in. However, the fourth 'dactyl doesn't play synths and samplers like the guy from Parts & Labor did, he plays guitar (and occasionally bass). Where keyboards were needed, Joe Kremer would set aside his guitar and whip out an amazing keyboard that folds in half so two people can play it. (He said what it was called but the name is escaping me right now.) As for the new guitarist, well, he plays well. It's hard to jump into a band that's been around a while and not cramp their style, but he pulled it off. On stage, though, he looked sullen and detached, even bored at times, which doesn't mesh well with the jumpy enthusiasm of the rest of the band.
Pterodactyl are also continuing to slow down their songs and play more with traditional rock and pop songforms. ("More" is a relative term, they're still out there, just more focused on vocal melody.) I like their old stuff better, but that's just inevitable when you like a band and then they change. Pterodactyl's new stuff is actually pretty rad, and it's great that they are pushing their boundaries instead of just making the same songs over and over again - which honestly, as much as I loved their old stuff, was on the brink of happening already. Drummer Matt Marlin has changed his style and while his versatility is very impressive, there were times when he seemed to take a page from Parts & Labor's book and it didn't translate quite right. Some of his big, building parts in the new songs just seemed to weigh down the guitars a bit and he overplayed at times. Drummers, take note: never underestimate the value of simplicity. Still, when he was on, he was amazing, with some jazzed up, chilled out polyrhythmic beats that the band's earlier breakneck pace didn't allow. The band's first two albums showed Marlin to be a drummer of remarkable skill and control, but only now are we beginning to glimpse his full range.
I don't think the show went very well for the band though. There were some problems with the sound on stage and off. Le Poisson Rouge seems to like to pan the hell out of everything to create a nice stereo effect, which is cool up to a point, but if you are standing far to one side, as I was, you might only be able to hear half the band. I could only hear the new guitarist and bassist/guitarist Jesse Hodges (and their vocals). It did get better as the show went on, but it's frustrating that only a third of the audience could really hear the whole band in any sort of balance. On stage, there were clearly issues as well, but the band held it together, playing tightly even in moments when they seemed unable to hear each other. Their performance was a bit stiff though. The band seemed to be struggling, but I think they hid it well (or I imagined it) because Jasper, who's as big a fan as I am didn't seem to notice them having much difficulty, and he was standing right next to me.
The band's new slower songs groove more and several feature more prominent vocals from Hodges. (All members do vocals but Kremer has usually had the lead in the past.) Hodges seemed unsteady in his singing at LPR, but I know he's got it in him. I think it was just not an "on" night for the band. At the beginning and end of their set, they hit some of their old high-speed songs like "First Daze," "Share the Shade" and "One with Everyone." The band ultimately succeeded as much as anyone could reasonably hope to impress a 21+ audience of Lightning Bolt fans. But because they're just not as brutal as Lightning Bolt, the band couldn't have won over that many people in the audience - not because they failed in any way but because certain fans of music like Lightning Bolt can be rather closeminded when it comes to anything that isn't, well, Lightning Bolt.
And what can I say about Lightning Bolt? They are awesome. Their avant-thrash noise is simultaneously heavier and faster than black metal - they are simply beyond comparison. They never seem to miss a note, and they play a LOT of notes.
Where: Le Poisson Rouge
Pterodactyl opened for Lightning Bolt, which makes sense because even though Pterodactyl are less brutal than Lightning Bolt, they play guitars the way Brian Gibson plays his bass. It's more than just pure speed, although that's a lot of it; it's got something to do with the guitar lines being somewhere between melody and arpeggio. Pterodactyl has long been one of my favorite NYC bands and I was interested to see them on a big (or medium-sized) stage. The band is fairly recently returned from a tour with another kindred band (and another favorite of mine), Parts & Labor. Prior to the tour, Pterodactyl were already moving in vastly different directions, but nevertheless, it's hard not to see some of their recent changes as being at least partly influenced by their tourmates.
First and most noticeably, the band has added a fourth member. Last time I saw them, they were also a quartet, with one of the members of Parts & Labor jumping in. However, the fourth 'dactyl doesn't play synths and samplers like the guy from Parts & Labor did, he plays guitar (and occasionally bass). Where keyboards were needed, Joe Kremer would set aside his guitar and whip out an amazing keyboard that folds in half so two people can play it. (He said what it was called but the name is escaping me right now.) As for the new guitarist, well, he plays well. It's hard to jump into a band that's been around a while and not cramp their style, but he pulled it off. On stage, though, he looked sullen and detached, even bored at times, which doesn't mesh well with the jumpy enthusiasm of the rest of the band.
Pterodactyl are also continuing to slow down their songs and play more with traditional rock and pop songforms. ("More" is a relative term, they're still out there, just more focused on vocal melody.) I like their old stuff better, but that's just inevitable when you like a band and then they change. Pterodactyl's new stuff is actually pretty rad, and it's great that they are pushing their boundaries instead of just making the same songs over and over again - which honestly, as much as I loved their old stuff, was on the brink of happening already. Drummer Matt Marlin has changed his style and while his versatility is very impressive, there were times when he seemed to take a page from Parts & Labor's book and it didn't translate quite right. Some of his big, building parts in the new songs just seemed to weigh down the guitars a bit and he overplayed at times. Drummers, take note: never underestimate the value of simplicity. Still, when he was on, he was amazing, with some jazzed up, chilled out polyrhythmic beats that the band's earlier breakneck pace didn't allow. The band's first two albums showed Marlin to be a drummer of remarkable skill and control, but only now are we beginning to glimpse his full range.
I don't think the show went very well for the band though. There were some problems with the sound on stage and off. Le Poisson Rouge seems to like to pan the hell out of everything to create a nice stereo effect, which is cool up to a point, but if you are standing far to one side, as I was, you might only be able to hear half the band. I could only hear the new guitarist and bassist/guitarist Jesse Hodges (and their vocals). It did get better as the show went on, but it's frustrating that only a third of the audience could really hear the whole band in any sort of balance. On stage, there were clearly issues as well, but the band held it together, playing tightly even in moments when they seemed unable to hear each other. Their performance was a bit stiff though. The band seemed to be struggling, but I think they hid it well (or I imagined it) because Jasper, who's as big a fan as I am didn't seem to notice them having much difficulty, and he was standing right next to me.
The band's new slower songs groove more and several feature more prominent vocals from Hodges. (All members do vocals but Kremer has usually had the lead in the past.) Hodges seemed unsteady in his singing at LPR, but I know he's got it in him. I think it was just not an "on" night for the band. At the beginning and end of their set, they hit some of their old high-speed songs like "First Daze," "Share the Shade" and "One with Everyone." The band ultimately succeeded as much as anyone could reasonably hope to impress a 21+ audience of Lightning Bolt fans. But because they're just not as brutal as Lightning Bolt, the band couldn't have won over that many people in the audience - not because they failed in any way but because certain fans of music like Lightning Bolt can be rather closeminded when it comes to anything that isn't, well, Lightning Bolt.
And what can I say about Lightning Bolt? They are awesome. Their avant-thrash noise is simultaneously heavier and faster than black metal - they are simply beyond comparison. They never seem to miss a note, and they play a LOT of notes.
Friday, April 22, 2011
Live: AIDS Wolf, Captain Ahab, White Suns
When: 4/16
Where: Death By Audio
Pepe says Controlled Bleeding were badass, but I missed it.
The first band I saw was White Suns, who I've seen before, also set up on the floor of Death By Audio. White Suns are a hardcore-informed noise group who use electronics and effects but still achieve very satisfying (deafening) lo-fi white noise. There are ways in which the noise genre is played out and I can't say White Suns add much that's new. But they do it well, with deafening roars and screaming but also with some more haunting, hushed moments. Each song is carefully structured and even if they sound chaotic most of the time, sharp dynamic transitions reveal them to be a pretty tight act. [myspace]
Captain Ahab played next. They were a sort of gay club outfit complete with a fellah in underwear dancing. It was definitely way more dark and way more raw than your average gay club music, and very arty, complete with projections. But ultimately it was more fun than it was interesting. And since I hate fun, I was kind of bored. But for people who don't hate fun, I suppose it was a good show. [myspace]
Of course, the highlight of the night was AIDS Wolf, a band who prove that there still are new directions for noise. AIDS Wolf's asymmetrical, harsh rhythmic pulse propels a screeching swarm of noise forward, while the hot but somewhat terrifying "Special Delux" (a.k.a. Chloe Lum) screams and performs fellatio on the microphone. I don't have anything new to say about this show, since I've reviewed the band before. Recorded, the band is an alluring, psychotic, skull-splintering assault, but their live performance still surpasses their records - confrontational, fascinating and grotesque, AIDS Wolf are one of the few contemporary bands giving hope for new directions in a world of recycled, nostalgic indie rock. [myspace]
#
Where: Death By Audio
Pepe says Controlled Bleeding were badass, but I missed it.
The first band I saw was White Suns, who I've seen before, also set up on the floor of Death By Audio. White Suns are a hardcore-informed noise group who use electronics and effects but still achieve very satisfying (deafening) lo-fi white noise. There are ways in which the noise genre is played out and I can't say White Suns add much that's new. But they do it well, with deafening roars and screaming but also with some more haunting, hushed moments. Each song is carefully structured and even if they sound chaotic most of the time, sharp dynamic transitions reveal them to be a pretty tight act. [myspace]
Captain Ahab played next. They were a sort of gay club outfit complete with a fellah in underwear dancing. It was definitely way more dark and way more raw than your average gay club music, and very arty, complete with projections. But ultimately it was more fun than it was interesting. And since I hate fun, I was kind of bored. But for people who don't hate fun, I suppose it was a good show. [myspace]
Of course, the highlight of the night was AIDS Wolf, a band who prove that there still are new directions for noise. AIDS Wolf's asymmetrical, harsh rhythmic pulse propels a screeching swarm of noise forward, while the hot but somewhat terrifying "Special Delux" (a.k.a. Chloe Lum) screams and performs fellatio on the microphone. I don't have anything new to say about this show, since I've reviewed the band before. Recorded, the band is an alluring, psychotic, skull-splintering assault, but their live performance still surpasses their records - confrontational, fascinating and grotesque, AIDS Wolf are one of the few contemporary bands giving hope for new directions in a world of recycled, nostalgic indie rock. [myspace]
#
Friday, June 18, 2010
Upcoming Shows: Marnie Stern, Pissed Jeans + more
Sorry I’ve been away for a bit. I will get back on blogging schedule next week.
[Upcoming Shows Playlist]
TONIGHT! Friday, June 18
Marnie Stern + Anni Rossi, True Womanhood @ Glasslands * Williamsburg, Brooklyn * $12/$15
Marnie Fucking Stern, ladies and gentlemen, one of the greatest guitar heroes of our generation. At Glasslands, which is small and often has very good acoustics. This show cannot be beat. Marnie Stern isn’t quite metal and isn’t quite punk and isn’t quite anything else except awesome. Plus Anni Rossi, who’s pretty okay at violin and songs and True Womanhood, who sound like Radiohead - in a good way. GO TO THIS SHOW. [marnie myspace] [rossi myspace] [true myspace]
Saturday, June 19
Pissed Jeans, Pop. 1280 @ Death By Audio * Williamsburg, Brooklyn * $12
This will be one of the hardcore/post-hardcore/noise rock shows of the year. You might be seriously injured but it will be worth it. These bands play lurching, desperate anthems straight from the gut. They channel the collective underbelly of our world and let it out via amplifiers and hella distortion. [piss myspace] [pop myspace]
Sunday, June 20
Dinowalrus @ Cameo Gallery * Williamsburg, Brooklyn
Last time I talked to Dinowalrus, they pointed out that I should stop calling them "mathy" because they aren’t, and for once, a band was right about their own music (seriously) so let me just say they are not mathy, but are very rhythm driven, experimental music that’s clearly psychedelic and sometimes danceable. It’s not so experimental as to forgo a strong pop appeal as well. [myspace]
Knight School, Boy Genius @ Bruar Falls * Williamsburg, Brooklyn * $7
Knight School play fuzzy indie pop with the best tunez around. Boy Genius play less fuzzy indie pop and also have more than few good songs. [knight myspace] [boy myspace]
Monday, June 21
Miniboone, Gunfight!, Quiet Loudly, Pet Ghost Project @ Spike Hill * Williamsburg, Brooklyn
OK, this line up RULES. Miniboone are make big, dramatic pop with manic punk energy. Quiet Loudly are a bit more chill, with a sort of angular take on 60’s psychedelic music. Gunfight! make fun cow punk you can’t not enjoy and Pet Ghost Project do a bunch of stuff that swings between lo-fi pop and post-hardcore noise rock. I wouldn’t normally recommend Spike Hill, but this line up is SICK. [mini myspace] [ql myspace] [gun myspace] [pgp myspace]
Wednesday, June 23
Tortoise @ Le Poisson Rouge * Greenwich Village, Manhattan * $22
Electro kings of experimental music back in the 90’s, Tortoise were an influence on just about every worthwhile post rock band in the last decade or so. Their music draws on ambient, jazz, krautrock and post punk and sounds like no one else. [ myspace]
[Upcoming Shows Playlist]
The long view...
June
24
Wavves @ Knitting Factory
25
Fiery Furnaces @ Brooklyn Bowl
Silversun Pickups, Against Me! @ Williamsburg Waterfront
26
Fiery Furnaces @ Mercury Lounge
Titus Andronicus @ Newtown Barge Park
Liars, Fucked Up, High Places @ Newtown Barge Park
27
Les Savy Fav, Polvo @ Newtown Barge Park
July
6
B-52s @ Highline Ballroom
11
The Roots, Talib Kweli @ Prospect Park
13
Cheap Trick @ Radio City Music Hall
16
Weezer @ Williamsburg Waterfront
17
Siren Fest: The Pains of Being Pure at Heart, Matt & Kim, Ted Leo, Surfer Blood @ Coney Island
22
Antlers, Dinosaur Feathers @ Pier 54
23
Modest Mouse @ Williamsburg Waterfront
24
M.I.A., Sleigh Bells @ Governors Island
26
Flaming Lips @ Central Park
27
Black Keys @ Central Park
The National, Beach House @ Prospect Park
28
Black Keys @ Central Park
30
Big Takeover: Springhouse @ Bell House
31
Sonic Youth, Grass Widow, Talk Normal @ Prospect Park
Big Takeover: Springhouse, For Against @ Bell House
August
12
Gang Gang Dance, Grizzly Bear, Walkmen @ Governors Island
15
Public Enemy @ Central Park
17
MGMT @ Radio City Music Hall
18
MGMT @ Radio City Music Hall
[Upcoming Shows Playlist]
TONIGHT! Friday, June 18
Marnie Stern + Anni Rossi, True Womanhood @ Glasslands * Williamsburg, Brooklyn * $12/$15
Marnie Fucking Stern, ladies and gentlemen, one of the greatest guitar heroes of our generation. At Glasslands, which is small and often has very good acoustics. This show cannot be beat. Marnie Stern isn’t quite metal and isn’t quite punk and isn’t quite anything else except awesome. Plus Anni Rossi, who’s pretty okay at violin and songs and True Womanhood, who sound like Radiohead - in a good way. GO TO THIS SHOW. [marnie myspace] [rossi myspace] [true myspace]
Saturday, June 19
Pissed Jeans, Pop. 1280 @ Death By Audio * Williamsburg, Brooklyn * $12
This will be one of the hardcore/post-hardcore/noise rock shows of the year. You might be seriously injured but it will be worth it. These bands play lurching, desperate anthems straight from the gut. They channel the collective underbelly of our world and let it out via amplifiers and hella distortion. [piss myspace] [pop myspace]
Sunday, June 20
Dinowalrus @ Cameo Gallery * Williamsburg, Brooklyn
Last time I talked to Dinowalrus, they pointed out that I should stop calling them "mathy" because they aren’t, and for once, a band was right about their own music (seriously) so let me just say they are not mathy, but are very rhythm driven, experimental music that’s clearly psychedelic and sometimes danceable. It’s not so experimental as to forgo a strong pop appeal as well. [myspace]
Knight School, Boy Genius @ Bruar Falls * Williamsburg, Brooklyn * $7
Knight School play fuzzy indie pop with the best tunez around. Boy Genius play less fuzzy indie pop and also have more than few good songs. [knight myspace] [boy myspace]
Monday, June 21
Miniboone, Gunfight!, Quiet Loudly, Pet Ghost Project @ Spike Hill * Williamsburg, Brooklyn
OK, this line up RULES. Miniboone are make big, dramatic pop with manic punk energy. Quiet Loudly are a bit more chill, with a sort of angular take on 60’s psychedelic music. Gunfight! make fun cow punk you can’t not enjoy and Pet Ghost Project do a bunch of stuff that swings between lo-fi pop and post-hardcore noise rock. I wouldn’t normally recommend Spike Hill, but this line up is SICK. [mini myspace] [ql myspace] [gun myspace] [pgp myspace]
Wednesday, June 23
Tortoise @ Le Poisson Rouge * Greenwich Village, Manhattan * $22
Electro kings of experimental music back in the 90’s, Tortoise were an influence on just about every worthwhile post rock band in the last decade or so. Their music draws on ambient, jazz, krautrock and post punk and sounds like no one else. [ myspace]
The long view...
June
24
Wavves @ Knitting Factory
25
Fiery Furnaces @ Brooklyn Bowl
Silversun Pickups, Against Me! @ Williamsburg Waterfront
26
Fiery Furnaces @ Mercury Lounge
Titus Andronicus @ Newtown Barge Park
Liars, Fucked Up, High Places @ Newtown Barge Park
27
Les Savy Fav, Polvo @ Newtown Barge Park
July
6
B-52s @ Highline Ballroom
11
The Roots, Talib Kweli @ Prospect Park
13
Cheap Trick @ Radio City Music Hall
16
Weezer @ Williamsburg Waterfront
17
Siren Fest: The Pains of Being Pure at Heart, Matt & Kim, Ted Leo, Surfer Blood @ Coney Island
22
Antlers, Dinosaur Feathers @ Pier 54
23
Modest Mouse @ Williamsburg Waterfront
24
M.I.A., Sleigh Bells @ Governors Island
26
Flaming Lips @ Central Park
27
Black Keys @ Central Park
The National, Beach House @ Prospect Park
28
Black Keys @ Central Park
30
Big Takeover: Springhouse @ Bell House
31
Sonic Youth, Grass Widow, Talk Normal @ Prospect Park
Big Takeover: Springhouse, For Against @ Bell House
August
12
Gang Gang Dance, Grizzly Bear, Walkmen @ Governors Island
15
Public Enemy @ Central Park
17
MGMT @ Radio City Music Hall
18
MGMT @ Radio City Music Hall
Friday, June 4, 2010
Upcoming Shows: Black Wine, Pop 1280 + more
TONIGHT! Friday, June 4
Black Wine, The Measure SA, Slingshot Dakota @ Death By Audio * Williamsburg, Brooklyn * $6
Black Wine are a punk band with good songs that are occasionally slightly emo but not in a bad way at all, actually in a really awesome way. The Measure are a poppy punk band that aren't quite as great as they should be but have fun and want you to have fun too. Slingshot Dakota are an emotive punk duo on keys and drums. This line-up is FUCKING AWESOME. [bw band] [measure myspace] [sd myspace]
Saturday, June 5
Pop 1280 @ Death By Audio * Williamsburg, Brooklyn
Someone told me this band was good. My impression is that they are heavy and dark and unsettling. Go see them. [myspace]
Brian Jonestown Massacre @ Music Hall of Williamsburg * Wililamsburg, Brooklyn * $25
BJM are a psychedelic indie band with one fuckin' crazy dude named Anton Newcombe who has done a very lot of drugs. As with any band on a lot of drugs, they have the potential to suck live, but as with only a few bands, they also have the potential to be awesome. [myspace]
Sunday, June 6
So So Glos @ Death By Audio * Williamsburg, Brooklyn
Loveable Brooklyn bros with anthemic hardcore. [myspace]
Tuesday, June 8
Fiasco @ Death by Audio * Williamsburg, Brooklyn
As always, all the best shows are at Death By Audio. Fiasco are a young math trio whose musical skill matured before their taste, but they are exciting and loud and get better with every show. [myspace]
The long view...
June
11
Jeff the Brotherhood, PC Worship @ Death By Audio
Hunters @ Monster Island Basement
Friendo @ Cake Shop
13
Friendo @ Glasslands
14
Coyote Eyes @ Cake Shop
15
Dan Deacon @ Red Hook Park
18
Marnie Stern, Anni Rossi, True Womahood @ Glasslands
Pissed Jeans @ Cake Shop
19
Pissed Jeans, Pop. 1280 @ Death by Audio
Melvins + Isis @ Music Hall of Williamsburg
24
Wavves @ Knitting Factory
25
Fiery Furnaces @ Brooklyn Bowl
Silversun Pickups, Against Me! @ Williamsburg Waterfront
26
Fiery Furnaces @ Mercury Lounge
Titus Andronicus @ Newtown Barge Park
Liars, Fucked Up, High Places @ Newtown Barge Park
27
Les Savy Fav, Polvo @ Newtown Barge Park
July
6
B-52s @ Highline Ballroom
11
The Roots, Talib Kweli @ Prospect Park
13
Cheap Trick @ Radio City Music Hall
16
Weezer @ Williamsburg Waterfront
17
Siren Fest: The Pains of Being Pure at Heart, Matt & Kim, Ted Leo, Surfer Blood @ Coney Island
22
Antlers, Dinosaur Feathers @ Pier 54
23
Modest Mouse @ Williamsburg Waterfront
24
M.I.A., Sleigh Bells @ Governors Island
26
Flaming Lips @ Central Park
27
Black Keys @ Central Park
The National, Beach House @ Prospect Park
28
Black Keys @ Central Park
30
Big Takeover: Springhouse @ Bell House
31
Sonic Youth, Grass Widow, Talk Normal @ Prospect Park
Big Takeover: Springhouse, For Against @ Bell House
August
12
Gang Gang Dance, Grizzly Bear, Walkmen @ Governors Island
15
Public Enemy @ Central Park
17
MGMT @ Radio City Music Hall
18
MGMT @ Radio City Music Hall
Wednesday, May 5, 2010
Live: Pissed Jeans
When: 4/9
Where: Knitting Factory
Last year, I got my hands on a copy of the album by Pissed Jeans that came out and I gave it a good old girl scout try. But I just couldn't get into it. It's a lot of shouting and heavy guitar - which I like - but lacking in melodies or unusual rhythms or most of the sort of things keep my attention.
But live, Pissed Jeans is another beast. Still no melody, no cool beats, none of that. But for two big differences - seeing the band and seeing the audience. The band themselves are not too tough looking. In fact, they look like totally normal (if extremely pale) guys - until the music starts.
Vocalist Matt Korvette is the quintessential anti-hero. He may thrash and headbang all hardcore-like, but he also busts out some extremely awkward and ill-fitting dance moves, grotesquely shaking his booty and gyrating, shirt off. Henry Rollins pops off his shirt because he's got scary muscles, but when guys like this do it, it seems almost a self-loathing gesture, inviting ridicule - which isn't to say Korvette is bad-looking, he's just not quite swimsuit model material. More to the point, it's like when you see some animal outside its usual shell or its usual subterranean environment. There's something almost fragile about it.
Although Korvette's unpredictable presence is enough to capture the audience's attention, the rest of the band is also laying it out like they mean it. And they keep it going even when Korvette molests them, even when audience members rush the stage, even when all hell breaks lose in the room. Focused and heavy, they make a (figurative) brick wall at which the vocalist and the audience can (figuratively) hurl themselves.
In the non-figurative world, though, there's plenty of collision going on. This audience came to brutalize their bodies as well as their ears. The mosh pit was good-natured but still scary as they joined in the band's violence and debasement. The bouncer did haul out a fighter or two and a few people seemed eager to really injure others, but there are always a few, huh? Mostly it was just nice kids come to let out some anger and some energy and I can think of few bands with as cathartic a live show as this.
I'm still not sold on the recordings. I respect the band, but I just can't find a thing to grasp. But as a physical experience to share with a roomful of people, this one not to miss. So don't: they play Death By Audio on June 19 and tickets are on sale now.
[myspace]
Where: Knitting Factory
Last year, I got my hands on a copy of the album by Pissed Jeans that came out and I gave it a good old girl scout try. But I just couldn't get into it. It's a lot of shouting and heavy guitar - which I like - but lacking in melodies or unusual rhythms or most of the sort of things keep my attention.
But live, Pissed Jeans is another beast. Still no melody, no cool beats, none of that. But for two big differences - seeing the band and seeing the audience. The band themselves are not too tough looking. In fact, they look like totally normal (if extremely pale) guys - until the music starts.
Vocalist Matt Korvette is the quintessential anti-hero. He may thrash and headbang all hardcore-like, but he also busts out some extremely awkward and ill-fitting dance moves, grotesquely shaking his booty and gyrating, shirt off. Henry Rollins pops off his shirt because he's got scary muscles, but when guys like this do it, it seems almost a self-loathing gesture, inviting ridicule - which isn't to say Korvette is bad-looking, he's just not quite swimsuit model material. More to the point, it's like when you see some animal outside its usual shell or its usual subterranean environment. There's something almost fragile about it.
Although Korvette's unpredictable presence is enough to capture the audience's attention, the rest of the band is also laying it out like they mean it. And they keep it going even when Korvette molests them, even when audience members rush the stage, even when all hell breaks lose in the room. Focused and heavy, they make a (figurative) brick wall at which the vocalist and the audience can (figuratively) hurl themselves.
In the non-figurative world, though, there's plenty of collision going on. This audience came to brutalize their bodies as well as their ears. The mosh pit was good-natured but still scary as they joined in the band's violence and debasement. The bouncer did haul out a fighter or two and a few people seemed eager to really injure others, but there are always a few, huh? Mostly it was just nice kids come to let out some anger and some energy and I can think of few bands with as cathartic a live show as this.
I'm still not sold on the recordings. I respect the band, but I just can't find a thing to grasp. But as a physical experience to share with a roomful of people, this one not to miss. So don't: they play Death By Audio on June 19 and tickets are on sale now.
[myspace]
Thursday, April 15, 2010
Upcoming Shows: Pterodactyl, Liars + more
Tomorrow! Friday, April 16
Pterodactyl, Dinowalrus, Fiasco @ Death By Audio * Williamsburg, Brooklyn * $7
This is a fucking GREAT line-up, although the bands are playing the opposite order of what would be proper. Fiasco are young guys who play some mathy, lite-thrash, HARRRRDCORE post-hardcore with some sick riffs that are fast and loud and not made for parents or wusses. Dinowalrus play druggy, mathy music that merges electro, rock and punk into some crazy rhythms and madman sprawls. And Pterodactyl play mathy, highspeed noise rock that's insanely fast with crazy sixteenth-note guitar and jumpy drums and ecstatic, drawn out vocal melodies. All three are exceptional live bands. Do not miss. [fiasco myspace] [dino myspace] [ptero myspace]
Saturday, March 17
Sisters @ Death By Audio * Death By Audio * Williamsburg, Brooklyn
Sisters are two guys who are different in height but both enormously talented. They are a bit awkward and noisy, lo-fi pop and punk is absolutely bursting from them. They slam out perfect little songs with delicious imperfection. Death By Audio is their home base, so they should be at their best. [myspace]
Sunday, March 18
Liars @ Music Hall of Williamsburg * Williamsburg, Brooklyn * $16 adv./$18 dos.
Liars play spooky, fragmented dance punk. No one was surprised when they moved to Berlin because they seem all dark and icy and their music has that inhuman krautrock thing to it, krautrock combined with funk combined with a weird, paranoid rhythmic punk. They are one of the most creative bands to come out of the last decade. Go to see them play. [myspace]
Tuesday, April 20
The Thermals @ Brooklyn Bowl * Williamsburg, Brooklyn * $16 adv./$18 dos.
The Thermals are a punk band who play catchy, fun music. Yup. [myspace]
PC Worship @ Shea Stadium * Bushwick, Brooklyn
PC Worship make sonically experimental lo-fi music that slips deftly between sad songs and noise. They are one of the best emerging bands in Brooklyn. Get 'em while they're fresh. [myspace]
[Upcoming Shows Playlist]
The long view...
April
21
Apples in Stereo @ Bowery Ballroom
Killing Joke @ Fillmore at Irving Plaza
Thermals @ Brooklyn Bowl
22
Gang Gang Dance @ Music Hall of Williamsburg
Los Campesinos! @ Fillmore at Irving Plaza
Quasi, Let’s Wrestle @ Bowery Ballroom
24
Don Giovanni presents: Screaming Females (I called it), Measure (SA) @ Mercury Lounge
25
Don Giovanni presents: Shellshag, Noun (Marissa Paternoster of Screaming Females), Black Wine, Pregnant @ Mercury Lounge
30
Styrenes (mems Mirrors, Electric Eels) @ Death by Audio
May
2
Echo & the Bunnymen @ Fillmore at Irving Plaza
3
Chapterhouse @ Bell House
7
Broken Social Scene @ Webster Hall
Caribou @ Music Hall of Williamsburg
8
Broken Social Scene @ Music Hall of Williamsburg
Caribou @ Bowery Ballroom
Primitives, Frankie & the Outs @ Bell House
11
Sleigh Bells @ Market Hotel
15
Parts & Labor, Talk Normal @ Knitting Factory
Thee Silver Mt. Zion Memorial Orchestra @ Music Hall of Williamsburg
16
Thee Silver Mt. Zion Memorial Orchestra @ Bowery Ballroom
19
Spectrum, Vacant Lots @ Knitting Factory
July
24
M.I.A. @ Governor’s Island
[Upcoming Shows Playlist]
Pterodactyl, Dinowalrus, Fiasco @ Death By Audio * Williamsburg, Brooklyn * $7
This is a fucking GREAT line-up, although the bands are playing the opposite order of what would be proper. Fiasco are young guys who play some mathy, lite-thrash, HARRRRDCORE post-hardcore with some sick riffs that are fast and loud and not made for parents or wusses. Dinowalrus play druggy, mathy music that merges electro, rock and punk into some crazy rhythms and madman sprawls. And Pterodactyl play mathy, highspeed noise rock that's insanely fast with crazy sixteenth-note guitar and jumpy drums and ecstatic, drawn out vocal melodies. All three are exceptional live bands. Do not miss. [fiasco myspace] [dino myspace] [ptero myspace]
Saturday, March 17
Sisters @ Death By Audio * Death By Audio * Williamsburg, Brooklyn
Sisters are two guys who are different in height but both enormously talented. They are a bit awkward and noisy, lo-fi pop and punk is absolutely bursting from them. They slam out perfect little songs with delicious imperfection. Death By Audio is their home base, so they should be at their best. [myspace]
Sunday, March 18
Liars @ Music Hall of Williamsburg * Williamsburg, Brooklyn * $16 adv./$18 dos.
Liars play spooky, fragmented dance punk. No one was surprised when they moved to Berlin because they seem all dark and icy and their music has that inhuman krautrock thing to it, krautrock combined with funk combined with a weird, paranoid rhythmic punk. They are one of the most creative bands to come out of the last decade. Go to see them play. [myspace]
Tuesday, April 20
The Thermals @ Brooklyn Bowl * Williamsburg, Brooklyn * $16 adv./$18 dos.
The Thermals are a punk band who play catchy, fun music. Yup. [myspace]
PC Worship @ Shea Stadium * Bushwick, Brooklyn
PC Worship make sonically experimental lo-fi music that slips deftly between sad songs and noise. They are one of the best emerging bands in Brooklyn. Get 'em while they're fresh. [myspace]
The long view...
April
21
Apples in Stereo @ Bowery Ballroom
Killing Joke @ Fillmore at Irving Plaza
Thermals @ Brooklyn Bowl
22
Gang Gang Dance @ Music Hall of Williamsburg
Los Campesinos! @ Fillmore at Irving Plaza
Quasi, Let’s Wrestle @ Bowery Ballroom
24
Don Giovanni presents: Screaming Females (I called it), Measure (SA) @ Mercury Lounge
25
Don Giovanni presents: Shellshag, Noun (Marissa Paternoster of Screaming Females), Black Wine, Pregnant @ Mercury Lounge
30
Styrenes (mems Mirrors, Electric Eels) @ Death by Audio
May
2
Echo & the Bunnymen @ Fillmore at Irving Plaza
3
Chapterhouse @ Bell House
7
Broken Social Scene @ Webster Hall
Caribou @ Music Hall of Williamsburg
8
Broken Social Scene @ Music Hall of Williamsburg
Caribou @ Bowery Ballroom
Primitives, Frankie & the Outs @ Bell House
11
Sleigh Bells @ Market Hotel
15
Parts & Labor, Talk Normal @ Knitting Factory
Thee Silver Mt. Zion Memorial Orchestra @ Music Hall of Williamsburg
16
Thee Silver Mt. Zion Memorial Orchestra @ Bowery Ballroom
19
Spectrum, Vacant Lots @ Knitting Factory
July
24
M.I.A. @ Governor’s Island
Wednesday, April 14, 2010
Album: Sightings - City of Straw
Album: City of Straw
Brah, 2010
Rating: ******** (8/10)
I'm not one to put up with inaccessible crap that poses as art so from the start, I had my doubts about Sightings. The band's music is based on melodiless drones, harsh guitar noise and fragmented pulses. However, in the several live shows I've seen, Sightings prove their noise and drone is crafted and focused, smart, emotive and riveting. City of Straw is my first taste of Sightings on record and it's as much a controlled burn as the live show.
City of Straw opens with a crackling, shallow rhythm that seems to encrypt sheer horror in a broken morse code. A minute into the track, the popping and clicking is supplemented by heavy, relentless thud that has all of the inhuman finality of gunshots. A guitar scrapes hissing sheets of noise. Mark Morgan's vocals sound traumatized, their unemotional monotone a hinting at melody. Not that there is potential for melody but rather that there still stand some charred ruins where a melody once was.
The more challenging "Jabber Queens" follows, shuddering to life with a bass positively vomiting notes - far more notes than could fit comfortably in the space - while Morgan's rant slurs, consonants stretched unnaturally over pealing guitar like the vocal track had been jumbled by slow-attack and delay effects (but I don't think there are any effects on the vocals here).
The tightness established in the first track, however, doesn't completely unravel until the title track, a sprawling nine minutes of stuttering noise and murk with erratic, muttering vocal narration and metallic guitar effects that devolve into a sound like post-apocalyptic bowed strings. But just when the album risks losing us, it crashes back into focus with the concise rage of "Saccharine Traps." Morgan actually yells here, his voice laden with distortion and mixed far too low to permit any attempt to decipher lyrics. A short, asymmetrical beat loops as feedbacking guitar lines careen and clash in mid air. The bass knots into itself, a quiet, restless, cold-blooded rumble.
"We All Amplify" follows in the vein of the title track but with somewhat less success. While "City of Straw" seems pointed and controlled, "We All Amplify" becomes unspooled to the extent that it really does border on monotonous. Like "Saccharine Traps," "Weehawken" takes a more direct approach, but again falls short of the earlier track. Its noise fails to find its rhythmic underpinning, looping through a short circuit that is clearly not random, but honestly might as well be.
Unfortunately, the album never quite recovers. "Hush" does not have the urgency of earlier tracks while "Sky Above Mud Below" lacks emotional depth. That's not to say they are bad tracks - they aren't - but the opening half of the album sets a high bar, making the weaker points glaringly disappointing.
However, despite these shortcomings, City of Straw is richly satisfying and heck of a lot better than most of what's getting put on record today. Bold and original, engaging and masterful, City of Straw is what experimental music should be. There's no bullshit here. Every sound serves a purpose. Taken as a whole, City of Straw is the kind of record that should be remembered ten and twenty years from now. Born not only of sincerity but also necessity and crafted with artistic intelligence, it tastes like fresh air in the stale indie world. [myspace]
Wednesday, April 7, 2010
Upcoming Shows: Thurston Moore and Kim Gordon + more
Wednesday, April 7
Beluga @ Glasslands * Williamsburg, Brooklyn
Incomprehensibly underrated lady punks Beluga are playing their "last show for a while" at Glasslands. This band is so damn good. There are four girls and guy and the singer is a blond, dolled-up Brazilian ex-model who screams and writhes on the floor while the others play excellent grunge-tinged punk anthems that pack a punch. [myspace]
Thursday, April 8
Unstoppable Death Machines @ Shea Stadium * Williamsburg, Brooklyn
UDM are two guys who make slabs of insane noise on bass and drums while shrieking into heavily distorted little microphones they keep in their mouths. Badass. [myspace]
Friday, April 9
Screaming Females (opening for Ted Leo) @ The Fillmore at Irving Plaza * Union Square, Manhattan * $16
I'm not a huge fan of Ted Leo or the Fillmore, but I am a huge fan of Screaming Females and neither the price ($16) nor the venue is bad enough to rule this concert out. Ted Leo won't be able to follow Screaming Females, but I think he knows that because he put Obits on the bill and he can definitely follow them - they rather suck. Anyway, Screaming Females are one screaming female and two males and they play the best guitar rock on earth right now and neither Ted Leo nor the Obits are fit to haul their gear - but they are way to nice to say that themselves. [sf myspace] [tl myspace]
Saturday, April 10
Mirror/Dash @ "Family Bookstore" * Tribeca, Manhattan * FREE!
Mirror/Dash is really Kim Gordon and Thurston Moore, the couple who have basically served as mom and dad to America's underground music and art scenes for several decades now. Known, of course, for their work in Sonic Youth, the pair could make any sort of music - from noise jams to tight rock songs. You won't know until you go, and why not - it's free! (The venue is some temporary art gallery, it sounds like - some artsy something or other that's going to be there for the next month.)
Shooting Spires @ Death by Audio * Williamsburg, Brooklyn
Shooting Spires overlap with Parts & Labor and from what I can tell, they sound pretty similar - and that's good thing! There are great, dramatic, sweeping pop songs jacked up on a constant flurry of electronic noises, massive bass and crashing drums. Check it aowt. [myspace]
After that run of awesome shows, there are a few days that are fairly uninspiring. Not for long though...
The long view...
April
14
A.R.E. Weapons @ Death by Audio
15
Liars @ Bowery Ballroom
16
Kaki King @ Bowery Ballroom
Pterodactyl, Dinowalrus, Fiasco @ Death by Audio
18
Liars @ Music Hall of Williamsburg
19
Snoop Dogg @ Brooklyn Bowl
20
Snoop Dogg @ Fillmore at Irving Plaza
Sweet Apple (feat. J. Mascis) @ Mercury Lounge
Thermals @ Brooklyn Bowl
21
Apples in Stereo @ Bowery Ballroom
Killing Joke @ Fillmore at Irving Plaza
Thermals @ Brooklyn Bowl
22
Gang Gang Dance @ Music Hall of Williamsburg
Los Campesinos! @ Fillmore at Irving Plaza
Quasi, Let’s Wrestle @ Bowery Ballroom
24
Don Giovanni presents: Screaming Females (I called it), Measure (SA) @ Mercury Lounge
25
Don Giovanni presents: Shellshag, Noun (Marissa Paternoster of Screaming Females), Black Wine, Pregnant @ Mercury Lounge
30
Styrenes (mems Mirrors, Electric Eels) @ Death by Audio
May
2
Echo & the Bunnymen @ Fillmore at Irving Plaza
3
Chapterhouse @ Bell House
7
Broken Social Scene @ Webster Hall
Caribou @ Music Hall of Williamsburg
8
Broken Social Scene @ Music Hall of Williamsburg
Caribou @ Bowery Ballroom
Primitives, Frankie & the Outs @ Bell House
11
Sleigh Bells @ Market Hotel
15
Parts & Labor, Talk Normal @ Knitting Factory
Thee Silver Mt. Zion Memorial Orchestra @ Music Hall of Williamsburg
16
Thee Silver Mt. Zion Memorial Orchestra @ Bowery Ballroom
19
Spectrum, Vacant Lots @ Knitting Factory
July
24
M.I.A. @ Governor’s Island
Friday, April 2, 2010
Live: Pygmy Shrews + TODD
When: 3/12/10
Where: Death By Audio
I've been trying to get out to see the Pygmy Shrews for ages and could barely stand waiting the hour and a half or so the band was late to this show. But damn was it worth it.
OK, so Pygmy Shrews are someone from Drunkdriver and another guy and a girl. The girl, Tia Vincent, plays bass and she looks like the last person you'd expect to see in a hardcore band - she's the extremely shy, slightly stout girl with the conservative haircut and conservative clothes who you see in the elevator sometimes and try to say hi to. Well, that's who she looks like. But instead, she friggin shreds the bass and unleashes melodic but definitely punk vocals over the racket. The guitarist, one Ben Greenburt, is phenomenal too, with lightning-fast post-hardcore riffs and his own even hardercore vocals.
For all their distorted, high-speed fury, the band never loses its focus on songs and melodies. Unfortunately, at Death by Audio, the vocals were a little too quite to fully convey the band's knack for writing, but even here, it's evident each song is as catchy as it is loud. Pygmy Shrews, simply put, are a damn good listen. [myspace]
A band called TODD also played. They live in the UK but their origins are in Texas and their defining feature is a frontman who viciously beats himself about the face and head and yells. He was very drunk and at one point, fell down on the floor and the exited while the rest of his band attempted to keep the set alive. He did come back, eventually. This is a guy who has broken at least one of at least one audience member in his career as a singer. Well, "singer."
As the violence clearly illustrates, TODD is as much performance art as it is music. But they are genuine - you can't fake that, not to that intensity. The only really offputting thing about the show was that I felt like the audience were all in on some inside joke I just did not know about. They kept laughing at things and there seemed to be some sort of ritual of heckling the frontman and dancing out dangerously close to him in the little semicircle in front of (not on) the stage where he performed. Sometimes he would go after these dancers/moshers/whatever with real malice.
Except for the feeling that there was some big joke I didn't know about the band, one that would probably make me like them much less if I knew it, I definitely enjoyed them. Of course, lots of noise plus a frontman who beats up himself and others is pretty much a recipe for success. Or am I giving them too much credit? [myspace]
Where: Death By Audio
I've been trying to get out to see the Pygmy Shrews for ages and could barely stand waiting the hour and a half or so the band was late to this show. But damn was it worth it.
OK, so Pygmy Shrews are someone from Drunkdriver and another guy and a girl. The girl, Tia Vincent, plays bass and she looks like the last person you'd expect to see in a hardcore band - she's the extremely shy, slightly stout girl with the conservative haircut and conservative clothes who you see in the elevator sometimes and try to say hi to. Well, that's who she looks like. But instead, she friggin shreds the bass and unleashes melodic but definitely punk vocals over the racket. The guitarist, one Ben Greenburt, is phenomenal too, with lightning-fast post-hardcore riffs and his own even hardercore vocals.
For all their distorted, high-speed fury, the band never loses its focus on songs and melodies. Unfortunately, at Death by Audio, the vocals were a little too quite to fully convey the band's knack for writing, but even here, it's evident each song is as catchy as it is loud. Pygmy Shrews, simply put, are a damn good listen. [myspace]
A band called TODD also played. They live in the UK but their origins are in Texas and their defining feature is a frontman who viciously beats himself about the face and head and yells. He was very drunk and at one point, fell down on the floor and the exited while the rest of his band attempted to keep the set alive. He did come back, eventually. This is a guy who has broken at least one of at least one audience member in his career as a singer. Well, "singer."
As the violence clearly illustrates, TODD is as much performance art as it is music. But they are genuine - you can't fake that, not to that intensity. The only really offputting thing about the show was that I felt like the audience were all in on some inside joke I just did not know about. They kept laughing at things and there seemed to be some sort of ritual of heckling the frontman and dancing out dangerously close to him in the little semicircle in front of (not on) the stage where he performed. Sometimes he would go after these dancers/moshers/whatever with real malice.
Except for the feeling that there was some big joke I didn't know about the band, one that would probably make me like them much less if I knew it, I definitely enjoyed them. Of course, lots of noise plus a frontman who beats up himself and others is pretty much a recipe for success. Or am I giving them too much credit? [myspace]
Friday, January 15, 2010
Live: Drunkdriver + Blues Control
When: 1/9/10
Where: Death By Audio
It was a confusing night for me at Death By Audio, seeing bands I thought I knew and discovering they were not who I thought. First up, Blues Control. This duo uses synthesizers and guitar, but more of the former, which is certainly not what I expect from a band on the lo-fi, "shitgaze" label Siltbreeze. The band clearly has talent but their songs, which have no vocals, didn't really hold my attention - Blues Control's skills lie in sound-making and certainly not in composition. Their image was also off - I don't like when bands dress up all fancypants for gigs, but the baseball cap gave me the feeling the band would rather be home eating potato chips or something than playing a show. Maybe I was the only person to have that reaction, but it certainly threw off my enjoyment of the set.
"Jasper" thought the line-up pick didn't make sense, but I understood it to an extent. Blues Control may not be a guitar-based band or a punk band, but they have a similar aggressive artiness. Unfortunately, the band didn't live up to their potential or their reputation, instead meandering aimlessly through their way-too-long set. [myspace]
Now, I also thought I had seen Drunkdriver earlier this year but when they took the stage, I was pretty sure I'd never seen them before in my life. The three members are much younger than I thought and their music much more straightforward hardcore. Frontman ("singer" is not appropriate) Michael Berdan clearly follows in the tradition of great hardcore vocalists like Henry Rollins. Heavily tatooed, he paced the stage like a caged tiger, yelling "FUCK YOU" to hecklers (and some non-hecklers) and stage diving early and often. The audience seemed to know the routine, shouting insults between songs.
Drunkdriver
(photos from Parts Unknown Records myspace, not from this show)
And while Berdan is definitely the showman of the band, Kristy Greene (guitar) and Jeremy Villalobos (drums) are musicians. Greene's guitar was positively brutal, with sick, weighty riffs that your parents would hate. She and Villalobos locked in tightly, taking cues from noise, math rock, post hardcore and industrial music in their sheer sheet-metal sound and relentless complexity.
I like a band with a vocal melody, so I can't count Drunkdriver as a personal favorite. But they are masters at what they do and put on a classic live show for all your moshing needs. [myspace]
Where: Death By Audio
It was a confusing night for me at Death By Audio, seeing bands I thought I knew and discovering they were not who I thought. First up, Blues Control. This duo uses synthesizers and guitar, but more of the former, which is certainly not what I expect from a band on the lo-fi, "shitgaze" label Siltbreeze. The band clearly has talent but their songs, which have no vocals, didn't really hold my attention - Blues Control's skills lie in sound-making and certainly not in composition. Their image was also off - I don't like when bands dress up all fancypants for gigs, but the baseball cap gave me the feeling the band would rather be home eating potato chips or something than playing a show. Maybe I was the only person to have that reaction, but it certainly threw off my enjoyment of the set.
"Jasper" thought the line-up pick didn't make sense, but I understood it to an extent. Blues Control may not be a guitar-based band or a punk band, but they have a similar aggressive artiness. Unfortunately, the band didn't live up to their potential or their reputation, instead meandering aimlessly through their way-too-long set. [myspace]
Now, I also thought I had seen Drunkdriver earlier this year but when they took the stage, I was pretty sure I'd never seen them before in my life. The three members are much younger than I thought and their music much more straightforward hardcore. Frontman ("singer" is not appropriate) Michael Berdan clearly follows in the tradition of great hardcore vocalists like Henry Rollins. Heavily tatooed, he paced the stage like a caged tiger, yelling "FUCK YOU" to hecklers (and some non-hecklers) and stage diving early and often. The audience seemed to know the routine, shouting insults between songs.
Drunkdriver
(photos from Parts Unknown Records myspace, not from this show)
And while Berdan is definitely the showman of the band, Kristy Greene (guitar) and Jeremy Villalobos (drums) are musicians. Greene's guitar was positively brutal, with sick, weighty riffs that your parents would hate. She and Villalobos locked in tightly, taking cues from noise, math rock, post hardcore and industrial music in their sheer sheet-metal sound and relentless complexity.
I like a band with a vocal melody, so I can't count Drunkdriver as a personal favorite. But they are masters at what they do and put on a classic live show for all your moshing needs. [myspace]
Monday, January 11, 2010
Live: Fiasco + Unstoppable Death Machines
When: 12/18
Where: Death By Audio
Upon entering Death By Audio for the Fiasco show, we were greeted by a delightful sludge-racket called The Unstoppable Death Machines, with a set-up basically equivalent to that of Lightning Bolt (drummer and bassist, effect-laden vocals through mics strapped right on/in the mouth). However, the music isn't so much Lightning Bolt-esque beyond that. Sure, it's heavy and blasted with distortion, but Unstoppable Death Machines rely far less on complexity and speed than their older Rhode Island counterparts. Instead, they base their music off of simple, crushing riffs. That's not to say there isn't a high level of musicianship, but just that these songs would be learnable to most bassists - Lightning Bolt's music, not so much. While not the greatest or most original band on earth, UDM were pretty delicious. They want to rip your face off. [MySpace]
The young Fiasco took the stage next. And "young" is the operative adjective when it comes to this band. Their mistakes are all characteristic of young players, but so is their particular brand of pure enthusiasm and concentration. Musically, the band plays an involved post-hardcore, with little focus on vocals and a whole lot on complex time signatures, technically difficult riffs and DISTORTION.
At times, their music seemed unnecessarily complicated. I've seen young bands do some crazy stuff just because they can. And I like technically sophisticated music, but only if all the time signature changes and high-speed riffing strengthen the songs instead of gumming them up. Fiasco were hit and miss in this regard.
They also made errors in stage presence. First of all, they allowed way too much downtime between songs - I don't know if this was a product of technical difficulties or just poor planning, but they need to work on closing those gaps - if you can't shorten them, fill them up with something, please! Otherwise, all that momentum that builds during the songs - and they are great songs! - gets lost. Second, the band apologized for being underrehearsed and messing up. They were clearly underrehearsed, but apologizing for it just drew attention to it. If you mess up, you just have to own that as part of the show, say "this is how we play, so fuck off." That's much more fun for the audience than being told they spent their time and money to see something subpar.
Jonathan Edelstein and Lucian Buscemi switch on guitar and bass and alternate vocals, and while I enjoy the variety that adds, it did highlight the discrepancy in skill between the two players. When Edelstein played guitar, guitar led the songs. When he played bass, bass led the songs. His vocals were strong and melodic, while Buscemi could only sing whatever note he was playing. Edelstein also had a more engaging stage presence, while Buscemi looked like he might rather hide behind an amp. Musicians in a band certainly don't have to be equal, and sometimes what a particular musician has brought to a band can't be seen on stage. However, I was a bit surprised at the difference and frustrated by Buscemi's many missed opportunities.
Don't get me wrong, the band is great. Their effort and focus on stage is clear and their music is explosive. They just have some growing up to do - and just think how good they'll be when they get there! [MySpace]
Where: Death By Audio
Upon entering Death By Audio for the Fiasco show, we were greeted by a delightful sludge-racket called The Unstoppable Death Machines, with a set-up basically equivalent to that of Lightning Bolt (drummer and bassist, effect-laden vocals through mics strapped right on/in the mouth). However, the music isn't so much Lightning Bolt-esque beyond that. Sure, it's heavy and blasted with distortion, but Unstoppable Death Machines rely far less on complexity and speed than their older Rhode Island counterparts. Instead, they base their music off of simple, crushing riffs. That's not to say there isn't a high level of musicianship, but just that these songs would be learnable to most bassists - Lightning Bolt's music, not so much. While not the greatest or most original band on earth, UDM were pretty delicious. They want to rip your face off. [MySpace]
The young Fiasco took the stage next. And "young" is the operative adjective when it comes to this band. Their mistakes are all characteristic of young players, but so is their particular brand of pure enthusiasm and concentration. Musically, the band plays an involved post-hardcore, with little focus on vocals and a whole lot on complex time signatures, technically difficult riffs and DISTORTION.
At times, their music seemed unnecessarily complicated. I've seen young bands do some crazy stuff just because they can. And I like technically sophisticated music, but only if all the time signature changes and high-speed riffing strengthen the songs instead of gumming them up. Fiasco were hit and miss in this regard.
They also made errors in stage presence. First of all, they allowed way too much downtime between songs - I don't know if this was a product of technical difficulties or just poor planning, but they need to work on closing those gaps - if you can't shorten them, fill them up with something, please! Otherwise, all that momentum that builds during the songs - and they are great songs! - gets lost. Second, the band apologized for being underrehearsed and messing up. They were clearly underrehearsed, but apologizing for it just drew attention to it. If you mess up, you just have to own that as part of the show, say "this is how we play, so fuck off." That's much more fun for the audience than being told they spent their time and money to see something subpar.
Jonathan Edelstein and Lucian Buscemi switch on guitar and bass and alternate vocals, and while I enjoy the variety that adds, it did highlight the discrepancy in skill between the two players. When Edelstein played guitar, guitar led the songs. When he played bass, bass led the songs. His vocals were strong and melodic, while Buscemi could only sing whatever note he was playing. Edelstein also had a more engaging stage presence, while Buscemi looked like he might rather hide behind an amp. Musicians in a band certainly don't have to be equal, and sometimes what a particular musician has brought to a band can't be seen on stage. However, I was a bit surprised at the difference and frustrated by Buscemi's many missed opportunities.
Don't get me wrong, the band is great. Their effort and focus on stage is clear and their music is explosive. They just have some growing up to do - and just think how good they'll be when they get there! [MySpace]
Wednesday, January 6, 2010
Upcoming Shows: Coin Under Tongue, Agent Orange, Beluga + more
TONIGHT!!! Wednesday, January 6
Babies (mems. Woods, Vivian Girls), True Womanhood, Sundelles, Beach Fossils, Total Slacker @ Glasslands | Williamsburg, Brooklyn
I haven't heard Babies, they might be good or they might be awful. I have heard True Womanhood and the Sundelles and they are both great! True Womanhood play eerie, disorienting rock and the Sundelles play garage rock. Beach Fossils are okay and Total Slacker has been a buzz band lately, so all in all, it's a pretty sick line-up.
[Babies MySpace] [TW MySpace] [Sundelles MySpace] [BF MySpace] [TS MySpace]
TOMORROW!!! Thursday, January 7
Coin Under Tongue @ Death By Audio | Williamsburg, Brooklyn
Coin Under Tongue play sludgy, deliberate post-hardcore with a certain intangible indie pop sensibility.
Japanther @ Santos Party House | Chinatown, Manhattan
Japanther are an arty pop-punk duo with GREAT songs.
[MySpace]
Friday, January 8
Ex-Humans @ Don Pedro | Bushwick, Brooklyn
Don Pedro is a lousy place to hear bands - its stuffy and has poor sound. On the other hand, Ex-Humans are cooler than you and they make good punky music.
[MySpace]
Saturday, January 9
Drunkdriver + Blues Control @ Death By Audio | Williamsburg, Brooklyn
Drunkdriver are loud and not very friendly. Their noise/hardcore/punk is extreme and amazing. Check them out.
[MySpace]
Sunday, January 10
Agent Orange @ Mercury Lounge | LES, Manhattan | $10 adv. / $12 dos.
Original southern California hardcore, still at it.
[MySpace]
Tuesday, January 12
Beluga @ Cameo | Williamsburg, Brooklyn
Beluga are lady punks (and one guy). The singer is a Brazilian (ex-?) fashion model who screams and writhes on the floor. They are one of the best and most underrated bands in NYC. They are angry but also fun and their simple, Nirvana-influenced songs stick in your brain.
[MySpace]
The long view...
January 2010
13
The Drums + Surfer Blood, Depreciation Guild @ Music Hall of Williamsburg
14
Coyote Eyes, Frozen Warnings @ Death By Audio
15
Gang Gang Dance, DJ/Rupture @ Music Hall of Williamsburg
16
Dinosaur Jr @ Bowery Ballroom (Sold Out)
Dinowalrus record release with Aa @ Cake Shop
17
Dinosaur Jr @ Music Hall of Williamsburg (Sold Out)
Mos Def @ Highline Ballroom
18
Dinosaur Jr @ Brooklyn Bowl
22
Bob Mould @ City Winery
23
Pterodactyl @ Issue Project Room
25
Cheap Trick @ The Fillmore
29
Asobi Seksu @ Le Poissson Rouge
Here We Go Magic @ Music Hall of Williamsburg
Mission of Burma @ Bowery Ballroom
Sounds Like Brooklyn: Les Savy Fav, Vivian Girls (yick) @ Brooklyn Academy of Music
30
Mission of Burma @ Bowery Ballroom
February
3
Atlas Sound @ Bell House
4
Atlas Sound, Neon Indian, Sisters @ NYU Kimmel
Cold Cave @ Mercury Lounge
5
Sounds Like Brooklyn: Ra Ra Riot, the Antlers @ Brooklyn Academy of Music
6
Don Giovanni showcase: Shellshag, Screaming Females, Jeff the Brotherhood + more @ Bowery Ballroom
9
The Residents @ Webster Hall
10
Harlem @ Mercury Lounge
12
Jonathan Richman @ Music Hall of Williamsburg
13
Jonathan Richman @ Music Hall of Williamsburg
The Magnetic Fields @ Brooklyn Academy of Music
14
Jonathan Richman @ Music Hall of Williamsburg
19
Fucked Up, Kurt Vile, Frankie Rose & the Outs @ Europa
Andrew W-K @ Santos Party House
20
Crystal Stilts, Beets, Beach Fossils, German Measles @ Music Hall of Williamsubrg
21
Dum Dum Girls, Frankie Rose & the Outs @ Mercury Lounge
26
Wild Beasts @ Bowery Ballroom
27
Glenn Branca record release @ Le Poisson Rouge
28
Wild Beasts @ Music Hall of Williamsburg
March
5
Muse, the Silversun Pickups @ Madison Square Garden
6
Titus Andronicus @ Bowery Ballroom
10-11
The Magnetic Fields @ Town Hall
12-13
Henry Rollins @ The Fillmore
18-19
Killswitch Engage @ The Fillmore
25
Nada Surf play Let Go + surprise guest @ Bowery Ballroom
26
Nada Surf play The Weight Is a Gift + surprise guest @ Bell House
27
Nada Surf play Lucky + surprise guest @ Music Hall of Williamsburg
Monday, January 4, 2010
Who to Watch in 2010: The Deja Vu List
Last year, I listed bands to watch in 2009. I definitely got a few right and a few wrong. Others, I think, are just a matter of timing and yet more are just continuing what they started. That means there are a few repeats from 2009 on this years "To Watch" list. These are they:
The Antlers - This is one of the bands I got right for 2009. But despite their massive climb in 2009 (they appeared to have all of fifteen people at a show in early 2009 and recently sold out Bowery Ballroom), I think their ascent has only just begun. They make sad ambient rock a little like Radiohead or Arcade Fire. [MySpace]
Coin Under Tongue - I recommended these guys back in June for the second half of 2009. They've been a bit slow to catch on, but I still think they are headed for greatness. Great sludgy post-hardcore with a keen melodic sensibility.
Coyote Eyes - Another one I recommended back in June. These guys are one of the most promising Brooklyn bands, playing arty post punk with a totally fresh sound. [MySpace]
Led Er Est - This band didn't make as big of strides in 2009 as I expected. But they have a lot of potential and lately, they seem to be gaining some real momentum. Their gothy no-wavey drones are certainly better than a lot of what's been getting hype lately. Expect a lot more in 2010. [MySpace]
Pterodactyl - 2010 might not be the biggest year for these guys because I don't know if they have any plans to release a full-length album. However, given that they remain one of the most innovate and underrated bands in Brooklyn and given that they are on the radars of most indie critics at this point, I think this band is still very much on the ascent. [MySpace]
The Ruling Class - This UK band hasn't yet had the break-through they deserve but I'm starting to see them on the radar at last. They are the most talented britpop group since the early 90's and 2010 should be their year. [MySpace]
Screaming Females - Okay, they weren't on any of my "to watch" lists, but I've talked about them so much, they may as well have been - and then some. They are probably the best indie rock band left on earth and yes, 2009 was tremendous for them, but I think they'll go even further in the years to come. [MySpace]
Sisters - Another band from my list in June, Sisters are an amazing duo with talent and spirit and their name has been in the The New Yorker, so 2010 is certainly looking bright. Their lo-fi noise pop will delight fans of everything from twee to 90's indie to punk rock proper. [MySpace]
NEXT>> Part 2
The Antlers - This is one of the bands I got right for 2009. But despite their massive climb in 2009 (they appeared to have all of fifteen people at a show in early 2009 and recently sold out Bowery Ballroom), I think their ascent has only just begun. They make sad ambient rock a little like Radiohead or Arcade Fire. [MySpace]
Coin Under Tongue - I recommended these guys back in June for the second half of 2009. They've been a bit slow to catch on, but I still think they are headed for greatness. Great sludgy post-hardcore with a keen melodic sensibility.
Coyote Eyes - Another one I recommended back in June. These guys are one of the most promising Brooklyn bands, playing arty post punk with a totally fresh sound. [MySpace]
Led Er Est - This band didn't make as big of strides in 2009 as I expected. But they have a lot of potential and lately, they seem to be gaining some real momentum. Their gothy no-wavey drones are certainly better than a lot of what's been getting hype lately. Expect a lot more in 2010. [MySpace]
Pterodactyl - 2010 might not be the biggest year for these guys because I don't know if they have any plans to release a full-length album. However, given that they remain one of the most innovate and underrated bands in Brooklyn and given that they are on the radars of most indie critics at this point, I think this band is still very much on the ascent. [MySpace]
The Ruling Class - This UK band hasn't yet had the break-through they deserve but I'm starting to see them on the radar at last. They are the most talented britpop group since the early 90's and 2010 should be their year. [MySpace]
Screaming Females - Okay, they weren't on any of my "to watch" lists, but I've talked about them so much, they may as well have been - and then some. They are probably the best indie rock band left on earth and yes, 2009 was tremendous for them, but I think they'll go even further in the years to come. [MySpace]
Sisters - Another band from my list in June, Sisters are an amazing duo with talent and spirit and their name has been in the The New Yorker, so 2010 is certainly looking bright. Their lo-fi noise pop will delight fans of everything from twee to 90's indie to punk rock proper. [MySpace]
NEXT>> Part 2
Tuesday, December 22, 2009
Best Albums of 2009, Part 3: #20-16
PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #25-21
#20
Bad Blood Revival - Tongue Twisting Tunes for Tiny Tots
Dead Broke
Bad Blood Revival sounds a lot like the Jesus Lizard and a little like Slint, so you know they're good. True, they also aren't the most original band on earth, but they do what they do so well that, especially in this era of wussy, conservative anti-rock indie music, it's great to hear someone who isn't afraid to use a distortion pedal from time to time. The post-hardcore songs are clearly influenced by metal and noise rock, with weighty guitars, rage-filled drumming and shrieks. However, under all that great, awful sound, the songs are well-written, with outstanding riffs and a lot of variety. It's not pretty. But it's awesome.
How I found it: a couple of places
Track picks: "Kindling," "Bitter Pill/Aging Punk"
Link: [MySpace]
#19
Wu-Tang Clan - Chamber Music
E1 Entertainment/Universal
Sure, this got eclipsed by Raekwon, and after a while, this record does turn out to be a bit thin - but what it lacks in quantity it makes up for in quality. It's a nice comeback after the train wreck that was 8 Diagrams, proving the Wu-Tang still got it. The production is outstanding, using old soul music to give the rap depth and timelessness, while excellent MC'ing from most Wu-Tang members and some pretty great guests is the best we've heard on a Wu-Tang album since the 90's.
Read more from the original RFR review...
How I found it: Sheesh...I think I was first introduced to Wu-Tang Clan by the AllMusic Guide many lifetimes ago.
Track picks: "NYC Crack," "Evil Deeds"
Link: [MySpace]
#18
Lightning Bolt - Earthly Delights
Load
Of course, after all the complaining I've done regarding the wussiness of contemporary indie music, it would be remiss of me not to include this raw explosion of pure energy. Lightning Bolt features one very distorted bass and one drum kit, both played as fast and loud as possible. The whirlwind, however, is made of intense musicianship and nothing is random. It's like a bomb going off in your face. If that sounds awful, this album probably isn't for you. That's sad because it's fuckin awesome.
Read more from the original RFR review...
How I found it: been knowin'
Track picks: "Sound Guardians," "Funny Farm"
Link: [MySpace]
#17
Fuck Buttons - Tarot Sport
ATP
Experimental electronicians Fuck Buttons made one hell of an album. While they are still a long way from convention, Tarot Sport translates their noise/drone into something more easy to grasp. Deep, glitchy grooves dominate each track, while evocative layers drift in and out. The beats are dancy and the rest deeply emotional. Unfortunately, for the length of this album, Fuck Buttons are a one-trick pony and the excitement of track one will fade by the time you get to the end.
How I found it: "Jasper" mentioned it
Track picks: "Surf Solar, "Olympians"
Link: [MySpace]
#16
...and You Will Know Us by the Trail of Dead - Century of Self
Richter Scale
Trail of Dead putting out a great album isn't exactly headline news, because they've been doing that consistently for a while now. They haven't broken new ground in a major way with Century of Self, but their sound is still entirely their own. Equal parts prog, shoegaze and punk, Trail of Dead sounds simultaneously artistic, rich and youthful. Walls of guitar sound break into stunning harmonies but strong melodies and pure energy keep the songs from stalling. There's a lot going on, and I promise you'll still hear something new the hundredth time through.
How I found it: lots of places, obviously
Track picks: "Isis Unveiled," "The Far Pavilions," "Ascending"
Link: [MySpace]
NEXT>> Part 4: #15-11
Part 5: #10-6
Part 6: #5-1
Part 1 - Rules and Runners Up
Part 2 - #25-21
#20
Bad Blood Revival - Tongue Twisting Tunes for Tiny Tots
Dead Broke
Bad Blood Revival sounds a lot like the Jesus Lizard and a little like Slint, so you know they're good. True, they also aren't the most original band on earth, but they do what they do so well that, especially in this era of wussy, conservative anti-rock indie music, it's great to hear someone who isn't afraid to use a distortion pedal from time to time. The post-hardcore songs are clearly influenced by metal and noise rock, with weighty guitars, rage-filled drumming and shrieks. However, under all that great, awful sound, the songs are well-written, with outstanding riffs and a lot of variety. It's not pretty. But it's awesome.
How I found it: a couple of places
Track picks: "Kindling," "Bitter Pill/Aging Punk"
Link: [MySpace]
#19
Wu-Tang Clan - Chamber Music
E1 Entertainment/Universal
Sure, this got eclipsed by Raekwon, and after a while, this record does turn out to be a bit thin - but what it lacks in quantity it makes up for in quality. It's a nice comeback after the train wreck that was 8 Diagrams, proving the Wu-Tang still got it. The production is outstanding, using old soul music to give the rap depth and timelessness, while excellent MC'ing from most Wu-Tang members and some pretty great guests is the best we've heard on a Wu-Tang album since the 90's.
Read more from the original RFR review...
How I found it: Sheesh...I think I was first introduced to Wu-Tang Clan by the AllMusic Guide many lifetimes ago.
Track picks: "NYC Crack," "Evil Deeds"
Link: [MySpace]
#18
Lightning Bolt - Earthly Delights
Load
Of course, after all the complaining I've done regarding the wussiness of contemporary indie music, it would be remiss of me not to include this raw explosion of pure energy. Lightning Bolt features one very distorted bass and one drum kit, both played as fast and loud as possible. The whirlwind, however, is made of intense musicianship and nothing is random. It's like a bomb going off in your face. If that sounds awful, this album probably isn't for you. That's sad because it's fuckin awesome.
Read more from the original RFR review...
How I found it: been knowin'
Track picks: "Sound Guardians," "Funny Farm"
Link: [MySpace]
#17
Fuck Buttons - Tarot Sport
ATP
Experimental electronicians Fuck Buttons made one hell of an album. While they are still a long way from convention, Tarot Sport translates their noise/drone into something more easy to grasp. Deep, glitchy grooves dominate each track, while evocative layers drift in and out. The beats are dancy and the rest deeply emotional. Unfortunately, for the length of this album, Fuck Buttons are a one-trick pony and the excitement of track one will fade by the time you get to the end.
How I found it: "Jasper" mentioned it
Track picks: "Surf Solar, "Olympians"
Link: [MySpace]
#16
...and You Will Know Us by the Trail of Dead - Century of Self
Richter Scale
Trail of Dead putting out a great album isn't exactly headline news, because they've been doing that consistently for a while now. They haven't broken new ground in a major way with Century of Self, but their sound is still entirely their own. Equal parts prog, shoegaze and punk, Trail of Dead sounds simultaneously artistic, rich and youthful. Walls of guitar sound break into stunning harmonies but strong melodies and pure energy keep the songs from stalling. There's a lot going on, and I promise you'll still hear something new the hundredth time through.
How I found it: lots of places, obviously
Track picks: "Isis Unveiled," "The Far Pavilions," "Ascending"
Link: [MySpace]
NEXT>> Part 4: #15-11
Part 5: #10-6
Part 6: #5-1
Thursday, December 10, 2009
Live: Screaming Females, So So Glos
When: 11/25
Where: Bell House
I know about 50% of my recent posts have been about Screaming Females. But that's only because they're probably responsible for at least 50% of what's good about the current music scene. So deal with it.
First, though, the So So Glos opened. I reviewed them once before, and my reaction this time was basically the same. They are a really solid hardcore punk band. They aren't doing anything that hasn't been done before, but their songs are well-written and their performance basically involves all of them jumping up and down the entire set, which is excellent.
This time, though, part way through the set, the band dipped into something much more subtle and restrained than anything I expected to hear. Yes, it was a little disjointed, and yes, I like loud-fast music, but the temporary change in pace was smart. It illustrated not only that the SSGs have a knack for arrangement and composition, but also that they may have far more tricks up their sleeve than they usually let on. I'm intrigued.
And then they went back to their fun, catchy hardcore, pogoing and yelling to the end of their set. Hooray! [MySpace]
OK, so here it comes. Screaming Females! Anyone who's ever been in a band knows that all your equipment will work fine until it all suddenly malfunctions on the same day. And this night at Bell House was that day for Screaming Females. Marissa Paternoster's guitar kept cutting out (due at least in part to the flailing audience hitting the power switch connected to her pedals). Meanwhile, a de-facto drum tech kept popping out on stage to fix something, I'm not even sure what. The many problems put a dent in the set's momentum, but the band did their best to carry on with minimal interruption.
However, despite overcoming the barrage of technical difficulties, it was a bit of a lackluster set, as compared to the others I've seen recently. The reason was simple - the set list just wasn't great. Aside from "Bell," the band skipped over most of their best tunes (and they have so many best tunes). It was disappointing, knowing how much better it could have been.
Screaming Females (photo by Eddie Austin)
However, for anyone who doesn't know how good this band can get, the set was plenty good enough to make an impression. My two friends who heard the band for the first time that night can confirm this. No matter what songs they're playing, all three Screaming Females are exceptionally talented. So much as been said about Paternoster's guitar-playing that it's hard to contribute anything new to the discussion. Meanwhile, just out the spotlight, Mike Abbate is playing some of the best bass guitar I've ever heard. The trio displays a seamless musical chemistry that's rare in young bands, locking in so effortlessly you'd think they share a brain. (Hmmm...)
The band also skipped the whole encore thing, which I appreciated. Every show, no matter if it's great or only mediocre, has an encore these days. The audience hardly even claps or yells because it's just expected. Why go through that fanfare? Paternoster just said "so this is where we leave and you all clap and we come out and do one last song, so we're just going to play that now, and then we're really done, ok?" I like dumb traditions as much as anyone, but sometimes it's time to cut the crap. Yeah: "Screaming Females: Crap-Free Music Since 2005." [MySpace]
Where: Bell House
I know about 50% of my recent posts have been about Screaming Females. But that's only because they're probably responsible for at least 50% of what's good about the current music scene. So deal with it.
First, though, the So So Glos opened. I reviewed them once before, and my reaction this time was basically the same. They are a really solid hardcore punk band. They aren't doing anything that hasn't been done before, but their songs are well-written and their performance basically involves all of them jumping up and down the entire set, which is excellent.
This time, though, part way through the set, the band dipped into something much more subtle and restrained than anything I expected to hear. Yes, it was a little disjointed, and yes, I like loud-fast music, but the temporary change in pace was smart. It illustrated not only that the SSGs have a knack for arrangement and composition, but also that they may have far more tricks up their sleeve than they usually let on. I'm intrigued.
And then they went back to their fun, catchy hardcore, pogoing and yelling to the end of their set. Hooray! [MySpace]
OK, so here it comes. Screaming Females! Anyone who's ever been in a band knows that all your equipment will work fine until it all suddenly malfunctions on the same day. And this night at Bell House was that day for Screaming Females. Marissa Paternoster's guitar kept cutting out (due at least in part to the flailing audience hitting the power switch connected to her pedals). Meanwhile, a de-facto drum tech kept popping out on stage to fix something, I'm not even sure what. The many problems put a dent in the set's momentum, but the band did their best to carry on with minimal interruption.
However, despite overcoming the barrage of technical difficulties, it was a bit of a lackluster set, as compared to the others I've seen recently. The reason was simple - the set list just wasn't great. Aside from "Bell," the band skipped over most of their best tunes (and they have so many best tunes). It was disappointing, knowing how much better it could have been.
Screaming Females (photo by Eddie Austin)
However, for anyone who doesn't know how good this band can get, the set was plenty good enough to make an impression. My two friends who heard the band for the first time that night can confirm this. No matter what songs they're playing, all three Screaming Females are exceptionally talented. So much as been said about Paternoster's guitar-playing that it's hard to contribute anything new to the discussion. Meanwhile, just out the spotlight, Mike Abbate is playing some of the best bass guitar I've ever heard. The trio displays a seamless musical chemistry that's rare in young bands, locking in so effortlessly you'd think they share a brain. (Hmmm...)
The band also skipped the whole encore thing, which I appreciated. Every show, no matter if it's great or only mediocre, has an encore these days. The audience hardly even claps or yells because it's just expected. Why go through that fanfare? Paternoster just said "so this is where we leave and you all clap and we come out and do one last song, so we're just going to play that now, and then we're really done, ok?" I like dumb traditions as much as anyone, but sometimes it's time to cut the crap. Yeah: "Screaming Females: Crap-Free Music Since 2005." [MySpace]
Thursday, December 3, 2009
Live: Jesus Lizard
When: 11/17
Where: Irving Ballroom
To be honest, I missed most of the Jesus Lizard set at Irving Ballroom for reasons I won't go into. That really sucks because I love Jesus Lizard and also because I bought a ticket and it wasn't cheap. And also because I saw the set list and I know they played a lot of my favorite songs from the first three albums before I arrived. Nevertheless, I caught enough of the show to have something to say (surprise!) so here goes...
Jesus Lizard has always been a nasty, ugly band. Their music epitomizes the best of the Midwest's golden era - that post-hardcore, pre-thrashy alt metal window where bands like Big Black, Naked Raygun, the Effigies and Killdozer mixed punk's DIY ethos and teenage-boy aggression with far more sophisticated musical ideas. Although the bands of this scene have vastly varied sounds, most of the best pushed the extremes of weight and volume while at the same time learning from the UK's post-punk grooves. The result was music simultaneously more caustic than most punk or metal and with more melodic and rhythmic flow.
Jesus Lizard certainly embraces this. Their noise rock influences make their sound jarring and asymmetrical. Over the distorted, two-ton bassy riffs, David Yow crafts equally bilious, hateful vocals.
So what of their live show now? Even the best reunited bands seem to lose a little excitement when they reach a certain age. But not Jesus Lizard. Apologies to average-looking 50-year-olds everywhere, but having a half-naked, pale, slightly flabby, sweat-drenched one repeatedly screaming "MOTHERFUCKER" at you is even more disturbing than having a sweaty 27-year-old repeatedly screaming "MOTHERFUCKER" at you. Jesus Lizard is about making people uncomfortable, and though Yow and company aren't inherently ugly, they embrace ugliness as an ultimate unsettling aesthetic. Sonically and visually, they'll send most people running for the door, and those people are running faster than ever. And that's why we love this band.
[MySpace]
Where: Irving Ballroom
To be honest, I missed most of the Jesus Lizard set at Irving Ballroom for reasons I won't go into. That really sucks because I love Jesus Lizard and also because I bought a ticket and it wasn't cheap. And also because I saw the set list and I know they played a lot of my favorite songs from the first three albums before I arrived. Nevertheless, I caught enough of the show to have something to say (surprise!) so here goes...
Jesus Lizard has always been a nasty, ugly band. Their music epitomizes the best of the Midwest's golden era - that post-hardcore, pre-thrashy alt metal window where bands like Big Black, Naked Raygun, the Effigies and Killdozer mixed punk's DIY ethos and teenage-boy aggression with far more sophisticated musical ideas. Although the bands of this scene have vastly varied sounds, most of the best pushed the extremes of weight and volume while at the same time learning from the UK's post-punk grooves. The result was music simultaneously more caustic than most punk or metal and with more melodic and rhythmic flow.
Jesus Lizard certainly embraces this. Their noise rock influences make their sound jarring and asymmetrical. Over the distorted, two-ton bassy riffs, David Yow crafts equally bilious, hateful vocals.
So what of their live show now? Even the best reunited bands seem to lose a little excitement when they reach a certain age. But not Jesus Lizard. Apologies to average-looking 50-year-olds everywhere, but having a half-naked, pale, slightly flabby, sweat-drenched one repeatedly screaming "MOTHERFUCKER" at you is even more disturbing than having a sweaty 27-year-old repeatedly screaming "MOTHERFUCKER" at you. Jesus Lizard is about making people uncomfortable, and though Yow and company aren't inherently ugly, they embrace ugliness as an ultimate unsettling aesthetic. Sonically and visually, they'll send most people running for the door, and those people are running faster than ever. And that's why we love this band.
[MySpace]
Wednesday, December 2, 2009
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]
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]
Tuesday, December 1, 2009
Upcoming Shows: FRIDAY @ Monster Island Basement
Shellshag - "The White Stripes on steroids and crack" (Jersey Beat 2007) [MySpace] [Official Site]
Big Troubles - "Big Troubles is Ian and Alex, two guys from Ridgewood, New Jersey looking to give you a sonic shoulder rub if you can stand it. Just as their fellow Ridgewoodians Real Estate tend to dunk theirs underwater, Ian and Alex blanket most melodies in loads of fuzz and distortion. Lots of kids are doing it these days, few are doing it as well as these two." (The Tripwire) [MySpace] [Official Site]
Sisters - "The Brooklyn duo Sisters pull nineties alternative rock into the twenty-first century, skillfully tempering Gen X slacker aesthetics with an earnest optimism and youthful vigor." (The New Yorker [!!!]) [MySpace] [RFR Review]
The Sundelles - "The band's sound is as classic garage as you can get and there is something reminiscent of Sid Vicious in the singer's voice. This track is filled with youthful exuberance and defiance. Definitely mixtape worthy!" (Rock Insider) [MySpace]
It's at Monster Island Basement a.k.a. Secret Project Robot art gallery a.k.a. 210 Kent Ave., at the corner of Kent and Metropolitan. Doors at 8 PM, costs $7.
Wednesday, December 2
Werewolves @ Glasslands | Williamsburg, Brooklyn | $5
I wouldn't hold my breath because the Werewolves have cancelled the last two times I tried to see them. But assuming they are going to do the show, you should be there. Werewolves manage to still the best of pretty much every variety of psychedelic music, from 60's rock and roll to shoegaze to noise. Hazy sounds, great melodies and squalling noise combine to make some of NYC's best music. [RFR Review] [MySpace]
Thursday, December 3
Young Boys @ Shea Stadium | Greenpoint, Brooklyn | $7
Young Boys are a badass noise pop duo who sound like an even drunker, even more nihilistic Jesus & Mary Chain. Everything is minimal, from the simple vocal melodies to the untamed, feedbacking guitar to the programmed keyboard beats. It's fucking great. [RFR Review] [MySpace]
Friday, December 4
Shellshag! Sisters! Big Troubles! Sundelles! See above!
Saturday, December 5
The Nymphets @ Dead Herring | Williamsburg, Brooklyn
The Nymphets are a minimal punk duo from Canada. Their music is simplistic and raw, their songs instantly lovable and their attitude badass but endearing. Check it. [RFR Review] [MySpace]
Monday, December 7
Jeff the Brotherhood, Dinowalrus, Sisters, Coin Under Tongue @ Mercury Lounge | LES, Manhattan | $8
Um, only four of the best bands on the scene right now, plus a DJ set by a fifth great (my recent obsession Stupid Party). Jeff the Brotherhood play raw psychedelic punk. Dinowalrus make experimental music that rocks hard but with complicated rhythms and unusual sounds. Sisters write enthusiastic, lo-fi pop songs. Coin Under Tongue yell all post-hardcore/thrash style into the microphone while making mammoth, distortion-laden riffs. However you look at it, this is a dream line-up. [JtB RFR Review] [JtB MySpace] [DW RFR Review] [DW MySpace] [Sisters RFR Review] [Sisters MySpace] [COT RFR Review]
The long view...
December
10
Reagan Youth @ Trash Bar
11
Fiery Furnaces @ Music Hall of Williamsburg
Forgetters (mems Jawbreaker, Against Me) @ Market Hotel
12
Fiery Furnaces @ Bowery Ballroom
13
Blank Dogs + Silk Flowers @ Monster Island Basement
14
The Slits + Sisters, Sundelles @ Highline Ballroom
15
The Antlers @ Bowery Ballroom
16
Raekwon @ The Fillmore
17
The For Carnation @ Knitting Factory
Black Dogs, Led Er Est @ Death By Audio
Pterodactyl @ Cameo
29-31
Patti Smith @ Bowery Ballroom
January
15
Gang Gang Dance, DJ/Rupture @ Music Hall of Williamsburg
16
Dinosaur Jr @ Bowery Ballroom
17
Dinosaur Jr @ Music Hall of Williamsburg
25
Cheap Trick @ The Fillmore
29-30
Mission of Burma @ Bowery Ballroom
February
9
Residents @ Webster Hall
13
Magnetic Fields @ Brooklyn Academy of Music
Thursday, November 12, 2009
Live: Lightning Bolt + Black Dice
When: 10/30
Where: Above the Auto-Parts Store
My first trip to Todd P's new space, just around the corner from Market Hotel, was a bit disappointing. The space is huge, which I suppose isn't inherently bad, but I got into indie/DIY shows to get away from places quite that big. Not that it's an arena, but it looks like it could hold about 1,000 people. That's a lot.
It's on a second floor and the few small windows at one end of the room may not be opened, lest the music disturb the neighbors. With a low ceiling and brick and concrete walls, the room got pretty warm, even for a cold night. And by warm, I mean you'd be drenched in sweat (yours or someone else's) after about two minutes. The same factors also mean bad acoustics, especially since, for no apparent reason, they put in a corner stage. With the harsh angles, the low ceiling and the rough, hard building material, the sound is as much din as it is music. But oh well.
Lightning Bolt and Black Dice are either the two best bands for this kind of acoustics or the two worst. I'm not sure. Both bands work more with noise than with tunes or even beats. And that's not all they have in common - Hisham Bharocha of Black Dice was an original member of Lightning Bolt during its brief days as a trio. Apparently, they were too musical for his tastes.
Black Dice are the kind of experimental band I can't get behind. They just make loud noise. Sometimes there is a pulse, but never really a beat. There is never a melody, and the extremely rare riff is usually just repeated eight hundred times. It might be good for what it is, but it's not music.
There were clearly some people in the audience who connected with Black Dice and were genuinely thrilled about it, so clearly they are not failing. While there's always a degree of Emperor's New Clothes syndrome* with any experimental band, that doesn't explain all the crazy kids pushing to the front. So good job, Black Dice. I can't be a fan or even understand what's good here, but clearly, the band is doing what they want to, and if it's getting folks excited, that's rad. [MySpace]
Lightning Bolt are more up my alley. They are noisy and chaotic but there are both riffs and beats, even if they are jarring, violent, asymmetrical ones. They play a drumset and a heavily distorted bass, both really loud, and sometimes the drummer makes vocal noises with a microphone he holds on or in his mouth with a mask. Niiiice.
The half of the room towards the stage was PACKED with moshers. Unfortunately, the mosh pit was just too big. With rather poor visibility and the mosh pit achieving critical mass and just moving in unison left, then right, it was kind of hard to enjoy the show. People climbed up on everything they could find to see the duo destroy their set, including one gentleman who watched wrapped around the top of the room's one beam holding up the ceiling.
There's nothing that can be done about shows like this. Sometimes a lot of people want to go see a band, and when that band is as adventurous and brilliant as Lightning Bolt, that's a good thing. And if people want to mosh and have fun, that's an extra good thing. But in a room that large and hot and sweaty and crowded, especially with chaotic acoustics, it's impossible to really watch or enjoy a band, no matter how awesome. [MySpace]
*Emperor's New Clothes syndrome occurs when a large number of people become convinced that if they do not like a band, they have unsophisticated taste. They then overcompensate by praising the band's wacked-out bullshit, convincing those around them that if they don't like it, they have unsophisticated taste. You can see it's a cycle.
If you don't know the story of the Emperor's New Clothes, this dude comes to town and is like "hey Emperor, for a gazillion dollars, I can make you the best robes ever, and they have the magical quality that they are invisible to fools." Well, as you might guess, the emperor ends up paying the guy and walking through town naked because everyone (His Majesty included) thinks everyone else can see the clothes, and that they must be fools. (Incidentally, when I was a kid, this story inspired the most mortifying Halloween costume my mother ever made me wear. I'll leave the details to your imagination.)
Where: Above the Auto-Parts Store
My first trip to Todd P's new space, just around the corner from Market Hotel, was a bit disappointing. The space is huge, which I suppose isn't inherently bad, but I got into indie/DIY shows to get away from places quite that big. Not that it's an arena, but it looks like it could hold about 1,000 people. That's a lot.
It's on a second floor and the few small windows at one end of the room may not be opened, lest the music disturb the neighbors. With a low ceiling and brick and concrete walls, the room got pretty warm, even for a cold night. And by warm, I mean you'd be drenched in sweat (yours or someone else's) after about two minutes. The same factors also mean bad acoustics, especially since, for no apparent reason, they put in a corner stage. With the harsh angles, the low ceiling and the rough, hard building material, the sound is as much din as it is music. But oh well.
Lightning Bolt and Black Dice are either the two best bands for this kind of acoustics or the two worst. I'm not sure. Both bands work more with noise than with tunes or even beats. And that's not all they have in common - Hisham Bharocha of Black Dice was an original member of Lightning Bolt during its brief days as a trio. Apparently, they were too musical for his tastes.
Black Dice are the kind of experimental band I can't get behind. They just make loud noise. Sometimes there is a pulse, but never really a beat. There is never a melody, and the extremely rare riff is usually just repeated eight hundred times. It might be good for what it is, but it's not music.
There were clearly some people in the audience who connected with Black Dice and were genuinely thrilled about it, so clearly they are not failing. While there's always a degree of Emperor's New Clothes syndrome* with any experimental band, that doesn't explain all the crazy kids pushing to the front. So good job, Black Dice. I can't be a fan or even understand what's good here, but clearly, the band is doing what they want to, and if it's getting folks excited, that's rad. [MySpace]
Lightning Bolt are more up my alley. They are noisy and chaotic but there are both riffs and beats, even if they are jarring, violent, asymmetrical ones. They play a drumset and a heavily distorted bass, both really loud, and sometimes the drummer makes vocal noises with a microphone he holds on or in his mouth with a mask. Niiiice.
The half of the room towards the stage was PACKED with moshers. Unfortunately, the mosh pit was just too big. With rather poor visibility and the mosh pit achieving critical mass and just moving in unison left, then right, it was kind of hard to enjoy the show. People climbed up on everything they could find to see the duo destroy their set, including one gentleman who watched wrapped around the top of the room's one beam holding up the ceiling.
There's nothing that can be done about shows like this. Sometimes a lot of people want to go see a band, and when that band is as adventurous and brilliant as Lightning Bolt, that's a good thing. And if people want to mosh and have fun, that's an extra good thing. But in a room that large and hot and sweaty and crowded, especially with chaotic acoustics, it's impossible to really watch or enjoy a band, no matter how awesome. [MySpace]
*Emperor's New Clothes syndrome occurs when a large number of people become convinced that if they do not like a band, they have unsophisticated taste. They then overcompensate by praising the band's wacked-out bullshit, convincing those around them that if they don't like it, they have unsophisticated taste. You can see it's a cycle.
If you don't know the story of the Emperor's New Clothes, this dude comes to town and is like "hey Emperor, for a gazillion dollars, I can make you the best robes ever, and they have the magical quality that they are invisible to fools." Well, as you might guess, the emperor ends up paying the guy and walking through town naked because everyone (His Majesty included) thinks everyone else can see the clothes, and that they must be fools. (Incidentally, when I was a kid, this story inspired the most mortifying Halloween costume my mother ever made me wear. I'll leave the details to your imagination.)
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