Live: The Coathangers

When: September 30, 2009
Where: Cake Shop

I've gone back and forth on Coathangers a few times; when I first heard a song by them, I really freaked out about how good it was, but when I listened to the whole album, I cooled off. After a while, though, the album really grew on me. And seeing the Coathangers live seems to have finally settled on which side of the fence I'll come down: I am a fan.

The Coathangers, all all-female punk outfit from Atlanta, seem to have struck a good balance between the extremes of female roles in punk - they have the badassery of riot grrrls but not the off-putting self-righteousness that sometimes comes with. I wouldn't rank them with the defiant but largely unspoken feminism of Screaming Females and Marnie Stern, but it takes all kinds, right? And trust me, I know how unfair it is to see every female band's existence as a political statement and to analyze them to death in those terms. But that's the reality of the world we live in - every female band is a political statement, the only choice is what kind of statement to be.

Identity politics aside, the band is certainly badass enough bang out a whole set of in-your-face yet catchy songs. Their melodies are simple and unrefined, more shouted than sung, and backed by passionately sloppy instrumentals. Their minimalism can be a bit deceptive, however, since there's a lot going on including keys and some very sweet guitar riffs. The band also has a knack for arrangements and composition, so despite the simplicity, not just anybody could come up with these songs.

Several things immediately won me over about the band. First, they traded instruments a lot, and I have a soft spot for bands that do this - it's usually accompanied by a down-to-earth creativity and collaborative spirit. Also, the band has four members and when only three were needed for a song, they were not afraid to have the fourth sit out a few numbers. Having been the person sitting out, I know it can suck a little, but ultimately, it's way better that cluttering the music or having redundant players on stage. It's a good call from a band who know what they are trying to do and how they're going to do it.

The member who did sit out for quite a while is (I think) Meredith Franco, a.k.a. Minnie Coathanger, whose main instrument is bass. Vocals were shared throughout the set, but Franco only sang one song, and here, she seemed rather uncomfortable, often turning her back to the audience. She made a very admirable effort to move around, but it was a bit stiff and self-conscious.

The rest of the band was unabashed throughout, not holding back any crazy antics, from primal shrieks to bizarre dance moves. Though clearly capable of playing her instrument, keyboardist Candice Jones (a.k.a. Bebe Coathanger) spent about half the time banging on random keys. And despite her unassuming appearance, guitarist and sorta-frontwoman Julia Kugel ("Crook Kid Coathanger") is anything but shy. Meanwhile, gangly (in a good way), tattooed oft-drummer Stephanie Luke ("Rusty Coathanger") served as the band's musical and personal backbone, keeping everyone edge but also keeping them from bouncing out of control.

I think it's safe to call Coathangers one of the best punk revival bands around today, both for their irresistible songs and their defiant mannerisms. They are keeping the spirit alive. Oh yeah, and they're fucking FUN.

[MySpace]

Upcoming Shows: Raincoats, Shonen Knife, No Age, Marnie Stern + more

This is a confusing and difficult week for show-goers. Way too much that's way too awesome. The extent to which awesomeness overlaps will probably make you cry.

Thursday, October 15

Titus Andronicus, So So Glos, Grooms @ Knitting Factory | Williamsburg, Brooklyn (NEW LOCATION!!!) | $12
Titus Andronicus and So So Glos are two of the awesomest hardcore punk bands around. And by hardcore punk, I don't mean fifteen-year-old skinheads who go around beating people up. I mean nice kids who like to play rock music. Titus puts on a hell of a live show. Grooms are an odd fit, with a much slower, more complex, less energized sound. But they are good too. Also, this is their album release party. I just reviewed their album like 10 minutes ago. [TA MySpace] [SSG MySpace] [Grooms MySpace]

No Age @ MoMA | Midtown East, Manhattan
I don't know why No Age is playing at MoMA. It sounds pretentious and not worth missing the above show to see. But I figured I'd let you know. They play the New Museum the next day and have a proper show Saturday (see below). [MySpace]


Friday, October 16

Raincoats, Marnie Stern, Viv Albertine @ Knitting Factory | Williamsburg, Brooklyn (NEW LOCATION!!!) | $22 adv./$25 dos.
HOLY FUCKIN SHIT THE FUCKIN RAINCOATS!!!!!!!!! Or, more calmly put, one of the first and greatest UK punk bands and one of the bands that pioneered the way for women in indie rock music. The other band to fit this description, of course, is the Slits. And the Slits' guitarist was...anybody? Anybody? That's right, Viv Albertine! And as for Marnie Stern, she's the new generation, and just as awesome. You cannot miss this show, unless... [Raincoats MySpace] [MS MySpace] [VA MySpace]

...you miss it to see this one:
Shonen Knife @ Santos Party House | Chinatown, Manhattan | $12
More of indie rock's leading ladies, Shonen Knife have one of the coolest backstories in rock history. Formed in the 1980's in uber-conservative Japan, Shonen Knife consisted of three women who worked as secretaries by day and led secret lives as indie pop musicians at night, unbeknownst to their families and employers - it was considered unseemly for a woman to play rock or pop music, but Shonen Knife gave chauvinism the finger and kicked out some jams, motherfuckers. [MySpace]


Saturday, October 17

No Age @ Above the AutoParts Store | Bushwick, Brooklyn
No Age are a "noise punk" duo from California. "Noise punk" is the in-term right now for bands like this, and it does make a lot of sense. Borrowing from shoegaze, lo-fi and noise pop, No Age and their ilk make dense walls of distortiony sound, but slam out fast 2/4 punk tunes instead of meandering ambiance or wimpy indie pop. No Age are the best of their peers at this style, with bright, irresistible melodies and an unbelievable amount of noise, made on only one guitar. Go see them. [MySpace]

Echo & the Bunnymen @ Mercury Lounge | LES, Manhattan | SOLD OUT!
Obviously, Echo & the Bunnymen is one of the greatest bands of all time. Their mopey post punk, with its stark landscapes and dramatic, tuneful tenor, adds a psychedelic sensibility to the mix. Formed in 1978, this band is the real deal. Mercury Lounge is probably the best small venue in the city. You will NEVER have another chance to see this band this close. Obviously, it's sold out, so if you don't have a ticket, good luck.

Glenn Branca @ Issue Project Room | Gowanus, Brooklyn | $12 adv. / $15 dos.
One of the leaders of New York City's late 70's arty No Wave scene, Branca is an avant garde composer who makes crazy-ass sounds on guitars and mentored Thurtston Moore and Lee Renaldo when they were both wee young things. Or something like that (the nature of the relationship depends on who you ask). I wouldn't go see this over the above shows. He's from town and will perform again. Probably at IPR.

Upcoming Shows: MDC, Mecca Normal + more

This is the most old school week ever, especially for punk rockers. (And if that's your thing, also check out Dead Milkmen and Meatmen tour schedules this week.)


TOMORROW, Tuesday, April 14

Wye Oak @ Bell House | Gowanus, Brooklyn | $12
Wye Oak are a really amazing noise-folk band from Baltimore who alternately make nice sweet songs and a really lot of noise. And sometimes they do both at the same time. Consisting of two amazingly gifted musicians, Wye Oak was rightfully the buzz of last year's CMJ Music Marathon. Check out my last live review of them for more information. [Website] [MySpace]


Wednesday, April 15

Nada Surf @ Bell House | Gowanus, Brooklyn | $15
Bell House has it going on this week! Nada Surf have been around forever. I know this, because many years ago, my very first band did a cover of their classic song "Popular." (However, we hesitated to perform it live since our vocalist would kind of go nuts and start screaming names of specific people we went to school with. But I digress.) With their slightly punky indie rock, Nada Surf have only improved since their initial hit (yup, "Popular"), with their quality steadily on the rise for at least 15 years now. [Website] [MySpace]


Thursday, April 16

Throbbing Gristle @ Brooklyn Masonic Temple | Fort Greene, Brooklyn | $35 (Sold Out??)
I would be remiss not to tell you that classic industrial band Throbbing Gristle is doing their first East Coast show in ages this Thursday at the Brooklyn Masonic Temple. An offshoot of Krautrock and its unhuman electronic beats, industrial music was largely defined by Throbbing Gristle in the mid-70's. Without them, you'd have no Big Black, no Nine Inch Nails, probably even no Depeche Mode. And they have a reputation as an amazing live act, far exceeding their recorded material. Still, thirty-five bucks ain't cheap. [Website] [MySpace]

?? Rumanian Buck @ Southpaw | Park Slope, Brooklyn | $8 ??
I can't figure out whether or not this show has been cancelled. I think it has, but it's worth looking into further, because Rumanian Buck features members of Big Sleep and the late Beat the Devil, two of NYC's best edgy, hard-rockin' bands.


Friday, April 17

Of Montreal, Janelle Monae, The Ladybug Transistor @ Music Hall of Williamsburg | Williamsburg, Brooklyn | SOLD OUT
Wow, this is a monster of a line-up. Honestly, I stopped liking Of Montreal when they stopped being a creepy little twee band, but they do know how to incorporate a trumpet into a pop song, so they're clearly doing something right. The worst thing about them nowadays is that their stage performance is super gimmicky and lame - but they've kind of made up for that this time around by inviting two killer openers. Janelle Monae is a richly-talented singer who I've been rooting for way back before any of y'all knew her name. Her southern roots mixed with funk mixed with indie rock sensibility make her sound pretty hard to describe but pretty awesome to listen to. And the Ladybug Transistor, well, they're NYC's quintessential indie pop band and nothing short of irresistible. Together, the three acts have a lot of variety but a lot of great pop moments that make surfing craigslist for a ticket worth your while. [OM Website] [OM MySpace] || [Monae Website] [Monae MySpace] || [Ladybug Website] [Ladybug MySpace]


Saturday, April 18

MDC (unplugged) @ ABC No Rio | LES, Manhattan | $7 | 3 PM
MDC @ Cake Shop | LES, Manhattan | $10 | 8 PM
MDC are one of the great classics of American punk, a West Coast hardcore outfit who were contemporaries and equals of fellow San Franciscans the Dead Kennedys. You have two chances to see them Saturday, both in intimate environments. True to hardcore tradition, both shows are ALL AGES. [MySpace]

Asa Ransom @ Cameo | Williamsburg, Brooklyn | $?
It's been a long time since I last checked in with my pals Asa Ransom, whose keyboard-driven, aggressive, experimental punk is comparable to Pere Ubu in no small way. Their live show is outstanding and their music is cutting edge. [Website] [MySpace]


Monday, April 20

Mecca Normal (K Records) @ Cake Shop | LES, Manhattan | $8
Mecca Normal is a classic K Records band, and while K Records is most famous for its wussy twee pop, Mecca Normal are far more badass than their label would imply. Though formed in 1981, the band didn't hit their stride until the late 80's and early 90's, when they combined the sounds of their scene - indie pop and early riot grrrl - with the more experimental sounds of noise rock, post punk and no wave. Check it. [MySpace]

The Bronx @ Bowery Ballroom | LES, Manhattan | $15
The Bronx are the leading hardcore band of the moment, so if the K Records crowd is too pansy for you, stop by here instead. [Website] [MySpace]

Dust It Off: Ut - In Gut's House

Sorry folks, Dust It Off is a day late this week - I had no internet access for most of yesterday. Here goes...


Album: In Gut's House
Blast First, 1987

Formed at the tail end of New York's late 70's No Wave scene, Ut captured the avant-garde noise of their colleagues, but throughout the 80's, they tightened the sound and perfected the use of contrast - dissoanance and resolution, melody and drone, composition and improvisation. The all-female three-piece didn't release much recorded material in their early years, but in the second half of the 80's, they put out a series of excellent records showcasing the style they'd spent half a decade crafting.

In Gut's House is the peak of their efforts. Technically a double EP, the album kicks off with "Evangelist," one of the group's most accessible and best tunes. It may be a misleading as most of the following songs are considerably less melodic, but on the other hand, it warms the listener up, easing them into the angular experimentation of the subsequent tracks.

Ut's music draws heavily on Sonic Youth and particularly the Velvet Underground, and manages to predict the sounds both of early 90's math rock and early 90's riot grrrl, two genres usually considered miles apart. In Gut's House has the jumpy, sparse guitars of the soon-to-be-invented math rock, accompanied by pounding toms that never fall into a set rhythmic pattern for more than a few bars. The vocals are sometimes coherent, welcoming melodies, but at other times, they are yowls, screeches or chants, much like the young feminist bands that would form in the Pacific Northwest just a few years down the road.

And despite all the flexibility of their relatively unstructured songs, Ut maintains coherence and a sense of focus throughout the album - the tension and release, the sudden veering from beauty to ugliness, the detailed arrangements, everything indicates that this was an album made with a unified vision and careful planning.

"Homebled" is a particularly interesting track. It sounds like a completely fried Velvet Underground trying to play a folk ballad. It even includes John Cale's signature electric viola sound. (Well, in this case, I think it might be a violin, but same idea.) The vocals would be conventionally pretty if they and their backing instruments didn't keep falling apart.

While confrontational like their No Wave peers, Ut also gives the listener more inroads and moments of true beauty than the orginal New York No Wavers, perhaps translating the movement's experimentalism more accessibly than anyone besides Sonic Youth. And unlike Sonic Youth, Ut never enjoyed commercial success and certainly never scored a major label deal. But despite their unending obscurity, the band has made its mark upon modern indie music and should be a feature in every art punk fan's collection.

MySpace (fan page)

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

When: 3/20
Where: Cameo

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

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

MySpace

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

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

MySpace

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

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

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

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

MySpace

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

MySpace

Best Albums of 2008 - Part 5 - #5-1

Although this list has shifted a lot, there's never been any doubt that these five albums would top it. They are not only the best of 2008, they are a full head and shoulders above everything else.

PREVIOUS>>
Part 1 - Rules and Runners Up
Part 2 - #20-16
Part 3 - #15-11
Part 4 - #10-6


#5

Gang Gang Dance - Saint Dymphna
The Social Registry

I have searched and searched for some criticism to make of this album, but I haven't come up with much. Gang Gang Dance have always been innovators, but in this release, which fleshes out their club/dance tendencies, the band has at last fully lived up to their immense potential. Saint Dymphna is one of the only true masterpieces of 2008, and if this were not explicitly a rock/pop list, this album might have placed even higher than #5.

An epic electronic album, Saint Dymphna draws on influences from My Bloody Valentine and Brian Eno to "world-beat" (in the rawest, most "tribal" sense) to trip-hop, and uses elements from each style so smoothly, you could swear each one was invented specifically to be a tool in the dub toolbox. Of all the electronic acts who are supposed to be lovable to rock critics (Aphex Twin, DJ Shadow, Mouse on Mars, etc.), this is the first one to really win me over. I'm not sure why, but I think it's because the music has genuine feeling but none of the machismo that usually accompanies it in the genre. In any case, the album shows brilliance in inspiration and meticulous care in execution. It's as close to perfect as 2008 has to offer.

Tinchy Stryder, guest rapper on "Princes," puts it best: "Oh shit! Gang Gang!"

Track picks: "Blue Nile," "Desert Storm"
MySpace


#4

Titus Andronicus - The Airing of Grievances
Troubleman Unlimited

For all of us who thought the twenty-first century and hardcore punk would never really find a meeting point, Titus Andronicus has proven us wrong. The subversive edginess of hardcore is alive and well in Grievances, but the album is as far as you can get from revivalist - the punk of Titus Andronicus is fresh and original, smart, innovative and unrestricted by convention. It takes into account the important musical developments of the last few decades, borrowing guitar techniques from shoegazers, songwriting ideals from British indie popsters and experimentalist cues from post-hardcore burners. Punk, meet 2008. 2008, meet punk.

Track pick: "Titus Andronicus"
MySpace


#3

Wavves - Wavves
Woodsist

I think what's most compelling about Wavves is that its only member, Nathan Williams, delivers his songs with the confident ease of someone who knows his music could kick anyone else's music's ass. It's dope to the point where if you don't like it, everyone will know it's because you're not cool enough, not because there's anything wrong with the music. Yeah, that's not fair to say about any band, but Wavves are the best candidate for getting away with such cooler-than-you trickery since Sonic Youth's heyday.

But it's not really trickery, because the album really is that good. Wavves sounds like it may have been recorded through a jet engine - the guitars are distorted, the drums are distorted, the vocals are distorted, absolutely everything is distorted. But the pseudo-surf, pseudo-punk numbers are short and catchy, if you can make them out through the roar of static. Most importantly, the album is fiercely independent, fearless and self-assured to an degree very few bands have ever achieved.

Track picks: "Teenage Super Party," "Wavves"
MySpace


#2

Los Campesinos! - Hold On Now, Youngster...
Wichita Recordings / Arts & Crafts

I can't possibly tell you how obsessed I am with this album. Los Campesinos!'s second album of the year, We Are Beautiful, We Are Doomed placed at #15 on this list, so I've already said a little about the band. While Hold On Now is a less refined effort, it won out for top spot because it's got the best songs and the higher level of originality of the two releases.

Los Campesinos! are a manic Welsh pop band that boasts seven or eight members - who all together generate a hella lot of noise. They play ping-pong with melodies, passing them back and forth, at times by the word, and there's always a half-dozen different parts at once, making this an album worth hearing many times through.

Most importantly, the melodies and hooks are hands-down the best pop music offered up in 2008. Keeping in mind I don't even nod my head at most concerts, you can take as evidence of the album's catchiness the fact that I've been seen jumping up and down like a maniac on subway platforms because this was playing in my headphones. True, the band goes right up to the very brink of overly self-aware, puke-inducing preciousness, but just when you think you're going to start hating them, they pull something else awesome out of their hat and you're back to being madly in love again. In the world of straight-up pop, this album is not only the best of the year, it's one of the best of the decade.

Track picks: "My Year In Lists" (how appropriate!), "Death to Los Campesinos!"
MySpace


#1

Marnie Stern - This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That
Kill Rock Stars

No, this isn't a "worst album title" list, though This Is It would score just as well in that competition. But this is a "Best of 2008" list and this album is the best of the year. To be honest, I ignored Marnie Stern for a long time because I saw the individual name and wrote it off as "boring solo project" without giving it a try. But I heard so much about Stern this fall that I decided to give the album a fair chance - and it was not remotely like anything I might have expected. It's a high-speed riot-grrrl-inspired noise-rock explosion featuring a dozen tracks of non-stop shredding, lightspeed drumming and raging, enveloping melodies. It's like nothing I've ever heard.

I put a lot of consideration into the placement of This Is It at the top of the list, and I feel confident that this is where it belongs. The reason is simple: while most of the standout albums of 2008 will be surpassed and fade into the background of their respective genres with time, I really believe in ten or twenty years, Marnie Stern's record will still sound fresh, and that it will still have the power to move and inspire. Time might prove me wrong, but of anything released this year, it's the most worthy of becoming a classic in the world of rock and roll.

Track picks: "Transformer," "Steely"
MySpace


That's it! Comments welcome!