Upcoming Shows: Jesus Lizard, Shilpa Ray + more

[Upcoming Shows Playlist]
Thursday, November 12

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


Friday, November 13

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


Saturday, November 14

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


Monday, November 16

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


Tuesday, November 17

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

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

[Upcoming Shows Playlist]

Album: CFCF - Continent

Album: Continent
Paper Bag, 2009
Rating: ** (2/10)

The first time I heard CFCF must have been last spring when part of the Panesian Nights EP mysteriously showed up on my hard drive. I gave it a listen and though I wasn't blown away, I was reasonably impressed, especially by the club-inspired dark ambiance of "Crystal Mines." It was just an EP by an artist early in his career (one Michael Silver), and I figured by the time an LP came around, we might have something worth at least a short-term obsession.

Apparently, I was overly optimistic. Sometimes when I'm bored and often spaced out with a migraine, I pull out my keyboard, turn on some cheesy synth sound and plunk out little chord progressions and riffs with club-style rhythms. Although I have fun making dark, ominous chords bounce out in a head-bobbing rhythm, I've really never thought it was worth recording even to subject my friends and family to, let alone to put into an LP and foist on the world at large. Perhaps if I had, I'd have a small record deal and some lukewarm reviews on Pitchfork - it worked for Silver.

Yes, folks, what I'm saying is that I can write music this good in my sleep. And the kicker is, I'm really not a synth player at all. Yeah, ouch.

For one thing, I think I misunderstood the purpose of CFCF. While I thought it was experimental ambient in a dark way, this album is like electronic easy-listening, with synthesized saxophone, guitar and fucking pan pipe solos. Even when the music starts with something good - the guilty-pleasure pop of "Invitation to Love," the breaking beat and half-phrase synth lines of "Letters Home" and the sweeping dynamics of "Break-In" - he ruins it with the aforementioned fake saxophone and pan pipe shit or by just dragging it out waaaay too long. Vocals randomly pop up on a few tracks. In a pitchfork interview, Silvers said "I wouldn't consider myself a very strong songwriter or vocalist, so most of the time I try and then fail so I just don't bother." Yeah, we can tell.

The best track of the album is probably "Come Closer," one of those adorned with vocals. Though it wears on far too long, it's got more force to it. It's a much bolder, clearer statement than the rest of the album and comes closest to what I heard from Panesian Nights. Still, I can't even say that track is worth a buck to download. When surrounded by the far-less-than-half-baked monotony of the rest of the album, it's a nice break, sounding almost like a completed thought. But on its own, it doesn't have much to stand on either.

A celebration of self-indulgent rambling electronica, Continent is an album only a mother could love. Or so I hope.

[MySpace]

Live: Fucked Up + Titus Andronicus

When: November 5
Where: Brooklyn Masonic Temple

This is gonna be a long one...

Last night, I headed out to Fort Greene to hear experimental hardcore band Fucked Up perform their already-classic 2008 album The Chemistry of Common Life. I got to the venue just in time to catch the first notes of the opening set by Titus Andronicus, the band that restored my faith in punk a year ago.

But things have changed a lot for this band in the space of a year. They've been frequently hailed as one of the best hardcore bands of this generation, they've got some snazzy invites to play with rad bands (like Jesus Lizard and Bad Brains at the private Vice party on Halloween). They've toured extensively and saw their killer 2008 album The Airing of Grievances rereleased on XL records, part of the indie behemoth Beggars Group. They've also changed their line-up. The two guitarists I last saw them with are both gone, replaced by "indie heartthrob" Pete Feigenbaum.*

Being down one guitarist kept frontman Patrick Stickles tied to his guitar, curbing some of his previous antics and eliminating the harmonica from the set. However, I think it's a net positive - the band sounds more focused than ever before. The band's recent success also apparently afforded them enough for haircuts and a visit to the laundromat, maybe even for new t-shirts entirely. That sounds awfully snarky, but I love a good hardcore band no matter how dirty or clean their clothes, how scraggy or tidy their hair. It gave the show a slightly different feel from Titus shows I've been to in the past, not better or worse, just different.

Fitting with their slightly cleaned-up appearance, Titus Andronicus have polished up their sound. Don't think that takes off the edge, though. They are loud and fast and make me want to move to Ireland and go to a pub with people I will come to call "the lads" every night just so that we can stumble home shouting drunken renditions of every Titus Andronicus song we know. But Titus Andronicus has always been a technically sophisticated band and now their guitar-work can really shine. They've rearranged their songs to include some enormous, glittering walls of sound, some stunning embellishing riffs and some crazy, crazy noise. They are more loud and cool and fun than ever. [MySpace]

And then the headliner, the enigmatic Fucked Up, who are living proof that you can't judge a book (punk band) by its cover (appearance). There are six people in Fucked Up. The two of the left side of the stage are clean-cut young men that look like the guys your parents wish you brought home to meet them. The three on the right are slightly more unkempt, but they definitely look more like kids you'd expect to see working in your college library than ones you expect to run into at a seedy hardcore show. Meanwhile, the frontman is a heavy-set, bald, bearded guy who came out on stage last night in baggy athletic shorts, a big t-shirt and a baseball cap askew on his head. Even knowing the band, I half expected him to start rapping on the spot.

But this is neither nice-boy rock nor quirky indie, and it's certainly not gangsta rap. It's one of the most innovative, most confrontational hardcore bands on earth. Starting with the name, Fucked Up are in your face. They've generated a myriad of rumours about themselves, don't keep a myspace page (though fans keep a detailed one including concert dates) and don't really give a fuck what people think or say - they did little, for example, to quell rumours that they had an underhanded neo-Nazi message. (They don't.)

Calling Fucked Up a "hardcore" band can be a little misleading, however. With three guitarists, along with bass and drums, and songs on average clocking in well past the three-minute mark, their music has a complexity that seems the antithesis of punk. On recordings, they literally layer dozens of guitar tracks. Still, their music has the fast-loud punch of hardcore, the same thrash-style shouting vocals and the same "fuck off" attitude. Fucked Up are without a doubt a hardcore punk band, they've just redefined what that means.

But for all their aggression, Fucked Up is one of the most loving, lovely bands I've ever seen. Their music inspires such a sense of camaraderie that it inspires hundreds of attention-starved teenagers to take turns jumping on stage to hug or attack a band member, shout into a microphone or bang a cymbal (or in this case, gong). Now, if it were me, I'd lose my temper quickly and send the kids home with notes to their parents begging them to take some time out to spend with the lonely youths. But Fucked Up is bigger than me, and even when someone acts particularly inappropriately, they make the best of it, grabbing the offending kid to shout in the microphone for a few lines before hurling them good-naturedly back into the crowd. Meanwhile, frontman Pink Eyes is up front handing the microphone around, grabbing kids for high-fives, hugs, kisses and affectionate rough-housing.


Fucked Up
All evening, the crowd, though moshing and dancing wildly, seemed uninterested in helping crowd-surfers, so one kid after another bellyflopped off the stage onto the floor below. And not long after I thought to myself, "at least this band has a frontperson who can't stage dive" (I mentioned he's a heavy dude), Pink Eyes himself took the plunge. Even if the audience had been supporting people, I'm not sure they could have handled his mass and he dropped straight to the floor. After a bit of crawling and thrashing around, he climbed back on stage. "Thanks for catching me, guys," he said. "Real cool." He flashed a big thumbs-down and then chided the crowd, telling us that "little kids" in China had once carried him. Personally, I'd like to see some photographic evidence of this alleged occurrence.

Performing much of the material from their outstanding album The Chemistry of Common Life, the band brought special guests Andrew W-K, the Vivian Girls and singer Katie Stelmanis on stage. Though the Vivian Girls enraged me by unprofessionally peering out from behind the curtains at the wings when not on stage, I have to admit, I really liked their performance. This is definitely the first time I've said something positive about the band, and grudgingly so, but I gotta hand it to them - fingers jammed in their ears, they sang mostly the right notes (not an easy task in all that noise) and the songs they performed were definitely among my favorites in the set. Equally surprisingly, I highly disliked Andrew W-K's part in the set. The one guest who did not actually play on the album, his keyboard synth parts sounded clinky and didn't blend. I respect him immensely as a musician and maybe it was just bad mixing from the sound engineer, but I found him nothing more than distraction.

Watching kids go wild for the band, it dawned on me how powerful this band is. Just by their very existence, by the fact that they don't get outlandish haircuts and clothes, by the fact that they vary from wiry to overweight (and the overweight one ends the show nearly naked), by having a girl in the band who's there for musicianship and not at all for sex-appeal, Fucked Up are the essence of punk at its best - a refuge for anyone who has ever felt out of place in the mainstream. "Come as you are," a great punk band once said.

But it's more than that. These guys don't look like punks. They also all have stage names. Rumour or truth, part of the Fucked Up legend is that the band adopted these names to hide their association with the band from employers, colleagues and maybe even certain relatives. Fucked Up is the Superman of punk rock. Like Clark Kent, they could be some guy in the next cubicle over, some girl you run into at the grocery store, or even little ol' you. They're the everyman as rock hero. Punk is way more than a musical style, it's a powerful identity and an underground community that's served as a family to outcasts and freaks for decades. Just because we might not see a lot of mohawks and safety-pins when we walk down the street, doesn't mean we're alone. Punk isn't dead. It's as vibrant and strong as ever. And it's all over the place, if you know where to look. [MySpace (fan site)]


*I found Pitchfork's Dinowalrus review extremely amusing. That fact that Pitchfork's Ryan Dombal - a fan of people like Bon Iver, Dirty Projectors and St. Vincent - didn't care for them is probably a stronger recommendation than any I could offer. Dinowalrus fucking ROCKS.

Live: Ponytail + Javelin

When: 10/10
Where: Bell House

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

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

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

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

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

[MySpace]

Album: Brilliant Colors - Introducing

Album: Introducing
Slumberland, 2009
Rating: ****** (6/10)

I have to say, the new album from Brilliant Colors, out today, was pretty disappointing. I'd heard a few promising songs and a few promising recommendations from other folks. Not that it's reasonable to expect much from a DIY, fuzzy indie pop band these days - you can hardly throw a rock without hitting one (though why you wouldn't want to hit one with a rock is a mystery to me).

San Fransisco's all-female trio Brilliant Colors is a late-comer to the movement, and though it's clear they want to be sorta punk, they are a pretty far cry from their real punk counterparts. That's not a huge surprise - after all, this album is on the indie pop label Slumberland, not one of its its punkier sisters like Siltbreeze, Woodsist or In the Red. It's ok to not be punk, but here, the lack of aggression makes the album kind of bland. There's certainly no flares of joy or sadness, let alone anger or mania.

The album isn't bad, and if you're into fuzzy little pop songs, it's not a bad addition to your collection. Most of the songs are well-written. Still, I'd rank this well below the Manhattan Love Suicides' Burnt Out Landscapes or even Cause Co-Motion's It's Time!, both like-minded releases. The one thing that makes Brilliant Colors slightly distinct from such peers is that the vocals draw a little more from ROCK'N'ROLL, rather thank punk. Most indie pop uses the basic Ramones model for melodies, but Brilliant Colors let loose more aaaah-eeeiy-aaah's and oooohwee's. That's a minuscule detail, though, barely worth noting.

Although the songs are all pretty similar, there are a few highlights. The awkward oooh's in "I Searched" and uh-ow's in "Short Sleeves at Night" are endearing and "Absolutely Anything" is an especially charming indie earworm. Things get a little heavier midway through, starting "Mystic," the album's most in-your-face moment. "Motherland" has a little bit of punch to it, too. The closing track, "Should I Tell You" is pretty normal except that it periodically sounds like a Boeing is taking off in the background. I can't figure out if that's a good thing or not.

For fans of the genre, you'll find some nice songs on Introducing, but if you're looking for something artistic, edgy or fresh, you'd be wasting your time. We've heard this before, better, many times.

[MySpace]

Upcoming Shows: Fucked Up, Werewolves, Coyote Eyes + more

[Upcoming Shows Playlist]
Thursday, November 5

Fucked Up + Titus Andronicus @ Brooklyn Masonic Temple | Fort Greene, Brooklyn | $18
Hardcore band Fucked Up is performing their acclaimed album Chemistry of Common Life in its entirety. The bad news is that Vivian Girls (!!??) are singing back-up vocals and it costs $18. On the other hand, Titus Andronicus will be opening with their excellent less thrash/metal form of hardcore. [FU MySpace] [TA MySpace]


Friday, November 6

Girls + Real Estate | Bowery Ballroom | SOLD OUT!
I have mixed feelings about Girls, who have recently been determined to be the shit. The band's backstory is such that if I harsh on them, I'm afraid it will look like I'm in favor of creepy cults and against smiles. (In fact, I am against both cults and smiles.) But let's face it, Girls is anti-edgy, Beach Boys-inspired pop. And the lyrics are some of the most blatant, unoriginal attempts to get laid in the history of rock. From the words, we learn that Christopher Owens is a really nice guy who wants to innocently love and be friends with girls and smile and make the best of his terrible life, but he's just heartbroken and lonely. I'm mean, come on!!! (Note: if we discounted all music that was created for the purpose of the musician getting laid, we'd be without 98.5% of music, but at least you don't have to be so obvious and uncreative about it.) On the other hand, his voice is really interesting, not quirky at all but not like anyone else's, awkward but very rich and full. And the melodies and songwriting are unarguably Great - with a capital G. [MySpace]


Sunday, November 8

Werewolves, Coyote Eyes + Mary Onettes @ Mercury Lounge | LES, Manhattan | $10
It's no secret that my favorite two canine-related bands in New York City are Werewolves and Coyote Eyes. Werewolves play an amazing blend of psychedelic music, drawing from the Doors, My Bloody Valentine and everything in between for great melodies and thick, druggy noise. Coyote Eyes play rhythmically fascinating post-punk with unusual and entirely lovable melodies. Headlining are 80's-esque Swedes the Mary Onettes, who I've heard live before and can say are decent but nothing super special. [WW MySpace] [CE MySpace] [MO MySpace]

[Upcoming Shows Playlist]

Album: Cold Cave - Love Comes Close

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

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

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

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

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

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

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

Check it out! [MySpace]