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Overview
Location: LES, Manhattan
Address: 152 Ludlow St. (between Stanton and Rivington)
Size: Medium-small
Directions: F/V to 2 Ave, walk two blocks east and one block south
Website: cake-shop.com
Acoustics: A
Booking: B
Helpfulness to bands: A-
Atmosphere: A
Acoustics - The acoustics in Cake Shop are surprisingly good for basement venue. The sound engineers are mostly a pretty talented bunch, and I guess the PA system must be OK too. Mostly they achieve good sound by cranking everything up about 30 decibels too high. Which shouldn't work, but it does. I've seen a lot of technical problems go down at Cake Shop, but for the most part, it's one of the best-sounding venues of its kind.
Booking - Cake Shop seems a little cliquey at times, but it doesn't have to be. In my experience, they are pretty responsive and helpful, though occasionally difficult to reach. Of course, you have to be aware that it's a pretty highly regarded venue and getting slots there can be very competitive. The folks there are savvy, profit-driven (not a bad thing when you run a small business) and good at getting trendy bands when they want them, so if you don't draw, you're likely to be out of luck.
Helpfulness - As I mentioned, the venue can be a bit disorganized and out of touch, but compared to a lot of places around town, they've always come off as pretty professional to me. Accordingly, they are reasonably accommodating to bands. Because live music is their focus, you get more attention. The flipside, however, is that they have set ways of doing things and aren't quite as flexible as spaces where the bands are just one extra component.
Atmosphere - Since I first moved to New York, I've felt at home at Cake Shop. There are nights when it's so crowded with hipsters that you can barely get in the door. But when that's not the case, Cake Shop feels down to earth and independent. The decor downstairs, where the shows take place, involves some random Christmas lights and not much else. Upstairs, you can buy cake, coffee and records. Basically, it's all the greatest things in life under one roof.
Small note - there's not much of a stage, so it's hard to see the bands. I recommend getting there early. Also try going around to the side of the stage, which is often not crowded since people are afraid that you have to be super-special to stand back there. (You don't.)
<< NYC Venues: Index
Showing posts with label Cake Shop. Show all posts
Showing posts with label Cake Shop. Show all posts
Monday, August 10, 2009
Friday, January 23, 2009
Live: The Antlers
When: 1/22
Where: Cake Shop
I named The Antlers as one of my "Bands to Watch in 2009" but didn't consider them the top of the list in any way but alphabetically - until I got a copy of their new album, Hospice, which is due for release March 3. I'm itching to tell you about it, but I'm going to hold off until closer to the release to give you the details. I'll just say this much: Hospice has the potential to be one of the most important albums of the decade.
But putting out a revolutionary album and putting on a good live show are two different feats. I'd never caught The Antlers live before and I figured their live set must lose a lot - a lot of what's so great about Hospice is the sheer magnitude and intricacy of its noise.
Yet live, The Antlers capture that spirit masterfully. It wasn't until I watched them make their music that I realized how much of what's going on is the work of Darby Cicci, whose place is behind a guitar, a keyboard synthesizer, a microphone and a fair-sized pedal board. Cicci's attention to detail is outstanding - he constantly adjusts his synth and pedals to perfect his sound. Occasionally his fiddling led to an unbalance but his responsiveness, creativity and clear expertise at his instrument(s) were still fascinating to watch.
The Antlers
With the help of Cicci, the band was able to replicate the dense sound of Hospice, but the performance wasn't an exact copy of the record either. The songs took on new life on stage. The last song of the set, "Two," had a ringing undercurrent of triumph that is nowhere in the version on Hospice. Much of the rest of the set was similarly infused with a new energy, making the listen interesting even for those of us who have listened to Hospice a hundred times in the last two weeks (that'd be me!).
The band was a little mellow in their performance, but I'm not sure how typical that is - frontman Peter Silberman commented that he had been sick all week and was feeling "sedated." If the band isn't hopping around like banshees, though, it's mostly because they are concentrating on their sound, not because they aren't bringing energy to the performance. Moreover, the tightness with which they churned out their complex arrangements and their level of attentiveness to one another were exceptional.
Though all three members of the band show outstanding talent, what will ultimately carry the band to success is Silberman's beautiful voice - which is just as good delivered live as it is on the record - and his powerful songwriting. It's a haunting combination. After the show, I asked my friend what he thought. Without hesitating, he said "they're going to be massive." Let's hope so.
MySpace
Where: Cake Shop
I named The Antlers as one of my "Bands to Watch in 2009" but didn't consider them the top of the list in any way but alphabetically - until I got a copy of their new album, Hospice, which is due for release March 3. I'm itching to tell you about it, but I'm going to hold off until closer to the release to give you the details. I'll just say this much: Hospice has the potential to be one of the most important albums of the decade.
But putting out a revolutionary album and putting on a good live show are two different feats. I'd never caught The Antlers live before and I figured their live set must lose a lot - a lot of what's so great about Hospice is the sheer magnitude and intricacy of its noise.
Yet live, The Antlers capture that spirit masterfully. It wasn't until I watched them make their music that I realized how much of what's going on is the work of Darby Cicci, whose place is behind a guitar, a keyboard synthesizer, a microphone and a fair-sized pedal board. Cicci's attention to detail is outstanding - he constantly adjusts his synth and pedals to perfect his sound. Occasionally his fiddling led to an unbalance but his responsiveness, creativity and clear expertise at his instrument(s) were still fascinating to watch.
The Antlers
With the help of Cicci, the band was able to replicate the dense sound of Hospice, but the performance wasn't an exact copy of the record either. The songs took on new life on stage. The last song of the set, "Two," had a ringing undercurrent of triumph that is nowhere in the version on Hospice. Much of the rest of the set was similarly infused with a new energy, making the listen interesting even for those of us who have listened to Hospice a hundred times in the last two weeks (that'd be me!).
The band was a little mellow in their performance, but I'm not sure how typical that is - frontman Peter Silberman commented that he had been sick all week and was feeling "sedated." If the band isn't hopping around like banshees, though, it's mostly because they are concentrating on their sound, not because they aren't bringing energy to the performance. Moreover, the tightness with which they churned out their complex arrangements and their level of attentiveness to one another were exceptional.
Though all three members of the band show outstanding talent, what will ultimately carry the band to success is Silberman's beautiful voice - which is just as good delivered live as it is on the record - and his powerful songwriting. It's a haunting combination. After the show, I asked my friend what he thought. Without hesitating, he said "they're going to be massive." Let's hope so.
MySpace
Wednesday, November 26, 2008
Upcoming Shows: Thanksgiving Weekend
If you're sticking it out in New York for the holiday, you're probably wondering what to do with yourself while all your friends are out of town. Well, you're in luck because I have the answer: go to shows! (And specifically, if you are my friend "H" who asked me what you would do without me, here you go!)
Friday
Phosphorescent / Virgin Forest
@ The Bell House, Brooklyn ($10)
For a fun evening with guitars and pianos, check out this show. It's been over a year since I've heard these guys, but as I recall, Phosphorescent plays really fun indie-psychedelic-folk with an electric guitar and a Southern bent. His friends Virgin Forest will support. They play something similar to him, though less psychedelic and more pretty and folky, with male-female vocals and piano. I think they're from Georgia, and they sound it.
Grandmaster Flash
@ Studio B, Brooklyn ($10/$20)
Does this need explanation? Grandmaster Flash, the first and best of hip-hop.
Saturday
Gang Gang Dance / Marnie Stern
@ Music Hall of Williamsburg, Brooklyn ($15)
I don't have anything on my Calendar Of Awesome Music for Saturday, but Pop Tarts Suck Toasted recommends this show and he's usually right. So check it out.
Sunday
Arms
@ Cake Shop ($6)
Just as arms are a great body-part, Arms is a great band! They are fuzzy poppy indie rock with hints of psychedelia and shoegaze, and they are one of the best in their field these days. You really need to check them out before they get huge.
Friday
Phosphorescent / Virgin Forest
@ The Bell House, Brooklyn ($10)
For a fun evening with guitars and pianos, check out this show. It's been over a year since I've heard these guys, but as I recall, Phosphorescent plays really fun indie-psychedelic-folk with an electric guitar and a Southern bent. His friends Virgin Forest will support. They play something similar to him, though less psychedelic and more pretty and folky, with male-female vocals and piano. I think they're from Georgia, and they sound it.
Grandmaster Flash
@ Studio B, Brooklyn ($10/$20)
Does this need explanation? Grandmaster Flash, the first and best of hip-hop.
Saturday
Gang Gang Dance / Marnie Stern
@ Music Hall of Williamsburg, Brooklyn ($15)
I don't have anything on my Calendar Of Awesome Music for Saturday, but Pop Tarts Suck Toasted recommends this show and he's usually right. So check it out.
Sunday
Arms
@ Cake Shop ($6)
Just as arms are a great body-part, Arms is a great band! They are fuzzy poppy indie rock with hints of psychedelia and shoegaze, and they are one of the best in their field these days. You really need to check them out before they get huge.
Wednesday, November 19, 2008
Live: Zaza
When: 11/16
Where: Cake Shop
Electronic duo Zaza caught my eye a while back, but this Sunday at Cake Shop was the first time I'd had a chance to hear them live. The two official members were joined by Kurt Feldman of the Depreciation Guild and the Pains of Being Pure at Heart on a spartan two-drum set, adding a touch of raw power to their electronic beats.
Zaza isn't exactly my "thing," it turns out. I'd liked them better recorded, but live, they were too lacking in structure to really draw me in. But that's just a personal preference - if you are a fan of bands like Can and Suicide, you will definitely want to check these guys out. A clear attention to detail goes into the crafting of their textured soundscapes and both members are clearly gifted at synthesiser and guitar alike.
Zaza
The highlights for me were the complex and tense bass lines, which propelled forward songs that might otherwise have stagnated. The vocal lines were unremarkable and flat, but their atmospheric quality shows potential if the singer (whose name I cannot find anywhere, sorry) is willing to expand his range a bit. Frustratingly, though the electronic beats were well-composed, the sound quality was cheap - vintage and campy gear can be great for synths but for drum machines, it is often damning. However, it won't take much to change that problem if the band decides to do so.
Most promisingly, a few times during the set, the band tried experiments with dissonance and resolution that were, in the context of their dreamy sound, nothing short of stunning. I'm not hooked, but if the band keeps pushing their music forward, I will be soon.
Where: Cake Shop
Electronic duo Zaza caught my eye a while back, but this Sunday at Cake Shop was the first time I'd had a chance to hear them live. The two official members were joined by Kurt Feldman of the Depreciation Guild and the Pains of Being Pure at Heart on a spartan two-drum set, adding a touch of raw power to their electronic beats.
Zaza isn't exactly my "thing," it turns out. I'd liked them better recorded, but live, they were too lacking in structure to really draw me in. But that's just a personal preference - if you are a fan of bands like Can and Suicide, you will definitely want to check these guys out. A clear attention to detail goes into the crafting of their textured soundscapes and both members are clearly gifted at synthesiser and guitar alike.
Zaza
The highlights for me were the complex and tense bass lines, which propelled forward songs that might otherwise have stagnated. The vocal lines were unremarkable and flat, but their atmospheric quality shows potential if the singer (whose name I cannot find anywhere, sorry) is willing to expand his range a bit. Frustratingly, though the electronic beats were well-composed, the sound quality was cheap - vintage and campy gear can be great for synths but for drum machines, it is often damning. However, it won't take much to change that problem if the band decides to do so.
Most promisingly, a few times during the set, the band tried experiments with dissonance and resolution that were, in the context of their dreamy sound, nothing short of stunning. I'm not hooked, but if the band keeps pushing their music forward, I will be soon.
Wednesday, November 12, 2008
Live: R. Stevie Moore
I apologize if this review is starting to sound like a broken record - I know I keep mentioning the same folks over and over again, but bear with me. I just keep finding about shows when researching album or about albums when I go to shows. But in the case of R. Stevie Moore, I'm just doing my part to make up for all the blog posts he should have received but didn't over the years.
When: 11/11
Where: Cake Shop
So if you've been paying any attention at all, you'll know R. Stevie Moore did a late night set at Cake Shop last night. I braved a nasty migraine and went, and it was so worth it. This was, without a doubt, one of the best concerts of my life.
Moore looks like Santa Claus if there was no Mrs. Claus to nag him about a haircut and if Santa wore a hip-hop style Brooklyn basketball warm-up suit. Unlike a lot of older musicians (he's only in his mid-fifties but has been putting out albums since the late 60's), Moore hasn't lost his edge - undoubtedly because his edge was always based on him just doing whatever the fuck he wanted to.
R. Stevie Moore
Regarding the music, Moore's songs are genre-defying, completely bonkers and excellent gems of American underground pop. There's country there and lo-fi, and punk and powerpop, with spoken word and folk and psychedelic too and a lot of other things you can't quite put your finger on - think Bob Pollard meets Big Star meets the Ramones meets Johnny Cash meets 13th Floor Elevators. OK, never mind, imagining that isn't worth the effort - just listen to the man and you'll see what I mean.
As for the performance, it featured all sorts of antics, some planned, some not. Moore interacted a lot with his lamentably small audience and reminded us all that he's as much a performer as a musician. From bad puns (Proposition 8 = Preparation H?) to trying to eat his lyric sheets (and then tossing the spit-covered page out to the audience), Moore was having fun and making sure everyone else did too. He chided the audience for their youth, heckled back a heckler, ranted incoherently, stopped playing mid-song to take his own picture with the audience and retook it when it didn't come out well enough.
The musicians who joined him on stage were, needless to say, seasoned professionals whose tight playing was all the more impressive because they had to follow Moore's erratic lead and because Moore writes hundreds of songs a year, which doesn't leave them with much time to learn them. Most importantly, they were all clearly having a blast, especially the drummer who looked on the verge of busting a gut the whole time.
If you're in New York and you missed this show, you made a terrible mistake - but you can learn from it, just don't miss your next chances: Maxwell's (Hoboken, NJ) on Nov. 30 and Death By Audio (Brooklyn) on Dec. 4.
On that note, did anyone see the Sea and Cake last night? How was it? I'm guessing this is their last tour.
When: 11/11
Where: Cake Shop
So if you've been paying any attention at all, you'll know R. Stevie Moore did a late night set at Cake Shop last night. I braved a nasty migraine and went, and it was so worth it. This was, without a doubt, one of the best concerts of my life.
Moore looks like Santa Claus if there was no Mrs. Claus to nag him about a haircut and if Santa wore a hip-hop style Brooklyn basketball warm-up suit. Unlike a lot of older musicians (he's only in his mid-fifties but has been putting out albums since the late 60's), Moore hasn't lost his edge - undoubtedly because his edge was always based on him just doing whatever the fuck he wanted to.
R. Stevie Moore
Regarding the music, Moore's songs are genre-defying, completely bonkers and excellent gems of American underground pop. There's country there and lo-fi, and punk and powerpop, with spoken word and folk and psychedelic too and a lot of other things you can't quite put your finger on - think Bob Pollard meets Big Star meets the Ramones meets Johnny Cash meets 13th Floor Elevators. OK, never mind, imagining that isn't worth the effort - just listen to the man and you'll see what I mean.
As for the performance, it featured all sorts of antics, some planned, some not. Moore interacted a lot with his lamentably small audience and reminded us all that he's as much a performer as a musician. From bad puns (Proposition 8 = Preparation H?) to trying to eat his lyric sheets (and then tossing the spit-covered page out to the audience), Moore was having fun and making sure everyone else did too. He chided the audience for their youth, heckled back a heckler, ranted incoherently, stopped playing mid-song to take his own picture with the audience and retook it when it didn't come out well enough.
The musicians who joined him on stage were, needless to say, seasoned professionals whose tight playing was all the more impressive because they had to follow Moore's erratic lead and because Moore writes hundreds of songs a year, which doesn't leave them with much time to learn them. Most importantly, they were all clearly having a blast, especially the drummer who looked on the verge of busting a gut the whole time.
If you're in New York and you missed this show, you made a terrible mistake - but you can learn from it, just don't miss your next chances: Maxwell's (Hoboken, NJ) on Nov. 30 and Death By Audio (Brooklyn) on Dec. 4.
On that note, did anyone see the Sea and Cake last night? How was it? I'm guessing this is their last tour.
Monday, November 10, 2008
Upcoming Shows: R. Stevie Moore and the Sea and Cake (you have to choose)
In yet another scheduling travesty, tomorrow, NYC will be graced by the presence of both R. Stevie Moore (underground pop icon I reviewed here) and The Sea and Cake (poppy post-rock heroes we all [should] know and love).
How to chose? Well, R. Stevie Moore is a piece of pop history. I haven't heard the fellow live, but I imagine he will be playing short, quirky vocal-focused genre-crossing pop songs. The Sea and Cake have been around a while too, but aren't old enough to be your grandpa. Expect them to play instrumental-focused experiments with crazy beats and some jazzy influences, not to mention some strange pop melodies tossed in for funsies.
R. Stevie Moore
Cake Shop (152 Ludlow St., LES)
11 PM
$6
The Sea and Cake
Music Hall of Williamsburg (66 N. 6th St., Brooklyn)
9 PM >> start time for opening acts
$20
How to chose? Well, R. Stevie Moore is a piece of pop history. I haven't heard the fellow live, but I imagine he will be playing short, quirky vocal-focused genre-crossing pop songs. The Sea and Cake have been around a while too, but aren't old enough to be your grandpa. Expect them to play instrumental-focused experiments with crazy beats and some jazzy influences, not to mention some strange pop melodies tossed in for funsies.
R. Stevie Moore
Cake Shop (152 Ludlow St., LES)
11 PM
$6
The Sea and Cake
Music Hall of Williamsburg (66 N. 6th St., Brooklyn)
9 PM >> start time for opening acts
$20
Tuesday, November 4, 2008
Five Forgotten Pioneers: Part 2
OK, here's part two! (Part one is here.)
R. Stevie Moore
R. Stevie Moore has been making independent underground pop since the 1960's. Recording and releasing most of his music himself, Moore established a DIY aesthetic that would eventually be the hallmark of lo-fi, the dominant movement of American indie pop. Moore's music itself isn't lo-fi, but in his recordings, you can hear the beginnings of the intentionally messy and proudly raw sounds later adopted by the likes of Sebadoh and Pavement. Even the use of basic multitrack recording equipment like Moore's has become a badge of honor among American indie bands from Guided by Voices to the White Stripes.
Moore's releases number in the hundreds if not thousands, so of course, there's a lot of dud songs in there, but the average quality is surprisingly high. The variety among the releases is itself amazing, with genre-crossing composition at times akin to Beck's. Experimental but accessible, his pop music has always been forward-looking, innovative and fun.
NEWS: R. Stevie Moore is playing November 11, 2008 at Cake Shop in NYC. See you there!
Mirrors (a.k.a. the Styrenes)
Of the many groups immediately preceding the punk movement, few have been more forgotten than Mirrors. Part of the Cleveland scene that hatched the Electric Eels, Rocket from the Tombs and Pere Ubu, Mirrors formed in 1973, recorded a small amount of material (the majority of which went unreleased until 2001), then changed names and directions and continued into the 1980's at the Styrenes.
Mirrors play a raw, aggressive proto-punk like the Stooges or the Electric Eels, but with more thoughtful experimentalism than these bands, borrowing from early Pink Floyd as well as the Velvet Underground-inspired Cleveland and Detroit scenes. The intellectual approach of Mirrors to the subversively raw proto-punk of their peers in many ways predicts the post-punk movement, which would add the very same slowed-down thoughtfulness to its punk roots. Intelligent and creative, Mirrors included touches of prog rock and noise in their music, but they never once forgot to rock out.
R. Stevie Moore
R. Stevie Moore has been making independent underground pop since the 1960's. Recording and releasing most of his music himself, Moore established a DIY aesthetic that would eventually be the hallmark of lo-fi, the dominant movement of American indie pop. Moore's music itself isn't lo-fi, but in his recordings, you can hear the beginnings of the intentionally messy and proudly raw sounds later adopted by the likes of Sebadoh and Pavement. Even the use of basic multitrack recording equipment like Moore's has become a badge of honor among American indie bands from Guided by Voices to the White Stripes.
Moore's releases number in the hundreds if not thousands, so of course, there's a lot of dud songs in there, but the average quality is surprisingly high. The variety among the releases is itself amazing, with genre-crossing composition at times akin to Beck's. Experimental but accessible, his pop music has always been forward-looking, innovative and fun.
NEWS: R. Stevie Moore is playing November 11, 2008 at Cake Shop in NYC. See you there!
Mirrors (a.k.a. the Styrenes)
Of the many groups immediately preceding the punk movement, few have been more forgotten than Mirrors. Part of the Cleveland scene that hatched the Electric Eels, Rocket from the Tombs and Pere Ubu, Mirrors formed in 1973, recorded a small amount of material (the majority of which went unreleased until 2001), then changed names and directions and continued into the 1980's at the Styrenes.
Mirrors play a raw, aggressive proto-punk like the Stooges or the Electric Eels, but with more thoughtful experimentalism than these bands, borrowing from early Pink Floyd as well as the Velvet Underground-inspired Cleveland and Detroit scenes. The intellectual approach of Mirrors to the subversively raw proto-punk of their peers in many ways predicts the post-punk movement, which would add the very same slowed-down thoughtfulness to its punk roots. Intelligent and creative, Mirrors included touches of prog rock and noise in their music, but they never once forgot to rock out.
Thursday, October 30, 2008
Upcoming Show: Sat. 11/1 - David Grubbs Plays Cake Shop!!!
KIDS, LISTEN UP! I just found out David Grubbs is playing a FREE show at Cake Shop this Saturday. Grubbs is a legend, member of Squirrel Bait (see below), Gastr del Sol, Bastro and even Red Krayola. I have no idea how he is solo or how he is live, but it's probably worth all $0 dollars to go and find out!
(I'm going to be out of town this weekend and now I want to cry.)
p.s. Since you'll already be at Cake Shop, it's definitely worth sticking around to catch the Chinese Stars downstairs later in the evening.
(I'm going to be out of town this weekend and now I want to cry.)
p.s. Since you'll already be at Cake Shop, it's definitely worth sticking around to catch the Chinese Stars downstairs later in the evening.
Monday, October 27, 2008
Live: The Pains of Being Pure at Heart
When: Friday, 10/24/08
Where: NY Noise CMJ Showcase at Cake Shop
There's been a lot of hype around the Pains of Being Pure at Heart over the last few months and I've been struggling to form an opinion unbiased by the natural resentment I feel towards anyone who is both cuter and more successful than me (please pick one or the other, people! don't be cruel!).
Recorded, the band plays a sweet tweegaze that they accurately describe as some combination of Black Tambourine and the Pastels. The songs are adorable, with love-filled, cheerful lyrics and sing-song melodies, but underneath is a continuous layer of fuzzed-out guitar. Live, the band does exactly the same thing, only about fifty times louder. And, as it turns out, that's awesome. Not only does the band seem to be having great fun on stage, but they actually do know how to rock out (albeit in a rather wussy way).
So far, the Pains aren't doing anything that wasn't done a hundred times over in the UK 18 years ago, but they are doing it better than anyone else these days. And after hearing the shoegazey power of their live show, I have higher hopes that as their sound matures, they could one day break the mold and really move pop in a new direction. But even if all they ever do is play their noisy twee until the end of time, that will be enough for me!
Where: NY Noise CMJ Showcase at Cake Shop
There's been a lot of hype around the Pains of Being Pure at Heart over the last few months and I've been struggling to form an opinion unbiased by the natural resentment I feel towards anyone who is both cuter and more successful than me (please pick one or the other, people! don't be cruel!).
Recorded, the band plays a sweet tweegaze that they accurately describe as some combination of Black Tambourine and the Pastels. The songs are adorable, with love-filled, cheerful lyrics and sing-song melodies, but underneath is a continuous layer of fuzzed-out guitar. Live, the band does exactly the same thing, only about fifty times louder. And, as it turns out, that's awesome. Not only does the band seem to be having great fun on stage, but they actually do know how to rock out (albeit in a rather wussy way).
So far, the Pains aren't doing anything that wasn't done a hundred times over in the UK 18 years ago, but they are doing it better than anyone else these days. And after hearing the shoegazey power of their live show, I have higher hopes that as their sound matures, they could one day break the mold and really move pop in a new direction. But even if all they ever do is play their noisy twee until the end of time, that will be enough for me!
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