Album: Gold-Bears - Are You Falling In Love

Album: Are You Falling In Love?
Slumberland Records
Release Date: May 17, 2011
Rating: ******** (8/10)

It would be nearly impossible for me to overstate my love of Haribo Gold-Bears candy. The floor of my room is littered with empty gummy bear packages and I've been known to hide stashes of the little bear-chens around my room drug-addict style. When friends come from Europe, they come bearing Bears - at least, if they want to sleep on my couch, they do. So admittedly, I am a bit biased in favor of the new Slumberland band by the same name - I mean, if they are the kind of people who appreciate this candy, they're my kind of people. And really, they do have a fair amount in common with the kindercandy - their sound is technicolor and sugary and makes me smile!

Calling Gold-Bears Atlanta's very own Pains of Being Pure at Heart would be lazy and not entirely accurate, but it's hard to ignore the parallels between the bands. Both are adorable indie pop quartets with catchy melodies buried beneath walls of guitar sound. Both are signed to Slumberland Records. Both feature three white guys and an Asian woman. Both are playing at Cake Shop Thursday for the opening night of NYC Popfest 2011.

But there are some key differences. Gold-Bears' melodies are more nuanced than the Pains - still Chock full o' Hooks, but with a scattering of unexpected notes that shift the emotion of whole songs. Their noise is also different from that of the Pains. The Pains' songs are coated in a shoegazy sheen, while Gold-Bears' songs sink into pools of sonic murk. The result is a much darker sounding album, one where the saccharine poptunes seem barely able to keep their heads above water - relentless bleak/black waves threaten to swallow them entirely.

The best example of this sonic struggle for survival is the title track. Warm blankets of guitar muffle the vocals and drums. But these blankets are at once comforting and dangerous - squeals of feedback peel out of the drone. It's as the though the guitar is some half-wild animal loose in a corral - the band isn't making this sound, just containing it. Indeed, they seem to approach the sound like you would an animal you hope one day to tame - gently coaxing it, patiently nurturing it but respecting that it's a long way from being yours.

There are more than a few songs on Are You Falling that would need only minor adjustments to fit snugly under the "pop-punk" label. In their composition, tunes like "Record Store" and "In this City, I'm Invincible" are all youthful energy; the band's sophisticated sound defines the band as indie pop or post punk, but in terms of songwriting, this band could be mistaken for high-end kiddiepunk. Which may sound like a jab, but it's not meant that way at all - it's far from easy to master songwriting with the consistency displayed on Are You Falling and the deceptively simple, bite-sized and easily digestible song structures are what guide us through the album's more abstruse elements.

In addition, Gold-Bears are succinct and even abrupt. While many "twee" bands shy away from anything startling, these kids aren't afraid of quick starts and stops. The music isn't jerky but when the band decides a song has lived its life, they cut it off and jump into the next without stopping for a breath. It's easy to get swept up in this exhilarating pop rush and it's also refreshing to find a band that seems eager not to waste our time.

Although the lyrics can be hard to make out in the aural fog, they seem to hit your usual indie pop subjects. The beautiful anthem "East Station Attendant" is a classic crush-from-a-distance tale, while "Beside You," a story of confused young love, is a bittersweet goodbye letter to childhood. The naive "Xmas Song" confesses secret insecurities and the restrained "Are You Falling In Love?" is a modern love story, equal parts regret and hope.

From the triumphant (and excellently named) "Totally Called It" to the pleading "Yeah, Tonight," Are You Falling is a heartfelt record of youth trying to make sense of beauty and pain. It's executed with rare talent and rare passion. Sure, it's not the most original album in history and may be a bit sappy for some, but as an exercise in indie pop, it succeeds beautifully. Indeed, it is one of the most accomplished albums in its genre in recent years and it will stay with you long after its (startling) end.

Album: Girls Names - Dead to Me

Album: Dead to Me
Slumberland
Release Date: April 26, 2011
Rating: ******** (8/10)

At this point, it's becoming increasingly difficult to review bands that sound like C86, because I'm starting to feel like I've heard every one of these records before, dozens of times; someone just changed the titles of the tracks.

If you aren't familiar with C86, it's a compilation cassette that was released by NME and Rough Trade Records in 1986. A similar compilation had been released five years prior (C81), but while C81 actually documented the British indie scene in 1981, C86 was less representative and more of an attempt to steer the British indie scene. For better or worse (mostly worse), it succeeded - the scattered jangly guitar bands with their wimpy pop tunes, inspired by forerunners like Orange Juice in Scotland and Young Marble Giants in Wales, coalesced into the twee/anorak/shambling/C86 indie pop movement of the late 80's and early 90's.

The movement, led by Sarah Records and bands like the Field Mice and Heavenly, fizzled out by the mid-90's. The movement did a lot for indie rock - namely, freeing it of the machismo and chauvinism that dominated first hard rock and then punk and then hardcore - and produced some truly great records. The impact of the indie pop movement can still be felt across the indie world: most indie rockers are now ultrawimps and that's been the case since the mid-90's - twee faded out organically when its mission was accomplished and it was no longer relevant.

But suddenly, round about 2008, a whole new generation seemed to discover C86 and Sarah Records. And there's something still relevant about that music, perhaps just the clear message it conveys that anyone can have a band. Plus, there were a lot of forgotten gems that the new wave of indie bands dusted off and brought back to light: Black Tambourine, the Vaselines, etc. But it's three years later, three years of albums with wimpy vocal melodies, shimmery, jangly guitars, low production values and so so so so so so much reverb. Three years of bands with children's haircuts waxing lyrical about the glory days of Sarah and Slumberland, or if they're a little more sophisticated, Rough Trade and Postcard.

So, where does that leave Girls Names full-length debut? The truth is Dead To Me is one of the best C86-styled records of the new generation. It's hard for me to get past the fact that I have to sit through yet another record that sounds exactly like C86, but at least this one begins to do its influences justice.

The record starts out with a very promising stew of melancholy guitar so heavily processed its sounds more like a synthesizer. A swelling cloud of dark noise looms over the guitar, but then suddenly, the cloud breaks giving way to a truly great, clean-guitar riff. In fact, the first 60 seconds or so of the record don't sound like C86 at all.

But it's downhill from there, and fast. For the rest of the first track, muted drums clatter and the vocal melody floats around lazily. It's not bad, it's just been done. A lot. However, there are some noteworthy facets to the song and the two that follow, "I Could Die" and "When You Cry." First, the band is not afraid of being good at guitar, even soloing briefly. Second, the band is not as afraid of noise as many of their counterparts. They don't use much distortion, but their guitars come in and out with overdriven edges that give the music some muscle. Third, their songs are skillfully arranged with contours that propel them forward, instruments carefully entering and exiting, carving out a song that's more than just chords+beat+melody.

A number of the following songs fail to hold attention not because they are poorly constructed songs but because they are so "samey" with each other and with a zillion other bands. "I Lose" is the next track to really grab attention. The track starts with the classic dreamy drum beat of "Just Like Honey" and bright, tremolo'ed (vibrato'ed) chords which do just what an introduction should do, introduce the song, which kicks in after half a minute with sparkling guitar arpeggios and a driving drum beat. The quick guitar and drums are balanced with measured vocals, and periodically trip back to half-temo as Cathal Cully repeats in brilliantly unconvincing terms "I don't miss my old life."

The subsequent songs slip back in the forgettable swamp of samey-ness. To be fair, they are all very well written songs, but they fail to capture the listener's attention. The slower "Kiss Goodbye" stands out for its slight swing. And the closer, "Seance on a Wet Afternoon," from its dark flickering intro, the way it seems to flit between major and minor keys and the depth of noise that grows throughout the track's three minutes, is a worthy finale. In the last seconds of the album, the digital-era effects of the opening 30 seconds make a reappearance, hinting frustratingly at what the album could have been with modern production.

If the band had skipped the low production values and the reverb, this album could have really shined. But the band is condemning themselves, sealing their own fate, by placing themselves decidedly behind a curve, even if they are better than the bands ahead of them. Props to the band for knowing exactly what they're doing though: on their myspace page, they describe their music as "disposable noise pop songs." They also wear their influences on their sleeve: the Pastels, Beat Happening, Josef K, Black Tambourine. But these influences are on the dark and heavy side of indie pop and Dead to Me is the better for it. The album runs deeper than the band's own description would imply. It's just a few years too late to stand out from the crowd the way it deserves to. [MySpace].

Upcoming Shows: Eye and Ear vs. PopFest (The Ultimate Indie Showdown) + more

[Upcoming Shows Playlist]
TOMORROW!!! Friday, May 21

Fuck Buttons @ Music Hall of Williamsburg * Williamsburg, Brooklyn * $16/$18
Fuck Buttons are a wack electronic duo that make highly experimental, loud, droning and pulsing noise. If you like that stuff, these guys are among the best. [myspace]


Saturday, May 22

Pterodactyl @ Cake Shop * LES, Manhattan * $10
High-speed, weightless, LOUD noise rock from some of Brooklyn's best musicians, Pterodactyl make music that's fascinating for your brain and endlessly ecstatic for your heart. They put on a GREAT live show. [myspace]

NYC PopFest: Wake, Boat, My Teenage Stride + more @ Bell House * Gowanus, Brooklyn * $15/$18
Interestingly, NY Eye and Ear Fest and NYC PopFest fall on the same weekend this year, and that's this coming weekend. Eye and Ear focuses on the strange, dark and experimental while PopFest focuses on, well, pop, of the indie variety. Despite having Blank Dogs on Saturday, Eye and Ear's line-up loses to PopFest for the night (they win on Sunday, though - see below). That seems unlikely, but the Wake and Boat are both a rare sight in this town. The Wake recently reformed after fifteen years off. Historically, they're less indie pop and more post punk and even goth. They lasted from the early 80's to the mid-nineties, several lifetimes for most twee projects. And they released music on Factory FUCKING Records. Boat are newer and from Seattle and are among the best indie poppers of this new generation. And then you've got NYC mainstay My Teenage Stride to add some bonus points to the line-up - their shouty indie pop will make you smile, I promise. [Note: Don't look at the PopFest website because that's from 2008.] [wake myspace] [boat myspace] [mts myspace]

New York Dolls @ Warsaw * Greenpoint, Brooklyn * $35
The New York Dolls, along with the Dictators, bridged the gap from sleazy glam rock to punk.

Fuck Buttons @ Le Poisson Rouge * Greenwich Village, Manhattan * $15
See above.


Sunday, May 23

NY Eye & Ear Fest: GDFX, Led Er Est, Freshkills, Hunters + many more @ Knitting Factory * Williamsburg, Brooklyn * $17
Yeah, Eye & Ear beats PopFest on Sunday with a killer line-up including the lovely and dark drones of GDFX, one Greg Fox, an NYC musicians' favorite. Freshkills kick out the JAMZ with nervous, sharp guitar-driven post-punk and some dramatic, melodic vocals. And of course, my personal favorites: for one, the ice cold, pitch black electro of Led Er Est, one of NYC's most promising and underrated bands. [canceled, or I hallucinated their name on the listing] And for two, Hunters, featuring Isabel Ibsen of Beluga and Odell Nails of Mahogany. The sound is much closer to the former - that is, insane punk rawk, but Hunters have more intense musicianship and more complex compositions that Ibsen's other project. Or that's what they were doing back when I heard them ages ago. Oh, and there's a whole lot more bands playing too. [gdfx myspace] [fresh myspace] [led myspace] [hunt myspace]


Tuesday, May 25

Werewolves, Soft Black @ Death By Audio * Williamsburg, Brooklyn
I love Werewolves. They net all the good things psychedelic music has been over the decades, from the Doors to Pink Floyd to Echo & the Bunnymen to My Bloody Valentine, and weave it all together to create something totally fresh and new. Soft Black plays more old school psych rock meets folk/country a la Neil Young and James Taylor (the vocals are definitely more James Taylor). [ww myspace] [sb myspace]

[Upcoming Shows Playlist]
The long view...

May
27
Dan Deacon, Big Trouble, Dustin Wong (Ponytail) @ Cake Shop
Forgetters @ Bell House

28
Holy Fuck @ Le Poisson Rouge

29
Psych Fest: Weird Owl (yay), Hopewell (blech), Golden Triangle (blech), Psychic Ills (yay), Sunburned Hand of the Man (yay) + more @ Glasslands

June
1
Coltrane Motion @ Bruar Falls

4
Grouper @ Issue Project Room
Psychedelic Furs @ the Fillmore

6
Brian Jonestown Massacre @ Webster Hall

11
Friendo @ Cake Shop

13
Friendo @ Glasslands

15
Dan Deacon @ Red Hook Park

18
Marnie Stern, Anni Rossi @ Glasslands

19
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

29
Passion Pit, Tokyo Police Club @ Prospect Park

30
Passion Pit, Tokyo Police Club @ Governors Island

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]

Album: Let's Wrestle - In the Court of Wrestling Let's

Album: In the Court of Wrestling Let's
Merge, 2010
Rating: ******* (7/10)

I was bit surprised when I first heard British indie popsters Let's Wrestle had signed to Merge Records. Merge is certainly one of the best and most storied American indies, perhaps second only to Subpop (if that counts as "indie") and Matador. And while I adore Let's Wrestle, I didn't think them special enough for a label like Merge. Not in this country, anyway.

Now is when I would love to tell you their new album (out tomorrow) proved Merge's decision and revealed to me that special quality I'd been overlooking in the band for so long. But unfortunately, that's not the case. In the Court of Wrestling Let's is a lovely indie pop album with great little head-bouncing tunes, but it's not special. Merge could have picked any one of dozens of indie pop bands and achieved the same thing - something enjoyable.

In the indie pop world, Let's Wrestle keep a bit of lo-fi rough - not a lot, but enough to keep the band's distinctly indie flavor. In the same vein, it's got a pinch of punk in it, a little wildness. However, the melodies are pure pop. Wesley Gonzalez's plain, plateaued voice is subtly, warmly tuneful and it's his tone that gives the album its distinct identity in a world of similar ideas - too low and just too gruff to be boyish but far too untamed and too innocent to be adult.

As good as all the songs are, they pretty much sound alike. The same offkey high notes in the vocals, the same jangling guitar, the same major key measure-by-measure descents in the bass, the same tight, simple drumming. Many of the songs even seem to have the same melody. They don't quite, but the narrow range and similar contours make it hard to tell one song from another.

There are a few stand-out tracks though. "I'm in Love with Destruction" is distinct and memorable, its bombastic drumming and stretching ascents in the chorus setting it apart. The opening track, "My Arms Don't Bend that Way, Damn It!" starts with squalls of noise more reminiscent of Dinosaur Jr than the Smiths.

The final way in which this album distinguishes itself from the herd of noisy indie poppers is in its scale. A five-minute instrumental centerpiece of psychedelic guitar and several "interludes" give the album a sense of a larger purpose. And to the band's credit, these forays don't dilute the album. It has twelve proper songs in addition to these. Still, the effort may be wasted. The larger purpose is defeated by the cloneishness of so many tracks.

If you like a good cheerful, cynical, unpolished pop album, this is definitely a decent one. It's no better or worse than many others, but it's enjoyable and mixtape-able and it will hold down the fort until the next record of its type appears.

[myspace]

Live: Dinosaur Jr. + Jeffrey Lewis

Woah, tumbleweeds rollin' through this place. Sorry for the long absence. I've had some personal stuff going on.

When: 1/18/10
Where: Brooklyn Bowl

First things first. This was my first time at Brooklyn Bowl and let me tell you, I do not like this place. It's got a creepy corporate vibe. The stage is set up behind and perpendicular to the bowling alleys, so off to your right, you got people who don't care about music bowling. It might be a hip place for hipsters but it's not a place gives a crap about music.

Jeffrey Lewis opened. His set was far too long, so long that my fantasy about beating him up after the show grew ridiculously complex. The guy is one of those K Records wannabe indie folksters who thinks singing about things like moving out of his apartment and mosquitoes makes him super special. Lets get it straight. Being a wuss was bold and edgy when Calvin Johnson did it back in 1988, because at that time, punk had lost its way and been taking over by macho jerks who had no idea the real meaning of hardcore. Punk music and indie music, which were once one and the same, were about making people challenge their assumptions, open rock music to new ideas, open every door that was shut by the 60's and 70's. The door isn't shut to wussy manchild types and hasn't been for a long time. So son, you're making a fool of yourself, making music that hundreds of people have already made. It's unoriginal and easy.

Even if there were some merit in the genre, Jeffrey Lewis ain't the guy to find it. Even though it's a exceedingly simple kind of music to make, he messed it up a lot, particularly with regards to rhythm. His little rap song, set to handclaps, fell of the rails more than once. I don't really like it when people make a mockery of music. I suppose I should say something nice. Well, he had some strong melodies. Stayed on them for far too long, but at least they were good. Not everyone can write a good melody. So he's got that. [MySpace]

OK, time for the main act. Dinosaur Jr positively killed. J Mascis, the man who put lead guitar back in indie rock, was in fine form, while Lou Barlow slammed out his most excellent bass lines. They played some songs off their new record, which is good since all those songs are good. They also ran through all the best songs from their first three records. It was a very, very long set and every minute was well spent.

What can I write about this band? They've been playing the same style with the same greatness consistently for a very long time. J Mascis is gray and a bit pot-bellied now. He plays with the same cool he always did. His rips out massive, high-speed solos with no fanfare. His bass player and famous frienemy Lou Barlow stays on the other side of the stage, rocking out as usual, with his dark mop of hair covering his face.

The long set was followed by a long encore. I thought by this point, the band had played everything I really wanted to hear, but then, at the very end, they started playing something very familiar, but that I hadn't heard in a very long time. It took me a while to realize what it was - the cover of the Cure's "Just Like Heaven" that closes Live Through This. It was the first Dinosaur song I ever heard, but I hadn't listened to it in years. And I doubt I was the only person in the audience whose relationship with the band came full-circle that night. It was just one of those sets that brings back everything you love about the band. And with Dinosaur Jr, that's a lot. [MySpace]

Who to Watch in 2010: Part 3

PREVIOUS >>
Part 1 (reruns)
Part 2

Knight School - Indie pop has certainly experienced a bit of a revival lately and I have a hunch Knight School will be one of the next swept up the craze. They aren't anything new, but slightly harder-edged and rawer than the Pains of Being Pure at Heart and their ilk, they have a niche. Their songwriting is consistently superb, with Bealtes-esque melody. And they've got all the right friends. Stay tuned. [MySpace]

Male Bonding - This one may be a bit of an easy pick, but so far, the U.S. press hasn't really picked up on these new signees to SubPop. My first thought about this band (aside from the fact that they share a name with an early incarnation of Sonic Youth) was, what do we need with another DIY punk band? But it quickly became apparent to me, especially seeing the band live at CMJ, that they have something special. Their music is simply explosive - let's hope people on this side of the Atlantic take notice soon! [MySpace]

PC Worship - I was originally under the impression this band was quite a bit more avant-garde than they really are. They do build a space in their music for a lot of sonic experimentation, but their murky, echoey noise carries twice-removed psychedelic melodies and lo-fi charm. [MySpace]

Screens - Screens dub their reverby drones with spooky, emotive vocals and organic sounding electronic grooves. The band may be a little too strange to make it really big, but hey, you never know. And whether or not they garner attention, I am willing to bet they will do something bold and exciting in 2010. [MySpace]

Sleigh Bells - This is another somewhat obvious pick. I mean, even my mom has heard of them! But they were little known until this October, when they became the surprise stars of CMJ. They are an electrodance duo, but with serious no wave, punk and noise influences. From searing distorted guitars and searing distorted vocals to ten thousand pound downbeats, this band will make a real impact. And not just an impact on your eardums, but that too! [MySpace]

NEXT>> Part 4

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]

Release: Pains of Being Pure at Heart - Higher than the Stars [EP]

Release: Higher than the Stars [EP]
Slumberland, 2009
Rating: **** (4/10)

Tweegazers the Pains of Being Pure at Heart put out a surprise hit (or at least "hit" in the indie world) record this winter, but it's eight months later and for a pop band in the internet era, buzz never lasts that long. So, with an ongoing tour and year-end lists drawing ever closer, the Pains need to do something to keep their name in the press.

Sadly, instead of getting themselves arrested for doing something ridiculous or pulling some other dangerous publicity stunt, the Pains decided to call people's attention with a new release, a five song EP out this week.

The EP is thoroughly disappointing. With more electronic beats and synthesized sounds, the band sounds more and more like an 80's throw-back, which is, of course, what they always were, but more subtly than this. The Pains may have been the best twee band since the heyday of Sarah Records, but "Higher than the Stars" and the Cure-esque "Falling Over" sound like any of dozens of New Wave revival bands. They lack Kip Berman's signature guitar sheen, replacing that with overused pop sounds.

"103" and "Twins" sound more like the Pains we know and love, with Berman's guitar making a buzzy, fuzzy wall from start to stop. But here, the melodies don't match those the Pains have written previously. "Twins" is, well, boring and "103" is catchy only in that it has nearly the same riff and melody as their previous single "Come Saturday." Resorting to recycled melodies only two years into their career doesn't bode well for the band. Then again, a lot of people won't notice.

The lyrics are Berman's usual fucked up, creepy words that you don't understand and assume to be sweet until you look at the lyric sheet. The dark themes should be an asset, but for some reason - perhaps because there is nothing in the music, including in Berman's singing, to indicate anything sinister - it just doesn't amount to anything.

The "Higher than the Stars" remix that closes the EP is better than the original, delving into the deeper sounds and far more interesting rhythms, thanks to dub-inspired producers St. Etienne. Still, a remix can't make an EP worthwhile, under any circumstances.

The Pains must decide whether to wallow into their indie pop until they become generic or to pursue more innovative ideas. The band has influences far broader and more interesting than the music lets on and they have the potential to evolve. If they don't, they'll have to face being forgotten as quickly as they were discovered this spring.

[MySpace]

Dust It Off: Felt - Forever Breathes the Lonely Word

Album: Forever Breathes the Lonely Word
Creation, 1986

Among indie pop fans, Felt may be a familiar name, but the band certain flies below most audiences' radars. Formed in the early post punk years in the UK, Felt was a vehicle for songwriter Lawrence Hayward, whose love of New York punk and his unavoidable pop sensibility put his music distinctly ahead of its time.

Forever Breathes the Lonely Word marked the group's debut on the legendary Creation Records and the peak of their artistic career. Though Hayward had no shortage of good ideas from the time he formed Felt in 1979, it was not until this album, released in 1986, that all these good ideas finally came together. Gaining keyboardist Martin Duffy and subsequently losing virtuoso guitarist Maurice Deebank, Felt's sound started to branch out from its obvious Television influences to forge a voice truly its own.

In many ways, Felt helps complete the missing link between 70's punk and late 80's twee pop. While indie pop often betrays a debt to the Ramones, it's hard to understand how the sweet innocence of twee arose from the leather-sporting bad boys of 1977 New York. But Forever Breathes falls somewhere in the middle of these two extremes. The criminally catchy melodies and irresistible gospel-esque organ lines expose Felt as a cornerstone in the development of British indie pop. On the other hand, the sparse, gritty production and the disaffected, restrained vocals (often compared to Lou Reed and Tom Verlaine) point to a darker, more rebellious side.

Most importantly, Forever Breathes is just an astonishing collection of near-perfect pop songs. With a boldly independent spirit, a fully-realized artistic identity and an infectious sense of melody, Felt's record could stand alongside the best independent albums of all time.

Upcoming Shows: Tyvek, Shilpa Ray + more

Wednesday, July 22
The indie pop scene in NY is not really big enough to try to split between two venues, so we'll see what happens on Wednesday.

My Teenage Stride @ Bell House | Gowanus, Brooklyn | $10
My Teenage Stride is the very first band I reviewed on this blog. I didn't want to like them, but I did, and I do. Fun, sweet indie pop played roughly but tightly, like good indie pop should be. [MySpace]

Knight School @ Bruar Falls | Williamsburg, Brooklyn | $8
I haven't seen Knight School yet, despite several attempts to catch them. They come with a strong recommendation from a certain person in a certain preeminent twee band, and I like their recorded stuff pretty well. It's lo-fi pop, with outstanding songwriting buried under a solid layer of fuzz. Nothing new, but definitely something good. [MySpace]


Thursday, July 23

Shilpa Ray and Werewolves @ Death By Audio | Williamsburg, Brooklyn
Two of my favorite bands. Shilpa Ray and Her Happy Hookers consistently put on one of NYC's best live shows. Their seamless combination of influences from blues and soul to punk creates a solid rock music that's familiar but never cliche. Werewolves are less consistent live, but when they're good, they're awesome, taking psychedelic music in entirely new directions. Another blender of styles, Werewolves draw from 70's rock'n'roll, early shoegaze, campy psychobilly and whacked out art rock, but still they pack it all down into a tight, heavy pop music that's entirely unforgettable. [Shilpa Ray MySpace] [Werewolves MySpace]


Friday, July 24

Oneida + Sunburned Hand of the Man @ Market Hotel | Bushwick, Brooklyn | $8
Oneida is an experimental band that draws from krautrock and industrial, using heavy guitars, heavy electronics and sweet grooves. It's a bit repetitive and may be best heard in an altered state of mind. But no matter what state you're in, there's no denying this is one of NYC's best. Sunburned Hand of the Man is a noise band that Thurston Moore likes and put on his Ecstatic Peace label. They are a little too formless for my liking, but you could definitely do worse for an opening act! [Onieda MySpace] [SHOTM MySpace]


Saturday, July 25

Tyvek @ Cake Shop | LES, Manhattan | $10
Everyone who was at the Woodsist Festival missed one of the crowd's best bands, who had to cancel due to a medical emergency. The good news is that everyone is OK and that they are in NY this weekend. Detroit punks with more heart than an iditerod of sled dogs, Tyvek are nothing short of thrilling live. Really and truly, do not miss them. [MySpace]


Sunday, July 26

Blank Dogs @ Secret Project Robot | Williamsburg, Brooklyn | $8
Lo-fi goth pioneer Mike Sniper and his band will perform at one of the few remaining DIY spots this weekend. So far, I haven't been that into the live act, but the music is so good, it's still worth checking out. [MySpace]

Coyote Eyes, Spanish Prisoners @ Cameo | Williamsburg, Brooklyn
Coyote Eyes are NYC's finest emerging post-punk band. They are a great live act and getting better all the time. Great melodies, noise-rock guitars, excellent beats, all of this adds up to one delicious set. Plus, they are joined by the very decent Spanish Prisoners, known for staying sonically interesting while playing some pretty straightforwardly charming songs. [MySpace] [MySpace]

Upcoming Shows: Japandroids, Mission of Burma + more

TONIGHT - Monday, July 6

Peter Murphy @ Highline Ballroom | Chelsea, Manhattan | $35
Pete Murphy is the original goth, the frontman of Bauhaus.


TOMORROW - Tuesday, July 7

Peter Murphy @ Highline Ballroom | Chelsea, Manhattan | $35
See above.


Wednesday, July 8

Sundelles, Little Girls @ Cake Shop | LES, Manhattan | $7
I haven't seen the Sundelles, but they're meant to play garagey indie pop - 50's revival with a punk 'tude. People like them. Little Girls are one of the five bands I've recommended you watch in the rest of 2009 - a recommendation made by "Jasper" but which I can now more confidently confirm, having seen them at this weekend's Woodsist/Capture Tracks festival. Dark and gloomy DIY punk from Canada that's very worth checking out. [Sundelles MySpace] [Little Girls MySpace]


Thursday, July 9

MC Lyte @ Von King Park | Bed-Stuy, Brooklyn | FREE!
MC Lyte is one the greatest MCs ever, and was one of the first women to get behind a mic and rap. She was a revolutionary, paving the way for women in hip-hop and expanding the boundaries of what rap music could say and do. I'd pay way more than $0 to check this out.


Friday, July 10

Japandroids, Little Girls @ Cameo | Williamsburg, Brooklyn | $8
Japandroids have recently become one of my favorite new bands. Like No Age but more conventional and with more tightly-written songs, Japandroids offer an amazing mix of roaring noise, punk energy and infectious melody. This is what pop-punk should have been. I just told you about Little Girls (see Wednesday listing). [Japandroids MySpace] [Little Girls MySpace]

The Pains of Being Pure at Heart @ South Street Seaport | Downtown Manhattan | FREE!
The Pains have got nothing on Japandroids, but they are pretty good pop music that the kids are crazy for. Their ascent from playing loft parties to a few dozen friends to scoring full features in Spin and Newsweek has been dizzying and makes me kind of want to hate them. But I can't hate them because they are nice people, outstanding songwriters and great performers. Like I said, you should go see Japandroids, but if don't have eight bucks, this FREE show is a pretty sweet alternative. [MySpace]


Saturday, July 11

Japandroids @ Pianos | LES, Manhattan | SOLD OUT!
Japandroids rock. (See above.) [MySpace]

Parts and Labor @ Market Hotel | Bushwick, Brooklyn | $7-20 (donation)
Parts and Labor are a super-rad NYC band. They play experimental rock that can be kind of like Oneida and kind of like Liars and often like no one else in particular. They have some very pop moments and some very weird ones, inhabiting the no man's land between pop music and noise-rock more fully and broadly than any of their contemporaries. Since you went to see Japandroids on Friday and Pianos is sold out anyway, you'll want to head over to Market Hotel on Saturday night. [MySpace]


Sunday, July 12

Mission of Burma, Fucked Up, Ponytail @ Williamsburg Waterfront | Williamsburg, Brooklyn | FREE!!
Daaaamn. Mission of Burma has been redefining indie, punk and noise since the early 80's and their reunion a few years ago came a surprise to those familiar with the band's good-natured break-up, meant to save the last remaining shreds of Roger Miller's hearing. Better earplug technology has allowed them to regroup and play awesome shows like this. Fucked Up are one of the best hardcore punk groups around these days, and as for Ponytail, they are amazing live as well as recorded. [MOB MySpace] [FU MySpace] [Ponytail MySpace]

Upcoming Shows: New York Dolls, Secret Machines + more

Sorry for the absence and generally being flaky on the blog recently. Regular posts will resume after this weekend's show.


TONIGHT - Wednesday, June 17

Jonathan Richman @ Bowery Ballroom | LES, Manhattan | $15
Jonathan Richman is the guy from the Modern Lovers. If you don't know the Modern Lovers, I'd describe them as an unpretentious version of the Velvet Underground. Richman was indie before there was indie, he was straight-edge before there was straight-edge, he was twee before there was twee. In other words, he's one of the great innovators in American pop and has been for about 40 years. [MySpace]


TOMORROW - Thursday, June 18

Twee As Fuck: The Pains of Being Pure at Heart, Cause Co-Motion!, Crystal Stilts @ Cake Shop | LES, Manhattan | $10 / $8 (students)
Nevermind that only one of these bands (The Pains) could remotely be called twee, this is an amazing line-up. And the bands will probably be on the ball, given how often they've played Cake Shop and how much they love the place. The downside is that it's going to be crammed full, wall to wall, with indie pop kids, and you undoubtedly won't be able to move or see anything. So, I'd personally stay home, but if big crowds in small rooms are your thing, you couldn't choose a better set of bands. [Pains MySpace] | [CCM MySpace] | [CS MySpace]


Friday, June 19

Secret Machines, A Place to Bury Strangers @ Santos Party House | Chinatown, Manhattan | $10
Secret Machines are shoegaze-inspired wash-ups trying to make a comeback after the decline of a middling career that saw them flicker on the Billboard 200 in 2006. The band is kind of past its prime, but they're still better than most of what's out there. And APTBS are just fucking amazing. Ten bucks for both? Don't think twice. [SM MySpace] | [MySpace]


Saturday, June 20

Radio Flyer Review Presents: New York No-Gaze - 28 Degrees Taurus, Ifwhen, Gracefully @ 255 McKibben St. | Bushwick, Brooklyn | $5-8 suggested donation
I picked these bands because I think they are amazing and I really admire what they do. They all play experimental, uncompromising shoegaze-influenced music. And they're all great live acts. Booking them for my first RFR Presents show is the highest recommendation I could give. [28DT MySpace] | [Ifwhen MySpace] | [Gracefully MySpace]


Monday, June 22

The New York Dolls @ Music Hall of Williamsburg | Williamsburg, Brooklyn | $32.50
If any pre-punk band was directly responsible for the rise of New York punk, this was it. Though still glammy hard rock, the Dolls raw music and image were one of the most important influences on the inventors of punk proper on both sides of the Atlantic. Without them, there may have been no Ramones, no Richard Hell, no Sex Pistols, at least not as we know them. And the recently reunited Dolls aren't getting any younger, so pay up and get your ass to MHOW on Monday or live a life of shame and regret.

Upcoming Shows: Glenn Branca, Mike Watt and more

TONIGHT!!! Thursday, May 7
Whatever you do tonight, you'll be kickin' it old-school.

Glenn Branca @ Issue Project Room | Gowanus, Brooklyn | $15
Glenn Branca. If you don't know who that is or why he's awesome, you need to go out and do some reading. Starting (but not ending) with this little paragraph. Glenn Branca is an avant-garde composer, a punk rocker, a minimalist innovator and one of the biggest of the big names in the legendary "no wave" movement. Branca reinvented the electric guitar, using alternate tunings and extreme volume to generate completely new tonalities. Some of the most innovative guitar players of the 80's and 90's first cut their teeth with Branca, a list that includes Sonic Youth's Thurston Moore and Lee Renaldo and Helmet's Page Hamilton. He'll be playing one of his classic compositions, "Lesson No. 3," at IPR. Really, you should go.

Eddie & the Hot Rods @ Southpaw | Park Slope, Brooklyn | $14
Eddie and the Hot Rods were once upon a time the Sex Pistols' biggest competitors. As it turned out, Eddie was just a pub rock band while the Sex Pistols invented British punk, but then there couldn't have been a British punk scene if it hadn't been for aggressive pub rockers like these, who pushed the boundaries of British rock in rawer, wilder directions. And for that, we all owe them at least $14 and two ears for a night.

Fear @ Europa | Greenpoint, Brooklyn | $25
Twenty-five bucks is a lot, too much for me to strongly recommend this show. But if money is no object, then you better check it out. Fear are a classic West Coast punk outfit, one of the first and one of the most aggressive. They make most hardcore punks look like fluffy kittens.

TOMORROW!!! Friday, May 8
Seriously, how to choose?!?

Mike Watt & the Missingmen @ Mercury Lounge | LES, Manhattan | $15
Mike Watt was one of the first and most important players in the West Coast hardcore scene. Unlike Fear (see above), however, Watt didn't amp up the machismo of hardcore, he amped up its brains. As a member of the revolutionary trio the Minutemen, Watt broadened the musical and intellectual horizons of punk by making music that was lyrically thought-provoking and political and sonically challenging and diverse. Since then, he's continued to push the boundaries in fIREHOSE and
this, his new project, the Missingmen. [MySpace]

**CANCELLED** The Antlers @ Cameo | Williamsburg, Brooklyn
The Antlers' lo-fi, ambient electronica is the saddest music around. They are one of the few truly innovative bands in the New York scene and their recent album Hospice is one of the most profound contributions to indie rock in the last decade. [MySpace] **CANCELLED**

Coyote Eyes, Pow Wow, My Teenage Stride @ Lit Lounge | $6*
Good cheap fun! It's worth the six bucks despite being in one of the worst venues in town. Coyote Eyes sound like Sonic Youth but with prettier singing. They are minimalist, they are loud and they are very worth checking out, since they could take off any day now. Pow Wow just got named one of L Magazine's "Eight Bands You Need To Hear," which is frankly kind of silly because they are entirely typical. But that doesn't mean their lo-fi pop isn't great. It's actually lovely! (Just not "top eight" lovely.) And My Teenage Stride, officially the first band I reviewed on this site, are an indie pop mainstay in New York, with some of the best songwriting and best melodies around. If you catch all three bands, that's only $2 a pop. Not too shabby. [CE MySpace] [PW MySpace] [MTS MySpace]
**UPDATE: Apparently, Coyote Eyes and MTS aren't playing. In a typically irresponsible gesture, Lit Lounge has just forgotten to update their calendar. Bummer.**

R. Stevie Moore @ Cake Shop | LES, Manhattan | $8
Good ol' R. Stevie is the punk rock Santa Claus. He's been making lo-fi pop music since he was a kid, putting out his first recordings in the 1960's. Phenomenally gifted and perpetually overlooked, Moore is justifiably pissed off, and his bitterness is especially justified when it comes out in his kick-ass punk-rock power-pop performances. His last show at Cake Shop was one of the best shows I've ever seen ever. A true forgotten pioneer, Moore is well worth checking out. [MySpace]


Saturday, May 9

Real Estate, So So Glos @ Santos Party House | Chinatown, Manhattan | $10 *
Real Estate are the latest buzz-band out of the no-fi/neo-punk crowd that brought us the likes of Wavves, Woods and Blank Dogs. Real Estate fall at the slow, hushed end of that spectrum and while their recorded material can be rather boring at times, the very little I've seen of this band live makes me think they're good on stage. The So So Glos, on the other hand, take a more direct route to punk rock - fast, loud and rude. [RE MySpace] [SSG MySpace]


Monday, May 10

Woods, Times New Viking @ Market Hotel | Bushwick, Brooklyn*
I'm not a huge fan of TNV, to be quite honest. The constant comparisons to Guided By Voices are just not accurate; see, GBV were great because they wrote great pop songs, and TNV, for all their cool sound, just don't write great songs. So the real reason to go by this show is psychedelic folk-pop quartet Woods. In my last live review of them, I called them "one of the most outstanding and original bands of our time" and I'll stand by that statement. [TNV MySpace] [Woods MySpace]


Wednesday, May 12

The Pains of Being Pure at Heart @ Bowery Ballroom | LES, Manhattan | SOLD OUT
You should track down some tickets to this show. Tweegaze heartthrobs the Pains will be celebrating their (brief) homecoming after an extensive national tour - and right before an extensive international tour. Their songs are way too cute, but so well written that they're hard to hate. And a seamless wall of distorted guitar noise covers everything - bring earplugs. [MySpace]


*This is seems to be a week of bands and venues not working in tandem, and there is some conflicting information about these shows, so you may want to try to confirm they are happening as scheduled before you make a trek to the venue.

Live: Sisters, Pants Yell!

When: 4/11
Where: Dead Herring

Although I mainly went to the show at Dead Herring last week to check out Knight School, I managed to miss their entire set. That was partly because my friend and I got lost on the way. We thought we knew where the venue was, and ended up walking into the apartment of an elderly woman, who just stared at us from her couch. True story.

Once we found the right place, Knight School was already packing up their gear and the mysterious Sisters was taking the stage. Sisters is a two-man band that I've heard rumblings about but hadn't had a chance to check out yet. As it happens, I liked them even more than I thought I would. One of the privileged few members of the Death By Audio record label, Sisters have a certain amount of cred from that endorsement alone - before the existence of the label, the DBA family gave rise to two of NYC's best bands of the 2000's, A Place to Bury Strangers and Dirty on Purpose. That's gotta count for something.


Sisters (photo from myspace.com)
The two play primal noise pop with good-enough (though not exceptional) melodies and solid, tightly-constructed songs. The lo-fi guitar noise and unpolished vocals are delightfully rough, and the stripped down drumming on a stripped down drumset keeps everything down to earth. Sisters are clearly performers, even augmenting their set with a little light show that included the old Butthole Surfers' trick of tucking a strobe light under a floor tom. The lighting effects were on a small enough scale that they didn't distract or overpower the music, just added visual amplification of whatever was going on sonically.

Sisters isn't one of those bands that's great because it is doing something new. It's one of those bands that's great because it's boiled down something great to its essence - Sisters is the epitome of minimalist noise pop. If that's your kind of thing, Sisters are bound to satisfy. [MySpace]

Unfortunately, it will be hard for me to review The Pants Yell! objectively, because throughout their set, my attention was constantly being drawn away from the band by some very ill-mannered audience members - you know, the type who are there for the scene but couldn't give a fuck about the music, so they shout over it the whole time. Plus a few people of the type who didn't get enough attention from mom and dad so they have to try to take attention away from the performing band by cutting up. These individuals were only a small minority of the audience, but unfortunately, I managed to place myself right in their central headquarters. In any case, I digress.

I always find myself a little disappointed by Pants Yell! Their sound is a little too spare-yet-not-gritty for my particular tastes. For a band so highly touted in the pop world, I also find their melodies surprisingly unmemorable. But they aren't a bad listen. Drummer Casey Keenan, who appears to be the only member of the band with any training or proper technique, anchors the band well so the other two can carry out their understated pop mission without a stumble.

To my ears, the music's quiet undercurrent of sadness only dampens its songwriting, but there's inevitably something rewarding about hearing a band this earnest lay it all out there. If you don't need the grungy roar of distorted guitars or the syrupy elation of uptempo melodies, this band may be for you. If you do need those things, though, Pants Yell! can be a bore, and it isn't quite my cup of tea. [MySpace]

News: NYC Popfest Line-Up Announced

The line-up for NYC Popfest has been announced. It seems to be scaled down considerably this year, with most shows taking place at Cake Shop or similarly small venues. They have smaller-name bands as well, so it looks like a low-key year. Here's the schedule:


Thursday May 14th
Venue: Cake Shop

Knight School (NYC)
Soft City (NYC)
Dream Bitches (NYC)
The Metric Mile (NYC)
My Teenage Stride (NYC)
THE BALLET (NYC)

* * * * * * * * * *

Friday May 15th
Venue: Don Hills

Don Lennon (NYC)
The Tartans (CA)
( secret band )
Liechtenstein (SWEDEN)
CATS ON FIRE (FINLAND)

+ Mondo Indie Dance Party

* * * * * * * * * *

Saturday May 16th (FREE!!)
Venue: Cake Shop

Hidden Ghost Balloon Ship (MI)
The Hat Company (OH)
Strega (NYC)

* * * * * * * * * *

Saturday May 16th
Venue: Bell House

Computer Perfection (MI)
Eux Autres (CA)
The Secret History (NYC)
Pants Yell! (MA)
THE RADIO DEPT. (SWEDEN)

+ Indiepop Dance Party

* * * * * * * * * *

Sunday May 17th
Venue: Cake Shop

Boy Genius (NYC)
Afternoon Naps (OH)
Very Truly Yours (IL)
The Smittens (VT)
Rose Melberg (CANADA)
The Icicles (MI)
Casper and the Cookies (GA)
BURNING HEARTS (FINLAND)


The only day I recommend checking out is Saturday, featuring The Secret History, Pants Yell! and (most excitingly) Radio Dept. Thursday night, it might be worth going to see Knight School and My Teenage Stride, but they're both around the city, so it's not going to be your only chance.

Album: Ray Rumours - Le Pont Suspendu

Album: Le Pont Suspendu
Stitch-Stitch, 2009
Rating: ******* (7/10)

Once before, I wrote up a release by Ray Rumours, the solo project of London-based Ros Murray. To put it concisely, Murray's music captures all the wussiness of "twee pop" but replaces the pop with folk. One the one hand, the folk leanings makes it even wussier, but on the other, it adds some much-needed maturity to the whole "twee" thing. Sure, as you may know, wussy acoustic music isn't really my thing, but even to my jaded ears, it's an interesting enough combination to warrant a listen.

Le Pont Suspendu is richer in instrumentation than previous Ray Rumour releases, but this is a mixed blessing. The many instruments really flesh out some songs and add variety to the album. However, the instrumentation includes some of my least favorite sounds - most notably horns and accordion. At best ("Chaussures"), the horns sound vaguely Spanish, while at worst ("October"), they remind me of my high school concert band. (I blame Jeff Mangum for the horn trend in indie music. He should have put a sticker reading "Kids, don't try this at home!" on all Neutral Milk Hotel albums.)

Le Pont is not a pop album and it doesn't have a lot of hooks, but every once in a while, it approaches catchiness. The best example is "Meaningless Words," a charming little jaunt near the beginning of the record. Also, don't miss "Berlin to Poznan." The track opens with some pretty weak moralistic lyrics, but suddenly makes a sharp turn towards the personal, launching into a loving story of an encounter with an old friend. "Puddles and Rain" is also a personal favorite, because it actually has drums! Well, ok, it has drum, singular, but hey, it's a beat.

The more low-key songs, like the simple lullaby "Au Bord de la Mer," are also lovely (when they aren't rudely interrupted by a trumpet, anyway). For the most part, the album is upbeat and happy, or at least positive. There's an undertow of melancholy, though, which occasionally comes to the fore, like the heartbreaking "Ghost," a song addressed to a loved one who has recently died. However, the album's prevailing calm prevents a broader emotional spectrum - you won't find anything like anger, bitterness or even true elation here.

There is something, however, that gives the album a darker side. It's full of presumably intentional "wrong" notes, split seconds of dissonance that somehow both add to the album's quaint innocence and yet give it a tiny glimmer of something more ominous - there are a few moments where I swear I can hear the echo of some long-ago pain still ringing behind the music. Maybe it's not personal pain but rather a collective pain inherent in all honest music; in any case, it deepens the album immensely.

True to the press release, the album's satisfying climax is "Looking For You," which despite featuring an accordion and some of the album's weakest lyrics, stands out as one of its best tracks. It starts out subtly, then swells powerfully into an orchestral wave. The wave breaks on the appropriately-titled closer "Nightime on the Beach in Sydney," another introspective lullaby, bringing a gentle album to a peaceful close.

Ray Rumours on MySpace

Upcoming Shows: Wavves, Shilpa Ray, The Pains + more

Thursday, February 5

Shilpa Ray and Her Happy Hookers + the Soundscapes @ Le Poisson Rouge - West Village, Manhattan - $13
Thirteen bucks is a lot, so you may want to hold out and catch these bands at a later time for less (both have more NYC shows coming up). But I thought I'd mention it because if you've got the money, this will undoubtedly be the coolest place to be this Thursday night. You can read my last review of Shilpa here and my last review of the Soundscapes here. :: Shilpa Ray MySpace :: Soundscapes MySpace

Friday, February 6

Wavves @ The Market Hotel - Williamsburg, Brooklyn
WAVVES is the project of Nathan Williams, who is some kid from California who doesn't give a fuck that it's 2009. It could just as well be 1979 or 1989 or 2029, his music is timeless and it's what rock music should be. He plays something you could call noise-punk or noise-surf, massively distorted numbers with classic short pop songs buried somewhere beneath the fuzz. He also throws in some electronic-ish experimental songs to round things out. His last release made my top five records of 2008. :: MySpace

Saturday, February 7

The Pains of Being Pure at Heart + Depreciation Guild, Cause Co-Motion! and Zaza @ Mercury Lounge - LES, Manhattan - $10
The Pains of Being Pure at Heart is a tweegaze band and they are putting out a record tomorrow. I already reviewed it for you here. Depreciation Guild is a wonderful shoegaze band (and cute boys to boot). My last live review of them is here. Cause Co-Motion are a somewhat overrated but still highly enjoyable noise-pop band who play a lot of songs clocking in under two minutes. Zaza is an electronic duo that sounds like Suicide. My last live review of them is here. :: The Pains MySpace :: Depreciation Guild MySpace :: CCM! MySpace :: Zaza MySpace

Album: The Pains of Being Pure at Heart - The Pains of Being Pure at Heart

Album: The Pains of Being Pure at Heart
Slumberland/Fortuna Pop, 2009
Rating: ******** (8/10)

There's probably a good reason the "twee" movement died out in the UK in the early 90's - the style, a tiny sub-sub-genre within indie pop, known for its self-consciously innocent lyrics and general cutesiness, was called "twee" after British babytalk for "sweet." (I didn't know British babies talked differently from American ones, but apparently they do.) The approach was fun, but like all small musical movements, it ran its course and had long grown stale by the time patron label Sarah Records shuttered in 1995.

But just as there came time for the "twee" fad to end, there has come a time for it to be revived. All the other movements of the late 80's and early 90's are being brought back to life these days, and that's not just out of nostalgia, it's also because enough time has finally passed to allow them to sound fresh again. With grunge, shoegaze and lo-fi on the rise, a return to indie pop is certainly due.

And if proof was wanting that it's time for a second generation of twee, The Pains of Being Pure at Heart is it. With disgustingly adorable song titles like "This Love Is Fucking Right!" and "Young Adult Friction," the Pains aren't shy about their indie pop heritage. Their melodies and boy-girl vocals are shamelessly sticky sweet, but so good that you pretty much have to love them.


The Pains of Being Pure at Heart
Moreover, unlike many of the band's indie pop forebearers, the Pains aren't totally sissy - their songs may be self-awarely cute, but they bury it under layers of shoegazy, fuzzed out, super-loud guitar. To get the full effect, you really have to crank up the volume. Trust me.

The Pains aren't the first band to combine shoegaze guitar noise with indie pop melodies - in fact, the two styles were always closely linked and many bands (Velocity Girl, Black Tambourine, etc.) straddled the line. But the Pains could run with the best of those - their pop is nothing short of infectious, and their noise is well thought-out, masterful and very delicious.

There are some songs on the album that I find annoying and undoubtedly most listeners will be put off by one track or another. "A Teenager In Love" misses the "catchy" mark by a ways and is just irritating, while some other songs, like "The Tenure Itch," seem to lack focus. But the best tracks, "This Love Is Fucking Right!," "Come Saturday," "Everything With You" and "Young Adult Friction," make the whole album worthwhile.

It's retro, it's revivalist, but it somehow still sounds fresh and is, if nothing else, a damn good pop album that will make you smile and tap your foot.

The Pains of Being Pure at Heart will be released everywhere this Tuesday!

Fifteen Bands to Watch in 2009 - Part 3

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Part 1
Part 2

Led Er Est - A new band in the Weird Record crowd, Led Er Est's dark electronica falls somewhere between Krautrock and goth. It's simultaneously spooky and catchy and their intriguing songs have a haunting appeal. :: MySpace

The Pains of Being Pure at Heart - They're getting big in Europe. By which I mean, they are touring there eating pastries and candy all the day long. No, actually, I mean they are getting popular there. They are adorable and sweet, but they blast your eardrums at the same time. :: MySpace

Pet Ghost Project - I'm not generally a fan of solo projects and I'm definitely not a fan of bands with "project" in the name, but I am a fan of this highly creative low-fi noise pop! And I think if Justin Stivers plays his cards right, it could fare very well in 2009 indeed. :: MySpace

The Ruling Class - Britpop is back, with all its best elements in place: classic British pop melodies, rolling dance beats, soaring vocals and shoegaze-inspired guitar reverb. It's 1989, 2009 style. :: MySpace

The Spanish Prisoners - The opener of choice among NYC's most buzzed bands, these guys can't be long to follow. It may be standard angular, catchy indie rock, but it's really good and it's got potential to be better. :: MySpace

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!