The Bowery Presents

Archive for August, 2009

See Screaming Females Tomorrow Night

Monday, August 31st, 2009


The indie punk band Screaming Females, like Frank Sinatra, do it their way—from booking their own shows to self-releasing their first two albums. Singer Marissa Paternoster, short in height and long in voice, plays guitar with Jarrett Dougherty behind the drums and King Mike on bass. They rose out of the New Brunswick, N.J., basement scene and have earned their fair share of acclaim this year: First, their third album, Power Move, came out on Don Giovanni Records, then they played some dates with Jack White’s newest band, the Dead Weather, and, finally, just a couple of weeks ago, Screaming Females made their TV debut on MTV. And to top all of that, they play Mercury Lounge tomorrow night.

(Check out Screaming Females, above, playing “Bell” at Terminal 5 in July.)

See Edward Sharpe & the Magnetic Zeros on Sunday Night

Friday, August 28th, 2009


Two years ago, Ima Robot frontman Alex Ebert formed the freewheeling 11-piece ensemble Edward Sharpe & the Magnetic Zeros. Their debut EP, Here Comes, came out this past May. But then, just two months later, they released their first full-length album, Up from Below. And the band has steadily toured ever since, including a very well received Mercury Lounge show earlier this month. Fortunately, they’re back—at Music Hall of Williamsburg on Sunday night. And what’s a better way to end your weekend than dancing along to a band playing upbeat, high-energy rock and roll?

Check out Edward Sharpe & the Magnetic Zeros, above, playing “40 Day Dream,” the first song off Up from Below, and then download the MP3 here.

See Michael Franti & Spearhead on Tuesday, 9/2

Friday, August 28th, 2009


Michael Franti not only deftly mixes hip-hop with jazz, funk, R&B, reggae and rock, but he also easily combines social commentary with music that makes you want to shake it. He’s been at it for a while—first with the Beatnigs and then the Disposable Heroes of Hiphoprisy. But since the release of 1994’s Home, led by “Hole in the Bucket,” Michael Franti & Spearhead have been making thoughtful, provocative music that inspires you to think and to dance. Their most recent album, All Rebel Rockers, came out last year. The single “Say Hey (I Love You)” has earned the band considerable attention and significant airplay. Check out the video, above, of Michael Franti & Spearhead performing it earlier this month, and then go see them play Terminal 5—with Venezuelan disco-funk outfit Los Amigos Invisibles opening—next Tuesday.

See Stardeath and White Dwarfs on Monday, 8/31

Thursday, August 27th, 2009


The name seems like two different bands, and even the band can seem like two different bands, but the Oklahoma City quartet Stardeath and White Dwarfs has its own unique, experimental sound. Their debut album, The Birth—featuring distorted guitar and songs like “Smoking Pot Makes Me Not Want to Kill Myself”—came out earlier this year. And if singer Dennis Coyne’s name sounds familiar, you might be thinking of his uncle, Wayne Coyne of the Flaming Lips. And if you make that connection and then think about nepotism, you should know that Uncle Wayne has said, “Everything they’ve got, they’ve earned on their own.” But don’t just take his word for it. Check out the above video of Stardeath and White Dwarfs playing “The Sea Is on Fire” two years ago at The Bowery Ballroom and then check them out on Monday night at Mercury Lounge, before the band heads to Europe next month.

See These United States Tomorrow

Wednesday, August 26th, 2009


These United States, whose members hail from Lexington, Ky., and Washington, D.C., have steadily toured since forming in 2006. Last year, the band released two albums just six months apart, A Picture of the Three of Us at the Gate to the Garden of Eden and the more rousing Crimes, to much acclaim even though the discs cover somewhat different musical territory. Led by Jesse Elliott, These United States can sound at times a little bit out there and at other times endearingly rambling and twangy, but, regardless, they’re always fun. Check out the band, above, playing “Honor Amongst Thieves,” and then see them live at Mercury Lounge tomorrow night.

Mew - Music Hall of Williamsburg - August 24, 2009

Tuesday, August 25th, 2009

Mew - Music Hall of Williamsburg - August 24, 2009

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

See Boy Crisis Tomorrow Night at Mercury Lounge

Monday, August 24th, 2009

The members of Brooklyn’s electro-pop band Boy Crisis—Alex Kestner (keys), Lee Pender (guitar), Tal Rozen (bass), Owen Roberts (drums) and Victor Vazquez (vocals)—met at Wesleyan Art College, just like MGMT and Das Racist (the rap duo of which Vazquez is a member). Before ever releasing an album or signing a recording contract, Boy Crisis earned raves last year on the strength of singles “Strawberries” and “Dressed to Kill.” They even garnered attention as far away as England when The Guardian named them the New Band of the Day. Check out the “Dressed to Digress” video, above, and then see what all the fuss is about when they play Mercury Lounge tomorrow night.

Twenty Years in and Still Going Strong

Sunday, August 23rd, 2009

The Bouncing Souls - Webster Hall - August 21, 2009

The Bouncing Souls - Webster Hall - August 21, 2009

The Bouncing Souls are one of pop-punk’s strongest and still most relevant bands, even though they formed well before the genre ever made it into the mainstream. Celebrating 20 years together, the Souls are still going as strong as ever, as evidenced by last week’s two sold-out Webster Hall shows. They’ve released countless records, EPs and singles (including a new one for each month of 2009 in celebration of this 20th anniversary), and perhaps the only problem with that is they didn’t get to play as much from their older records as fans might have wanted. However, they did work their way through an impressive selection of their back catalog. In addition to playing a few of the newly released songs, the Souls also played such favorites as “Lean on Sheena,” “I Like Your Mom” and what could be considered their anthem, “True Believers,” throughout their 60-minute set. The show’s broad demographic is a testament to the band’s influence and staying power over the years, as beer-gutted 30 year olds danced next to high school kids barely old enough to drive. For the band and fans alike, and as the Souls song “Kids and Heroes” so eloquently puts it: In the end, it’s all a question of heart. —Kirsten Housel

Photos courtesy of Mina K

Even When She Tries to Be Bad, She’s Just Too Good

Friday, August 21st, 2009

Juana Molina - Music Hall of Williamsburg - August 20, 2009

Juana Molina

Argentinean electronic folk artist Juana Molina has been working hard to show her serious side. Performing tracks from her latest release, Un Dia, the former comedic actress proved she can live loop and sample with the best of them. But she doesn’t just rely on effects and pedals to create those lush layers of loops. Her vocals have become the primary instrument in her ever-changing melodic landscapes. The few intelligible lyrics are in Spanish, but Molina has overcome the problem of performing for an English-speaking audience by almost doing away with language altogether. Her vocalizations aren’t stand-ins for meaning, but rather, they’ve transcended into pure sound—a defining, human sound she piled all the way up into the balcony of Music Hall of Williamsburg last night.

Molina wasn’t about to break up the songs either. They flowed together as the tides of samples rose and faded with a push of the pedal or a turn of a knob. She coaxed them from meandering ambience into pounding, overwhelming rhythms. This was complex orchestration for anyone to recreate. So it was staggering to see a solo artist capable of taming such typically stubborn electronics as easily as Molina does. She deliberately exposes herself to the audience with the process because she essentially creates the songs in front of you. Live, she builds the intricate layers individually, slightly different each time—like a successful brain surgery of sound night after night. And yet, she still makes jokes, like pretending to be a terrible, out-of-tune folk singer, which really wasn’t all that funny, because even when she tries to be bad, she’s just too good. —Jason Dean

See Juana Molina Tomorrow Night

Thursday, August 20th, 2009


Juana Molina has led an interesting life. She learned how to play guitar at the ripe old age of five. And when she was just 14, Molina’s family fled Argentina, following that country’s 1976 coup d’état, and settled in Paris for six years. She ultimately returned to her homeland and found success as an actress, starring in the hit sketch-comedy show Juana y Sus Hermanas. That would have been enough for most people, but not Molina, who, starting in 1996, began releasing intimate albums far removed from the vanity projects we’ve come to expect from actresses looking to cross over into music. (Molina’s lyrics are in Rioplatense Spanish, a dialect spoken in the Río de la Plata region between Argentina and Uruguay.) And beginning with Molina’s second album, the aptly named Segundo, she has capably mixed singer-songwriter folk music with electronica and ambient sounds, earning her favorable comparisons to Beth Orton and Björk. But don’t just take The House List’s word for it, check out the video profile above and then see her tomorrow night at Music Hall of Williamsburg to judge for yourself.

Go See Lifetime Tomorrow Night

Wednesday, August 19th, 2009

Lifetime first came through The Bowery Presents’ family of venues as headliners in July 2006. And now these punk legends are back, at Webster Hall, supporting their friends as the Bouncing Souls celebrate 20 years as a band. Originally formed in 1990 in New Brunswick, N.J., Lifetime made its name playing the town’s basements with like-minded punk and hardcore bands. Over the years, Lifetime broke from the pack, maturing musically and lyrically. While other bands kept playing hard and fast—featuring slightly more negative and cynical subject matter—Lifetime began infusing its music with melodies and singing about positive and personal themes, which led to the 1997 release of the seminal Jersey’s Best Dancers. But then Lifetime disbanded shortly after the album’s release. And in the heyday of melodic punk, that was it for one of the genre’s underground stars.

In late 2005, Lifetime agreed to a reunion at the metal festival Hellfest in exchange for money paid to the band members’ favorite charities. When Hellfest was cancelled, the band signed on to do three smaller headlining shows—two in Philadelphia and one in Asbury Park, N.J. Three more in California followed in January 2006. And soon after, Lifetime inked a deal to record a new disc with Decaydance, an imprint of Fueled by Ramen Records, owned by Fall Out Boy’s Pete Wentz. This fourth full-length, simply titled Lifetime, came out in February 2007. That Lifetime hasn’t toured much in support of this self-titled album ups the anticipation for Thursday’s opening set.

Check out Lifetime, above, playing “Cut the Tension” and then go see three of the East Coast’s most revered punk bands—the Bouncing Souls, Lifetime and None More Black—when they play Webster Hall on Thursday to celebrate the Souls’ 20th anniversary. —Kirsten Housel

(The Bouncing Souls also play Webster Hall on Friday.)

Ambulance LTD Plays New Then Old at Mercury Lounge

Wednesday, August 19th, 2009

Ambulance LTD - Mercury Lounge - August 18, 2009

(Photo: Jasper Coolidge)

(Photo: Jasper Coolidge)

Ambulance LTD’s lead singer, Marcus Congleton, had a gigantic tiger on the front of his T-shirt (and one on the back). It was, in fact, a tiger shirt. The type that is either grossly ironic or more earnestly worn in shopping malls throughout America’s red states. It’s hard to tell if these animal graphic T-shirts, first popular in the ’80s, are seriously old or very, very new. And for a frontman with uncanny calm, a tiger leaping through the front of his major textile garment is either fun as hell or extremely disjointed.

The band opened with material the sold-out crowd didn’t know. Working on a new record after years of label disputes, Ambulance LTD appeared committed to honing the new songs in a live environment, which is difficult to evaluate, both artistically and performance-wise. Are the new songs less impressive because we didn’t know them? Or was the audience too focused on old material to spot the brilliance of the new offerings? For 10 songs the debate raged and the concertgoers kind of swayed, equal parts happy to be there and confused about where this was going. And then the set shifted.

After a pleasant prog-rock breakdown, the band delved into its first full-length album, LP, playing “Ophelia.” From there on out, with one exception, the band played material from that first album. The crowd responded to the expected, bouncing and nodding along. But what about the tension between old and new? As Congleton noted in the lyrics of one of his first songs, “I’m too young to belong to anyone/ But I’m too old to be taken.” It was achingly serious and pertinent—the divide is challenging. Except for the tiger leaping out of his chest. That needs no reconciliation. —Geoff Nelson

Grow a Pair: Win Free Tickets to See the Bouncing Souls on 8/20

Tuesday, August 18th, 2009

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The Bouncing Souls began playing three-chord party music in New Jersey in the late ’80s. All these years (not to mention imitators) later, they’re still going strong, with two shows at Webster Hall on Thursday and Friday. Don’t have tickets? Then try to Grow a Pair of free ones to Thursday’s show from The House List. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (the Bouncing Souls, 8/20) and a brief message telling us your favorite Bouncing Souls song and why. Eddie Bruiser, a Bouncing Souls fan from way back, will notify the winner by noon on Thursday, August 20th. Good luck.

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When Three Sound Like More

Tuesday, August 18th, 2009

Band of Skulls - Mercury Lounge - August 16, 2009

Band of SkullsBand of Skulls is a three-piece rock group that sounds like more. Perhaps, there are glibber ways to explain the volume and density coming out of the speakers at Mercury Lounge last night but, in this case, we’ll settle for: Band of Skulls is a three-piece rock group that sounds like more.

In a move that was either arrogant or knowing, the band chose the radio- ready single “I Know What I Am” as the second song of the night. It is one of those upright, wide-open, fist- pumping rock songs. It’s hard to replicate. They would either have the songs to support playing something so big, so early, or they wouldn’t. In this case, they had enough up front to carry the set.

The most striking thing about Band of Skulls is the two singers’ interplay. Though one is female and the other is male, the qualitative conjunction is powerful. In the fourth song of the night, the two came face-to-face, in vaguely seductive magnetism, and for a moment they looked as though they might kiss. I would be lying if I said the crowd wasn’t rooting for this. It ended up being more collaborative than sexual. Something that, I suspect, is exactly why a three-piece rock band can sound this big. They played nine songs and a single encore with playful back-and-forth throughout. This was rock music: loud and certain. It maybe even sounded like more. —Geoff Nelson

Animal Collective Plays Last NYC Show of the Year

Monday, August 17th, 2009

Animal Collective - Prospect Park Bandshell - August 15, 2009

Animal Collective - Prospect Park Bandshell - August 15, 2009
On a humid Saturday evening at the Prospect Park Bandshell, Animal Collective provided a cool, under-the-sea themed concert, the second of two sold-out shows. The Maryland-born, New York- based band currently consists of Avey Tare (David Portner), Panda Bear (Noah Lennox) and Geologist (Brian Weitz). They played in front of an undulating ocean backdrop complete with seafaring creatures while jellyfish-shaped string lights hung above the crowd. Midway through the show—when they played “#1,” off Strawberry Jam—a model shark lurked across the nautical set. All the while, two Pringles-can-shaped Aztec Jack-o’-lanterns with bowl cuts majestically stood on each side of the stage. The scenery whimsically complemented the night’s music.

Touring on the heels of their ninth studio album, Merriweather Post Pavilion, Animal Collective has amassed an impressive catalog that gives them range and versatility in their set lists. Toward the set’s beginning, the band played a revamped version of “Leaf House,” heavy on its original piano sample. Eventually the new track “What Would I Want Sky” (a Jerry Garcia sample jam with a skull-rattling bass) and songs from Panda Bear’s solo projects made their way into the set. While the band has traded an acoustic freak-folk sound for a more electronic-based groove, Animal Collective’s live shows continue to include innovative musicianship and spontaneity. Songs like “Also Frightened” showcased the increasing vocal interplay between Panda Bear and Avery Tare. For a band rooted in the Brooklyn music scene, the show was a welcome homecoming. As Avery Tare repeatedly told the crowd: “This is the best place to play in New York.” For their part, Animal Collective greatly contributed to a wonderful late summer evening. —Jared Levy

Photos courtesy of Morgan G. Harris | morgangharris.com

This Guitar-Playing Couple Is Worthy of Headlining

Monday, August 17th, 2009

Drug Rug - Mercury Lounge - August 14, 2009

Drug Rug - Mercury Lounge - August 14, 2009

In baseball it’s called pitching backward: To keep the hitter off balance, the pitcher starts with a slow pitch, like a curveball, instead of a fastball. On Friday night the Boston band Drug Rug did just that at Mercury Lounge when they started with the dreamy title track off their new album, Paint the Fence Invisible. The boyfriend-girlfriend pairing of Tommy Allen and Sarah Cronin showcased most of that sparkling new album, bringing out rockers like “Hannah Please” and spacey slow jams like “Don’t Be Frightened by the Devil.” And just when those in the crowd thought they knew what was coming, Allen or Cronin would throw a different pitch. Moving through songs fast and slow and new and old, they put on a headline-worthy performance.

Allen and Cronin brought different sides to the show, making for a wonderful split. He stayed cool, smoothly harmonizing and subtly laying down great, classic-sounding rhythm guitar. While, at center stage, she sweetly howled through each track, ripping off one bluesy guitar solo after another. Carter Tanton and Julian Cassanetti, decked out in black shades reminiscent of the Blues Brothers (as some in the crowd rowdily noted), backed the couple. This same duo performed with Drug Rug at Mercury Lounge last winter, and that experience showed. Allen and Cronin don’t always play live with the same musicians and establishing some consistency with that helped them put on one of their best New York City shows yet. “It’s like playing with family,” Allen said afterward. The show closed with a fastball“For the Rest of Your Life,” off Drug Rug’s self-titled debutand then one last curve as Cronin bashed the drums for “Day I Die.” Good game. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

Lights Resolve Rocks The Bowery

Friday, August 14th, 2009

Lights Resolve - The Bowery Ballroom - August 13, 2009

Lights Resolve - The Bowery Ballroom - August 13, 2009

Lights Resolve started promoting last night’s show in the streets of New York City as far back as early July. For a band from nearby Long Island suburbia, a headlining show at The Bowery Ballroom is a major accomplishment and one they didn’t want to spoil. When the show sold out in the eleventh hour (fans were still buying tickets as openers the Rivalry began), it was finally clear that their work had paid off. The band took full advantage of their time as the headlining act, playing everything from brand new songs like “Stick ’Em Up” to tunes that normally don’t see the light of day, like “This Could Be the Last Time.”

Lead singer and guitarist Matt Reich was less talkative than he can be, if only because he seemed determined to put on as much of a show as he could. If he wasn’t throwing his tambourine in the crowd during songs, he was out there himself, taking full advantage of the smaller confines of  The Bowery Ballroom by putting his microphone in the face of nearly everyone in the first few rows. Bassist Luke Daniels’ harmonies helped fill the room better than a trio should be able to, something Lights Resolve has become known for. Combined with Reich’s Edge-like use of pedal effects (and sheer ability to wail on guitar) and Neal Saini’s ever-pressing drumming, Lights Resolve put on a show that most four- or five-pieces couldn’t, much to the delight of the packed house. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

© 2009

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