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This Guitar-Playing Couple Is Worthy of Headlining

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

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Lights Resolve Rocks The Bowery

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

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Two Times the Fun

August 14th, 2009

NOMO – Mercury Lounge – August 13, 2009

(Photo: Doug Coombe)

(Photo: Doug Coombe)

Is it true that if you’ve got something good, then having two of those things makes it twice as good? That seems to be the principal that NOMO was operating under last night at the Merc. Two drum kits, double-strength saxophones and everything twice as funky and loud as I anticipatied. The music was an instrumental stew with a base of Afrobeat, but the thing that struck me immediately were those two kits, just pounding away with a steady stream of right-left-right-left body blows. The sensation was like listening to the Allman Brothers with horns replacing guitars and dance-yourself-silly grooves replacing Southern rock. Between the drums and horns, a sexy bass wove the low end making the whole sound cut-with-a-steak-knife thick and juicy.

Midway through the set, NOMO showed they’ve got at least two sides, as one drummer traded in the sticks for a guitar and the frontman traded in his sax for keys, electronic beats and samples. The dancing didn’t stop, but the sound took a little turn toward a greasier electro-funk that was peppered with a weird synth-sax and later a wicked electronic, heavily distorted thumb piano. NOMO hails from Michigan and there was a certain “They’re from Ann Arbor? I went to school in Ann Arbor!” feel in the crowd, but this was collective groove music of the highest degree without pretense or boundary.

As the night wound down, the band treated us to a version of Sun Ra’s “Rocket #9,” which was more an intensely dark homage than a cover. They finished with a pulsing dance-party version of the “play in the middle of the room” trick ensuring that everyone had twice as much fun as they could handle. —A. Stein

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Still Captivating After All These Years

August 14th, 2009

Tori Amos – Radio City Music Hall – August 13, 2009

Tori Amos

Touring in support of her most recent album, Abnormally Attracted to Sin, pianist and singer Tori Amos played only a handful of songs from the new record last night as part of her lengthy set at Radio City Music Hall. Though most performers relish the opportunity to test-drive new material and push aside older songs, Amos seems to live by the principle that as her repertoire expands, so shall the scope of her set list. And rightly so—there would be quite an outcry from her voracious fans should any old favorites suddenly be deemed obsolete.

In concert, Amos possesses not only the intuition to craft sets comprised of favorites, new and old, but the ability to truly inhabit her unique songs with a dynamic stage presence. From the show’s opener, “Give,” a pulsing, slow-burn of a song, which found Amos a bit reserved and brooding, to the exuberant crowd-pleaser “Cornflake Girl,” she even managed to fit in a heartfelt cover of Nirvana’s “Smells Like Teen Spirit.” Throughout the show, Amos played up the more sensual elements of her songs, straddling her piano bench, kicking out a high-heeled foot, or gesturing suggestively, long red hair swirling down her back as she displayed her signature move of masterfully playing two keyboards simultaneously.

Although we’ve all come a long way since Amos’s 1991 debut album, Little Earthquakes, when she played the opening chords of “Precious Things,” the crowd’s overwhelming excitement proved that the song may be almost 20 years old, but it remains just as captivating now as it ever was. —Alena Kastin

See the Warlocks Tomorrow Night

August 13th, 2009


Like another California band (temporarily) called the Warlocks, these Warlocks have embraced psychedelic music. And while their sound isn’t as trippy as the Dead’s, their music is at times experimental, spanning many genres. Although their lineup has gone through several changes over the years, this L.A.-based group has been performing together for more than a decade. And their fifth album, The Mirror Explodes, released in May, brings them to The Bowery Ballroom tomorrow night. See them, above, playing “So Paranoid,” and then go see them play live.

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Bat for Lashes – Webster Hall – August 12, 2009

August 13th, 2009

Bat For Lashes - Webster Hall - August 12, 2009 - Photos Gregg Greenwood

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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Storytellers: Zach Williams

August 12th, 2009

Zach Williams – Mercury Lounge – August 11, 2009

Zach Williams - Mercury Lounge - August 11, 2009
Brooklyn-based singer-songwriter Zach Williams graced the Mercury Lounge stage again last night, his first time back since his packed record-release show in June. He plays soulful tunes that border between folk and pop. At times his sound is very traditional and reminiscent of soul legend Otis Redding. At others points he sounds more like Maroon 5’s Adam Levine or Counting Crows’ Adam Duritz. Emotions run strong in each of the songs featured on Williams’ debut album, Story Time, and are conveyed beautifully through both the lyrics and the layers of sounds. However, it is live that the best parts of his music come out, as Williams does a wonderful job of bending each song into an epic story. —Kirsten Housel

Photos courtesy of Kirsten Housel

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TV on the Radio – Prospect Park Bandshell – August 11, 2009

August 12th, 2009

tv-on-the-radio-live-1

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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A Band Taking It All in Stride

August 11th, 2009

Hockey – Mercury Lounge – August 10, 2009

Deer Tick

Let’s be honest with ourselves as much as we’re able: Postmodernism was suited to declare revolution—if not outright war—on the capitalist Kulturkampf of the emerging American middle class. But art divorced from meaning evolved into its own marketplace and posed new questions. How do you sell something that is against being sold? What happens when someone embraces the same tools built only to deconstruct? Not ironically, Hockey.

Spun out of Portland, Ore., Hockey took the stage just before 11 p.m. They’d sound-checked and sound-checked again and finally took the stage with the gravitas indicating that yes, we are signed to a major label. Leading off with “Work, Work, Work,” Ben Grubin thrashed around like an attention-deficit art student. His affect was charming, if not as propulsive as the rumored magnetism he’s rightfully earned. Grubin wore a T-Rex T-shirt, ripped almost beyond recognition. You would think, if not for his in-ear monitors, that this wasn’t all carefully put together.

But Hockey’s last few songs revealed something greater, something more fruitful. In the midst of the disco-rocked “Too Fake,” Grubin admited, perhaps obviously, “I’m just too fake for the world.” And in the updated Tom Petty sing-along, “Song Away,” Grubin confided, “I stole my personality from an anonymous source.” His hat tipped over his eyes and he sang, “And I’m getting paid for it too. I don’t feel bad about that.” Can you sell what isn’t supposed to be sold? Absolutely and, yes, look out. —Geoff Nelson

Contest

Grow a Pair: Win Free Tickets to See Animal Collective on 8/14

August 11th, 2009

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You know you love them, and, yet, you couldn’t get a ticket to see Animal Collective this Friday at the Prospect Park Bandshell. Well, guess what? You’re in luck on two counts: 1) Tickets do remain for the band’s Saturday show, and 2) You can try to Grow a Pair of free tickets to Friday’s sold-out 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 (Animal Collective, 8/14) and—since it finally feels like summer—a brief message telling us your best tip to beat the heat. Eddie Bruiser, who could win a gold medal if sweating were an Olympic sport (sadly, it’s not), will notify the winner by noon on Friday, August 14th. Good luck.

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Album Review: “Felt” by Anchor & Braille

August 10th, 2009

Felt

Anchor & Braille’s Felt is a beautiful musical landscape of soaring vocals backed by luscious orchestration. One-man-band Stephen Christian, frontman of the much heavier Anberlin, puts his trademark falsetto over this backdrop of pianos and string instruments to create an album that’s totally different from what fans would expect, but all the while good. The disc’s lyrical nature is also a departure from Christian’s Anberlin work as it’s much more personal in nature, exploring heartache and regret—themes too intimate and too painful (according to Christian) for such a platform. The album’s first single, “Like Steps in a Dance,” is one of its best songs, with a subtle drumbeat in the background simply accompanying Christian’s voice. Other songs on the album, such as “Sing Out,” share similar dynamics but with the addition of an acoustic guitar. Produced, engineered and mixed by Copeland singer Aaron Marsh, Felt is a wonderfully stripped-down album with just the right amount of production work attached, and it’s a really good first shot at trying something different by Stephen Christian. —Kirsten Housel

(Stephen Christian, as Anchor & Braille, plays Mercury Lounge on Wednesday.)

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Sprawling, Freewheeling Music on a Friday Night

August 10th, 2009

Edward Sharpe & the Magnetic Zeros/the XX – Mercury Lounge – August 7, 2009

Edward Sharpe and the Magnetic Zeros
It’s not every band that schleps its own upright piano onto the Mercury Lounge stage with them…or has a tall blonde in evening wear playing an accordion for that matter. Then again, Edward Sharpe & the Magnetic Zeros aren’t just any band. Falling somewhere in the spectrum between Rusted Root and the Polyphonic Spree, their show was more like communal living through music, a tribal ritual rather than a rock concert. High energy and positive vibes flowed from percussion, guitars, bass, piano and vocals, as well as ukulele, trumpet and, yes, an accordion, which were all eagerly consumed by the crowd. Was that eight people onstage? Nine? 10? Frankly, there was no border—the band extended all the way to the back of the room with the audience playing its part with sing-alongs and masterful clap-along breakdowns in many of the songs. With microphones planted all over the stage, harmonies came from anywhere and everywhere. This was irony-free Free to Be…You and Me: The more upbeat, the better it sounded.

The XX played an earlier set that was plagued by sound problems. The quartet dressed almost entirely in head-to-toe black, and their music was a surprising drug. Narcotic melodies lay softly on a bed of drum machines and synthesizers like something out of a tripped-out prom scene in a John Hughes film. Tunes were short-lived and punctuated by Explosions-in-the-Sky-esque guitar riffs. And then the amp gave out altogether. —A. Stein

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Party-Heavy Rock and Roll at Webster Hall

August 7th, 2009

Eagles of Death Metal/Rival Schools – Webster Hall – August 6, 2009

Eagles of Death Metal - Webster Hall - August 6, 2009
Last night’s Webster Hall lineup of Eagles of Death Metal and Rival Schools was definitely an odd—albeit amazingly awesome—pairing of post-hardcore and party-heavy rock and roll. The NYC-based Rival Schools is composed of former members of noteworthy hardcore bands, yet because the group has released just two albums (United by Fate and Rival Schools United by Onelinedrawing) and has played few shows since forming in 1999, Rival Schools is still shrouded in mystique. “Eyes Wide Open,” the only song that singer Walter Schreifels introduced as a new one—the band is working on a new album—pits strained, almost screaming vocals by Schreifels against soaring, distorted guitars. “Undercover On,” which culminated with some sweet, melodic backing vocals from Ian Love, and “Good Things” were definitely the highlights.

Although the room was full for Rival Schools, between sets it became packed and the crowd grew rowdy. The headliner’s fans are far wilder than the opener’s—and they can’t be blamed. EODM’s sexually charged, party-fueling, garage-y rock and roll songs have titles like “I Want You So Hard (Boy’s Bad News)” and “Whorehoppin’ (Shit Goddamn) I’m a Man.” So, what else could be expected? The show was a hometown affair that brought out a somewhat softer side of frontman Jesse Hughes’s rock and roll persona. Not only did he shout out to his mother, who was watching from the balcony dressing room, but also to his first-born son, an adorable blonde boy who spent most of the set running around the back of the stage, dodging drum sticks. Hughes even brought out a good friend of his for an wedding proposal. Although the mood lightened every so often for these shout-outs, the vibe was never lost, as pretty much everything Hughes said was followed by an obligatory “Can you dig it?” I dug it all. —Kirsten Housel

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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Gov’t Mule – The Wellmont Theatre – August 5, 2009

August 7th, 2009

Gov’t Mule – The Wellmont Theatre – August 5, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

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Hot Band for a Hot Night

August 6th, 2009

Portugal. The Man – Mercury Lounge – August 5, 2009

Portugal. The Man
In a summer that’s been uncharacteristically cool, yesterday stood out as particularly warm and humid—air that’s thick in the lungs and practically moist to the touch. The sensation lasted well into the evening when Portugal. The Man played at Mercury Lounge. Their music was deep, dark, dreamy and dense with a humidity that filled the room, condensing directly onto the bodies of the sold-out crowd.

With dark purple and red lights behind them, the band ripped through an 80-plus minute set that barely ebbed enough to let us wipe our brows. The audience required no respite, happily sweating up a storm while the onslaught of guitar, drums, bass, keys and psychedelic falsetto harmonies generated its own oppressive heat. The songs were twisted and organic, some winding through multiple passages and extended instrumental interludes while others just came as short, intense blasts of volume.  There was little separation between songs or instruments: To pick out and highlight one tune from another or one player from the band would be like calling out the color yellow as most instrumental to the success of a rainbow when it takes all of them to reach the pot of gold. (Although, damn, that was some intense drumming.)

Watching the crowd, I must admit I was jealous, wishing I were already deep enough in the cult to sing along to every song, call out for my favorite selections from the back catalog, and anticipate every tangential change three clicks in advance. All in good time, I suppose. For the first bit I found myself thinking “this sounds like [fill in the blank]!” but very quickly, things ran together, the energy became fully amorphous, sweat and dew became indistinguishable and I realized that it sounds like nothing else but Portugal. The Man. This may very well be my new favorite band. —A. Stein