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The Dodos Stay Quiet to Play Loud

October 14th, 2009

The Dodos – Music Hall of Williamsburg – October 13, 2009

The Dodos - Music Hall of Williamsburg - October 13, 2009
The Dodos barely spoke. Aside from the usual “How’s everyone doing tonight?” the crowd was an afterthought for this San Fransisco band consisting of Meric Long (guitar and vocals), Logan Kroeber (drums) and Keaton Snyder (vibraphone). In place of banter, the Dodos cultivated intimacy through the passion and focus of their performance.

While the Dodos’ music touches upon freak-folk influences like Animal Collective, it’s with a unique flair: Long used multiple pedals for his acoustic guitar while looping his vocals for a sprawling sound. Kroeber kept perfect time on a drum kit without a bass drum. Instead, he used a tambourine taped to his shoe. And the twang of Long’s acoustic guitar syncopated with Kroeber’s crisp rim shots created an incredible percussive experience. The group’s music also gained depth and complexity with Snyder’s vibraphone accompaniment. At times, he drew a bow along the edges of it for a pure ringing tone.

Songs off their new album, Time to Die, and previous records acted as a conduit for fierce jams and soft ballads. Early on, a roadhouse-blues feel emanated through Long’s battered acoustic guitar. Later, the Dodos played an excellent version of the band’s new single, “Fables.” But the performance’s capstone came with the lights off when Snyder and Long donned glow sticks on their fingers. Only Long’s iridescent strumming could be seen in the darkened room. The Dodos communicated through light and sound what words could only spoil. —Jared Levy

(The Dodos play a sold-out show tonight at The Bowery Ballroom.)

Photos courtesy of Jared Levy

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Clem Snide Brings the Funny

October 14th, 2009

Clem Snide – Mercury Lounge – October 13, 2009

Clem SnideWe’ve all been to rock and roll shows where a guitarist has broken a string and where metaphoric shredding becomes literal. Well, last night I saw Eef Barzelay, frontman of Clem Snide, break a microphone string. Well, not the string—microphones don’t have strings—but early on in the set at the Merc, the cable just spontaneously popped out of the back of the mike. “That’s never happened to me before,” he exclaimed. I’m not surprised, though, because Barzelay was certainly shredding the microphone all night with goofy banter between songs and bipolar singing that was crooned and snarled, over- and under-accentuated. The sound in the room was perfect, highlighting the vocals with a crispness that ensured that not one lyric was missed.

And with Clem Snide, you certainly don’t want to miss a single word. They featured a bunch of new tunes off a to-be-released album: One called “Denise,” with a wonderfully bloated bass line, and another with perhaps the funniest lyric I’ve heard in a while, “I got high with a Sufjan Stevens fan in Normal, Illinois.” The Illinois rhymed with girls and boys in a nice bit of wit. After a story about his son finding a used condom in Prospect Park, the band played a new song, which apparently was written from the point of view of whoever left behind such detritus (featuring the line “I plant my seed”). A two-song solo stint for Barzelay was anchored by a strong version of “The Ballad of Bitter Honey” (you know, the song about a music-video dancer that starts with the line “That was my ass you saw shaking next to Ludacris”). For the encore, Barzelay announced a Michael Jackson tribute (“He died for our sins…. No, really, he did!”) and launched into a surprisingly awesome, high-energy mashup of “Man in the Mirror” and “We Are the World.” —A. Stein

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Two Chances to See the Black Angels

October 14th, 2009


It’s hard not to like a band named after a Velvet Underground song. And the Austin, Texas, psychedelic rockers the Black Angels, whose name comes from the Velvet Underground & Nico track “The Black Angel’s Death Song,” do not disappoint. The band’s debut LP, Passover, earned them some well-deserved accolades, and their second album—following shows at Lollapalooza and SXSW—Directions to See a Ghost, got even better reviews. See what all the fuss is about when the Black Angels open for the Raveonettes tonight at Webster Hall and on Sunday at Music Hall of Williamsburg. (Meanwhile, check them out, above, playing “Better Off Alone.”)

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See Lucero at Webster Hall This Saturday

October 13th, 2009


Like a bastardized version of a Donny and Marie song, Lucero is a little bit country and a little bit punk. Led by charismatic singer-guitarist Ben Nichols, the band has been putting out albums since their debut, The Attic Tapes, was released in 2000. Their eighth album, 1372 Overton Park, came out last week. (You can stream it here.) And to celebrate, these road warriors are touring the country again. They bring their gritty, roots-y music to Webster Hall this Saturday—and they’ll have horns with them, so you know it’s gonna be good.

(See Lucero, above, playing “I Can Get Us Out of Here Tonight” on Fuel TV.)

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Playing for Change: Songs Around the World

October 13th, 2009


The multimedia music project Playing for Change brings together musicians from all over the world to “inspire, connect and bring peace to the world through music.” The project’s creators traveled across the globe to record local musicians performing the same song in their own style. Playing for Change has gone on to record other songs and to launch a foundation, which most recently opened a school of music and dance in Ghana. Playing for Change: Songs Around the World—featuring Mohammed Alidu (Ghana), Peter Bunetta (L.A.), Grandpa Elliott (New Oleans), Mermans Kenkosenki (Democratic Republic of the Congo), Louis Mhlanga (Zimbabwe), Juan Carlos Portillo (Venezuela), Jason Tamba (DR Congo) and Titi Tsira (South Africa)—comes to Town Hall on Sunday, October 25th.

(Check out Playing for Change, above, performing the Ben E. King classic “Stand by Me” on The Tonight Show with Conan O’Brien.)

Contest

Grow a Pair: Win Free Tickets to See Built to Spill on 10/15

October 13th, 2009

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Built to Spill is still in town for three more nights: tonight at Webster Hall and tomorrow and Thursday at Music Hall of Williamsburg. You can still buy tickets for the first two dates, but if you want to see Thursday’s sold-out show, you’re gonna have to try to Grow a Pair of tickets from The House List. Just fill out the form below. List your name, e-mail address, which show you’re trying to win tickets to (Built to Spill, 10/15) and a brief message telling us an embarrassing spilled-drink story. Eddie Bruiser, who likes to stay clean, will notify the winner by noon on Thursday, October 15th. Good luck.

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Blitzen Trapper Can Cure Your Hangover

October 12th, 2009

Blitzen Trapper – The Bowery Ballroom – October 11, 2009

(Photo: Jade Harris)

(Photo: Jade Harris)

I almost didn’t make it to the show. As evidenced by my throbbing headache (like a loop of Bootsy Collins’ bass solos playing in my brain) and my inability to hydrate, I woke up yesterday morning feeling the ill effects of staying out way too late and drinking entirely too much on Saturday night. And then my football team lost, disappointingly. (Is there any other way?) So all I wanted to do was go home and have a Chinese Meltdown, which is basically just an inordinate amount of Chinese-food delivery and me having a threesome with my TV and couch. But I missed Blitzen Trapper’s previous show at The Bowery Ballroom due to a stomach virus, so, against my better judgment, I set out for the Lower East Side on Sunday night.

“Of course it’s our pleasure to play again at The Bowery. It’s one of the all-time spots,” said Marty Marquis (guitar, keys and vocals). “You guys are lucky.” Blitzen Trapper is a six-piece band out of Portland, Ore. They self-released their first three albums, but their fourth disc, Furr (out on Sub Pop), is a revelation of guitar-driven roots-y folk with bits of Dylan, Neil Young and Wilco mixed in. Sometimes a lead singer can come off as being the whole band, but while frontman Erich Earley is a talented guitarist with a big, smooth voice, this is not the case with Blitzen Trapper. The group is made up of six solid musicians, who took turns harmonizing, playing guitar and keys and a slew of percussion instruments—at one point there was even a melodica involved—as they ran through much of the material on Furr, like “Sleepytime in the Western World,” “Lady on the Water” and “Furr,” which built slowly as the crowd’s nods gave way to whistling and stomping, hooting and hollering.

After a 75-minute set, the band took a short break before returning for five more tunes, including what Marquis labeled “a tasteful slice of ‘The Gambler.’” During the encore, the band became more animated and the music sounded different, like it was unhinged and alive. And I realized that for the first time all day, so was I. —R. Zizmor

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Sped-Up Music on a Sunday Night

October 12th, 2009

Le Loup – Mercury Lounge – October 11, 2009

Le Loup
Last night at Mercury Lounge, the Washington, D.C.-quintet Le Loup kept the stage very dark, with a stream of smoke from lit incense wafting toward the ceiling. Before the show began, clearly, a mood was being created. Illuminated only by a hazy yellow light, the band opened with “Saddle Mountain,” the first track on their new record, Family. A bit folksy and a bit drone-y, the song cemented the sort of blissed-out, hazy atmosphere that was tangible inside the club.

Lest we settle too comfortably into this mellow Le Loup headspace, bit by bit, the group began to shake us out of it. As the set progressed, singer Sam Simkoff joyfully bounced around the stage. The band added layer upon layer of vocals, spun the tempo into a frenetic pace and punctuated it all with some heavy drumbeats. If you’d come to the show looking for the Le Loup of their haunting 2007 debut album, The Throne of the Third Heaven of the Nations’ Millennium General Assembly, you would be hard pressed to find them here. Sure, the new songs employed some similar elements—hushed harmonies and a delicate banjo riff here and there—but for the most part, everything had been given the aforementioned treatment: sped-up, tripped out and underscored with some powerful bass.

The band’s final number, “Go East,” was perhaps the most winning synthesis of these differing styles. While they sang harmonies the likes of which Grizzly Bear would envy, a driving, yet restrained beat added a sense of urgency to the song. It was a nice crystallization of Le Loup’s multiple musical personalities. —Alena Kastin

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A Spectacle of Sight and Sound

October 12th, 2009

HardNYC: Major Lazer – Terminal 5 – October 10, 2009

HardNYC: Major Lazer - Terminal 5 - October 10, 2009
Take a deep breath: Major Lazer’s show on Saturday brought the famous producer Diplo, rowdy frontman Skerrit Bwoy, numerous guest appearances (including one by Santigold), a daring leap from a 10-foot ladder, ounces and ounces of spilled Hennessy and champagne, and about 30 fans to the Terminal 5 stage. And oh, yeah, really good music.

Major Lazer, sandwiched between more standard-style DJ sets from DJ Rusko and coheadliner Crookers, was easily the performance of the night and certainly one of the wildest shows Terminal 5 will see this year. Accompanied by two dancers, Skerrit Bwoy, using more than just his personality, pushed the crowd to its limits of excitement for the entire set. The renowned producer and DJ Diplo provided a constant, but never boring, flow of samples, blips and beats, all set to wildly colorful visuals on a giant screen at the back of the stage.

But what made the show such an event were the antics that took place, highlighted by the raucous “Pon de Floor”—which featured Skerrit Bwoy and some friends getting all too friendly with the dancers—and the removal of most of the front row of the crowd to party onstage. Capping the set were a brief appearance from Santigold during “Hold the Line” (on which she appears on Major Lazer’s album, Guns Don’t Kill People…Lazers Do) and a few minutes of performance in almost total darkness. When Major Lazer left the stage, Crookers took over and carried the crowd into early Sunday morning. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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Owen Sings and Humors

October 12th, 2009

Owen – Mercury Lounge – October 9, 2009

Owen - Mercury Lounge - October 9, 2009
There was something strikingly old fashioned but noticeably modern about Mike Kinsella’s set—performing as Owen—at Mercury Lounge on Friday night. If you closed your eyes and just listened to him and his acoustic guitar, it was easy to imagine that you were at an intimate James Taylor show circa 1970. The packed crowd listened to Kinsella’s simple, personal lyrics sung in a pristinely sweet voice. His set list, merely a suggestion as he took requests from the crowd, was written in pen on his hand, and it smeared while he played.

Between songs, Kinsella bantered about topics like President Obama’s Nobel Prize and Facebook statuses, all the while a girl up front recorded the show on her Flip Video camera. Open your eyes and Kinsella was suddenly just as much Zach Galifianakis as he was James Taylor. For an hour he bounced around from slowly soft songs to upbeat pop tunes, drastically shifting the tuning on his guitar each time. Some of the highlights included “Good Friends, Bad Habits,” and “New Leaves.” By the set’s end, Kinsella had entranced everyone in the crowd, drawing them in with his Taylor-like skills and Galifianakis-like humor. And even when a cell phone interfered with the speakers, Kinsella’s music rang louder. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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The Bravery and the Ill

October 9th, 2009

The Bravery – Terminal 5 – October 8, 2009

The Bravery - Terminal 5 - October 8, 2009
When the Bravery began its set last night at Terminal 5, something was amiss. Sam Endicott’s almost-absent vocals seemed to dampen the excitement of an eager crowd that had just stood through two opening acts. But when Endicott said he was suffering through swine flu, it made his performance that much more impressive. And the moments when he truly pulled it together, crooning vocals akin to Ric Ocasek’s (Endicott even resembles a younger version of the Cars’ singer) over driving rhythm and synthesizers, showcased the band’s strength. Endicott swayed around the stage with his microphone stand, putting on a performance reminiscent of Brandon Flowers of the Killers or Matt Berninger of the National, only with more character and life. He switched between hyperactive moments on guitar and multiple collapses to the stage floor for dramatic emphasis (and perhaps a bit of rest).

The Bravery sped through a collection of music from its new album, Stir the Blood (due out in November), and the previous two. Along the way, Endicott often had to rely on his bandmates. Drummer Anthony Burulcich took backup vocal duties on nearly every song and provided the pop that his lead singer couldn’t quite get. While Endicott powered his way through most of the set, the chorus of the set-capper (and big hit), “Honest Mistake,” seemed like too much. So instead, he swung the microphone stand around and lowered it over those in the audience, letting them finish for him. Let’s just hope he’s not contagious. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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The Oh Sees Light a Fire

October 9th, 2009

The Oh Sees – Mercury Lounge – October 8, 2009

the Oh Sees
Thee Oh Sees built a bonfire last night at Mercury Lounge—but no bonfire begins that way. It takes some tending to and plenty of ready-to-burn wood. On this occasion, the wood was the crowd, packed in and rubbing elbows. At the get-go, things were loud and blazing. The music was spooky surf music, like someone had taken happy melodies and locked them in some minor-key dungeon. Even the “la la las” of one of the first tunes had a sinister air. There is no bassist in the band. Instead a second guitarist holds down those duties, hanging low on the neck of his guitar, providing a droning low-end strum. The two- and three-chords rage rock was punctuated mostly by the Stewart Copeland-esque drumming, which provided variation via tempo changes and rhythmic manipulations. Frontman John Dwyer had a crazy energy in the he-knows-he’s-crazy-and-he-knows-you-know-too kind of way, running his vocals and guitar through plenty of echo and reverb with a Leaning Tower of Pisa stack of lo-fi amps behind him and the microphone deep inside his mouth.

This energy piqued the crowd and a bit of head bobbing evolved into some moshing in front of the stage. The kindling was lit and the Oh Sees upped the energy even more, spreading things out with more developed songs and some melodic complexity. Through some reverse-osmosis effect, the dudes who wanted to slam themselves against each other floated toward the stage while those who had no desire to be bumped into or spilled upon moved back—I stood somewhere in between—and the smoking twigs became a full-fledged campfire. For the final tune, the drummer from opener the Fresh & Onlys joined in, quickly assembling a second kit at the front of the stage, dumping a gallon of gasoline on an already healthy flame and, voilà, bonfire. —A. Stein

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Kurt Vile Channels His Influences

October 8th, 2009

Kurt Vile & the Violators – Mercury Lounge – October 7, 2009

(Photo: Justin Clowes)

(Photo: Justin Clowes)

Seemingly out of nowhere, Philadelphia native Kurt Vile has quickly built a following based on Constant Hitmaker, released on Gulcher and Brooklyn’s Woodsist Records. His music has a dreamlike quality of some imaginary pop-psyche scene, all lush soundscapes with spacey effects. But, onstage, essentially it’s classic rock and roll, with heavy reverb and the occasional drum machine or synth. Vile channels the storyteller-folksinger greats, delivering stream-of- consciousness lyrics with an effortless Dylan-like drawl. All of this has catapulted him to sign a “worldwide multi-album” deal and release his latest disc, Childish Prodigy, with indie heavy-hitter Matador Records.

Vile started the show with a couple of solo acoustic tracks, showcasing his formidable finger-picking chops and his ability to weave unusual lyric melodies through these neo-country licks. Then the Violators joined him for a decidedly Crazy Horse feeling on “Don’t Get Cute,” which led into an extended “Freak Train” with third guitarist Adam Granduciel improvising free-jazz sax, as Mike Zeng kept up a locomotive beat. It’s a combination of ’70s AM West Coast pop, classic Southern rock, avant-garde hillbilly and folk that you can’t quite place. In the end you have to stop examining it and just give in to the Kurt Vile experience of making all those influences his own. In his typical free-association verse, Vile even managed to make the line “I got a trumpet/ I know where to dump it” sound good. It’s his “Subterranean Homesick Blues,” and Vile is tossing the cue cardson the ground. —Jason Dean

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Smiles at The Bowery Ballroom

October 8th, 2009

The Rural Alberta Advantage – The Bowery Ballroom – October 7, 2009

(Photo: Patrick Leduc)

(Photo: Patrick Leduc)

There is that singular moment where something goes unexpectedly well. You know it when it happens: A joke that flies in a tough crowd, a presentation that clicks in the face of judgment, a first kiss that is as dramatic as it is on the bare floor of an apartment. You smile, you try to hide your smile and then you smile anyway. The Rural Alberta Advantage’s keyboardist, Amy Cole, spent most of Wednesday’s show with this look on her face. She glanced nervously at singer Nils Edenloff and he never looked back. Edenloff was stuck, purposefully, between himself and us.

In all fairness, the band played the set they’ve been touring with for months. “Don’t Haunt This Place” and “Frank, AB” were lodged firmly in the middle. A cover of ABBA’s “S.O.S.” appeared unexpectedly and Cole explained, “Our first show was a cover show and no one came, so now, to be at The Bowery Ballroom….” She kind of trailed off but Edenloff added how lucky he felt to be there with us. Of course, we felt lucky to be there with them. The band closed with its best song, “In the Summertime,” and “Deathbridge in Lethbridge,” the most upbeat. The lyrics echoed out from “Summertime” as Edenloff said the things that make us sway. This was the moment where things went unexpectedly well. And we smiled because we couldn’t help it. —Geoff Nelson

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Five Questions with…Taylor Kirk

October 7th, 2009

Taylor Kirk

Taylor Kirk is a talented singer, songwriter and guitarist, and his blues-folk band, Timber Timbre, sounds dark and ragged. He put out Timber Timbre’s first two albums on his own, and the third one, Timber Timbre—released in January by the indie record label Out of This Spark—has earned him much acclaim. In advance of Timber Timbre’s first ever show in NYC, at Mercury Lounge on Saturday, Kirk checked in with The House List to answer five questions.

Which band have you seen play live the most often (excluding bands you’ve toured with)?
I think it must be the Sadies, from Toronto. Although it’s been a long time since I saw them last, but for a few years I would see them every time I had a chance. They’re the only band I ever danced to.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I think I rely too heavily on minor chords in my songwriting. Especially E minor.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
I don’t know the city well enough. I’ve only visited a few times. I don’t think I have the energy required to live in NYC—I couldn’t take the pace. But I like visiting.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
I don’t think that songwriting needs to be so literal or earnest in order to be honest and or successful.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
“Real Talk” by R. Kelly, “I Put a Spell on You” by Creedence Clearwater Revival and “American Girl” by Tom Petty and the Heartbreakers. —R. Zizmor