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SXSW – IFC Crossroads House

March 23rd, 2010

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I went into my first SXSW not really knowing what to expect. I’ve been to plenty of music festivals in the past. But none of them had music poring out of every possible place like Austin did last week. Even churches had live shows! But thanks to the talented, amiable people at IFC (plus the equally magnanimous Show Cobra folks), it’s worth saying we put on a hell of a good show ourselves at the IFC Crossroads House. We had live music with at least three bands a day in the downstairs studio. (Helped by a 5:00 happy hour, the last band of the day always had the liveliest crowd.) And upstairs, there was an interview room and catering—the site of a sweet Bloody Mary bar and way, way, way too many shotgunned beers. But most important, catering had a huge TV for NCAA tournament watching. Craig Finn, the Hold Steady frontman and IFC host for the week, who couldn’t have been any nicer or cooler, proved to be a knowledgeable hoops fan. We hope you were able to stop by, and if you couldn’t that you at least were able to stream the action on IFC.com. Can’t wait for SXSW 2011! —R. Zizmor

Photos courtesy of Chris Reddish

Contest

Grow a Pair: Win Free Tickets to See Nada Surf on 3/27

March 23rd, 2010

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Their new album comes out later this year, but it will be available for purchase before its official release when Nada Surf plays two sold-out NYC dates this week—on Thursday at The Bowery Ballroom and on Saturday at Music Hall of Williamsburg. But even if you don’t already have tickets, you’ve still got a chance to go because The House List is giving away two to see Nada Surf’s Music Hall of Williamsburg show. Want to Grow a Pair of tickets? Then fill out the form below, including your name, e-mail address, which show you’re trying to win tickets to (Nada Surf, 3/27) and a brief message explaining who you think will win the NCAA tournament. Eddie Bruiser, who’s rooting for anyone other than Duke, will notify the winner on Friday. Good luck.

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A Breath of Fresh Air

March 22nd, 2010

Air – Terminal 5 – March 19, 2010

Air - Terminal 5 - March 19, 2010
“How are you tonight?” intoned Air’s Nicolas Godin through a vocoder, his voice booming over the heads of the sold-out Terminal 5 crowd like a friendly sounding robot. After hearing our obvious enthusiasm, Godin was pleased: “Cool. I feel good, too.” Air, the French psychedelic-electronica act composed of Godin and Jean-Benoît Dunckel, makes music that tends to feel a bit enigmatic at times, with layer upon layer of instrumentation and computerized vocals melding into a rich, trippy blend. Though in performing as a trio (along with drummer Alex Thomas) on Friday, Air seemed determined to cut through some of their music’s density. With just the key instruments (and that essential vocoder), the band stripped down the songs to their core, rendering them more approachable, yet just as effective.

Air played a series of songs from their recent album, Love 2, beginning with “Do the Joy,” featuring alarm-like synths that gave way to a mellow, groovy bass line. That laid-back bass also formed the foundation for “Love,” a bright and shimmery bossa nova meets Belle and Sebastian pop number. This simplified formula especially shined on numbers like Talkie Walkie’s “Venus.” With the vocal harmonies at the forefront and the melody driven by a simple acoustic guitar, the end result was warmer and more organic than the album version. On the flip side, the funkier songs in Air’s repertoire did not suffer from lack of bells and whistles in the band’s current incarnation either—crowd-pleasers “Sexy Boy” and “People in the City” were sufficiently textured and wacky.

But perhaps one of the most rewarding and unexpected moments of the night was during Love 2’s “Be a Bee,” an upbeat number driven by fast-paced drumming. Air’s bounce and energy made the song a bit sloppier and less restrained than the recorded version, and the song took on a Devo-esque New Wave (almost punk) edge. Air’s jam during the song only further reinforced that the group does not need to hide behind all those fancy electronic layers to feel at home. —Alena Kastin

Photos courtesy of Greg Notch | photography.notch.org/music

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SXSW – Friday

March 19th, 2010
Zooey Deschanel

Zooey Deschanel

Only one more day left at the IFC Crossroads House, and today will be tough to beat. The interesting Aussie music collective the Middle East led off the day. M. Ward and Zooey Deschanel—She & Him—played with a backing band in the early afternoon. The sun was shining all day. People spilled out of work early, plus there are so many people in from out of town. So the IFC Crossroads House was packed all day. And everyone was pretty excited for Broken Social Scene. As always, they were great live, but they also proved to be hilariously entertaining. We headed back out to see other bands around town, and then we returned for the Whigs. I’d seen them play after Dawes at Lambert’s a couple of days ago. Just like then, the power trio killed it. Definitely check them out the next time you can. And you can check them out—plus all of the other action—tonight on IFC at 10 p.m. —R. Zizmor

Photo courtesy of Chris Reddish

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Scissor Sisters – March 18, 2010 – The Bowery Ballroom

March 19th, 2010

Scissor Sisters - March 18, 2010 - The Bowery Ballroom

Photos courtesy of Jennifer Macchiarelli | www.jennylow.com

That’s a Wrap!

March 18th, 2010

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Another successful day of live music, day drinking and NCAA upsets! Check out all of the action tonight on IFC at 10 p.m. And stream all of tomorrow’s music here.

IFC Crossroads House – March 17, 2010

March 18th, 2010
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Neon Indian

Photos courtesy of Chris Reddish

MG and V: Supergroup, SXSW Style

March 18th, 2010

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Sandwiched between a set by Dawes and one by Delta Spirit, three frontmen—John McCauley (Deer Tick), Taylor Goldsmith (Dawes) and Matt Vasquez (Delta Spirit)—plus Dawes drummer Griffin Goldsmith and Delta Spirit keyboardist Kelly Winrich played live for the very first time under the name MG and V. The vocalists wrote a bunch of material earlier in the year while holed up in Nashville, and they debuted four songs here at the IFC Crossroads House. McCauley, who played bass, sang “Daydreaming” with its fantastic opening line, “Listening to the neighbors having sex.” Vasquez took the next tune. No one said the name of the upbeat song, but it might’ve been called “Some Day.” Taylor sang lead next on “Thanks for Nothing.” And then all three singers traded verses on “Million Dollar Bill.” Good shit. Delta Spirit up next. Stream it here! —R. Zizmor

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Five Questions With…Ricky M’Coy

March 18th, 2010
Ricky M’coy

Ricky M’Coy

On Friday night at Music Hall of Williamsburg, Unchained: The Mighty Van Halen Tribute Band, Judas Priestess: America’s All Girl Tribute to the Metal Gods and Appetite for Destruction: The Ultimate Tribute to Guns N’ Roses will do battle as part of the Tribute Wars. In advance of the show, Ricky M’Coy, lead singer of Unchained, e-mailed The House List to answer five questions.

Which New York City musician— past or present—would you most like to play with?
Well, Donald Fagen and Walter Becker, of course. If they see this, they gotta get in touch with me. I’d be a great addition to their touring band as a male backing vocalist (along with two other female singers). I can harmonize to Donald Fagen’s voice so good. I do it every day!

What’s the best part of playing New York City?
The fans. They love their music and are very knowledgeable. And, of course, THE WOMEN!!

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
Put it this way: I have to stop writing songs most times because I get too emotional and I get lost mentally. Like, I’ll forget what I was supposed to do later that night or who I was supposed to meet. My songs are great, but I’m not signed to a label, so maybe it’s best they stay locked away in my world. My songs are like taking LSD. You’re never the same after you hear them.

What’s your biggest nonmusical talent?
Definitely, without a doubt, cunnilingus. (Spell it right for me!) [Ed. Note: done.]

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?
Well, I’m bipolar—diagnosed very early in life. So I know all too much about depression and far too little about love. I mean, I love people, but I don’t know how to really love a person. Love to me is all the same level. I can’t figure out the mystery of love, and that makes me more depressed. As for songs and writing them, my answer is no because my moods are hit and miss. But I can write great love songs and true-life sad songs that will make a person leave the room, usually crying. —R. Zizmor

SXSW – St. Patrick’s Day Edition

March 17th, 2010

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SXSW is a complete whirlwind of activity. The IFC Crossroads house is amazing. It’s totally and completely user friendly, and we’ve got several bands playing each day. Today we had the Walkmen and the Drive-By Truckers. And Neon Indian, who are harmonizing about five feet away from me, are about to take the stage. If you’re in Austin, you’ve got to be here. Want to see Neon Indian live? Then go here. We’ll have much more tomorrow. Plus, tune in to IFC every night at 10 p.m. to get the lowdown on what went down! —R. Zizmor

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See the Wood Brothers on Friday Night

March 17th, 2010

Chris and Oliver Wood grew up in Boulder, Colo., but went their separate ways after high school. Chris ended up in New York City and eventually became the bassist in Medeski, Martin and Wood. Oliver moved to Atlanta, and after playing guitar with Tinsley Ellis, he put his songwriting skills to use in forming the bluesy King Johnson. Although the Wood Brothers played together at family functions, they didn’t take their mix of blues, folk and rock public until 2005. They put out Ways Not to Lose the next year, and they’ve released more music since. And now they’re back, at The Bowery Ballroom on Friday. Check out the Wood Brothers, above, playing “Get Out of My Life Woman” in the studio, and then go see them live on Friday.

The Bowery Presents Heads to Austin, Tejas

March 16th, 2010

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We’re bringing music to the Crossroads House in conjunction with the IFC, above, plus we’ve got our own showcase on Thursday night at Emo’s, below. Don’t be a stranger. Come check us out!

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Hockey Night in The Bowery Ballroom

March 16th, 2010

Hockey – The Bowery Ballroom – March 16, 2010

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Hockey’s lead singer, Benjamin Grubin, has this habit of touching his face. Sometimes it’s an index finger pressed to the temple, accompanied by a cocked eyebrow that indicates a revelation at hand, or he buries his face in his palm. But he nearly always explodes away from these gestures, whipping his lithe frame in circles. Last night at The Bowery Ballroom, the frontman was caught between the revelations communicated to his temple and the shroud of his palm over his face, both inspired and insecure, a spinning, exploding vessel of influences and new creations.

Of course, Grubin acknowledges the unique space Hockey inhabits between the bands they admittedly borrow from and the new music they forge in this crucible of pastiche. On “Song Away”—which transported the audience to summertime with Tom Petty on the FM dial—Grubin sang, “I stole my personality from an anonymous source/ And I’m getting paid for it too/ I don’t feel bad about that” just seconds after confiding “I want to write a truthful song over an ’80s groove.” The song was both completely lifted and completely elevating. Earlier on the soaring “Learn to Lose,” he admitted “Last time I lost control of my confidence it took me five years to get it back.” That forthrightness was winning and unquestionably original.

In between playing two new songs, darker creations suggesting a deep second album, the band crushed debut-record favorites “3am Spanish” and “Curse This City.” After a deserved encore, Hockey closed with the appropriate “Too Fake” and Grubin was back to the topic of originality. At the front of the stage, he screamed the chorus, “Look out! I’m just too fake for the world!” It was both terms of surrender and a declaration of war, exhaustion in the age of footnotes and inspiration in a time of collage. —Geoff Nelson

Contest

Grow a Pair: Win Free Tickets to See Air on 3/19

March 16th, 2010

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The French electronica duo Air comes to town to play Terminal 5 on Friday. The show has been sold out for a while, but you can still get tickets because The House List is giving away two of them. Want to Grow a Pair? It’s easy. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Air, 3/19) and a brief message explaining your best bet to have fun on St. Patrick’s Day while avoiding puke and the Pogues. Eddie Bruiser, allergic to both, will notify the winner on Friday.

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A Foot-Stomping Night of Old-Timey Music

March 15th, 2010

Carolina Chocolate Drops – The Bowery Ballroom – March 14, 2010

(Photo: Bruce Deboer)

(Photo: Bruce Deboer)

It was another one of those crazy-weather weekends, so that by Sunday evening you could be forgiven for thinking The Bowery Ballroom had been lifted clean out of the Lower East Side, Dorothy-and-Toto style, and placed in some bizarro world where irony hadn’t yet been invented, iPhones are irrelevant and old-timey music is just plain old music. The journey to this place was provided by Carolina Chocolate Drops—the multitalented trio of Dom Flemons, Rhiannon Giddens and Justin Robinson—who played a grin-inducing pre-bluegrass hill music: banjo, jug band, fife-and-drum, blues, gospel and the like. This wasn’t influenced by anything. No, this was the real deal. In fact, until they mentioned their Web site at the end of their barn-burning set, I wasn’t 100 percent sure I hadn’t been sucked back in time.

Carolina Chocolate Drops opened with “Starry Crown” and immediately the crowd was theirs. The sound was gloriously imprecise, like they were not only recreating the music they had learned from old records, but also the scratches and clicks the records are riddled with. The effect was intoxicating, as the energy provided by banjo, fiddle, resonator guitar, hand percussion, jug and the like prompted hoots, hollers and plenty of foot stomping from the crowd. Often, the spirit would overtake Giddens and she’d hop out of her wooden chair to flat-foot around the stage.

The set was a folk-art patchwork of unearthed 100-year-old numbers sprinkled with originals, sing-alongs, instruments being passed around, history lessons and self-deprecating humor. The band slowed things down a couple of times, including a wonderful “Genuine Negro Jig,” the title track from their newest album, but mostly it was an infectiously good time. The Chocolate Drops turned a full Bowery Ballroom into a cozy barn dance down in Carolina with the magic of a music that will last at least one more generation. —A. Stein