With the recent release of Miles Benjamin Anthony Robinson’s second album, Summer of Fear, on Saddle Creek Records, the Brooklyn-based artist fits in nicely among the label’s other acts, especially alongside the raw, emotional back catalog of Bright Eyes and the twangy confessionals performed by Neva Dinova’s Jake Bellows. Though Summer of Fear was recorded during a particularly rough time in Robinson’s life, and stories of heartbreak and hard times are woven throughout the music, when he takes the stage (following musical-melting-pot These United States) at Mercury Lounge on Friday, don’t expect a pity party. Summer of Fear finds Robinson expressing his ennui through righteous, roots-y songs in the tradition of artists like Tom Petty and Bob Dylan, full of cathartic choruses and foot-stomping beats. So please leave your tissues at home, for on Friday, as Robinson tells his tales of woe, we can work through some of our own troubles by singing along as loud as we can. It should be a bit like group therapy (but with the added bonus of a full bar). —Alena Kastin
(See Miles Benjamin Anthony Robinson, above, playing “Trap Door”—last month during CMJ—broadcast on Seattle’s KEXP radio.)
Eddie Argos of Art Brut is not kidding. That is the first thing to know: He is not kidding. At all. He is a new style of frontman in a new-style rock band, all aimed at being able to kill hype, crush backlash and traffic in an irony so deep that it finds pay-dirt seriousness. On Art Brut’s first record, the appropriately titled Bang Bang Rock & Roll, released in 2005, Argos waxed philosophical about this new approach: “And yes, this is my singing voice/ It’s not irony/ It’s not rock and roll/ We’re just talking to the kids.”
It wasn’t quite Will Ferrell’s Burgundy-isms (“Milk was a bad choice.”)—true statements that end up being funny. Argos was more in the market of convincing us that serious statements could actually be serious again. It was a challenge, how to take potentially ironic lyrics like “Modern art makes me/ Want to rock out” seriously, but anyone who has seen the band live already knows Argos is very much not kidding. Even when he is being funny, taking on the absurd rise of Kings of Leon, you get the sense that his goal is to do something more difficult: Acknowledge the absurdity of rock and roll without sneering at the kids he wants to move. All this manages to make the world safe for humor and straight faces each, but at no point is it a laughing matter. It’s just talking to the kids. —Geoff Nelson
(Art Brut plays Brooklyn Bowl tonight and The Bowery Ballroom on Sunday. See them, above, playing “DC Comics and Chocolate Milkshake,” off their newest disc, Art Brut vs. Satan, in studio for Seattle’s KEXP.)
She started out acting (she even trained with Cate Blanchett)—first on TV, in the medical drama G.P., then as the host of a cartoon show and then, finally, in movies. But Lenka Kripac also had musical urges, so she joined the electronica band Decoder Ring in her native Australia. But even that wasn’t enough. So in 2007, like so many before her, she dropped her last name and decamped to Los Angeles seeking something bigger. Later on, and also like so many before her, she headed to upstate New York to record her debut solo album, Lenka, in Woodstock. Not only has her disc been well received but also several of the singles have made their way into commercials and TV shows. And now Lenka is making her way to Mercury Lounge tomorrow night. Check her out, above, playing “The Show” and “Trouble Is a Friend” on Jimmy Kimmel Live, and then go see Lenka in person and let her sunny music brighten your rainy Friday.
It began as a record label. Tom Lunt, Rob Sevier and Ken Shipley decided they no longer wanted past musical gems to “sit in a temperature-controlled room dying for a chance to be played.” They wanted the spotlight to shine on the writers and musicians who’d created this essentially unheard music. So they dug into their record collections to remaster and reissue a host of soul, pop and funk songs. But why stop there? Like the Stax Records revue tour of Europe in 1967, Numero’s Eccentric Soul Revue is made up of a revolving group of singers performing with a very talented backing band, in this case, JC Brooks & the Uptown Sound. Why are we telling you this? Because Numero’s Eccentric Soul Revue is playing Music Hall of Williamsburg tomorrow night. Check out the trailer, above, and then get your weekend started right by getting down to some sweet, sweet soul in the BK.
Twins Ryan (vocals and guitar) and Gary (bass and vocals) Jarman and their younger brother, Ross (drums), have been playing music together since they were kids in the late ’80s. But they’ve been doing it officially as the Cribs since 2001—although the lineup changed several years later when Gary, a Smiths fan, and Johnny Marr (formerly of the Smiths and currently of Modest Mouse), a Cribs fan, met and decided to collaborate. Eventually Marr, a talented multi-instrumentalist and songwriter, joined the band as a guitarist.
The Cribs’ first album as a foursome, Ignore the Ignorant, came out yesterday, and they’re playing two shows here before heading back to Europe. These lo-fi English rockers have toured heavily since releasing The Cribs five years ago, and their loud and rowdy shows have earned them a bit of a cult following and a loyal fan base, which is probably why Friday’s show is already sold out. But you’re in luck because there are still some tickets available to see the Cribs tomorrow at The Bowery Ballroom.
(Above, the Cribs play “Cheat on Me” in studio for BBC Radio 1.)
From Baltimore, the place that brought you Omar Little and “The Star Spangled Banner,” comes singer-songwriter Cass McCombs, whose calling card is his distinctive voice, both lyrically and aurally. Prior to actually releasing any music, his dark, funny stories earned him a slot touring with Palace (a Will Oldham—of Bonnie Prince Billy fame—band) and the Oxes, which eventually led to McCombs putting out his debut EP, Not the Way, in 2002. Two LPs followed before he found himself on the road with Modest Mouse. But since releasing his fourth full-length album, Catacombs, in July, McCombs has been the headliner. He’s off to Europe at the end of the month, but before that, he’s playing one last U.S. show, with Acrylics and the Bad Girlfriends, on Monday at The Bowery Ballroom.
(Above, Cass McCombs plays “That’s That” live in studio at KCRW.)
The psychedelic-tinged hard-rocking Wolfmother’s debut album, Wolfmother, came out in 2006 to much acclaim. With Andrew Stockdale on vocals and guitar, Chris Ross on bass and keys and Myles Hekett on drums, the Australian band’s throwback sound earned comparisons to Black Sabbath and Blue Cheer, and their music was featured everywhere from Guitar Hero II to an iPod commercial to Shrek the Third. But despite the fact that things were riding high for the power trio, just like on Behind the Music, backstage things were falling apart.
Citing irreconcilable differences, Ross and Heskett left behind Stockdale and the group’s name in the summer of 2008. Undeterred, Stockdale got back in the saddle, recording new material—in L.A. this past spring—with Dave Atkins on drums, Aidan Nemeth on rhythm guitar and Ian Peres on bass and keys. The band, now a four-piece, then spent the summer opening for the Killers. But since releasing another heavy-rock disc, Cosmic Egg, two weeks ago, the newest version of Wolfmother is currently headlining a tour across two countries in North America and two boroughs in New York City—Sunday at Terminal 5 and Monday at Music Hall of Williamsburg.
(Above, Wolfmother plays “New Moon Rising” on Later…with Jools Holland.)
Amy Millan is a singer and guitarist best known for her work with the bands Broken Social Scene and Stars. But she’s also plenty accomplished on her own. Her first album, the roots-rock-filled Honey from the Tombs, came out in 2006. And she released her second solo effort, the spare Masters of the Burial, in September. As is usually the case, an accompanying tour has followed, which brings her to Mercury Lounge tomorrow night. But we wanted to hear what she had to say before then, and Millan—who claims her biggest nonmusical talent is “making soup”—was nice enough to answer Five Questions for The House List.
What’s the best part of playing New York City?
The first time I came to New York many years ago, I knew its reputation as being rude. I found it to be the opposite. It’s extremely friendly compared to say, Toronto. People don’t live in fear, so it’s easy to have random chats about random topics with strangers, if you aren’t an asshole.
What’s your favorite place in New York City to hang out? And do you ever feel like you could live here? Angel’s Share, Central Park, Babbo to name a few. If I ever become a millionaire, I will definitely get a flat and spend more time there.
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?
There is a current of all emotion that you can dip your fingers into at any time if you wish to. There is a world sadness that is ever-present. So no, I don’t find I need to feel depressed to write a sad song. As with the last question, love is everywhere. Even in the gutter. It’s all happening to me. Even if it’s my reaction to someone else’s story, it’s still being interpreted by my feelings.
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?
“Lovely Day” by Bill Withers, “Only You Babe” by Curtis Mayfield and “The Whole World” by OutKast.
It’s 4 a.m. and last call has come and gone. What’s your next move?
Well if for some insane, drug-related reason I was not already in bed, then out the guitars would come and we would sing until the sun came up. —R. Zizmor
Conor Oberst and Mike Mogis (of Bright Eyes), Jim James (of My Morning Jacket) and M. Ward have put together their significant talents to form Monsters of Folk and to record a terrific self-titled album (stream three songs here) that has taken them out on the road and earned them favorable comparisons to the Traveling Wilburys and Crosby, Stills and Nash. They recently played Neil Young’s Bridge School Benefit, and tonight they’re performing on Late Night with Jimmy Fallon. But if you want to see these MoFos in person—playing a mix of originals, covers and songs from their respective catalogs—you’re got two chances: They play United Palace on Friday and the Beacon Theatre on Sunday.
(Check out the the video for “The Right Place,” above.)
Noah and the Whale are about to pull off one of the greatest reversals ever to come out of the London folk scene. Their first record, Peaceful, the World Lays Me Down, was full of rabid optimism, meditations on love and maybe a hint of darkness, but it was largely covered in the whistles, chimes and ebullience of the much-licensed “5 Years Time.” It was so sweet it stuck to the roof of your mouth. Of course, that was while lead singer Charlie Fink and bandmate Laura Marling were dating and he still believed in the world.
After they broke up last year, Fink sat down to write his Sea Change, a break-up record to live as a breathing, singing, moaning epitaph to the burning of a communal civilization. A musical document to say, “Laura, you ruined my life, you fucking bitch (slash) I still care about you.” Eventually titled First Rites of Spring, the results of Fink’s anguish are as beautiful as they are hard to get through. Strings wail and disinterested guitars meander through rich orchestration as Fink digs into his personal trauma, equal parts composer, coroner and healer. It will make you think of every person who broke your heart. It will make you think of a boat built for two, either sunk or now just big enough for one. Laura, this isn’t your fault, but it begs the classic Nick Hornby question: Did I listen to pop music because I was miserable or was I miserable because I listened to pop music? In this case, it is exactly both. —Geoff Nelson
(Check out Noah and the Whale, above, playing “Rocks and Daggers” on Altitude TV and then go see them live at Mercury Lounge on Monday, Tuesday and Wednesday.)
Halloween is about tricks or treats, but why settle for just one when The Bowery Presents is offering a night filled with plenty of both? Deer Tick is playing the songs of the Sex Pistols at Brooklyn Bowl. And if you’ve ever had the pleasure of seeing this band live, you already know that with their three-pronged guitar attack and frontman Jon McCauley snarling Johnny Rotten’s vocals that this will be “Anarchy in the BK” done right.
If the Sex Pistols aren’t your thing, but you still want some classic rock—and who could blame you?—then head to Music Hall of Williamsburg to see Lez Zeppelin. Their tagline is All Girls. All Zeppelin. And these girls are fierce (especially Leesa Squyres as John Bonham)! If you still want covers, but are looking to get down, Karl Denson’s Tiny Universe will be doing a tribute to Michael Jackson at The Bowery Ballroom. And if you like a dance party with a slight political bent, then shake it all night at Terminal 5 with D.C.’s Thievery Corporation.
Of course, there are also other options. If you’re looking for some catchy-and-contemplative music, we’ve got that too: Tegan and Sara at Town Hall. And if good old-fashioned storytelling is your thing, hightail it to The Wellmont Theatre to see the engaging Robert Earl Keen and Todd Snider. And, finally, if you’re looking to check out several bands with some “high-octane punk rock with swagger” then check out Mercury Lounge’s lineup, led by Black Taxi. (Plus, there’s even a costume contest.) Do what you like, but do see some music on Halloween!
What began as a side project for singer-keyboardist Casey Crescenzo to use as an outlet for music that didn’t quite fit in with his then band, the Receiving End of Sirens, turned into a full-time gig with the more experimental and progressive group the Dear Hunter. Their second full-length studio album, Act III: Life and Death, came out in June, and they’ve been touring ever since. The Dear Hunter plays The Bowery Ballroom tomorrow night, and last week The House List got Crescenzo on the phone so he could answer five questions.
Who are your inspirations outside of the music world? Terry Gilliam, who’s a director. I grew up on Monty Python. One of my, like, favorite childhood stories is that my dad got to play chess with John Cleese. And he has an awesome joke that I forgot. But, yeah, I mean Monty Python, I loved. I love Terry Gilliam, from movies like Brazil. Brazil’s my favorite movie. Film directors like David Fincher. Who else? Chuck Palahniuk.
What’s the best part of playing New York City?
I don’t know if it’s because getting in and out is such a bitch, but when you actually get there, the audience is very happy, very responsive. The audience is the best part. But also, I think for us, all of our, like, business end of things—our booking agent, our manager, our label—are all in New York. So we get to see them and hang out with them, and that’s a rarity. And that’s also a lot of fun. So the audience, but also seeing all our friends.
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 think I could ever live there. I have such anxiety getting in there. It’s not until we’re parked and inside a venue that I feel even close to stress free. And I walk around and I feel very much like an outsider, like everybody knows that I’m not from there, so I’m not part of the club…. But I really like the area around The Bowery Ballroom.
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 you have to be depressed when you’re writing it, but if you haven’t felt depression and you’re writing a sad song, or you’ve never been in love and you’re writing a love song, you’re just estimating. And unless you’re writing about a search for love, it definitely is better when you’ve lived it because otherwise you’re sort of just a stenographer. And I think it’s pretty transparent…. When any emotion is genuine and it’s coming through in music, it’s infinitely more powerful than something contrived.
It’s 4 a.m. and last call has come and gone. What’s your next move?
Last-call drink, I guess it depends: If it’s at that point where you need something to sort of seal the deal, then you have to order some sort of bomb. But if you’re just enjoying the night and you wanna have your one last drink, for me it’s definitely gin and tonic with Bombay or Hendrick’s. But the next move for me, if I’m not already asleep, it’s probably just sleepin’. I’m a really boring guy. —R. Zizmor
Which band have you seen play live the most often (excluding bands you’ve toured with)?
Probably Robyn Hitchcock and the Egyptians. When Fegmania came out, I’d already been turned into a fan by my sister, so I went to every area show for a few years. So maybe 18 shows? Then friends’ shows: Tom Beaujour (Communist Manifesto, Soulcraft, Shake Appeal, True Love), Phil Yanos (the Accidents, Dangaru, Driver X), Lianne Smith, Marykate O’Neil and Chavez.
Which band (or bands) that you listened to growing up do you still listen to?
The Beatles, the Velvet Underground, the Ramones, David Bowie, Talking Heads, R.E.M., Elliott Smith and Fugazi. Those last couple were in my 20s, but we’re still growing up then, aren’t we?
Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I keep accidentally lifting Brian Eno melodies. OK, two so far, but still, I gotta stop.
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? “Kamloops,” by Flin Flon, “Glow Girl,” by the Who and “The Puppet,” by Echo and the Bunnymen.
It’s 4 a.m. and last call has come and gone. What’s your next move?
It’s not over until the deli guy sings, and he never does. That being said, at 4, I’m probably headed to bed or at least seriously considering it. —R. Zizmor
Try to win a pair of tickets for a great cause and a night of killer music. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Raise the Roof, 10/28) and a brief message telling us why you want to go. Eddie Bruiser will notify the winner by noon on Wednesday, October 28th. Good luck.
The CMJ Music Marathon starts today, and The Bowery Presents has plenty of choices for you with multiple shows all week long at The Bowery Ballroom, Mercury Lounge and Music Hall of Williamsburg. Check out what some of the people at The House List are most excited to see:
Having had “Crystalised” playing on repeat for at least two straight weeks, it’s an understatement to say that I am looking forward to watching the xx perform at CMJ (Music Hall of Williamsburg, Friday). I have also heard there is some great hair I should try to catch on camera. ZAZA is on the wish list because I have yet to witness the atmospheric magic spun by my enchanting friend Jennie. I’ll also try to make the Screaming Females show (Mercury Lounge, Wednesday). I saw them last on Valentine’s Day, when that itty-bitty girl shredded her guitar into itty-bitty heart-shaped pieces. Her vocals hark back to the Dead Kennedys, which wins my deepest reverence. —Mina Kim, Photographer
I’m most excited for two Bowery Ballroom shows—Deer Tick on Thursday and then Portugal. The Man on Friday. I must admit that I love Deer Tick. With their tight songwriting and loose live performances, they’re a must-see band every time they play NYC. I’ve only had the chance to see Portugal. The Man twice, at Bonnaroo and Outside Lands, but each time I’ve found them eminently listenable and intriguing, and not just because of their strangely punctuated band name. —R. Zizmor, Editor
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 Colbert Report.)
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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