The Bowery Presents

Archive for the ‘Reviews’ Category

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Still Going Strong After Two Decades

Thursday, September 2nd, 2010

Lou Barlow & the Missingmen - Mercury Lounge - September 1, 2010

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To say it’s impressive for Lou Barlow to be performing and creating at this consistent level for 20 years is an understatement. He reinvented lo-fi and inspired an army of four-track home-recording artists in the ’90s. He’s been a part of more than his share of pioneering indie-rock bands, all the while tempering sincere moments with an experimental sound collage. To be transported into his bedroom in those early Sebadoh tapes was an education in home recording and songwriting. He has nothing to prove but you wouldn’t have known it last night at Mercury Lounge.

Barlow is at his best unguarded with just an acoustic guitar, and that’s how the night began with a Folk Implosion classic, “Easy,” “Magnets Coil” and even “Puzzle,” off his proper solo album, Emoh. He’s always worn his emotions on his sleeve and isn’t precious about performing these early-career songs. It’s clear, when played stripped down, that the strengths of each are his vocals and how he can be both heartbreakingly intimate and punk rock in the same verse.

The Missingmen joined the reluctant Barlow, who was in good spirits, to flesh out material from his latest, Sentridoh III. They tackled the distortion-ridden tracks, swapping guitars, and inevitably Barlow’s glasses would fall off when things got thrashing. The night ended with him going back to playing solo, a ukulele on his knee and happily taking requests from the audience. It was a great balance of an entire body of incredible songwriting, acknowledging the past and looking ahead to the future. All this success hasn’t come without setbacks: Barlow has persevered through band and label breakups, recently patching up things with ex-bandmate J Mascis and recording with Dinosaur Jr. He’s proved over and over that the nice, sensitive guy can get the girl in the end…and he actually seems pretty happy about it. —Jason Dean

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In Case of Emergency: Add Brown Liquor

Monday, August 16th, 2010

Deer Tick - Webster Hall - August 13, 2010

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Friday the Thirteenth proved to be a lucky night to be at Webster Hall. The crowd enthusiastically greeted Delta Spirit frontman Matt Vasquez (“I’m not anything without my band”) as he opened with a short set of his own songs plus covers of It’s Always Sunny in Philadelphia and Neil Young. Then, playing their last U.S. show before heading overseas next month, Deer Tick was fittingly welcomed to the stage with an air horn. The Providence, R.I., quintet went right into “Choir of Angels,” the opening track from their terrific new album, The Black Dirt Sessions.

The disc is notable for a change in Deer Tick personnel, with guitarist Ian O’Neil, formerly of Titus Andronicus, and keyboardist Rob Crowell joining the band. O’Neil is a big addition with his songwriting (“Hope Is Big”), singing and frenetic guitar playing, clearly evident onstage during “Baltimore Blues No. 1,” which has been reworked with Christopher Ryan’s ’50s-coffehouse-bassline opening. Crowell’s influence was most obvious on an ambling version of “Ashamed,” as he effortlessly shifted from keys to sax mid-song (while ringleader John McCauley slid from crooner mode to keys player) as the crowd throatily sang the chorus.

Of course McCauley, his voice endearingly ragged on “Christ Jesus,” was his usual engaging presence, cracking jokes, singing to girls and sharing his bottle of Jack with the audience—plus he even played a little air horn when just he and drummer Dennis Ryan returned to the stage following the encore break. The other guys eventually joined them on an upbeat “Easy.” And then as people sprayed band-supplied Silly String into the air, it seemed like the show would close with the rambling honky-tonk of “Mange,” but the group responded to the loud crowd and returned with one more, a heartfelt a cappella “Dirty Dishes” before closing out their tour. Look out, Europe: Deer Tick is coming. —R. Zizmor

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Takin’ It to the Streets

Wednesday, August 11th, 2010

Jonah Matranga - Mercury Lounge - August 10, 2010

(Photo: Kirsten Housel)

(Photo: Kirsten Housel)

Jonah Matranga has been making music for nearly 20 years, and last night’s Mercury Lounge show—on the eve of his 41st birthday—was a perfect reminder of why he’s still relevant after all these years and different projects. It basically became a by-request set with plenty of songs Matranga hadn’t recently played. He opened with “Pollyanna,” a long-time crowd favorite from his onelinedrawing days, then played a powerful new one, “This Is Who I’m Gonna Be,” and what he referred to as the previous tune’s older cousin, “Lukewarm” (from New End Original).

Matranga spoke often, explaining songs and talking about the memories each holds for him. His solo sets are always stellar because of the way he connects with those in the audience, giving them anecdotes, listening to their retorts and humbly cracking jokes about himself. Matranga’s singer-songwriter skills stem not only from his personable crowd interactions, but also from the heightened sense of emotion and urgency he throws into his music. At one moment he is quietly crooning, and the next he is red in the face, wailing into the microphone. With his eye on the clock, Matranga ended the set with songs of his choice: New End Original’s “#1 Defender,” “Definitely Definitely Definitely” (“a totally ridiculous, totally retarded” song) and “14-41” (in which he sings “you start blind, end up dumb”).

Although his time onstage was finished, Matranga wasn’t ready to end the night. Not even 20 minutes later, a crowd circled around him outside, just west of Mercury Lounge. He started with “Better Than This,” a usual staple of his set. After several more songs, two rounds of “Happy Birthday” (including one just after midnight) and a couple of buckets of water from upstairs neighbors, the set and the night ended perfectly. —Kirsten Housel

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A Fire in the Garden

Friday, August 6th, 2010

Arcade Fire - Madison Square Garden - August 5, 2010

(Photo: Mina K)

(Photo: Mina K)

Both physically and symbolically, Madison Square Garden represents the center of entertainment in New York City. Elongated posters of iconic images remind visitors of the venue’s historic past in sports, music and, yes, the Westminster Kennel Club dog show. By the shear force of its name, MSG amplifies all events it houses. So when Arcade Fire booked not one but two headlining dates this August, expectations abounded.

The Canada-based indie-rock band is responsible for two outstanding records, Funeral and Neon Bible, and they released their third album, The Suburbs, this week. While this is a relatively small discography for a band scheduled to sell out “the World’s Most Famous Arena,” songs like “Wake Up” have permeated the mainstream. On Thursday night against any and all doubts, Arcade Fire delivered an unforgettable performance.

Supported by openers Owen Pallett and indie-rock veterans Spoon, Arcade Fire filled the venue with their triumphant songs, boundless energy and wholly transfixed fans. All nine members of the touring band dressed like an advertisement for individuality. In addition to frontman Win Butler’s fawned-over-on-the-Internet haircut, Régine Chassagne wore a sequined dress and Richard Reed Parry seemed to have found one of David Bowie’s vintage jumpsuits. Their appearance, as well as Terry Gilliam’s simultaneous live Webcast, acted as a show within a show. This, however, was secondary to the group’s incredible renditions of anthems “Rebellion (Lies),” “Keep the Car Running” and “Intervention.” There was an urgency and awareness to their performance, which truly connected with the audience. At the end of their encore featuring “Neighborhood #1 (Tunnels),” it strangely felt as if MSG wasn’t big enough for Arcade Fire. —Jared Levy

(Check out highlights of this show here.)

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Amongst the Wavves

Tuesday, August 3rd, 2010

Wavves - The Bowery Ballroom - August 2, 2010

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For all his songs about weed, surfing and video games, Nathan Williams of Wavves has had to endure a lot of online criticism. Maybe it’s because it looks like he’s having too much fun. On his latest album, King of the Beach, out today, Williams has expanded his sound from lo-fi overblown fuzz into bigger, cleaner melodies that remain sloppy and enthusiastic. It’s still a barrage of jangly power chords with a thrown-together ramshackle feel. And if he’s got any kind of master plan, he’s fooling everyone—it’s more like the plan is to not have one and to make up the whole thing as he goes. From vague interviews to replacing the track “Mickey Mouse” with something he wrote yesterday because he’s being sued over the song title, he’s doing what comes natural.

The best defense against the backlash is to record another catchy melodic album about the mundane and to perform live like it’s his last show. Playing with Stephen Pope and Billy Hayes, Jay Reatard’s old bandmates, helps to take the focus off Williams, who reluctantly plays frontman. These guys have been through everything and are good stage distractions in between tunings, passing bottles of whiskey to the sold-out Bowery Ballroom audience, saying, “That last song is about killing yourself” and “in Sweden they asked us not to look so high onstage.”

After an extensive set Williams said, “Here’s how it’s going to work: We can finish this song and then leave and wait for you to clap and come back or we can just keep playing songs and then leave.” He leaned back and fell into the pit, playing straight through the surf. It was an unrehearsed moment that felt authentic, and that’s been the case so far with his albums and live show. He’s not out to con the audience or to play to the lowest denominator, he just happens to be having a great time doing it. —Jason Dean

(Wavves plays Music Hall of Williamsburg on 9/21.)

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The South Rises in Williamsburg

Monday, August 2nd, 2010

Appalachian Voices/Preservation Hall Jazz Band - Music Hall - July 30, 2010

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Appalachian Voices with the Preservation Hall Jazz Band

Two ends of the roots-music sonic spectrum were on display during Friday’s show at Music Hall of Williamsburg, as New Orleans’ Preservation Hall Jazz Band and Kentucky’s Appalachian Voices teamed up to bring a diverse night of Southern sounds to the Brooklyn landscape. Approaching its sixth decade of exploring the traditional jazz of the Crescent City, Preservation Hall opened with a rollicking 35-minute set covering such vintage classics as “Short Dressed Gal” and “Sweet Substitute.”

The Appalachian Voices singers joined the fray with Jim James grinding on a dirty “Blue Yodel No. 9” and Daniel Martin Moore guiding a gentle “Between the Devil & the Deep Blue Sea.” James closed out the collaboration by swinging a towel over his head and howling through an incendiary “St. James Infirmary,” significantly ratcheting up the intensity in the room. Inspired by the boisterous response, Preservation Hall’s Clint Maedgen immediately led the band through a more tribal and equally intense reprise to close out the set before an obviously excited crowd.

Headliner Appalachian Voices reversed the vibe with a subdued and poignant antidote to the opener’s raucous set. With James thanking the audience for remaining quiet and focusing on the evening’s messages about the beauty of Appalachia and the dangers of mountaintop removal, the quartet combined elements of folk, blues, bluegrass and jazz throughout their nearly two-hour performance. While the My Morning Jacket canon would be unavoidable, including a particularly explosive “Smokin’ from Shootin’,” rock star James often faced upstage and yielded the attention to his less-famous-but-nonetheless-worthy coconspirators, Moore and cellist Ben Sollee, the latter delighting with spiraling and occasionally funky cello solos that were met with loud ovations.

Singing of the Appalachian people, pathos abounded in stirring songs, like “Try,” “My Wealth Comes to Me,” and Lead Belly’s “Sylvie,” in which James thrillingly channeled Roy Orbison. The encore featured a droning, thunderous combination of both bands on “Dear Companion” and a driving cover of “Save the Last Dance for Me,” which sent the enthused assembly buoyantly bounding off into the Brooklyn night. —Brian Ferdman

Photo © Matúš Bence | http://idijot.tumblr.com

(My Morning Jacket plays Terminal 5 five times in October. Tickets remain available for the 10/18 and 10/19 shows.)

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Bob Log III Stands Alone

Monday, July 19th, 2010

Bob Log III - Mercury Lounge - July 18, 2010

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Bob Log III made his entrance from the back of Mercury Lounge in his signature blue-and-gold velour jumpsuit wearing a metallic gold motorcycle helmet with a telephone receiver stuck to the front of the visor. Walking to the front of the stage slide-fingerpicking a hollow-body guitar as fast as humanly possible, he sat down to play a kick drum with one foot and a cymbal with the other. He stood and yelled, “Yeeeeaaaaaa!” at the audience at the end of his songs, telling the crowd he prefers “liquid applause”—drinks—passed to the front of the stage, “placed somewhere where I won’t kick them over.”

Bob Log III has been playing his unique kind of hybrid hyper blues since the early ’90s, in the form of his former band Doo Rag. Even then he’d play the cheapest-sounding loose-string guitars and would sing into a homemade microphone to organically distort the vocals, accompanied by reclaimed washboards, metal bins and cardboard boxes. He thrives on the anonymity of this Evel Knievel persona, and his performance is pure Americana: One part traveling street-corner bluesman, one part co(s)mic Sun Ra, born out of that DIY pioneer spirit to carve out his little niche in the world come hell or high water. He’s the sort of person who won’t ever be duplicated.

Bob Log III has the sheer charisma to summon women from the audience to sit on each knee as he stomps through another dirty slide-guitar blues tune, his instrument sounding more like a banjo in its frantic tempo. “I know what you’re thinking, New York…. ‘Bob, don’t you ever get lonely being a one-man band?’ Don’t you worry about me. I make friends everywhere I go.” You get the feeling he’s up there doing it alone partially because there’s no one who could keep up with him. Based on the collection of empty cups on stage, Bob Log III was greatly appreciated, as he played his way through the crowd and off into the hallway. —Jason Dean

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Stornoway Lands on the Lower East Side

Friday, July 9th, 2010

Stornoway - Mercury Lounge - July 8, 2010

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There was a fire on the top floor of a building catty-corner to Mercury Lounge last night. Stornoway singer Brian Briggs said the structure began burning during their sound check, so they ran outside to watch. The audience chuckled at such relevant stage banter, but the truth was larger than they knew. As Stornoway had gathered just hours earlier on the streets of the East Village for a bit of combustible rubber-necking, this crowd too gathered at Mercury Lounge to gawk and stare and be silenced by something stunning.

Playing only their second US show, Stornoway opened with the standout “I Saw You Blink.” It rode the inside edge of endearing, earnest for its own sake. Briggs looked toward the ceiling, asking, “I need to know, are you the one?” with vocal clarity so stunning and pure, it brought legitimate and spontaneous tears to the eyes of a woman in the third row. This was only the first chorus of their first song. Rolling through “The Coldharbour Road,” “Fuel Up” and “Here Comes the Blackout” (minus the carrot chopping you hear on the album, they were sure to tell us), the band proved that such beauty would come in bunches not bursts.

For the last two songs of their set, Briggs and his mates stepped in front of their microphones, unplugged their guitars and played with no amplification. The need for mutual trust in this moment couldn’t be missed: It is playing without a net, a performer’s voice no more powerful than any single audience member. The audience stood stock still and hush quiet as intensely human voices sailed out in blended three-part harmony. As they closed the set with “We Are the Battery Human,” Stornoway urged us out with the lyric “We were born to be free range, free range.” This was, of course, true. These people could do as they pleased. But for the moment, they stood and watched and clapped. —Geoff Nelson

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She & Him Keep It Cool

Wednesday, July 7th, 2010

She & Him - Terminal 5 - July 6, 2010

(Photo: Sam Jones)

(Photo: Sam Jones)

She & Him, the retro-leaning combination of M. Ward and Zooey Deschanel, performed a sold-out show at Terminal 5 last night, a nice respite from one of New York City’s unbearable summer heat waves. The duo’s upbeat numbers “Gonna Get Along Without You Now” and “I Was Made for You” were as energetic and catchy as ever, rounded out by the able backing band (including vocals by the Chapin Sisters), with Deschanel lightly stomping her foot as she belted out her signature bittersweet lyrics.

With Terminal 5’s powerful AC winning the battle against the outside heat, She & Him played it cool onstage, with the exception of Deschanel letting out a bit of playful frustration with her Wurlitzer piano, which she felt was slightly out of tune: “Do we have a Wurlitzer tuner in the house?” she half-joked, half-implored. (Of course, her piano parts sounded perfect and lovely during songs like “Home” and “Sentimental Heart.”) As Ward strummed his signature shrewd guitar riffs and twangy flourishes, he floated around the side of the stage, often stepping out of the spotlight—his modest persona proving a nice foil to Deschanel’s sunny demeanor, as she spryly hopped up and down while shaking a tambourine in her pastel party dress.

But the night’s high point came when the band took a breather, leaving “she and him” alone onstage. With just Ward’s restrained guitar parts and Deschanel’s strong, powerful voice, the melancholy “Brand New Shoes” was perfectly realized. Yet She & Him’s delicate vocal interplay during a cover of Smokey Robinson’s “You Really Got a Hold on Me” was perhaps the best distillation of their unique synergy. Simple, soulful and sweet, the song elicited one of the night’s loudest squeals from the eager crowd. —Alena Kastin

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Delta Spirit Converts the Masses

Thursday, July 1st, 2010

Delta Spirit - The Bowery Ballroom - June 30, 2010

(Photo: Jared Levy)

(Photo: Jared Levy)

Three months ago the band YACHT played a sold-out show at The Bowery Ballroom. With a carefully constructed stage presence and songs utilizing loops and backtracks, they navigated through a set designed to meet their audience’s expectations. Most attendees, already familiar with the band’s music, heard the songs they wanted to hear and undoubtedly left satisfied. One striking moment, though, came when midway through their performance frontman Jona Bechtolt descended into the crowd to preach a performative gospel. Many people joined in the communal experience, but Bechtolt failed to rally a consensus. Yet, while one group could sell out a show without unfaltering loyalty, last night Delta Spirit made believers of their capacity crowd, capturing the audience with passionate playing and inexhaustible energy.

It is not an understatement to say that the pure joy people experienced during Delta Spirit’s hour-plus set was both entirely shocking and incredibly refreshing. Sandwiched between a middle-aged man who emphatically sung along with every lyric and a thoroughly drunk friend of the band, I stood in wonder as Delta Spirit conjured up unrelenting energy, feeding off the crowd and expelling back upturned folk and Americana. Two moments will stand out in my mind from this show: lead singer Matthew Vasquez’s rendition of Pink Floyd’s “Wish You Were Here” bleeding into Ode to Sunshine’s “Trashcan” (complete with trash-lid-banging accompaniment) and Vasquez effortlessly persuading the entire audience to kneel and rise to a cover of the Isley Brother’s “Shout.” If Delta Spirit continues to create this type of performance nightly, seeing this band will become a can’t-miss event. —Jared Levy

(Tonight’s Delta Spirit show at Music Hall of Williamsburg is sold out.)

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Robert Randolph Returns

Wednesday, June 30th, 2010

Robert Randolph and the Family Band - The Bowery Ballroom - June 29, 2010

(Photo: John Nunu Zomot)

(Photo: John Nunu Zomot)

Has it been 10 years already? Yes, it’s been a decade and some change since Robert Randolph first announced his arrival on the NYC music scene, debuting on The Bowery Ballroom’s stage with a raw energy and superlative talent rarely seen in an unknown opening act. Last night, Randolph brought his joy-fueled pedal-steel guitar back to the Lower East Side, celebrating the release of his new album, We Walk This Road.

Backed by his Family Band, Randolph acknowledged the significance of the 10 years that had transpired, but for the most part he was looking back much further than that. Many of the tracks from the new album are reworked versions of old spiritual and gospel numbers. Scratchy samples of bits of older or original versions played over the PA before the band launched into updated fiery, funked-up versions of the same. “Traveling Shoes” opened the show and set the pace, with the pedal steel bridging the old and new, screaming like a sermon and bumping with dancehall energy along with the band—cousins, sister and sidemen all sharing the vocals.

Besides a scintillating version of “The March,” which got the sold-out crowd moving, the other constant from the past decade was the pure joy Randolph and Co. put into and get out of the music they play. It seemed they didn’t want to stop, extending each song with awe-inspiring, concise pedal-steel excursions. “If I Had My Way” brought out solos from bass, guitar and organ, before dropping into the classic sing-along coda of the Doobie Brothers’ “Black Water.” As always, there was positive energy, good times and smiles all around—enough to last another 10 years. —A. Stein

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Woodsist Records Showcase - Music Hall of Williamsburg - June 25, 2010

Monday, June 28th, 2010

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There were no opening bands on Friday night at Music Hall of Williamsburg, just an amazing self-contained festival on one stage. Woodsist Records packed the bill, and no one was going to miss any of these acts. The balcony tables were secured long before Moon Duo took the stage to deliver their screaming fuzz-guitar and organ jams. It was something of a milestone, bringing these acts together. From the West Coast, San Francisco-based Moon Duo, Sic Alps and the Fresh and Onlys bonded with Brooklyn’s own Woods’ and Real Estate’s sunny vibes. Hearing them all together like this, there’s no doubt they’re all rooted in those ’60s mind-altering sounds, relying heavily on effects and abstract melody.

Sic Alps, which just recently opened for Pavement and Sonic Youth, brought heavy guitar experimentation to the table, drawing out their hazy blues into laid-back explorations in scuzzy feedback. Whatever song structure they originally had was abandoned, and they repeatedly broke them down with ear-splitting volume. Up next, the Fresh and Onlys took a traditional garage-pop approach to the swirl of effects, favoring a catchy melody over an extended jam. Tim Cohen, a friendly flannel frontman, cracked jokes and led the four-piece in tracks off their self-titled release, which leans toward a dense, smooth harmony-laden good time.

Woods played with their trademark blend of high falsetto and the mysterious technical wizardry of G. Lucas Crane. They were taking obvious pleasure in teasing out the tracks into oblivion and reeling them back again long into the night. Finally, Real Estate, with themes of nostalgia for the Jersey Shore, was completely at home onstage before a packed audience. Matt Mondanile and Martin Courtney on guitar, playing off each other’s surf-inspired melodies, was the key to Real Estate’s lighthearted summer jams, with rivers and beaches making their way into the lyrics if you weren’t already staring into the sun. The band left the satisfied crowd to walk out into the humid night, with a comfortable dream-pop soundtrack for those slow 8 mm films of the boardwalk, the jerky home movies of friends running into the surf under the blinking lights of a run-down casino. —Jason Dean

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Northside Festival Kicks Off at Music Hall of Williamsburg

Friday, June 25th, 2010

Thao and Mirah with the Most of All - Music Hall - June 25, 2010

(Photo: Jared Levy)

(Photo: Jared Levy)

Collaboration requires a delicate balance. In creating a unified whole, individuals must forgo the full expression of themselves. And, by doing so, the sum embodies a product that the parts are incapable of creating. This is the appeal of subjugating the personal to a group. However, the ingredients must retain their integrity. When musicians come together, it is their participation as a single entity that is judged as well as their contribution and authenticity. Take, for example, Crosby, Stills, Nash and Young, who created timeless music as a folk-rock supergroup. While each shined individually, the group’s identity was fortified in their cooperative performance.

In the hopes of tapping into this spirit, the talented indie songstresses Mirah Yom Tov Zeitlyn and Thao Nguyen have teamed up to play a number of tour dates. On Thursday night, the two, joined by a backing band as Thao and Mirah with the Most of All, played a packed set at Music Hall of Williamsburg for the opening of the Northside festival. The fortuitous meeting of Mirah and Thao began when the two played a collaborative set at the Noise Pop festival in San Francisco. Both artists show flair for charismatic folk pop, perhaps explaining why their temporary union is ballooning into a intermediate tour.

For last night’s show, both women showcased their respective talents. Thao, a perpetual ball of energy, pounded and thrashed while Mirah took a more subdued and introspective approach. They traded songs, most successfully on Thao originals like “Bag of Hammers” and “Know Better Learn Faster.” Though these numbers came late in the set, Thao’s humor and charisma kept the audience present and engrossed. Thus, whether the partnership persists beyond their slate tour dates, it was a pleasure to see two talents share both stage and song. —Jared Levy

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From Your TV to the Lower East Side

Thursday, June 17th, 2010

The Heavy - The Bowery Ballroom - June 16, 2010

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Sometimes you catch the buzz in time and sometimes it’s just too late. It was certainly the latter for me with the Heavy. The English quartet had a sold-out Bowery Ballroom crowd spilling out of the performance space Wednesday night. With a full suite of back-up singers and a horn section behind the band, frontman Kelvin Swaby powered a set that had one energy level, high, and one volume, loud. The weekly planner may have read Wednesday, but with a high-octane blend of soul, rock, ska and R&B, it certainly felt like Saturday night for all those inside.

Swaby was a force onstage, running the show like a rhetorical conversation with the audience, which he referred to lovingly as “NYC,” as if they were playing to the entire municipality. (“NYC, can we play some rock and roll?”) Those in the crowd obliged unconditionally: When asked to scream, they screamed. When asked to howl like wolves, they howled. When asked to throw their arms in the air, the arms went up. In turn they were rewarded with a full-fledged house party and, yes, even got to hear the Heavy’s as-seen-on-TV “that song” (“How You Like Me Now?”), which closed out the set. But midway through, when asked to jump up and down, to rage with the punk-soul hybrid pounding in the incense-tinged air and feed the band the same energy they were offering, the audience mostly waved their arms in a feigned jumping motion. I guess it was still Wednesday after all. —A. Stein

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A Band on the Rise

Tuesday, June 15th, 2010

Warpaint - Mercury Lounge - June 14, 2010

(Photo: Jared Levy)

(Photo: Jared Levy)

Back in early March, four relatively unknown women opened for Akron/Family at Music Hall of Williamsburg. At the time, bassist Jenny Lee Lindberg and drummer Stella Mozgawa wore matching pajamas while guitarist-singers Emily Kokal and Theresa Wayman dressed like Lilith Fair attendees. However, as these ladies of Warpaint made abundantly clear, music is not a reflection of appearance. Their delicate and innocent looks acted only as a siren song, luring unsuspecting listeners to unanticipated sounds. The difference between this group and the dangerous mythological creatures is that after their opening performance, filled with spacey jams and fierce drumming, the audience met a blissful rather than tragic end.

Last night Warpaint returned to New York City for a packed early show at Mercury Lounge. Even before the first chords sounded, the buzz was palpable. The crowd consisted of numerous camera-toting media types in addition to Chris Keating from Yeasayer and Chris Chu from the Morning Benders (who play a free show at The Beach at Governors Island on Saturday). And although Warpaint’s only release is their debut EP, Exquisite Corpse, Rolling Stone recently listed them as an essential set at last week’s Bonnaroo.

Building on the audience’s excitement, Warpaint quickly went from sound check to their set, with Wayman asking for the house music to be cut midsong. No one protested as they opened with a new track that led into Exquisite Corpse’s serene opener, “Stars.” Since their last performance, the band members have each seemed to develop as individual contributors and as part of the group. Mozgawa’s drumming continues to be an unstoppable force and this time around she traded instruments with Kokal for an equally powerful performance on guitar. Additionally, Lindberg’s steady bass and affable attitude bring levity to Wayman’s and Kokal’s serious yet respectable stoicism. The only issue with Warpaint is balance, but as they continue to tour, expect their sound to sharpen and their anonymity to fade. —Jared Levy

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School of Seven Bells Bring New Music to Mercury Lounge

Friday, June 11th, 2010

School of Seven Bells - Mercury Lounge - June 10, 2010

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School of Seven Bells wore it on their skin. Each band member featured the cover art of their new record, Disconnect from Desire, tattooed prominently on their body. Guitarist Ben Curtis wore his over his heart. The intoxicating vocalists, Alley and Claudia Deheza, circumscribed the image on their arms, reflecting a different, nonetheless committed, series of personal choices. A physical commitment, a mixture of pain and soaring beauty, indelibly etched in black ink in definition and defense of a new tribalism. School of Seven Bells are exactly this: urban and profane, distant and enormous, ancient and horribly futuristic, a burn of contradictions and desire.

The Deheza sisters reflect a different, two-roads-diverged-in-a-yellow-wood question. Alley, quick, propulsive and bubbly, offered the only gratitude and annotations, saying early in the evening, “These are all songs off our new album…but we’ll have some old ones later.” Claudia, delicately behind a keyboard, remained still, providing the intense minor-key harmonies for which the band is so deservedly famous. She took her eyes off the keys only to send soul-splitting gazes to the back of the room. The capacity Mercury Lounge audience began to move during the third song, the stunning “Babelonia,” from the band’s forthcoming LP. Alley danced on the downbeats, arching her eyebrows to indicate the seriousness of her purpose. Claudia was, well, predictably hard to read.

Though the crowd knew few of the songs, the soaring wall-of-sound approach proved nonnegotiable. There were moments so loud, so condensed and so incredibly intricate that you wondered if this band is like Icarus, daring their wax wings not to melt on the surface of the sun. But perhaps this is darker. On set-closer “My Cabal,” the band drifted away to some foreign and familiar, a pleasant and unsettling challenge to join them by the end of the night, burned together in our ears and on our bodies. —Geoff Nelson

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This Will Destroy You Live Up to Name

Thursday, June 10th, 2010

This Will Destroy You - Mercury Lounge - June 9, 2010

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This Will Destroy You haven’t set out to make it easy on themselves, trying to stand out in the saturated niche of epic post-rock instrumentals. But there’s always room for another great band if they are truly innovative, and TWDY is completely devoted to their massive sound. Their tone—combined with their vision of the future—shares cinematic nods with Explosions in the Sky and Mono. The group has always leaned toward introducing hints of mechanical electronics into their compositions, and when played live, this adds a new layer of ambience that separates them from the pack. They beg the question if geography, specifically Texas, which Explosions also call home, has anything to do with their expansive sound. Or if it’s more of a movement against a lead vocalist, that the creation is a collective equal vision. Or maybe it’s just that vocals themselves can too easily be a blunt instrument for emotion.

The music alone can be a more difficult challenge in evoking a feeling, as counterintuitive as that might seem. Last night at Mercury Lounge, drummer Alex Bhore led the quartet. Faced with the amps’ sheer volume, he kept up by hitting the kit with all his force, frequently standing and inspiring a “Beat the shit out of those drums!” shout from the back of the room. The speed at which This Will Destroy You go from barely audible valleys to ear-shattering peaks and remain on that plateau of sound takes sheer physical endurance. For their last song, Slow Six violinist Chris Tignor added haunting tones to a pummeling finish. It was a Western apocalypse, the last notes of a chaotic existence. Then a distorted delay loop slowly faded out as they made their way offstage. —Jason Dean

© 2010