The Bowery Presents

Posts Tagged ‘CMJ Music Marathon’

Portugal. The Man: Strange Name, Great Sound

Monday, October 26th, 2009

Portugal. The Man - The Bowery Ballroom - October 23, 2009

(Photo: Emily Ibarra)

(Photo: Emily Ibarra)

Following a set of ebullient guitar rock by the Temper Trap, the oddly punctuated Portugal. The Man took the stage as Friday’s headliner at The Bowery Ballroom. The band is led by perhaps the second most well known denizen of Wasilla, Alaska, John Gourley, who plays a big-bodied guitar and sings in a high-pitched voice that could be the love child of Neil Young’s pipes and those of Jamiroquai singer Jay Kay.

Sometimes Miles Davis would perform with his back to the audience. And like a lazy Miles Davis, frontman Gourley oddly spent most of the show with his side to the crowd. Fortunately, like with Davis, it didn’t affect his performance in the slightest. Portugal. The Man’s albums all have different sounds, but their fourth studio effort, The Satanic Satanist, out last July, has earned the band plenty of well-deserved attention. So it was no surprise that much of their set highlighted songs from that disc, including “People Say” (with the crowd singing along), “The Sun,” “Do You” and “Mornings.”

Portugal. The Man—at times accompanied by Judy the fiddler— played plenty of upbeat songs, but they can just as easily go darker. Backed by trippy lights, the band turned jammy and ethereal, with their instrumentals delving into the wide psychedelic swath between the Doors’ moodiness and the liveliness of Santana. They seem like the kind of band you could see two nights in a row and it wouldn’t feel like the same show. And that’s a good thing. —R. Zizmor

The XX - Music Hall of Williamsburg - October 23, 2009

Monday, October 26th, 2009

The XX - Music Hall of Williamsburg - October 23, 2009

Photos courtesy of Mina K

“Yo, Tonight Rules!”

Sunday, October 25th, 2009

Deer Tick - The Bowery Ballroom - October 22, 2009

One of These Guys Is Not in the Band

One of These Guys Is Not in the Band

Not to be confused with Deerhoof, Deerhunter or the Dear Hunter, Deer Tick, led by the ferociously talented, no-longer-mustachioed John McCauley, is a band rooted in Providence, R.I., with a sound rooted somewhere safely below the Mason Dixon Line. They’ve put out two excellent albums—War Elephant is more subdued than its livelier follow-up, Born on Flag Day. But when heard live, the recorded material, like a fine wine, opens up into something bigger. McCauley has an engaging—if not drunken—stage presence, and with his vivid songwriting and lived-in vocals, even when things go off the rails, it’s still raw and real and never manufactured. It’s a refreshing change. And more than that, it’s a lot of fun.

Headlining a CMJ Music Marathon show on Thursday at The Bowery Ballroom, Deer Tick, wearing Jason Vorhees-style goalie masks, finally took the stage at 12:15 and opened with a soulful, a cappella “Dirty Dishes.” “How you doin’ tonight?” asked McCauley, greeting the sold-out crowd. “Yo, tonight rules!” From then on, the band played nearly two hours of original material dotted with plenty of stage banter, a hard-driving version of Bo Diddley’s “Who Do You Love?,” a sped-up, guitar-driven take on Chuck Berry’s “Maybelline” and possibly the first ever appearance of “Air Force Porn,” when a fleet of paper airplanes made from porno-magazine pages descended upon the audience.

Onstage, they guys in Deer Tick smoke, drink and carry on—they even threw glitter and shot Silly String into the crowd. That party atmosphere was infectious—the good kind—which carried over to the concertgoers, who stomped, sang, danced and clapped along. Late in the set, when McCauley invited “everyone who wants to come onstage to come onstage,” the band was joined by at least 30 people who were drunk enough or needy enough to do so. As Deer Tick played “City of Sin” and the rollicking love song “These Old Shoes,” several girls draped themselves across the frontman, who didn’t seem to mind.

After clearing the stage (“I need some alone time”), McCauley performed several songs accompanied by just his guitar and harmonica. When the full band eventually joined him, many in what was left of the crowd pogoed up and down with sparklers held aloft to the strains of Deer Tick’s traditional closer, a cover of “La Bamba.” And then the house lights came on, revealing a floor littered with cups, glitter and porn. —R. Zizmor

(Deer Tick plays the songs of the Sex Pistols on Halloween at Brooklyn Bowl.)

The Temper Trap Ends on a High Note

Friday, October 23rd, 2009

The Temper Trap/Mumford & Sons - Music Hall of Williamsburg - October 22, 2009

The Temper Trap
The Temper Trap’s lead singer, Chris Mandagi, beckoned the crowd to surge forward. The band was in the middle of an eight-song set at a nearly sold-out Music Hall of Williamsburg. It wouldn’t be fair to say the set up to this point was pedestrian, but it certainly wasn’t an elevating artistic moment. The band’s much-licensed smash single, “Sweet Disposition,” tipped the whole evening toward something different. So as Mandagi chanted the lyrics, he beckoned us forward.

An hour earlier, British folk-rock act Mumford & Sons dominated the same stage that Mandagi would later try to crush the crowd against. Rife with banjo, upright bass and full-on four-part harmonies, Mumford & Sons is the first band to ever move this many people without a drummer. The crowd knew the lyrics though the band would later joke that their album isn’t out yet in the States. The implication was clear (you stole our album) but the accusation was invisible (still, thanks for singing along). They closed with a new song, “Whispers in the Dark,” featuring the closing line, “let’s live while we’re still young.” There isn’t anything better to tell a room full of people who are mortgaging sleep and jobs for the sake of a music festival.

Slipped back in medias res and the Temper Trap crushed their final four songs following “Sweet Disposition.” Closing with “Science of Fear,” Mandagi did his best vocal clown car, with a surprising amount of material coming out of a seemingly tiny vessel. As the song closed, he turned to his band let the mike thud to the floor. The Temper Trap urged us forward and then retreated in kind. We were left to live while we were young. And that’s what we did. —Geoff Nelson

Bradford Cox Needs to Give Himself Some Credit

Thursday, October 22nd, 2009

Atlas Sound - Music Hall of Williamsburg - October 21, 2009

(Photo: Diana Wong)

(Photo: Diana Wong)

“The show’s completely off the rails now,” joked Deerhunter frontman Bradford Cox, performing last night at Music Hall of Williamsburg as his solo side project, Atlas Sound. Somehow a simple broken guitar string had brought the set to a standstill, initiating a chain reaction of antics: Inexplicable song requests from the crowd (“Rock Around the Clock,” “Monster Mash”), a series of groan-inducing jokes and Cox’s decision to strike a few poses for all the hungry photographers in the crowd eager to snap away. “This is my socially conscious pose,” said Cox, strumming some Dylan chords and staring introspectively at the ceiling.

“Did you think it was pretty professional before all that shit happened?” Cox later inquired. Come to think of it, Atlas Sound’s set had been pretty professional up to that point. Cox (wearing a very sensible brown suit) had started the show with a haunting version of “My Halo” from Atlas Sound’s newest album, Logos (just released on Tuesday), his voice strong and stark, accompanied simply by keyboard. Joined shortly thereafter by his backing band, Atlas Sound played meticulous renditions of songs like “Walkabout” and “Sheila,” easily recreating the ethereal moments within their spacey, densely layered psych-shoegaze.

Later on, Cox partially chalked his “derailment” up to nerves—noting that the retro space-pop masters Broadcast, who had performed a transfixing opening set accompanied by trippy 1960s-era video art, were a tough act to follow. Though they were impressive, could Cox truly have such shakable confidence? After all, when he returned solo for an encore—creating a looped guitar and harmonica sample, walking around the stage as he played both guitar and drums, and timing his singing between different mikes—Bradford Cox was able to personally embody Atlas Sound. It was a complete song, nearly effortless. For moments like this, hopefully Cox will come to give himself more credit. I must say, when he was able to focus, it was certainly quite professional. —Alena Kastin

They Leave It All Onstage

Monday, October 5th, 2009

WFMU Fest: Pissed Jeans - Music Hall of Williamsburg - October 2, 2009

WFMU Fest: Pissed Jeans - Music Hall of Williamsburg - October 2, 2009
Philadelphia sludge-noisemakers Pissed Jeans headlined Music Hall of Williamsburg on Friday, the second day of the three-day WFMU Fest. The quartet—guitarist Bradley Fry, bassist Randy Huth, vocalist Matt Korvette and drummer Sean McGuinness—recently released its latest album, King of Jeans, on Sub Pop. Both in their recordings and when they play live, Pissed Jeans wears its musical influences on its sleeve: The most prominent influences being early-’80s grunge and punk bands, like Mudhoney, and early Black Flag. On record, Pissed Jeans’ songs are slowed down, simple and almost monotonous to the ear, but live, the band creates frantic activity to accompany that sound.

At Friday’s show, McGuinness frenetically pounded his drums while Korvette lunged across the stage, mumbling and screaming his way through each song. Fry and Huth stumbled around, but kept the attention on the flailing frontman who, in turn, kept the room’s chaotic, sweat-bowl energy consistently agitated. The majority of the band’s set was material from the latest album— lyrically simple songs like “Dream Smotherer,” “Spent” and “Goodbye (Hair),” which intrinsically put a smug smile on the face of discontentment. Pissed Jeans played hard (evidenced by McGuinness’s onstage vomiting) and put on a set perfectly complementary to the sounds and sentiments on King of Jeans. —Kirsten Housel

(See Pissed Jeans at the CMJ Music Marathon at Mercury Lounge on Saturday, October 24th.)

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

© 2009

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