Tag Archives: Flaming Lips

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Mike Gordon Shares New Toys at Webster Hall

March 3rd, 2014

Mike Gordon – Webster Hall – March 1, 2014

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During his sold-out show at Webster Hall on Saturday night, Mike Gordon explained that he was like a kid in a candy shop thanks to all the new toys he had at his disposal. Some of them, he said, were the new songs off his recent release, Overstep, and others were the new visual technologies employed throughout the two-set show. The former included a first-set “Surface” with a syncopated-jam section and a show-closing “Long Black Line” with a long improvisation that settled on many themes between Gordon, guitarist Scott Murawksi and keyboard player Tom Cleary. The latter included light-up guitars and a set of oversized “keys” that front-row audience members got to “play” during one jam like some interactive exhibit at a children’s museum. While all of these toys were great to hear and fun to look at, it was clear watching the Phish bassist guide his solo project throughout the night that the band was one big plaything for Gordon.

Gordon not only got to satisfy his polymath urges, but he also got to be the frontman, banter included. So when there were some technical difficulties, Gordon tried to explain moiré patterns to the audience (which were employed on the arty walls onstage), quickly dropping into a homophone tangent about moray eels (acoustic or electric?) before flipping that into the more traditional thank-the-label thing. The set list with its myriad jams and straight bouncers zigzagged with equal dexterity. And the highlight cover of the night was
a rendition of the Flaming Lips’ “Are You a Hypnotist?”—a perfect fit for the band with its bass-driven, off-center melody, building the song out of bird whistles, keyboard electronica and ambient guitar.

The second set was anchored by three powerful jammers: “Morphing Again,” off 2008’s The Green Sparrow, began with a country bounce before a beautiful, full-band major-key jam took hold—while “555,” a new Phish song, went the opposite route, Murawksi leading a darker funk-rock excursion with a distorted-wah tone—and the aforementioned set-closing “Long Black Line.” But for the Phish fans in the room, the surprise of the night was a bust out of “Spock’s Brain,” a long-shelved rarity filled with prog-rock twists and changes that seemed to fit right in for Gordon and his band. The crowd ate it up as they had all night, clearly thankful that Gordon is the kind of kid who shares his toys with others. —A. Stein

 

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A Top Five Look Back at 2013

January 10th, 2014


Ten days into the New Year, The House List looks back at 2013 with some Top Five lists.

My Top Five Favorite Shows
1.
The Postal Service, Barclay Center, June 14
My decade-belated live date with the Postal Service finally culminated at Barclays Center, where rabid fans, like myself, roared as Ben Gibbard and Jimmy Tamborello hit the stage. As if acting out lyrics from “Nothing Better,” Gibbard and Jenny Lewis shimmied close for the duet. Old friends reunited onstage never felt so good.

2. Haim, Webster Hall, September 3
I was late to this bandwagon, as fellow House List contributor Alex Kapelman shortlisted Haim last year for his Top Five Bowery Presents Shows of the Year. I knew I was in for a good one when I could barely find a spot in the rafters to catch the three sisters, who charmed with their onstage banter and wicked musicianship

3. Jessie Ware, The Bowery Ballroom, January 17
Straight off her Jimmy Fallon taping backed by the Roots, the British songstress elated the crowd with her effortless, down-to-earth stage demeanor. Her star quickly rose with American audiences, as she sold out shows at Webster Hall, Music Hall of Williamsburg and Irving Plaza throughout the year. I was glad to have caught her earlier in the more intimate venue.

4. Basia Bulat, Bowery Ballroom, November 23
I’ve been a fan of Basia Bulat since I heard her cover Sam Cooke’s “Touch the Hem of His Garment.” This show on a cold night wasn’t sold out, which made me a little sad since she’s quite the talent. But those who were there were enraptured by her prowess on autoharp to the point that you could hear a pin drop during her solos.

5. Daughter, Bowery Ballroom, April 30
Somehow Elena Tonra manages to disguise heartbreak behind soulful lyrics and melody. She has a knack for turning happy dance songs into somber endeavors. The band mashed-up Bon Iver and Hot Chip’s “Perth/Ready for the Floor” that evening. Check out Tonra’s somber retake of Daft Punk’s hit “Get Lucky” for further proof. —Sharlene Chiu

My Top Five Shows I Never Thought I Would See
1. Desaparecidos, Webster Hall, February 26

Desaparecidos (and really any Conor Oberst project) were my bread and butter back in the early aughts, and for a while they seemed to be a one-off, a politically minded side project firmly planted in the past. Fortunately (and unfortunately) the global state of affairs remains messed up enough for the band to regroup to write protest songs for a new decade. It was a nostalgic, sweaty and inspired performance.

2. Shuggie Otis, Music Hall of Williamsburg, April 19
Shuggie Otis began putting out music in the mid-’70s, followed by a long period of laying low. Content to groove along to songs like “Ice Cold Daydream” at home, I never really thought about the possibility of a Shuggie Otis tour in 2013. But when I found out, I was there. And “Ice Cold Daydream” is even better in person.

3. The Flamin’ Groovies, The Bowery Ballroom, July 6
Instead of discovering the Flamin’ Groovies in a smoky San Fran club in the ’60s, I was introduced to their catchy psychedelia on a Nuggets compilation more than 30 years later. Who’d have thought they’d still be going strong in 2013 and that I’d be dancing right alongside some old school fans at this fun summer show.

4.  John Prine, Beacon Theatre, September 26
John Prine has been active since the early ’70s, but unlike Shuggie Otis, he never really went away, writing and recording songs at a steady pace throughout the years. But I still always thought of him as an artist too legendary for me to see in person—or that tickets would be too out of reach. But John Prine put on an amazing show, highlighting his singular skills as a songwriter and storyteller.

5. The Julie Ruin, Music Hall of Williamsburg, October 25
I was late to the party for the original riot-grrl movement, but I became an admirer of Bikini Kill frontwoman Kathleen Hanna during her time in Le Tigre. She’s dealt with some debilitating health issues in the past few years, but I had no doubt she’d continue to make art and music. So I was happy to learn of her latest project, the Julie Ruin, and her energetic show did not disappoint. —Alena Kastin

My Top Five Shows
1. Yo La Tengo, Town Hall, February 16

I don’t like to pick a favorite, but my last.fm account tells me I’ve listened to Yo La Tengo more than any other band since 2007. At Town Hall, they performed an acoustic set and an electronic one, doing two versions of “Ohm,” my favorite song of the year. And then I ran into Tim Heidecker from Tim & Eric’s Awesome Show, Great Job! Had the Red Sox not won the World Series, this would’ve been my favorite night of the year.

2. Killer Mike/El-P, Webster Hall, August 14
I don’t care what anyone says: The best two rap albums of 2012 came from Killer Mike and El-P. And in 2013 they topped them, coming together as one entity, Run the Jewels. The night included a set from El-P, a set from Killer Mike and a combined set with both. El-P’s ingenious production plus Killer “I bleed charisma” Mike equals one concert I will never forget.

3. Foxygen, The Bowery Ballroom, October 21
With Foxygen it occasionally feels like shit could fall apart at any moment. And sometimes it does. But when their shows don’t come unhinged they deliver that sweet thrill of relief, like narrowly avoiding a car crash. And on this Halloween-themed night, the band made a weird show even weirder with homemade costumes and pseudo spooky vibes.

4. Steve Earle, Music Hall of Williamsburg, May 8
You can just tell some people are genuine, and Steve Earle is certainly one of them. Forever wearing his heart on his sleeve, that same energy bleeds right into his music, which he played alongside what he’s calling “the best band he’s ever had.”

5. Meat Puppets, Mercury Lounge, April 4
Not only are the Meat Puppets still kicking (after living through some serious shit), but also they’re thriving. And as much as I respect their legacy, seeing them play for more than two hours with the intensity you’d expect of a band 20 years their junior makes me respect them that much more. Long live the puppets of meat! —Dan Rickershauser

My Top Five Shows
1. Dessa, Union Hall, May 5

There are few performers I feel can move mountains with their vocal chords, and Dessa is one of them. This performance was an eruption of defiant lyrics and bold beats. A sizable crowd of young girls knew all of her lyrics, giving the show a chant-like feel. The only female member of Minnesota’s Doomtree collective practically vibrates with energy, and it’s completely contagious.

2. Kishi Bashi, Irving Plaza, September 12
Kishi Bashi sounds even better live than he does recorded. And he delivered a dazzling set with profuse vocal looping and an excellent backing band. Kauro Ishibashi has a supercharged, effusive aura, and his music embodies that persona. This set took a rowdy turn that involved crowd surfing, strobe lights and an outright jam session.

3. Panama Wedding, CMJ Music Marathon
I happened upon newcomers Panama Wedding three different times during CMJ: Initially, opening for NONONO at Mercury Lounge on the first night. Since the band had only released one song, “All of the People,” I was eager to see what would unfold onstage. Their set was so tight that I caught the fantastical pop group the following night at Pianos and then again at a showcase at Santos Party House.

4. You Won’t, Rockwood Music Hall, October 30
The live iteration of You Won’t is a spectacle to behold. I watched eagerly as Josh Arnoudse and Raky Sastri wielded a slew of instruments with ease, quickly fascinating the audience. The duo took their jaunty music into the audience a couple of times to break the barrier and enlisted some extra vocal support by encouraging us to all to sing along.

5. James Blake, Terminal 5, November 6
In this spellbinding live performance, complete with plenty of vocal looping and haunting electronica, James Blake made a cavernous room filled with people feel intimate. And that he’s such a dapper-looking fellow only helps boost his appeal. I’m still transfixed by this performance nearly two months later. James Blake’s music has some serious lasting effects. —Schuyler Rooth

My Top Five Shows with Regard to Lights, Visuals and Production
1. Umphrey’s McGee, Brooklyn Bowl, January 20

Kick-ass creative lighting
and Brooklyn Bowl don’t usually go hand in hand, but Umphrey’s McGee lighting guru Jefferson Waful turned the room into a thing of beauty.

2. Föllakzoid/Holydrug Couple, Mercury Lounge, March 21
What better way to enjoy some old school psychedelic music than with some old school liquid projections courtesy of Drippy Eye.

3. Plaza: Portugal. The Man, Irving Plaza, May 20
Freakin’ lasers!

4. The Flaming Lips/Tame Impala, Terminal 5, October 1
It was almost as fascinating to watch the Lips’ spectacle getting set up as it was to see it in action—confetti, strobes, LEDs and, well, pretty much everything. And Tame Impala’s projections were no slouch either.

5. Phish, Atlantic City Boardwalk, October 31, November 2
Phish’s fall tour found lighting director Chris Kuroda playing the Willy Wonka of eye candy all over the East Coast. —A. Stein

My Top Five Albums
1. Phosphorescent, Muchacho
I’d only seen Phosphorescent once before listening to Muchacho for the first time. And while much of Matthew Houck’s previous work is country-tinged (not that there’s anything wrong with that), this album, ostensibly about a breakup, covers more territory, from the meditative sounds of “Sun, Arise (An Invocation, an Introduction)” and “Sun’s Arising (A Koan, an Exit)” to the jammy, driving “Ride On/Right On” to softer fare, like “Muchacho’s Tune,” all centered on Houck’s evocative voice. I still can’t stop listening to it.

2. Foxygen, We Are the 21st Century Ambassadors of Peace & Magic
Foxygen’s third full-length, We Are the 21st Century Ambassadors of Peace & Magic, comes off as a loving mash note to ’70s rock. You’ll hear bits of the Rolling Stones, Velvet Underground and David Bowie, but the album expertly manages to sound like something whole and new rather than something derivative.

3. White Denim, Corsicana Lemonade
Upon the first couple of listens, I found White Denim’s latest, Corsicana Lemonade, to be too singer-songwriter-y, but I continued to give it a chance, and it opened up to something much bigger, with genre-hopping songs like “Let It Feel Good (My Eagles)” and “Pretty Green”—not to mention some searing guitar parts—grabbing me by the throat.

4. Futurebirds, Baba Yaga
Admittedly, I didn’t know anything about Futurebirds, out of Athens, Ga., before writing a preview of their late-May show at The Bowery Ballroom. But while listening to their second LP, Baba Yaga, as I wrote, I became totally enamored of the album—half twangy Southern rock and half spacey reverb.

 5. Kurt Vile, Wakin on a Pretty Daze
I love Kurt Vile’s Wakin on a Pretty Daze so much, that I can’t believe it’s only No. 5. Labeling it stoner rock, as many have done, is lazy. Although I supposed me calling it laid-back rock isn’t any better. But the fact of the matter is there might not ever be a better album to listen to while walking the streets of New York City with headphones in your ears. —R. Zizmor

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One Big Holiday Is Now Even Bigger

October 31st, 2013

As if My Morning Jacket’s four-night beach-destination concert adventure One Big Holiday at the Hard Rock Hotel in Mexico’s Mayan Riviera weren’t already shaping up to be pretty epic—with three “totally unique shows plus an off-the-hook dance party hosted by the band that promises plenty of surprises”—it’s recently gotten even bigger with the addition of the Flaming Lips (above, doing “Yoshimi Battles the Pink Robots, Pt. 1”), Preservation Hall Jazz Band (MMJ with horns!), Mariachi El Bronx and Thievery Corporation’s Rob Garza. Of course, it’s not totally about the music. There will also be plenty of other activities, like daily yoga classes, tequila tastings, theme nights and all sorts of off-site excursions. This is something not to miss: It’s One Big Holiday.

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Black Moth Super Rainbow Make Good on Their Name

December 6th, 2012

Black Moth Super Rainbow – The Bowery Ballroom – December 5, 2012

(Photo: Andie Diemer)

Having never even heard a note of their music, based on their name, you could take an educated guess at what Black Moth Super Rainbow might sound like and you’d probably be mostly right. The name alludes to both some grandiose psychedelia (Super Rainbow) and the darkness behind it (Black Moth). But there are some other components going on with this band that their name won’t reveal. Even for those familiar with their music, seeing it performed live exposes some nuances. So let’s tackle these observations one a time:

1. For a band that blasts out some heavy psychedelic beats, they’re awfully unassuming about it. This is especially true of frontman Tobacco, who performed behind a silver suitcase with a T-shirt draped over it, hiding his face behind it and a baseball hat. Most other psych-rock frontmen are much more outwardly extroverted (think: Wayne Coyne of the Flaming Lips), but Tobacco comes off as shy, so much so that even having watched him over the course of an entire show, I’m not sure I could pick him out in a police lineup.

2. All vocals go through a synth vocoder, but they don’t always sound the same. Even between songs, when an audience member yelled, “Thank you,” Tobacco shot back a “You’re welcome” through the vocoder. Filtering all vocals through such heavy effects removes them a step further from their human source. Maybe this makes it easier for an introverted singer to perform. Regardless, it also gives Tobacco the chance to make vocals expressive by the effects thrown onto them. All Black Moth Super Rainbow vocals have that synth vocoder fuzzy warmth to them, but they also fall into a broader spectrum, changing slightly from song to song.

3. They sound much more rock when performed live. Maybe it’s because snare drums carry better in a live setting, or because the bass and guitar were turned up higher in the mix, but last night at The Bowery Ballroom, their songs were much more hard hitting than the recorded versions. Material off their latest, Cobra Juicy, sounded particularly rock heavy.

4. There’s a restrained sense of humor with this band that comes out every now and then. There were several images of various scenic shots projected onstage, including a slow-burning nuclear facility or an overgrown roadway. If you watched long enough, someone would inconspicuously pop up out of each scene and walk toward the camera, staring at it. It broke that fourth wall between the band and audience in a subtle way. (Also, the drummer wore a ninja mask the entire night without explaining why—which is pretty hilarious and also pretty badass.) —Dan Rickershauser

(Black Moth Super Rainbow play Music Hall of Williamsburg tonight.)