Tag Archives: Mercury Lounge

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Windish Agency Bands Play Mercury Lounge

October 24th, 2011

The Windish Agency Showcase – Mercury Lounge – October 21, 2011


Friday night of CMJ, with everyone a little worse for wear, found Mercury Lounge as the home to the Windish Agency showcase, although it may as well have been an echo chamber. The reverberated Gauntlet Hair took the stage in the 9 o’clock slot. The latest of the blog-to-label bands, they parlayed a snapping first single, “I Was Thinking” into an album featuring their trademark high-fret guitar-board strums and slamming drums and bass. Looking a bit like kids who might have run around in a fixed-gear bicycle gang at your liberal arts college, the band played material from their self-titled debut LP, including stunners “Keep Time” and “Top Bunk,” like Dirty Projects cuts that got dropped to the bottom of a backyard swimming pool, all glittering guitars and troubling echoes.

Up next the surprisingly charming Teen (good luck searching for them on the Internet), an all-female five-piece, claimed to be three-fifths sisters and 100 percent Canadian. Now playing in and around Brooklyn, the band was dressed to kill, eliciting drunken commentary from some grungy looking guys in the middle of the crowd, which the quintet handled and dismissed with the deftness of a stand-up comedian. Playing a tight set of dream pop, the band felt like one part Stars, one part Wilson Phillips and one part School of Seven Bells. Seeming to build converts with each passing song (the yelling dudes were now loudly proclaiming their love for the lead singer or maybe the bassist or perhaps both), the ladies in their evening wear proved to be the type of pleasant surprise that CMJ still provides.

We Barbarians, with a considerably smaller sound check and a considerably larger sound, took the stage at 11 as the most energetic three-piece of the festival. Trafficking in the kind of sound that might have kept We Are Scientists from getting kicked off Virgin/EMI, We Barbarians opened with the shimmering “Headspace,” full of banging drums and soaring guitars. Lead singer Dave Quon is a force of nature, even on the allegedly more thoughtful tracks of the band’s most recent EP, Headspace. A drummer sweating through his beard and a singer sweating through his shirt aren’t new semiotics in rock music, but there is something in We Barbarians that feels singular, loud and important. The bands would move on, perhaps to the rest of their tours or to even later showcases, and the echoes of the second-to-last evening of another CMJ would ring out without the help of a delay pedal. —Geoff Nelson

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CMJ Music Marathon Starts Today

October 18th, 2011


It’s that time of year again: 20-minute sets; in midtown one minute, the Lower East Side the next; scarfing down food with minutes to spare before the next show. From Mercury Lounge to The Bowery Ballroom and beyond, the CMJ Music Marathon is upon us. Here’re which bands we’re specifically looking forward to seeing play live. New York City quintet Caveman transfers any pop sensibilities into a dreamy landscape of lush indie harmonies through love, nostalgia and other sentiments. In support of their debut, CoCo Beware, Caveman will play 10 shows during CMJ, including the Bowery Presents showcase on 10/22 at Pianos. —Tina Benitez

The CMJ Music Marathon, now in its 31st year, is back to make five days in October seem impossible to navigate. Expect packed lineups at each venue because every band you ever wanted to see is in town. The supergroup Wild Flag, featuring Mary Timony, from Helium, and Carrie Brownstein, of Sleater Kinney among others, kicks off things tonight at The Bowery Ballroom. And at the same time Afro-punk Presents Death to Hip-Hop, featuring technical death-metal pioneers Death and Brooklyn’s own skate-pizza punk, Cerebral Ballzy, whose name really says it all. Wednesday’s pick has to be the ever-controversial indie rap group Odd Future at Terminal 5. Then on Thursday try to get into the sold-out lineup at Mercury Lounge, with garage-rock Xray Eyeballs and Florida’s Jacuzzi Boys, followed by Memoryhouse’s atmospheric shoegaze and finally, J. Mascis. You will show up at 6:30 and stay the entire night. Friday has more fuzzed-out pop with Dum Dum Girls and Crocodiles at The Bowery Ballroom, and if you sleep over, on Saturday, Gang Gang Dance’s experimental electronic beats just might give you a chance to recover. And then sleep on Sunday for 24 hours before work. That’s your CMJ. —Jason Dean

Last year I spent the majority of CMJ camped out at Terminal 5 for My Morning Jacket. But this year I plan to get around. Not everyone has an abundance of free time, so if you can only hit one show, my money’s on the High Road Touring showcase at The Bowery Ballroom on 10/20. And despite it being a stellar lineup from top to bottom, for me the No. 1 band to check out during the whole festival is Alabama Shakes (above, playing “I Found You” for Live from the Shoals). The quartet, out of small-town Athens, Ala., has a four-song EP and an incredible bluesy-soul sound. You won’t want to miss Brittany Howard’s voice. Sure, she’s a postal worker by day, but she’s a bona fide rock star by night. Don’t miss this. You’ll be able to tell your friends you saw this band at the very beginning. —R. Zizmor

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Spend Friday Night with Dominant Legs

October 12th, 2011


Singer-songwriter Ryan Lynch had an office job that ended like so many other office jobs—that is, he no longer had it. So he began writing songs. Somewhere along the way the one-time Girls guitarist met singer-keys player Hannah Hunt through friends, and they began making cheery pop and folk music together. The duo, as Dominant Legs, put out an EP, Young at Love and Life, last year. But since then the band has expanded in size and sound, adding bassist Andrew Connors, guitarist Garett Goddard and drummer Rene Solomon. The now five-piece released its first LP, Invitation, earlier this year, and, along with Nurses, Dominant Legs (above, doing “Hoop of Love” for echolocale.com) play Mercury Lounge on Friday.

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Hank & Cupcakes Get Closer

October 10th, 2011

Hank & Cupcakes – Mercury Lounge – October 8, 2011


Cupcakes convincingly wrapped the bass-guitar strap around her neck, looked out to the audience and laughed before passing the guitar to her other half, Ariel Scherbacovsky, better known as Hank. A closer look revealed the left half of Hank’s face, back and torso painted in animalistic black and yellow spots. Offering bass rumble and synth for the band’s 11-song set, Cupcakes, clad in a white business suit, her short, bleached-blonde hair perfectly coifed, pounced onstage as a gender-blurring, Eurythmics-era Annie Lennox.

Fresh from recording their full-length debut at Berlin’s Hansa Studios, the Tel Aviv-by-way-of-Brooklyn bass-and-drum duo felt the New York City love and gave it back. The duo’s chemistry is unyielding. “Ready, naked boy?” asked Cupcakes of a shirtless Hank before her rap reviving some of Blondie’s “Rapture” toward the end of funk-pop groove of “Ain’t No Love.” Dancing, swirling and moving in front—and on top—of her drum kit, Cupcakes is full show-woman-ship.

Cupcakes removed her suit jacket to reveal a white button-up blouse and nothing much else beneath as she and Hank offered a tribute to guys named “Jimmy” (and there was one in the audience). A petite punk-rock Elvis, Cupcakes gyrated to every note of every song, including the pair’s cover of the 1979 Joy Division single “She’s Lost Control.” Finishing their most dance-y single, “Hit,” Cupcakes flung her drumstick in the air, put her suit jacket back on and moved center stage as if ready to bow for a job well done—but not before one more song. Hank & Cupcakes kissed. “Do it again,” said someone in the crowded room. “Do what again?” asked Cupcakes. “Kiss? We kiss all the time.” As if reiterating her “no” to the bellowed request, Cupcakes slammed down on the drums to one more song. —Tina Benitez

Photos courtesy of Patrick J. Eves | hippiedeathbed.com

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A Record Release for Robbers on High Street

October 10th, 2011

Robbers on High Street – Mercury Lounge – October 7, 2011


There’s nothing eight dudes (some armed with horns and bongos) can’t execute. Granted, the trumpet and sax section rarely came out, but on Friday night at Mercury Lounge, other bells and whistles did as New York City’s Robbers on High Street celebrated the release of their third full-length album, Hey There Golden Hair. And Robbers—formed nearly 10 years ago by school chums vocalist Ben Trokan and guitarist Steve Mercado—pulled out more than just strings.

Midway through their 15-song set, the six band members and two extraneous horn players adding some mood, formed an octagon onstage. “We’re playing nothing but good songs tonight,” said singer Ben Trokan, confident of the Robbers’ prowess. And for the next hour, they pulled out Golden Hair’s entire 12 tracks and three extra songs, including “Spanish Teeth” from the band’s 2005 full-length debut, Tree City.

Robbers did what they do best, emitting obvious beat-rock harmonies with Golden Hair tracks “Face in the Fog” and “Monkey,” alongside some lounge-y tendencies in “Electric Eye,” slyly throwing things off kilter. “This song is fucking crazy too,” said Trokan, barely holding back his accolades before the quickened pace of “Crystal Run” continued the thread of groovy, mod riffs. —Tina Benitez

Photos courtesy of Patrick J. Eves | hippiedeathbed.com

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A Winning Combination

October 3rd, 2011

Black Taxi/The Bright Light Social Hour – Mercury Lounge – October 1, 2011


A single-release party just seems like an excuse to have a party, doesn’t it? Well, on Saturday night at Mercury Lounge, that’s what Brooklyn’s Black Taxi was throwing for a crowd that didn’t need any excuses to come out and rage. Taking the stage a hair after midnight, frontman Ezra Huleatt, bare-chested beneath a blazer—his usual attire—took the microphone, marched across the stage with a bass drum, blasted a trumpet and played some keys. And this was just the first song. Riding Krisana Soponpong’s irresistible Rickenbacker bass, a shade of ska ran through almost every number, like a band born of the British Isles and not the BK (think Franz Ferdinand, Doves, the Police). From there, it wasn’t a question of whether single release was a good reason for a party, it was more about how crazy the celebration would get.

Last time Black Taxi played the Merc, the Bright Light Social Hour, from Austin, Texas, opened the show, and the combination seemed so right, they just went ahead and did it again. The crowd assembled this time was twice as large (now pretty much filling the room) and twice as enthusiastic (stopping just short of bras and panties being thrown at the stage). While the band seemed concerned that everyone was having a good time, their music left the audience no choice. Mixing Southern rock, prog-y jams, discotheque dance and sweaty, sensual blues, the group’s repertoire was like a gratuitous sex scene: Sure, maybe you don’t need the Bright Light Social Hour, but after one listen you ain’t gonna change the channel. —A. Stein

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You Can’t Spell Megafaun Without F-U-N

September 26th, 2011

Megafaun – Mercury Lounge – September 24, 2011


When the weather is nice, a Saturday night on the Lower East Side can become a total zoo of car horns from backed-up intersections and sidewalks packed with people coming to and from wherever the most fun is being had. This past Saturday, with summer taking one of its last gasps before autumn fully settles in, the scene was particularly crazy. This made the sanctuary of music inside Mercury Lounge that much more special as Megafaun created an oasis of thoughtful songsmanship, soulful harmonies and plain old fun.

Celebrating the release of their self-titled album this week, the trio opened, as the LP does, with “Real Slow,” immediately demonstrating their appeal. On their own, Megafaun’s three members were each decent enough vocalists and musicians, but working in concert, the effect was multiplicative and magical. The set zigzagged through newer and older material sucking up the recycled-Americana influences of the Grateful Dead, the Band and Neil Young and exhaling them over a tight, bobbing audience. “Get Right” let loose a longish psych-jam that cycled on a grooving bass guitar. Even the between-song banter had the internal logic, clever lyricism and rhythm of a well-written song.

Opener Doug Paisley served as a buffer between the cacophony of the street scene and Megafaun’s midnight set. Like with all great singer-songwriters, his currency was in syllables, doling them out with miserly care through barely opened lips, wrapped in carefully picked acoustic guitar. Just steps from Houston, the peace of his set could have been anywhere else in the world but. —A. Stein

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The Haunting Dirty Beaches

September 21st, 2011

Dirty Beaches – Mercury Lounge – September 20, 2011


The eerie creepiness of Dean Stockwell singing into a light bulb along to Roy Orbison’s “In Dreams” in Blue Velvet is even spookier in person when Alex Zhang Hungtai of Dirty Beaches delivers his own similarly bizarre take on an updated rockabilly-ballad nightmare. It’s a combination of Suicide and Tom Waits tasked to compose the latest Twin Peaks soundtrack reboot: lo-fi loops of delayed piano, droning basslines and dread. Hungtai delivers a heavy-reverb vocal alternating between a blues-inspired croon and yelp in a new track, “Don’t Let the Devil Find You.”

Last night at Mercury Lounge he expanded on his previous solo live performances, which had relied on a backing track of samples, by playing with Jesse Locke on percussion and Francesco De Gallo on saxophone. Neither of whom are featured on Hungtai’s debut full-length, Badlands, but the lineup seems like the evolving direction of the haunting Dirty Beaches sound, the free-form squealing brass and polyrhythmic timpani drumming is a natural accompaniment to Hungtai’s ghost-of-Elvis vocals.

Free to roam the stage, Hungtai was nearly possessed, singing into a tiny distorted microphone, occasionally banging out a wall of sound on his hanging guitar. This bizarre combination of influences might have something to do with the fact that he grew up around the globe, taking pieces of Taiwan, Hawaii and Montreal with him, channeling the whole melting pot into a somewhat throwback conceptual album from the viewpoint of the global nomadic wanderer, the ultimate timeless road album. They ended the set with the unusually melodic “Lord Knows Best,” an update on an inhuman glimpse of the future that could play alongside Julee Cruise’s “Falling” as one of the most unsettling tracks that defines an entire genre. —Jason Dean

Photos courtesy of Diana Wong | DianaWongPhoto.com

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Caveman Sells Out

September 16th, 2011

Caveman – Mercury Lounge – September 15, 2011

(Photo: Kate Edwards

A fan, brimming with excitement, approached me right before Caveman began last night at Mercury Lounge. “Have you heard these guys before? They are dynamite! Dynamite! Nice guys too. Dynamite!” The word dynamite was used a lot and I’ve got to say, he was onto something. Caveman has only been around for a short while, having been formed in early 2010, but these guys have got it going on.

The group, Matthew Iwanusa, Jimmy Carbonetti, Stefan Marolachakis Sam Hopkins and Jeff Berrall, appeared as dark silhouettes against awesome projected art, producing a trippy, hallucinatory feel. The quintet dazed the audience by playing the entirety of their just-released debut album, Coco. Soothing harmonies created a moody lullaby affect. And when accompanied by spaced-out guitars and the methodic rhythm of a whole lot of drumming, the sound transformed into a dreamlike state—not a scary dream, but a rather good one.

That tranquilizing sound was apparent in “December 28th,” which began as a flutter of keys. Quietly, delicate harmonies and meditative drumming were added as if not to disturb. And the result was effortless and airy as if floating through space. The vocals in “Great Life” were as sweet and intricate as the instruments, while the guitars and drumming in “Easy Water” were slightly more frantic, creating an edge to the otherwise serene melody. However, although “Vampirer” contained a touch of darkness with the use of synths and a more sinister sounding guitar, it still flowed. And throughout the sold-out show, the attentive audience was respectfully quiet during songs but came alive as the last notes of each tune ended. Dynamite! —Kristen Ferreira

Grow a Pair: Win Tickets to See Peter Bjorn and John on 9/16 or 9/18

September 13th, 2011

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Peter Bjorn and John come to our fair city to play four shows this week. They’re all sold out, but you’ve still got a chance to attend because The House List is giving away two pairs of tickets to see the Swedish trio at The Bowery Ballroom on Friday and at Mercury Lounge on Sunday. Want to go? Try to Grow a Pair. Fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (Peter Bjorn and John, 9/16 or 9/18) and a brief message explaining why you like to rock it, Swedish style. Eddie Bruiser, a Swedophile, will notify the winners by Friday. Good luck.

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A Haiku Review

September 9th, 2011

These United States – Mercury Lounge – September 8, 2011

These United States
All did a shot while onstage
Before the last song
—Eddie Bruiser

Five Questions … with Jesse Elliott of These United States

September 7th, 2011


Although These United States formed just five years ago, they’ve already put out four full-length albums. Armed with an increasingly deep catalog, the prolific quintet has toured extensively throughout the US, England and other parts of Europe, gaining a reputation for lively shows that aren’t to be missed. And to make sure you don’t, head to Mercury Lounge tomorrow night to see These United States (above, playing “Pleasure and Pain and Pride and Me” and “Honor Amongst Thieves” in Washington Square Park for Baeble Music) live. In advance of the show frontman Jesse Elliott e-mailed The House List from Fedora to answer Five Questions.

You’ve been putting out an album a year since 2008. Are you guys working on anything new for later this year or in 2012?
Yeah, we’ve been heading back to Lexington[, Ky.,] every few weeks all year long, experimenting more than working this time around, taking our time, maybe realizing finally that most of the best things come fast but a few do come slow. Should have a new litter of beautiful, feral pups to sick on the world by next year. I mean, if not by 2012, then when, post-apocalypse?

What’s the toughest part about playing New York City?
Having to leave the next morning.

What music or song always makes you dance?
LCD Soundsystem. Genius.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
If you’ve leaned on a certain set of crutches for a very long time, you can start to develop your very own rhythm on them, you know. You start to hear more subtleties in each click. It starts to be more about the surface you’re traveling on rather than the crutches themselves. You start to travel down different types of surfaces just so you can hear the same set of crutches on them. Your ears get more sensitive to that kind of change. Maybe you get better at what you make or maybe you’re just more sensitive and that’s all.

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 have to be really depressed to write any kind of song—sad one, happy one, bittersweet, melancholy, exuberant. I don’t get depressed very often, because the world is a beautiful place even when bad things are happening to you. So when I do find myself in that blessed depressed place, I gotta move very, very quick. I gotta go down to the corner cafe with Miguel, fast as we possibly can, throwing shoes and shirts on fast, order two jalapeños from Annie—again, fast— move through it all like a fast angry bulldozer, merciless, pointed right straight at that song, no regard for life or limb, fantasy or feeling, whether anything at all ever really happens to you alone or whether it happens to everyone all at once. Hopefully the latter. Let’s pray the latter. —R. Zizmor

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A Spontaneous Party with Hunx and His Punx

September 6th, 2011

Hunx and His Punx – Mercury Lounge – September 3, 2011

Hunx and his Punx are a flamboyant punk stab at reinventing New York Dolls, including the antifashion nightmare and nontraditional gender roles of the protopunk band. Seth Bogart, wearing giant sunglasses, had HUNX written in lipstick across his bare chest, visible under his thin pleather jacket and spandex pants. The rest of the band wore everything from turbans to glitter bow ties with leotards, like punk-rock Chippendales dancers. It’s not hard to see this as an homage to a twisted adult John Waters camp view on the naive ’50s and some kind of performance art.

Bogart’s nasal high-pitch vocals are even an update on the ’50s girl-group sound of the Ronettes or the Shangri-Las … except he’s singing about cute guys and one-night stands, backed by the incredible raspy operatic talent of Shannon Shaw from Shannon and the Clams. Whining through his set, Bogart would laughingly introduce every song: “This one is called, ‘stupid stuff,’” while breaking Mercury Lounge into three sections to see who could make more noise.

It was a spontaneous party, full of inside jokes, starring Hunx, who has a real talent for entertaining. Sure it’s an onstage persona, but it’s an honest, irreverent persona that isn’t meant to shock as much as rock. Pansy Division paved the way for queercore punk, but today’s audience isn’t here with any of those preconceived politics. They just want Hunx songs about boyfriends in their bouncy bubblegum, ’50s garage-greaser style, without the innuendo of yesteryear. Most important, Hunx and His Punx are one of those great bands that make the live show downright fun even if you’ve never heard a single song. —Jason Dean

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Don’t Miss Weekend This Weekend

September 2nd, 2011


Singer-bassist Shaun Durkan, guitarist Kevin Johnson and drummer Abe Pedroza were all in punk and hardcore bands in the Bay Area—but none of them wanted to be pigeonholed to just one kind of music. They were inclined to do something different, something broader. So two years ago they formed Weekend and have since put out a couple of EPs and an LP combining abrasive and melodic sounds. Or as Durkan has put it: “I think the idea was to balance the aggression of punk with atmosphere, texture and a little bit more of a cerebral experience.” The full-length, last year’s Sports, earned rave reviews and, despite it not actually being about athletics, got a shout-out from Sports Illustrated. The lo-fi shoegaze trio (above, performing “Cobra Summer” at Mercury Lounge earlier this year) has since been on the road, so don’t miss Weekend when they play Mercury Lounge on Sunday night.

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Catch the Business on Friday Night

August 31st, 2011


In Cockney English the word Oi! means hello, but in music it applies to those late-’70s punk bands that were harder than the more commercialized version that came before them and more anthemic than the hardcore rendition that followed. The Business, formed in South London in 1979, were one of the pioneers of the Oi! movement, putting out anthems, starting with their debut single, “Harry May.” The original lineup changed in 1981 and would do so again as the group played off and on during the ’80s. But the Business (above, doing “Smash the Discos” at CBGB) came back as strong as ever in 1994 with a new album and their first-ever shows in America. Since then, more LPs have followed, including last year’s Doing the Business. And you can see these Oi! originals on Friday night at Mercury Lounge.