Tag Archives: Quilt

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Quilt – The Bowery Ballroom – June 23, 2016

June 24th, 2016

Quilt – The Bowery Ballroom – June 23, 2016

Photos courtesy of Pat Tabb | pattabb.com

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Melody’s Echo Chamber Prove to Be Well Worth the Wait at Music Hall

August 26th, 2015

Melody’s Echo Chamber – Music Hall of Williamsburg – August 25, 2015

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It seems to be a pattern: Musicians from abroad get booked for U.S. show, get caught in bureaucratic visa tangle, postpone show, everyone’s bummed out until the band finally makes it and, almost inevitably, puts on a show that was well worth the wait. That was certainly the path taken by Frenchwoman Melody Prochet and her band, Melody’s Echo Chamber, who played Music Hall of Williamsburg last night following a three-month delay—and made the most of their second American performance. After a well-received psychedelic warm-up set from Quilt, Prochet and Co. took the stage to hollers of “I love you!” from those in the amped-up audience eagerly awaiting the gig since May.

The set opened with “I Follow You,” off her 2012 self-titled debut, Prochet turning the room into her echo chamber, breathy vocals melting the lyrics into a single hum before she relented and the rest of the band unleashed a quick spurt of psych rock as she danced. The set list was more or less comprised of tracks from the Kevin Parker–produced album, and live, the music felt, unsurprisingly, like a love child of Tame Impala and Air: part mind- bending hallucinogen, part synth-kissed dance party. The band featured two guitarists-keyboardists with drums and bass providing rhythms both groovy and rocking. While the band would rock out, Prochet danced hypnotically, her arms undulating with the beat.

The second half of the show was packed with multiple highlights: multitiered soundscapes, cosmic-ray guitar zaps and bouncing bass riffs. “Quand Vas Tu Rentrer?” was a supergroove with spiral-funk drumbeats and Prochet’s voice reverberating off the venue’s walls. Introducing “Crystallized,” she told the audience, “I hope you dance,” which wasn’t a problem as the band opened into an ecstatic, extended two-guitar jam that rode on a vulcanized bassline. The encore featured a slinky cover and one last jam that was a bangled mix of Jefferson Airplane and Beatles rhythms, the band wailing away while Prochet danced offstage to cheers from the audience as the music continued to churn the last notes of a show worth the wait. —A. Stein | @Neddyo

 

 

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Woods Take Rough Trade NYC on a Musical Excursion

June 17th, 2015

Woods – Rough Trade NYC – June 16, 2015

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It was just another mind-bending, sensory-delight Tuesday night at Rough Trade NYC. Quilt got things going with an excellent set centered around new material from their upcoming album. The Boston quartet operated comfortably in that place where Rubber Soul flips over to Revolver, with two-, three- and four-part harmonies infusing a full complement of psychedelic guitar, bass and drums. By the time their set finished, the room was filled and in the proper headspace for the headliners, Woods.

The woods are a great place to hide, so many good spots to disappear and from which to reappear. During their superlative set last night, hometown band Woods showed they had plenty hiding within: at various points there was a folkie singer-songwriter, a full-fledged rock band, an earnest indie and a powerhouse jam band lurking onstage. They opened with a pair of more song-oriented pieces—“Leaves Like Grass” and “Cali in a Cup”—singer Jeremy Earl giving all indie-folk stars a run for their money with his wind-in-the-trees voice and evocative lyricism. A new sound popped out of its hiding spot during “Pushing Onlys” leading to the first of many extended jams. This one featured nebulous, Technicolor zaps of guitar fired across the stage and out into the sold-out crowd.

With eye-melting lights from Drippy Eye Projections it was impossible to decouple the music from the colorful liquid projections. Woods’ jams seemed to trace the curvature of the emulsions, spiraling and bubbling with a hallucinogenic rainbow. These musical excursions took on many flavors: from the milk-in-coffee slow-curling vortices of guitar and organ around bass to the being-chased-down-by-a-cougar gnashing two-guitar rock-out to the full-band space exploration. The set closed with two ragers from last year’s With Light and with Love. “Moving to the Left” embodied everything Woods in just one song, fantastic composition, with a great Jerry Garcia–melodic hook and spasms of groovy rock and stoner psych. The album’s title track closed the set with a multitiered guitar jam equal parts in your face and in your brain. A sweet two-song encore finished the night before Woods sank back into their hiding place until next time. —A. Stein | @Neddyo

 

 

 

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Woods Take The Bowery Ballroom into Orbit

May 19th, 2014

Woods – The Bowery Ballroom – May 16, 2014

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In recent years, Woods have gone from just a band to the gravitational center of a small musical universe. Other bands sounding like Woods is a thing. And artists having their albums released on Woods’ label or produced by that guy from Woods are things other bands rightly aspire to. Take Quilt—the opening act at The Bowery Ballroom on Friday night—a far-orbiting body, but orbiting nonetheless with its cross section of weird-folk songs and free-floating jams. Performing live, the emphasis was on the latter, with several Grateful Dead–of-the-’60s excursions, democratically elected brain fodder that were long but not too long. Showing off a real tour-tested cohesion, Quilt were in good form, relying heavily on material from their recent Held Up in Splendor album. The final movement of the set was either multiple songs seamlessly stitched together or a far-reaching opus with twists and surprises, trippy spirals, groovy jogs and hairpin turns.

As enjoyable as Quilt were, the sold-out crowd wanted the source, and it was good to see Woods in their element. Drippy Eye Projections provided the show’s visuals with old school liquid light displays bubbling behind the band. The projections had the effect like Woods were playing in some petri dish, part of a Technicolor ooze on the hinge between chemistry and biology. The music shared in the metaphor, natural, organic folk-based songsmith-ing meeting explosive, entropy-building jam outs. For the most part, the show was a live imagining of the excellent new With Light and With Love album. Each song was recognizably Woods at its core, but small variations on the basic theme and evolution in the sound make large changes. The title track was a representative highlight, Jeremy Earl’s unique falsetto vocals setting the mood and then releasing the tension as the band escalated into an ecstatic improv.

Little spacey ambient noodling filled the spaces between numbers: the primordial ooze from which the songs bubbled through, the medium of the goo as important as the shapes and colors moving through it, superlative songs like “Moving to the Left” as enthralling as the jams they set adrift. At one point, Woods introduced their new bassist, Chuck, for whom the packed crowd enthusiastically boogied down and/or attempted to keep their minds from leaving terra firma altogether as the scrambled rainbow colors cascaded over the stage. The encore featured a dedication to their “Vermont friends” (and fellow orbiteers) MV & EE and an excellent cover of Pink Floyd’s “Green Is the Colour,” Jarvis Taveniere playing an earthly 12-string, Woods making it beautifully their own. It was the end of one of those shows that felt, in its glorious reverie, like it might not ever end at all. But, alas, we were finally released from the Woods orbit, but hopefully not for too long. —A. Stein