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So Much More Than Just One Song

February 7th, 2012

Gotye – The Bowery Ballroom – February 6, 2012


With one of the most talked about songs and videos of 2011, “Somebody That I Used to Know,” it felt like Gotye was just waiting for that first New York City show that sells out with an air of mystery and excitement surrounding it. And Monday at The Bowery Ballroom was that show: two projectors on the balcony accompanied the music with beautiful custom animations, and onstage there more instruments than you could count or even name. I was unsure what to expect of the show because Gotye’s album is an interesting one, filled with a few obvious hits but also some otherwise quirky stuff.

Opening the show with the crowd-pleasing “Eyes Wide Open,” Gotye’s voice sounded fantastic—soulful, clear and strong enough to quiet a packed room. Despite so much visual stimulation, the set lacked nothing musically. Each band member switched roles at least once, which found Gotye taking on a lot of percussion. The crowd never stopped moving thanks to songs like “Easy Way Out” and “State of the Art,” during which Gotye used a different microphone to make his voice drop at least an octave.

After an eager fan threw a bra onstage, Gotye wore it throughout “Smoke and Mirrors” and announced that he was going to perform a song that “maybe you’re all waiting for or maybe you’ve heard too much of.” With that he played the familiar opening xylophone of “Somebody That I Used To Know” with clear adoration from all those waiting to hear it. Kimbra came out to sing her part to even more applause and they did justice to the song that so many have listened to, covered and loved. Clearly Gotye is no one-hit wonder, and in thinking steps ahead of most when it comes to his live show, 2012 might very well be his year. —Lauren Glucksman

Photos courtesy of Diana Wong | dianawongphoto.com

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A Great Saturday Bill at Mercury Lounge

February 6th, 2012

Alex Bleeker and the Freaks/La Big Vic – Mercury Lounge – February 4, 2012

La Big Vic

After a reverb-heavy swinging set from Family Portrait on Saturday night at Mercury Lounge, next up came Alex Bleeker and the Freaks, a spin-off from indie-jammers Real Estate, the Frasier to their Cheers. Bleeker, who plays bass in Real Estate but naturally moves to guitar and lead vocals in his own band, requested dim purple lights as the group tuned up with psychedelic swirls behind him. A quick-hit love song made way for a pitch-perfect Grateful Dead transition jam with two lead guitars fluttering around each other like playful birds. It was an impressive “our second team can beat your starters” stretch of music, all loose and nebulous. As the jam melted into more terrestrial roots rock, the ragged nature persisted, giving a cozy just-friends-watching-a-rehearsal feel for the crowd.

La Big Vic finished the night. Gone were the dim purples, in fact, gone was all color whatsoever. In lieu of lights, the band projected images from a laptop on a white sheet. The images were completely black and white giving the whole band in front of it a drained-of-color look. The music was a hypnotic, electronic after-midnight collection of synthesizers, violin, trumpet and guitar burying Emilie Friedland’s voice. As gray digital jellyfish swam across the back wall, the music was equally aquatic, the kind of buzz-enhancing trip-hop you might stumble upon in some early-morning subterranean club scene. —A. Stein

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Tycho Closes Out First American Tour in Brooklyn

February 6th, 2012

Tycho – Music Hall of Williamsburg – February 4, 2012

(Photo: Dan Rickershauser)

Are we living in the golden age of electronic music? If we’re not, one could make a strong argument that we’re fast approaching it. With so much innovation in all directions of the genre, it’s sometimes hard to keep up with emerging frontiers. But somewhere out there deep into the abyss of sonic creativity you’ll find Tycho. Finishing their first-ever U.S. tour with a sold-out show on Saturday night at Music Hall of Williamsburg before heading overseas, Tycho brought a set to Brooklyn that was equal parts dance music and ethereal bliss.

While Tycho is typically a one-man operation led by producer and graphic designer Scott Hansen, bassist Zac Brown and drummer Rory O’Connor joined him onstage. Not only did O’Connor’s live drums add additional punchiness to the set, but they also pushed a driving rhythm to the forefront—leaving Hansen’s space-out inducing symphony of swirling synth arpeggios, somewhat reminiscent of Boards of Canada, sitting just behind these almost trip-hop rhythms.

This aural bliss was all topped with the aesthetic backdrop projections of deserts, ocean waves, icebergs and other assorted colorful designs similar in style to Hansen’s graphic-design work. Tycho finished the set with a bass-heavy rendition of “Coastal Brake,” with low pitches so loud and drone heavy they were more felt than heard. A graphic designer who’s also a musician, ambient music you can dance to, visuals that add to the overall ambiance, bass that’s more felt than heard, electronic music that’s played with organic drums and bass guitars. Does this all sound somewhat contradictory? Such is the emerging face of electronica. —Dan Rickershauser

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Electronic Music Takes a Step Forward

February 6th, 2012

Nicolas Jaar – Music Hall of Williamsburg – February 3, 2012

(Photo: Jared Levy)

LCD Soundsystem frontman James Murphy predicted the current state of electronic dance music. On the 2002 single “Losing My Edge,” he lamented, “I’m losing my edge to the kids whose footsteps I hear when they get on the decks.” Those kids pack venues. Those kids are young—very young. Nicolas Jaar, 22, is the latest wunderkind. His 2011 album, Space Is Only Noise, introduced audiences to a unique electronic approach: the introspection of Pink Floyd and the modern dubstep of James Blake.

But Jaar is also a phenom of the dance floor. Multiple remixes and a history of international club performances point to an interest in party-making as well as headphone music. And the former was the focus of his sold-out performance at Music Hall of Williamsburg on Friday. While Jaar opened with atmospheric sounds and a gloomy visualizer to match, he eventually increased the tempo to a danceable clip. The crowd’s appreciation confirmed his commitment to Friday-night music over Sunday-night ambience.

With a firm control of pace, Jaar incorporated an improvisational element, adding keyboard flourishes and his baritone vocals. The effect was greatest when he invited collaborators Will Epstein and Dave Harrington onstage to play saxophone and guitar, respectively. On the best-of-show “Space Is Only Noise If You Can See,” Epstein’s twangy guitar skittered in great juxtaposition to Jaar’s huge bass drops. The kids are better than all right. They are the best around. —Jared Levy

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A Young Band with an Ageless Sound

February 1st, 2012

Smith Westerns – Webster Hall – January 31, 2012


If this winter is going to be remembered as the winter that never was for New York City, we might as well celebrate the unusually mild weather with some music that reminds us of sunnier days. What better band to bring us to these warmer memories than the Smith Westerns? With a penchant for songwriting that draws heavily on the yearning for teenage love as inspiration, the Smith Westerns took the stage on Tuesday night at Webster Hall to showcase their sunny garage-pop melodies.

The Chicago-based band has had some considerable accomplishments in the two years since first playing Webster Hall, most notably with the release of the critically acclaimed sophomore album Dye It Blonde. Playing a set that featured songs mostly off this release, the band opened the show with a jubilant rendition of “All Die Young.” With frontman Cullen Omori belting out “Love is lovely when you are young,” the line felt somewhat like a mission statement for the show.

As young as this band is (the oldest member is only 21), it’s impressive to see how natural they appear and work together onstage. This was especially noticeable during “Imagine Pt. 3,” where guitarist Max Kakacek’s riffs unexpectedly burst through the melodic maelstrom of pop hooks. The crowd lost it for “Weekend,” a closing song that quite brilliantly highlights the heartbreak of unrequited love and shattered romantic expectations. So maybe young love ain’t so lovely after all. But the music it generates sure is, and you can enjoy that at any age. —Dan Rickershauser

Photos courtesy of JC McIlwaine | jcmcilwaine.com

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Can You Describe the Ruckus?

January 30th, 2012

Rubblebucket – The Bowery Ballroom – January 28, 2012


In between the opener and the headliner of Saturday night’s sold-out Bowery Ballroom show a woman asked us for the name of the first band. When I said, “Superhuman Happiness,” she responded, “They were really good!” I nodded in agreement: Indeed, they had just turned the room into a dance hall, blending Afrobeat with modern touches ranging from the Talking Heads to LCD Soundsystem. It was jamming horn-heavy groove music with claws, gratifying fans in the crowd and winning over plenty more.

Then the woman asked if we had ever seen Rubblebucket, the headliner. We replied that we hadn’t and she got a look in her eye. I know that look. I’ve given it to people plenty of times. It says, “You’re in for a treat and you don’t even know it.” Not many acts can put that kind of spark in someone’s eye. But later in the night—somewhere in between the crowd-surfing guest sousaphonist and the robot puppets (or puppet robots?) dancing through the arms-in-the-air crowd while the band stretched out a jam that had begun with a whiplash version of Blondie’s “Heart of Glass”—there was no question where that look had come from because I had the same one.

Rubblebucket picked up right where Superhuman Happiness had left off, taking the organic stuff of the tribal and the electronic and burying it underground until it liquefied into pure party petrol. The music was utterly post-genre—horns, synth, guitars, harmonies—a smile-inducing point on the tangent that connects Björk and Broken Social Scene. If those in the audience were enjoying themselves to the legal limit, the band members were right there with them, amid the crowd-surfing and the confetti cannons and returning for the encore ensconced in LEDs that seemed to blink in time with the drums. By the end of the show, which included material off last year’s Omega La La and even stronger first-time-played material, not a booty was left unshaken and not an eye was left untwinkling. —A. Stein

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A Unique Talent, Just Like Everyone Else

January 30th, 2012

John Roderick – Mercury Lounge – January 28, 2012


The first time I saw John Roderick was with his full band, the Long Winters, at a now-defunct East L.A. venue back in 2008. He was in rock-star mode with long hair and a loud maroon jacket, and he never took off his sunglasses. But on Saturday night, a mellower version, perhaps a more authentic Roderick, took the stage at Mercury Lounge with an acoustic guitar, plaid shirt and horn-rimmed glasses. It ended up being more of a group-therapy session than a rock concert. He seemed to accept and embrace this, one of the most self-aware and whip-smart musicians of his generation, positioned at the edge of being an indie-rock icon and a guy, like everyone else, getting older.

Roderick came onstage, tuned his guitar and asked for requests, later admitting he had half a mind to make the entire hour-plus set all requests, but this emerged as mildly problematic in the night’s second song. After playing “Hindsight,” Roderick took another suggestion, “The Sound of Coming Down,” a song from the Long Winters’ nearly decade old When I Pretend to Fall. After the first verse and chorus, a perfect and sublime Roderick hook (“Hey, you know nobody’s chasing us”), it was clear the singer struggled with the lyrics to the second verse. When an audience member shouted the first couplet, Roderick laughed and picked up the thread. He would apologize for the misstep, but it was a perfect reflection of the evening: audience members throwing requests, help, sarcastic barbs and Roderick responding in kind—a sort of yuppie ringleader for this circus collection of liberal arts degrees, facial hair and memorized indie-rock lyrics.

The audience wanted more than the 11 acoustic versions of Long Winters songs that Roderick played. “The Commander Thinks Aloud,” which Roderick informed us was “about a spaceship crash,” produced the type of silent reverence that brought all these quippy, culturally relevant fans to the same place. It was Roderick, alone, describing the last moments of the Space Shuttle Columbia. The final chilling lyric, “The crew compartment is breaking up,” describes the fatal perils of reentry. And the moment transcended any snappy comebacks as Roderick earnestly, and somewhat awkwardly, struggled to thank everyone for coming. —Geoff Nelson

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Aimee Mann Satisfies

January 30th, 2012

Aimee Mann – Music Hall of Williamsburg – January 27, 2012


“For some reason, most of my friends are comedians,” Aimee Mann told the audience halfway through her sold-out Music Hall of Williamsburg show on Friday night. Although the songwriter is best known for singing melancholy tales about the “dysfunctional, broken and crazy” (her exact words), she is also quite the comedienne, and for each dismal story in her songs, Mann counteracted the gloom with a wry anecdote, a pointed comment or some spontaneous banter with the crowd (see also: playing herself on Portlandia). Given her natural penchant for hilarity, she probably shouldn’t be too stumped at her circle of comical friends.

Before playing a block of songs from her soon-to-be released album (probably called Charmer, though she admitted to some last-minute reservations about the title), Mann, in saying, “I won’t be offended at all,” gave everyone permission to use the bathroom in case the new material wasn’t their thing. Of course the pieces were met with a warm welcome, and songs like “Labrador” fit in nicely with Mann’s repertoire of catchy tales of the downtrodden. Perhaps as a reward for our patience with the new material, Mann followed with a selection of songs from her popular soundtrack to Magnolia, prefacing her spot-on renditions of “Save Me,” “Wise Up” and “One” by dryly commenting, “It’s hard to believe it’s been so long … since I lost that fucking Oscar.”

During the night’s encore, after performing “4th of July,” from her very first solo album, 1993’s Whatever, Mann was joined by opening act John Roderick, another humorous musician (offering hugs for five dollars at the merch table after the show), for a cheery cover of Simon & Garfunkel’s “Keep the Customer Satisfied.” The choice of song may have been a final wink to the crowd, for Mann certainly knows how to put on a satisfying show, no jokes about it. —Alena Kastin

Photos courtesy of Mike Benigno | mikebenigno.wordpress.com

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A Voice in the Dark

January 26th, 2012

Cass McCombs – The Bowery Ballroom – January 25, 2012


The band played in relative darkness, with a screen projecting shimmering gold dots providing the only light onstage. And, against the background, they looked like backlit shadows. The figures created sound, but their performance couldn’t be seen—all the better for Cass McCombs. The reportedly elusive singer-songwriter delivered his literal and personal lyrics with as much anonymity as possible.

Camera flashes provided brief glimpses of the frontman, but on the whole, his voice came from a silhouette. He sang about creatures and passwords written on sticky notes similar to Charlie delivering secrets to his angels. The audience listened attentively for instruction and information. And, for his part, McCombs was a purveyor of both.

During such upbeat numbers as the opener, “Love Thine Enemy,” McCombs tossed off aphorisms and advice. But the tone shifted mostly to midtempo country and folk. The comfortably laid-back sound, pervasive in the current indie-music scene, sounded effortless coming from McCombs and company. It is, after all, his signature. So when they finished with the 2011 lauded single “County Line” and left the stage, the lights immediately came back on. No needs to hide once you’ve left the stage. —Jared Levy

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A Spotlight on Five Frontmen

January 23rd, 2012

Where’s the Band? – Music Hall of Williamsburg – January 21, 2012


Lately the alternative scene has become saturated with megatours crammed with enough acts to ensure ticket sales, a trend that’s become as tiresome as the now-obligatory album-anniversary tour. Luckily the Where’s the Band? tour has mixed up the idea a bit, putting the spotlight on some of the scene’s best frontmen and their guitars. Led by the Get Up Kids’ Matt Pryor, Saves the Day’s Chris Conley and Bayside’s Anthony Raneri, the acoustic tour hit the velvet-backed stage of Music Hall of Williamsburg on Saturday night.

Under-the-radar scene vet Evan Weiss (the man behind Into It. Over It.) set the pace early when he opened the show balancing personal lyrics over pop-punk strumming. By cheering Weiss’s song selections and standing silently as he told heartbreaking stories behind a few of them, it was clear those in attendance got the idea behind the tour. Weiss turned over things to longtime pal Ace Enders, who, like Pryor and Raneri, was showcasing new material—in addition to doing such songs from his days leading the Early November as “Ever So Sweet” and “Baby Blue.”

Conley then swapped spots with Enders to do an all-requests set that unearthed gems like 1998’s “Hold,” and of course, “At Your Funeral.” Pryor’s following set proved he’s ready to continue his busy streak from the past few years (solo albums, Get Up Kids’ reunion tours and albums) into 2012, as he featured songs from May Day, to be released later this month. While each act earned big cheers from different sections of the crowd, Long Islander Raneri, who also offered songs from his new release, the EP New Cathedrals, earned the biggest reaction from the entire room. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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Caveman’s Evolution

January 23rd, 2012

Caveman – The Bowery Ballroom – January 20, 2012


Surfing an ever-growing tidal wave of buzz around debut album Coco Beware, Caveman headlined a sold-out Bowery Ballroom on Friday night, displaying musical chops and hometown pride in equal measure. “We used to come to shows here in high school,” reminisced lead singer-guitarist Matthew Iwanusa between songs. He later, in true New York City spirit, asked, “Anybody know if the Knicks won tonight?”

In addition to all the NYC shout-outs during the set, songs like “Old Friend” and “December 28th” contained references to a range of other contemporary New York City bands like Interpol, Grizzly Bear and the Walkmen. Of course, the Brooklyn quintet adds its own spin to these pedigreed musical influences, most notably the penchant for throwing in extended instrumental jams, filled with screeching distortion and hazy feedback—a loud but pleasing wall of sound, in peak form during “Vampirer.” The impressive effects the band wrings out of its guitars can be attributed in part to the unique instruments themselves, personally crafted by Jimmy Carbonetti, one of the guitarists. Just as cavemen crafted their own tools, so too does Caveman, albeit in a bit more evolved way.

The expert guitar work was enhanced by washes of dreamy synth, powerful drumming and well-crafted vocal harmonies, demonstrated on songs like “Thankful,” “Decide,” and “A Country’s King of Dreams.” Although the group was clearly humbled to be headlining the venue (“The first show we ever played was here, and now … we’re doing this,” remarked Iwanusa) Caveman’s polished, bravado-filled performance was up to the honor. —Alena Kastin

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A Highly Influential Band Returns

January 20th, 2012

Mission of Burma – Music Hall of Williamsburg – January 19, 2012


It’s sometimes interesting to imagine how today’s musical scene would be different if you removed just a few hugely influential bands from the equation. What would music look like today without Mission of Burma? From a short-lived stint in the early ’80s, Mission of Burma found a way to contort punk rock beyond the limitations of the genre, creating an entirely new one that became known as post-punk. Much like that of the Velvet Underground and the Stooges before them, Mission of Burma’s unique sound went on to forever alter the trajectory of rock. Without them, there likely would be no Sonic Youth, Pixies or Fugazi. Put simply, music would probably suck a lot more.

But to state that Mission of Burma’s best days are in the past couldn’t be further from the truth. After reuniting in 2002 the band has put out three critically acclaimed albums (with another one on the way), and they still put on one hell of a live show, bringing their relentless cerebral art-punk to wildly enthusiastic Music Hall of Williamsburg crowd last night. The post-punk veterans featured songs both old and new, powering through the noise-heavy guitar jams of “Fun World,” the punk rock sing-along friendly “This Is Not a Photograph” and the distorted wall of sound of “2wice.”

They returned for a three-song encore ending with a cover of the Dils’ “Class War” before coming back to the stage once more at the request of the hungry-for-more audience. They finished off things with “Red” and the wildly popular “Academy Fight Song.” As energetic, loud, dynamic, innovative and still (likely) as influential as ever, perhaps in 30 years we’ll be trying to imagine a world when Mission of Burma never reunited. We’re fortunate we don’t have to live in such a place. —Dan Rickershauser

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A DJ Takes the Stage

January 19th, 2012

Madlib – Music Hall of Williamsburg – January 18, 2012

(Photo: Jared Levy)

“Brooklyn, wake the fuck up,” the man repeated. He moved from the middle of the pack to the front of the stage. The demand seemed out of place. The crowd, mostly still, focused on each selection. Some brought out their iPhones to identify foreign songs. Madlib, for his part, barely noticed. The “DJ first, producer second and MC last,” literally danced to his own beat. With only a few interspersed comments and saluting gestures, Madlib created a thoughtful and eclectic mix.

Pulled from his Madlib Medicine Show imprint, the set highlighted his expansive grasp of music history. “Who knew rock was black?” he asked after a string of esoteric Nigerian tracks. The selections seemed designed for education as much as enjoyment. For perspective, “Crying” by the Edgar Broughton Band played after a muffled Busta Rhymes track. And there were at least a dozen more examples of juxtapositions.

But in the middle of his set, Madlib invited recent collaborator Freddie Gibbs to the stage. And, with his time, the Gary, Ind., rapper left an unshakable impression. Opening with the Madlib-produced track “Thuggin’,” Gibbs went on to steal a blunt from the audience and the room’s collective attention. He frequently rapped, skillfully, without a beat, and he reminded the audience of his gangster past (present?). All appeared to revere or at least respect his effort. For this show, he proved worthy of Madlib’s beats and time. —Jared Levy

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Santigold Triumphantly Returns

January 18th, 2012

Santigold – Music Hall of Williamsburg – January 17, 2012

“It’s been a long, long time, and we’re so ready,” said Santigold to a sold-out Music Hall of Williamsburg on Tuesday night. While it had indeed been a good chunk of time since the world last saw Santigold, the singer-songwriter-producer’s performance last night made for one powerful tale of her reemergence. Complete with three different sets of sparkly, glammed-out clothes, mesmerizing choreography and notable guest appearances, it was almost as if Santi’s spent the past few years off preparing for this elaborate reintroduction to the stage.

Opening with the energetic and forceful “Go,” Yeah Yeah Yeahs singer Karen O joined Santi, making for a charismatic power duo. Santigold then delivered old favorites “L.E.S. Artistes” and “Lights Out” before playing the powerful yet restrained new song “God from the Machine,” off the soon-to-be-released Master of My Make-Believe. With the help of elaborate costumes and liberal use of props, including golden pom-poms, sledgehammers, ropes and twirling umbrellas, Santi’s mesmerizing backing dancers’ moves would have upstaged anyone who lacked her overpowering stage presence.

Closing the first third of her set with “Get It Up,” Santi left the stage to her dancers before returning in a black-and-silver striped outfit to sing “Hold the Line” alongside a giant white horse. She then welcomed a big chunk of the crowd onstage to dance along with her to “The Creator.” But it wasn’t just onstage revelers getting loose—David Byrne, the legendary leader of the Talking Heads, who knows a thing or two about over-the-top, well-choreographed performances, danced along in the balcony. Opener Spank Rock later joined Santi to rap through a verse of “Shove It” before returning once more to finish the two-song encore with “B.O.O.T.A.Y.” —Dan Rickershauser

Photos courtesy of Andie Diemer | issuu.com/andiediemer/docs/portfolio

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Just Passing Through

January 18th, 2012

Portugal. The Man – The Bowery Ballroom – January 17, 2012

(Photo: Gregg Greenwood)

On top of all the other things that make New York City a AAA-rated live-music town is that it’s a place you often have to go through on your way to somewhere else. So, as the guys in Portland, Ore.-based Portugal. The Man ready to cross the ocean to support the Black Keys in Europe and play some festivals and dates in Australia, they found themselves in town, and what better way to spend time here than with a couple warm-up shows? Tuesday night’s gig at The Bowery Ballroom was a free event put on by Pandora for lucky die-hards, the second event of what the Internet radio station hopes will be many to link fans with the bands they “click through” on Pandora.

As the show launched with a short spasm of instrumental jamming, it appeared that the sponsor of the night was a perfect one. The set proceeded like a Pandora station with stream-of-consciousness linking of genres and influences. The band bubbled up some straight rock, punk, reggae and plenty of are-we-on-acid psychedelia, dropping in covers of the Beatles, Oasis and Mott the Hoople’s “All the Young Dudes” while always maintaining their unique Portugal. The Man-ness. The first thirty minutes were a continuous in-your-face block of interlaced songs, tight jams, flashing lights and smoke machines. And when it seemed the energy couldn’t get any higher, the show settled into a nice groove, as the band highlighted songs from its entire catalog, with particular emphasis on the The Satanic Satanist and In the Mountain, in the Cloud albums.

Frontman John Gourley complained of rustiness: his hands ached after “not playing guitar all winter” (has winter even started yet?), and there were a few forgotten lyrics and bumpy finishes along the way. But the lucky attendees in the crowd barely noticed or seemed to care as they matched the band’s energy for a nonstop 90-minute show that felt like three hours and still plenty short. If this was just the warm-up, Portugal. The Man is undoubtedly ready to take on the world. —A. Stein

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