Tag Archives: Terminal 5
Jenny Lewis – Terminal 5 – November 5, 2014
In the years since Jenny Lewis’s band Rilo Kiley broke up, she has become a bona fide solo artist, honing and sharpening her songwriting skills and delivering her lyrics with a signature hint of twang and melancholy. In support of The Voyager, Lewis’s latest solo record, last night the artist treated a sold-out Terminal 5 to a lively, rainbow-hued evening of material from the album, complete with crowd-pleasing detours down memory lane to some Rilo Kiley favorites.
As an onstage presence, Lewis is confident and eminently jovial—strutting and posturing playfully during “Just One of the Guys” and “The Next Messiah,” and regaling the crowd with a comedic story that inspired to the vacation-gone-awry song “Aloha & the Three Johns.” Lewis’s fun-loving stage persona during these moments was an interesting counterpoint to the themes within much of her musical output over the years—songs that explore a cynical or wistful take on love and marriage, personal insecurities and perceived failures. The inner life that emerged in these songs added a layer of depth and intrigue to the stage show’s cheerful pop veneer while also providing a nice hint of irony during certain moments, particularly when large colorful balloons cascaded down on the crowd like giant gumballs as Lewis sang “Love U Forever,” a song with subtext far bleaker
than the title suggests.
Lewis closed out the night with The Voyager’s “She’s Not Me,” a completely catchy breakup song with an easy-listening vibe that nonetheless simmers with a certain sadness on the album. Yet when Lewis performed the number last night, smiling and dancing with her band, it felt much more empowering, almost triumphant—another example of the performer’s many understated complexities. —Alena Kastin
Mac DeMarco – Terminal 5 – November 4, 2014
Mac DeMarco is one charismatic, goofy fella. Give it a year or so and the gap-toothed rocker from Bed-Stuy by way of Canada will probably have his own show on Vice or something, and lots of people will say, “I definitely saw that coming.” The cheers began at Terminal 5 last night as soon as he came out to set up the stage, getting his equipment together alongside some skeletons and Egyptian sarcophagi. There was either an after-holiday deal at a Halloween pop-up store or DeMarco just can’t bring himself to let go of the holiday. First he tried to walk around the stage unnoticed and shush the crowd, but the already packed venue was going nuts, shifting as one giant blob from left to right.
As inconspicuously as they could, the band climbed onto the Egyptian-themed stage, dimmed the lights, accompanied by the anthem from Top Gun, and popped back out of the sarcophagi, to the surprise of no one. DeMarco yelled, “Hey, guys, that cost us hundreds of dollars!” as the band jumped into “Salad Days.” Don’t let the second-rate theatrics mislead, the main event was definitely the music. In a relatively short amount of time, DeMarco’s put out three great albums of seemingly effortless catchy and jangly rock, each better than the one before. The songs check off just about everything that makes rock music fun in a live setting: relatively lighthearted, easy to sing along to, even easier to mindlessly groove along to with tasteful smatterings of perfectly catchy rock riffs.
“Cooking Up Something Good,” “Let Her Go,” “Ode to Viceroy,” “My Kind of Woman” all carried with them easy rockin’ vibes, with just a taste of some unexpected little jams, adding flavor to the songs like a dash of curry. As DeMarco tuned his guitar between songs, his bassist, Pierce McGarry, jumped into impromptu covers of Coldplay’s “Yellow” and Sisqó’s “Thong Song.” Their set ended with DeMarco jumping into the crowd, surfing all the way to the back of the venue, climbing up one of the columns to the second floor, dropping back down into the audience and getting carried back to the stage. Rock and roll! The band didn’t seem set on doing an encore, but when the sold-out crowd asked for it, they kicked off one in the best way possible, with DeMarco telling the crowd, “You guys are going to hate this” before launching into an extended (more than 10 minutes) rock out on the Top Gun theme. —Dan Rickershauser
While much of the Paris techno scene revolves around upbeat dubstep, Mike Lévy—who records and performs under the name Gesaffelstein (a combination of Gesamtkunstwerk and Einstein)—mines a darker, more dissonant industrial territory while still driving people to the dance floor. Lévy is busy working as a DJ and producer. He’s remixed and worked with big names like Lana Del Rey and Kanye West, producing two Yeezus tracks, including its first single, “Black Skinhead.” His debut full-length, Aleph (stream it below), came out last year to plenty of love from critics and fans alike. Consequence of Sound called him “a noted producer on the frontline of reinstating the timeless techno sound.” And furthermore: “During his live sets, France’s Gesaffelstein isn’t afraid to throw down a techno banger, but across his 14-track Aleph LP, there is a steadfast focus on infusing dance-floor chaos with hushed melodies, soul-piercing vocals and isolated, minimal basslines.” And before he returns to Europe, Gesaffelstein (above, his video for “Hate or Glory”) plays Terminal 5 tomorrow night. Local duo Fixed (JDH and Dave P) open the show.
FKA Twigs’ show at Terminal 5 on Saturday night is sold out, but The House List is giving away two tickets. So if you got shut out originally, try to Grow a Pair. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (FKA Twigs, 11/8) and a brief message explaining your favorite thing about November. Eddie Bruiser, a stuffing fan, will notify the winner by Friday.
Halloween, like New Year’s Eve, is one of those nights that can bring out the worst in people. So rather than getting stuck in parade traffic or stepping in puke on the sidewalk, let live music be your guide tonight. Sohn at Music Hall of Williamsburg and Phil Lesh & Friends at the Capitol Theatre are already sold out, but no worries, because we’ve still got plenty of other options for you:
1. At Mercury Lounge, Booga Sugar hosts their Boogaween Costume Ball, alongside Lead of Foxes and Blubba Brothers.
2. Mercury Lounge also has a late show, obviously, with Park Slope five-piece Bernardo.
3. Brooklyn Bowl has electronic duo Capital Cities with Sneaky Sound System and Night Terrors of 1921.
4. The Bowery Ballroom will have some instrumental illness with Texas quartet This Will Destroy You, plus Future Death and Silent Land Time Machine.
5. Rough Trade NYC welcomes the legendary Meat Puppets and the funny, talented troubadour Cass McCombs.
6. And Terminal 5 plays host to the Royal Family Halloween Ball featuring Lettuce and Soulive with Branx opening.
In other words, we’ve got something for everyone. So get involved.
Tags: Bernardo, Blubba Brothers, Booga Sugar, Bowery Ballroom, Branx, Brooklyn Bowl, Capital Cities, Capitol Theatre, Cass McCombs, Future Death, Halloween, Lead of Foxes, Lettuce, Meat Puppets, Mercury Lounge, Music Hall of Williamsburg, Night Terrors of 1927, Phil Lesh & Friends, Preview, Rough Trade NYC, Silent Land Time Machine, Sneaky Sound System, SOHN, Soulive, Terminal 5, This Will Destroy You, Video
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SBTRKT – Terminal 5 – October 27, 2014
Restrained energy perhaps best describes the music the captivated Terminal 5 crowd witnessed last night courtesy of SBTRKT. It was constructed much in the way a wave rolls into its crest, with deliberate forward motion and then unfurling, tumbling over itself as it cascades onto the shore. As if stepping out of a spacecraft wearing his trademark tribal mask, the phantom of electro-soul opera expressed his sonic salutation to the New York City earthlings, greeting them in a convivial British manner along with his strobed-out laser-splashed music from somewhere just outside the stratosphere.
What came across straight away was that SBTRKT commands his own instruments—
and consequently the crowd—deliberately building each movement of a neo-funk symphony through orchestration, elevating each piece to its climactic flourish, adding layer upon layer of percussion loops, further propelled by the accents of the drummer and keyboardist who accompanied him. Just after the first movement, SBRTKT gauged the audience’s temperature, checking to see if everyone was ready to be swept up in his momentous arrangements.
SBTRKT creates epic, soulful soundscapes that hearken back to ’90s R&B that he accentuates with jungle beats and dubstep, and he recruits a diverse assembly of crooners to emphasize his dynamic compositions in the process—a few of whom landed with him last night. This mixture of style and form is most comparable to his American contemporary, Flying Lotus, yet SBTRKT’s individuality is unmistakable, and he demonstrated with reserved confidence why his appeal is expanding. Dancing between his surrounding soundboards and keyboards while eluding the laser beams shooting from the stage behind him, SBTRKT put on a performance that left its intended mark, before jumping back into his spacecraft to look for the next destination and bring new life to the contemporary-music environment. —Charles Steinberg
Slowdive – Terminal 5 – October 25, 2014
The first of many shoegaze moments occurred near the beginning of Slowdive’s sold-out Terminal 5 show on Saturday night. The group—pioneers of a sound that combines loud, fuzzy guitars and ethereal vocals, now emulated by a plethora of contemporary bands—recently reunited after disbanding in the mid-’90s. While strobe lights flickered around them, Neil Halstead and Rachel Goswell began to sing “Catch the Breeze” from 1991’s Just for a Day. As the song progressed, all band members (minus the drummer) were focused intently on their guitars, bass and effects pedals, necks craned downward, rocking gently back and forth amid the dreamy chords—the classic shoegaze stance and sound.
As Slowdive played precise and lovely versions of crowd favorites like “Crazy for You,” “Machine Gun” and “Souvlaki Space Station,” they cycled through an impressive lineup of guitars, even taking a moment to give a nod of appreciation to their guitar tech, a constant onstage presence between songs, swapping and receiving and replacing armfuls of guitars. To their credit, for a band with such intricate guitar arrangements and dynamics, Slowdive’s songs sounded bright and clean, never muddy or muddled, often classic shoegaze stumbling blocks.
“This is a pop song, kind of,” proclaimed Halstead before the band played what may have been the night’s crowd favorite, “Alison.” Indeed, a catchy song on the surface with moderately morose lyrics, it’s a prime example of Slowdive’s signature subtle hypnotic power, a sound that was exhilarating to experience live. By giving us a taste of their classic shoegaze, Slowdive managed to also feel completely modern and fresh—a very successful reunion indeed. —Alena Kastin
Tags: Christian Savill, CMJ Music Marathon, Just for a Day, Neil Halstead, Nick Chaplin, Photos, Rachel Goswell, Review, Simon Scott, Slowdive, Terminal 5
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Atmospheric-rock band Slowdive play a sold-out CMJ Music Marathon show at Terminal 5 on Saturday night. And even if you don’t already have tickets, you still might be able to go because The House List is giving away two of them. Want them to be yours? Then try to Grow a Pair. It’s easy. Just fill out the form below, making sure to include your name, full e-mail address, which show you’re trying to win tickets to (Slowdive, 10/25) and a brief message explaining which band you’re most excited to see at CMJ (other than this UK five-piece). Eddie Bruiser, a music-festival lover, will notify the winner by Friday.
For more than three decades the annual CMJ Music Marathon has been one of the most important outlets for shining the spotlight on new music from across the country and even around the world. The five-day (and night) festival kicks off today, which means the city’s venues—traditional and otherwise—will be jam packed with stacked lineups and fans chasing bands that might possibly become the next big thing. And, of course, The Bowery Presents has plenty of great shows, big and small:
1. Tom Vek and Olga Bell at Mercury Lounge EARLY SHOW
2. Oh Land, Walking Shapes, Corbu, Sons of an Illustrious Father at The Bowery Ballroom
3. the Crookes, Money, Spring King and Longfellow at Rough Trade NYC FREE
4. Cold War Kids, Aurora, Chief Scout, the Big P.A. at Brooklyn Bowl
5. Ming City Rockers, Made Violent, Slothrust, Børns at Mercury Lounge LATE SHOW
6. the Horrors and Moon Duo at Stage 48
1. Spookyland and Mighty Oaks at Mercury Lounge EARLY SHOW
2. Ryn Weaver, Circa Waves, Public Access T.V., Step Rockets and Sway Clarke II at The Bowery Ballroom
3. Teen Daze, Mothxr, Vérité, Carousel, Ayer and guest DJ Dart Party at Brooklyn Bowl
4. Bombay Bicycle Club, Milo Greene and Luxley at Terminal 5
5. Cold War Kids, Elliot Moss, Moses Sumney, Little May and Doe Paoro at Rough Trade NYC SOLD OUT
6. Young Magic, Saint Pepsi, Popstrangers, Dog Bite and Chandos at Mercury Lounge LATE SHOW
1. Twin Peaks, Happyness, the Wytches, Spring King and Nai Harvest at Rough Trade NYC FREE DAYTIME SHOW
2. Heat, Avid Dancer, Trixie Whitley, Cheerleader, Tor Miller, Bully and Bee Caves at Mercury Lounge EARLY SHOW
3. Beach Fossils and Small Black at Brooklyn Bowl
4. RAC, the Kooks and Speak at Terminal 5
5. the Kills, Moon Duo, Nuns and Slothrust at The Bowery Ballroom SOLD OUT
6. Moses Sumney, Adult Jazz, J. Fernandez and George Maple at Rough Trade NYC
7. the Big Sleep and Haven at Mercury Lounge FREE LATE SHOW
1. Special Guest TBA, Oscar, Pinact and September Girls FREE DAYTIME SHOW
2. Mexican Golden Girls, DMA’s, Bear’s Den, Peter Matthew Bauer, Little May, Chief Scout and Colony House at Mercury Lounge EARLY SHOW
3. Kevin Morby (full band), Chris Forsyth and the Solar Motel Band, Twin Peaks, Springtime Carnivore, Modern Vices, Ryley Walker, Geronimo Getty and guest DJ Mondo Boys at Rough Trade NYC
1. King Gizzard & the Lizard Wizard, the Wytches, Circa Waves, Water Liars, DMA’s, Springtime Carnivore, Public Access T.V., Spookyland, Amason, Little May, the Bright Light Social Hour and Ryley Walker at Pianos FREE DAYTIME SHOW
2. the Paperhead, Ultimate Painting, Doug Tuttle, Estrogen Highs and Negative Scanner at Rough Trade NYC FREE DAYTIME SHOW
3. Teen Commandments, Sphynx, the Ocean Blues, Wild Adriatic, Walker Lukens, Saskwatch, Pree, New Myths and No Way Josie at Mercury Lounge
4. A Place to Bury Strangers, White Fence, Moon Duo, Prince Rama, King Gizzard & the Lizard Wizard, Wampire, Young Magic, No Ningen, Spires, the Wytches and the Paperhead at Rough Trade NYC
5. DJ Dodger Stadium, Special Guest TBA, Blue Hawaii, Adult Jazz, Aurora and Casual Sex at Brooklyn Bowl
6. Slowdive and Low at Terminal 5 SOLD OUT
7. Sam Roberts Band, Water Liars, Springtime Carnivore, Dilly Dally and Knox Hamilton at The Bowery Ballroom
Flying Lotus – Terminal 5 – October 15, 2014
“I have come to inform you that, you’re fuckin’ dead,” said Flying Lotus last night to a sold-out Terminal 5 crowd, stated in the most matter-of-fact way possible, thus kicking off the all-senses barrage that is a Flying Lotus show. With glowing bright yellow eyes and sitting in the midst of an inverted cube bathed in shape-shifting projections, Flying Lotus provided a symphony of his own creation. Further driving home the afterlife theme, someone dressed as the Grim Reaper menaced the audience for a few songs. But those sounds were not of this world. There was bass so heavy you could not only feel it but also sort of taste it, almost as if Flying Lotus had turned an intensity dial up to 11 and then the dial broke, so he just said, “Fuck it” and left it there.
But there was also a top on this, a weird calming sense of meditative contemplation. And those two things don’t often work together. Some jazz has been able to do it, although it’s rare. But Flying Lotus is related to Coltranes, which may partially explain his mystical musical powers, but to nail it down in a different genre—electronic music—is a noteworthy innovation. Of course, the visuals were extravagant enough to make up half of the show’s overall experience. Think of Flying Lotus’s amazing album covers but always morphing. It was like a trippy three-dimensional stream constantly flowing through the stage, with a mere silhouette pushing buttons, moving dials, throwing his hands up and dancing.
For a few songs, Flying Lotus popped out of the inverted projection cube of awesome to rap a few songs as his alter ego, Captain Murphy, right into the first few rows of audience. After the set ended he returned, saying he’d see some of the crowd on Thursday at Music Hall of Williamsburg. It’s remarkable how trailblazing Flying Lotus’s sound has become, especially in an era when people are racing to find that next big thing, the last morsel of underutilized electronic sounds that could (potentially) change everything. Only recently are others catching up to FlyLo, in a rush to appropriate, integrate and collaborate with that sound he’s pioneered for years. It’s like he’s turned around to ask, “Where have y’all been?” But by the time the rest of the world finally catches up, we may all well be dead. —Dan Rickershauser
Singer-songwriter and multi-instrumentalist Clarence Greenwood has been doing business as Citizen Cope since the ’90s. But after his major-label debut on Dreamworks in 2002, Cope bought out of his contract and self-produced the follow-up, the eclectic The Clarence Greenwood Recordings (stream it below), filled with roots, rock, reggae, dub and hip-hop. Now a decade later, Citizen Cope (above, doing a solo rendition of “Sideways” live in the Bing Lounge) celebrates its 10th anniversary with full-band performances of the album in its entirety, plus a second set of favorites. And in New York city, it’s a two-night party, on Friday and Saturday at Terminal 5. (And it’s for a good cause with $1 of each ticket sold going to Turnaround Arts to purchase musical instruments for middle schoolers in Lame Deer, Mont.—a community on the Northern Cheyenne Indian Reservation. Lame Deer is part of Turnaround Arts, a President’s Committee on the Arts and the Humanities program that uses arts education to help students succeed.)