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It’s the End of the Year as We Know It

December 28th, 2017

With 2018 fast approaching, The House List takes a look back at 2017.

Adela Loconte, Photographer @adelaloconte
Top Five Favorite Shows
1.
At the Drive-In, Terminal 5, March 22
2. Arca & Jesse Kanda Live, Brooklyn Steel, July 6
3. The Flaming Lips, Terminal 5, March 9
4. PJ Harvey, Brooklyn Steel, April 20
5. Yeah Yeah Yeahs, Kings Theatre, November 7

Chad Berndtson, Writer @cberndtson
Top Five Favorite Shows
No music fan sees everything, and so much depends on the time, the night, the conditions—my ephemeral joys might be your disappointments. That’s part of the fun, right? Among scores of shows I saw in 2017, here are five nights that stuck with me.
1. Drive By Truckers, The Space at Westbury, February 10
One of the great live bands of the last 20 years has gotten leaner and meaner, unafraid of political jabs or paint-peeler guitar solos.
2. Explosions in the Sky, Capitol Theatre, April 22
Ominous music, loaded with portent, staring into the abyss or looking with a smile at some triumph high in the sky. Heavy, cinematic and deep.
3. Jerry Joseph & the Jackmormons, Mercury Lounge, April 30
A master class in old-school, highly emotional rock energy. Still don’t understand why more people don’t know him, 30-plus years into a career of rough-scuffed folk rock delivered sometimes with tenderness and sometimes with Crazy Horse–like abandon.
4. The xx, Forest Hills Stadium, May 19
OK, I’m buying: Hipster as hell, but what they did was paint an outdoor venue in darkly beautiful soundscapes. The most fun I’ve had getting lost in a band in some time. They turn large, unforgiving venues into intimate listening rooms—and get you dancing.
5. Lukas Nelson & Promise of the Real, Music Hall of Williamsburg, November 20
Nelson has learned a lot from two musical dads: his actual dad, Willie, and also Neil Young, whom the Promise of the Real have backed on and off for years now. The type of show that defines the word swagger—a generous meal of rock, country, folk, blues and R&B by an old-school showman barely in his prime.

Dan Rickershauser, Writer @d4nricks
Top Five Favorite Albums
1.
Big Thief, Capacity
The one record I found myself returning to again and again. It was a shitty year, but something about this album soothed my sorrows. Adrianne Lenker’s songs feel personal yet completely pull you in. May she never let go.
2. Kendrick Lamar, Damn.
This may be my least favorite Kendrick Lamar record to date and yet it’s still the second best album that came out this year. The man’s a legend and the world seems to know it. It’s a good thing he’s so humble.
3. The War on Drugs, A Deeper Understanding
Adam Granduciel, the obsessive studio wizard, put out another beauty, this record even more gorgeous than the last. It’s the sound of rock perfection from a perfectionist.
4. Waxahatchee, Out in the Storm
Katie Crutchfield’s songwriting just keeps getting better. She comes out of the gates swinging with some dangerously catchy jams.
5. Grizzly Bear, Painted Ruins
Of all the great indie bands of the late Aughts returning with new albums this year, Grizzly Bear’s takes the cake. Way too many critics slept on this one!

Pat King, Writer @mrpatking
Top Five Favorite Albums
1. Jens Lekman, Life Will See You Now
I had never really given Jens Lekman a chance as a songwriter, but this year it finally clicked for me in a big way. I got laid off from a job that I thought I loved early on in 2017 and was feeling pretty lost and listless in life. I was taking the train from the city to upstate New York to help my dad with a few big projects and was feeling incredibly low sitting alone on Metro North. All of the sudden, I heard “To Know Your Mission” and was completely overcome with emotion. It was the perfect tune for me at that time and each song that followed helped me understand my situation a little more clearly. I couldn’t believe how wise and endearing Lekman is as a lyricist.
2. Mark Mulcahy, The Possum in the Driveway
Whenever the discussion veers toward musicians who have not been given their just dues, I always think of Mark Mulcahy. As the frontman of Miracle Legion and the Nickelodeon-sponsored Polaris (“ay-yay-yay-yi, Hey Sandy”), Mulcahy had been known for a certain type of feel-good college jangle pop that was certainly a product of the ’90s. What many people may not realize is that his solo releases have been more emotionally and musically rewarding than either of those old projects, and he’s been one of few artists who each album he releases is better than his last. Over the past couple of decades he has reinvented himself as one of the great American balladeers, with lyrics and a voice that can cut you down to the bone. This year’s the Possum in the Driveway is a brilliant testament to his powers as a songwriter and one that proves he is in a league of his own.
3. Pallbearer, Heartless
Pallbearer have always shown promise of being one the best doom-metal bands around. But with their self-titled third album, they’ve transcended the genre and gelled into one of today’s most exciting rock bands. The songs are slightly shorter (although still around eight minutes) but have somehow intensified their scope in a more epic way. With this LP, Brett Campbell has made his case for being one of the best singers in heavy music. His lines never reach the outrageous heights of some of his peers in metal but bring enough power to stop you in your tracks. The same goes for this record’s instrumentation. The songs never feel like they have too many parts or get played out to the point of metal parody. It’s just a front-to-back banger that finally cemented Pallbearer as one of the best around.
4. Björk, Utopia
There aren’t many artists who you could say are peerless in popular music. Björk is definitely one of those artists. Every time she releases a new album, fans wait with anticipation to see where she if she will be able to clear the bar she set for herself on the one before. Utopia is such a statement as a complete work as she tries to understand and find happiness in her life after exploring decimating heartbreak on her last release, Vulnicura. It’s amazing to hear her reach the same breathtaking heights as a visionary artist this far into her career. Bow down and give respect.
5. Robyn Hitchcock, Robyn Hitchcock
Robyn Hitchcock delivered the back-to-basics Soft Boys–style album that many of his fans had been longing for for years. Teaming up with producer (and ex-Raconteur) Brendan Benson, Hitchcock turned up the amps and delivered 10 near-flawless rock songs that reminded us why he is one of the most inventive songwriters around. His wit as a lyricist is still ever-present, but hearing him deliver guitar parts reminiscent of Underwater Moonlight on songs like “I Want to Tell You What I Want” and “Mad Shelley’s Letterbox” was one of the most welcome surprises of 2017 for me.
Pat King’s Top 20 Best of 2017 Playlist: https://open.spotify.com/user/126049064/playlist/2idgUHVCiGSJqKkwkfex8v?si=wewT–RFRfWWxEVV3rmWsQ.

Sharlene Chiu, Writer
Top Five Favorite Shows with “New” Artists
1. SZA, Brooklyn Steel, December 10

So if you haven’t yet heard of SZA, you won’t be able to escape her name anytime soon. Riding a debut album that has already produced two platinum singles, the singer played a very sold-out Brooklyn Steel the night after performing on SNL. Her vibrant stage presence was supported by the Sing Harlem Choir. Girl’s going places and you’ll see her next year at the Grammy’s, where she’s the most nominated woman with five nods.
2. Maggie Rogers, The Bowery Ballroom, April 11
When a video of Pharrell’s reaction to Ms. Rogers’ demo of “Alaska” went viral, she was on the up-and-up. Her performance at a sold-out Bowery Ballroom was not only a homecoming, but it was also a beginning of bigger stages and larger audiences. She became teary and confessional near the end of the set, reminiscing about the previous times she’d been to the venue as an audience member. After her pair of Bowery shows, she set off on a whirlwind international tour taking her to Europe, Australia and Japan.
3. The Cactus Blossoms, Mercury Lounge, July 12
The first time I caught the Cactus Blossoms’ noir-infused honky-tonk was at the Hardly Strictly Bluegrass Festival in San Francisco last year. When I saw they would be playing a late show at Mercury Lounge, I had to be there. Friends, I do not go out late on school nights, but for brothers Page Burkum and Jack Torrey, I made an exception. Their languid waltzes were the perfect soundtrack for steamy July.
4. Jay Som, Rough Trade NYC, June 6
A triad of Asian-American songwriters, including Mitski, Japanese Breakfast and Jay Som have been self-producing music since last year. The latter rolled into a sold-out Rough Trade NYC to charm the crowd with not only her skilled musicianship, but also with her charming wit. Som was recently shortlisted by NPR’s All Songs Considered in their year-end best of 2017.
5. Violents and Monica Martin, Rough Trade NYC, April 26
OK, this one isn’t technically new, but the pairing was. Monica Martin, best known as the frontwoman for the now-on-hiatus Phox, and producer Jeremy Larson aka Violents teamed up for this rare tour. Larson has collaborated with female vocalists before, but this one was special. Songs were paired with cinematic footage ranging from scenes from House Party to sweeping black-and-white scenery. What still sticks in my memory was a haunting cover of Frank Ocean’s “Self Control.”

 

 

 

 

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LCD Soundsystem – Brooklyn Steel – December 11-23, 2017

December 27th, 2017


Photos courtesy of Gregg Greenwood | gregggreenwood.com

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Two Nights of Diarrhea Planet Live at Rough Trade NYC

December 27th, 2017

Let’s get it out of the way: Diarrhea Planet (above, performing “Heat Wave” live in the studio for KEXP FM) may not be the most enticing name, but with their heady four-guitar rock attack, the Nashville six-piece—Evan Bird, Emmett Miller, Jordan Smith and Brent Toler (each on guitar), Mike Boyle (bass) and Casey Weissbach (drums)—win over people with what AllMusic calls a “’70s power pop meets ’90s grunge vibe” and a “potent and sometimes ridiculous mix of blistering garage rock, pop punk, metal and even Southern rock,” per NPR Music. Last year, the road warriors put out their second full-length album, Turn to Gold (stream it below), which “rolls forth like a stoner rock take on Bruce Springsteen’s Born to Run being blasted out the windows of a dragon mural-encrusted boogie van,” according to AllMusic. “With Turn to Gold, Diarrhea Planet, a group with arguably one of the best-worst band names in rock history, have crafted their first truly great album.” And as good as their recorded stuff is, Stereogum calls Diarrhea Planet’s live show “reliably fucking awesome.” Find out for yourself when they play Rough Trade NYC on Saturday and then again on New Year’s Eve.

Contest

Grow a Pair: Win Free Tickets to See Dillinger Escape Plan on 12/29

December 26th, 2017

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North Jersey metalcore greats Dillinger Escape Plan are calling it a career after three final shows at Terminal 5—tomorrow, Thursday and Friday. And while all three dates are sold out, The House List is giving away two tickets to the grand finale on Friday night. Don’t have any of your own and still want to go? Try to Grow a Pair from The House List. It’s easy. Just fill out the form below, making sure to include your full name, email address, which show you’re trying to win tickets to (Dillinger Escape Plan, 12/29) and a brief message explaining why you’re looking forward to the end of 2017. Eddie Bruiser, who isn’t yet feeling so optimistic about 2018, will notify the winner by Friday. Good luck.

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Two Chances to Catch Gogol Bordello Headlining Brooklyn Steel

December 26th, 2017

The more you absorb Gogol Bordello (above, performing “Saboteur Blues” live in studio for Paste Studios), the deeper the experience gets. First or second time out it’s all about the party: Eugene Hütz and his rampaging horde put punk, dub, rock, klezmer, flamenco, Latin, folk, polka and who knows what else in a sticky blender and hit pulse. Then comes intense appreciation of how they can mine so many different styles and make them sound cohesive—and coherent—without turning such a polyglot sound into an unfocused mess. Finally, you appreciate the depth in the lyrics—the marvelous wordplay, the sharp commentary, the bang-on turns of phrase. These aren’t just bat-shit partiers, they’re craftsmen. And they can party. Blow a room to pieces, as a matter of fact. Gogol Bordello’s 10th album, one of their moodiest, Seekers and Finders (stream it below), arrived this past August. It suggests that nearly 20 years in, the band is rounding out that much further, able to mix in more poignant folk strains without sobering up their sound too much. You hear plenty of guitar and slashing violin, but also trumpet, rat-a-tat percussion, accordion and many other sonics. Above all, they sound ever more like a global collective. (Various Bordello members hail from as far as Russia and Ecuador, and the U.S., Ukraine and Ethiopia.) “My idea of the band is more of a creative, collective gang,” Hutz told Bullet Music back in April. “A master of his own jujitsu, his musical aikido, it’s really a lot more like observing a performance of group musical mixed martial arts competition.” You won’t get beat up (maybe), but you will be thrust into the delectable, raw-edged present: Living for now is a constant theme for Gogol Bordello. “Remember times when the colors were brighter/ And streets were filled with rhyme/ It is still that way/ If you ask about it,” the band bellows in “Still That Way,” on the new album. It recalls a Gogol Bordello classic from a decade ago, “Ultimate,” which opened with “There was never any good old days/ They are today, they are tomorrow.” Don’t miss these fun-loving live performers on Thursday and Friday at Brooklyn Steel. Funky brass band Lucky Chops open both shows. —Chad Berndtson | @Cberndtson

 

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Hear Some of the Bands You Can See This Week

December 25th, 2017

Hear some of the bands you can see this week.

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LCD Soundsystem Leave Them Wanting More at Brooklyn Steel

December 20th, 2017

LCD Soundsystem – Brooklyn Steel – December 19, 2017


James Murphy and his LCD Soundsystem lot are all too aware of the hype that surrounds their live performances. The collective that has reemerged from their “breakup” in 2011 in much the same arrangement, and with the addition of some new blood, recognizes the buildup prior to when everyone takes their positions onstage in their stacked pyramid instrumental setup that surrounds the spotlit Murphy, the master of ceremonies. They recognize the level of great expectation and with the poise of players in long-run theater, unflinchingly rise to the occasion. Murphy has essentially admitted that he was fooling himself to think that he could walk away from the life of making music and performing it with LCD Soundsystem. As evidenced at Brooklyn Steel last night throughout the seventh show in a run of 10, he needs that outlet. It’s too much of what he is. As you find yourself moved by the power and grace of his singing voice over primal dance grooves that don’t feel as if they have a discernible beginning or ending, it becomes clear that he was too much of a comet to hide for too long and the crew of old friends are the players that form around him like a solar system.

Putting on a good show is about reps. Any performer would tell you that. To go along with this year’s new album, American Dream, LCD Soundsystem have been getting plenty of them, having put on strings of consecutive shows that have become residencies at their new Brooklyn home. What’s so rewarding is that they have risen to that rarified place of performance where you know what songs are coming and yet when they’re played with that special mix of timepiece precision and instinctive improvisational flair sprung from the raw energy of the moment, you feel like you’re experiencing a favorite song for the first time, like what it felt like to walk through the woods stoned for the first time. Therein lies the unique magic of an LCD Soundsystem show, and why it never loses its vitality even after the second, fifth or seventh time you’ve seen it. The second-nature orchestration of playing parts all churning in sync is well oiled at this point and just takes off. It’s hard to imagine a better tone-setter to begin a night with than “Yr City’s a Sucker.” It holds that raw NYC cold-steel break-loop groove, priming everyone for the party that’s about to ensue.

The sequence of hits that followed was kind of mind boggling: “I Can Change,” absolutely resplendent live, “Get Innocuous,” “Tribulations,” “You Wanted a Hit” all unravel and ascend to their own euphoric peaks, and you’re so wrapped up that you don’t even realize songs like “Someone Great,” “Dance Yrself Clean” and the dizzying rapture of “All My Friends” are still ahead. Tracks from the new album are sprinkled in almost inconspicuously as the ’80s synth romanticism of “Oh Baby” drops the energy down into a beautiful lull. It was one of those shows that still makes you feel cool that you could get into and no matter how big the group’s become, they still extend meaty-jam grooves like basement bands that don’t know how to stop. They are a unique combination of musicians who understand how and when to give the crowd exactly what they’ve come for, a release into the frenzy of their extended plays. Almost right away, you see what all the fuss is about. LCD Soundsystem are the kind of band that snaps you out of the conversation you’re having with the person you invited to get to know, and suddenly you’re both dancing irresistibly with broad smiles. And when you walk away with that buzz that rolls on like one of their live songs, you know it’s an experience you’ll go back for as many times as you can. —Charles Steinberg | @Challyolly

Photos courtesy of Gregg Greenwood | gregggreenwood.com

Contest

Grow a Pair: Win Free Tickets to See Jon Bellion on 12/21

December 19th, 2017

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Long Island singer-songwriter Jon Bellion is back in town this week to play Terminal 5 on Thursday and Friday. Some tickets still remain for his latter appearance, but if you don’t already have any to Thursday’s show, you can try to Grow a Pair of them from The House List. It’s easy, just fill out the form below, making sure to include your full name, email address, which show you’re trying to win tickets to (Jon Bellion, 12/21) and a brief message explaining your favorite Christmas tradition. Eddie Bruiser, who’s got a thing for customs involving brown liquor, will notify the winner by Thursday. Good luck.

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Kevin Devine Plays Two Albums at His Last Local Show of the Year

December 18th, 2017

Kevin Devine – Music Hall of Williamsburg – December 16, 2017


The end is near—of 2017, at least. People are preparing treks to see family or readying their own home to be visited. At the same time, they’re also reflecting on a year that many of us would probably like to move past. And Kevin Devine’s final hometown 2017 show, at Music Hall of Williamsburg on Saturday night, felt like the perfect coda. He put two albums on display, one that worries about where we’re headed and one that helps tell us how we got here. He began with the former, Instigator. Released a month before the 2016 election, it’s a loud, nervous record with a clear vision about the battles America is fighting, will fight and those already won or lost. While Devine is often flanked by a half dozen or more band members, he played this album as a trio. It was written that way, he says, and that raw sound only amplified the tension and the terror of lyrics in songs like “Both Ways” (“Our destiny, made manifest/ Oblivion and its endlessness/ Imagine our surprise when/ We actually had to pick up the check!”) or “No History,” a recalculation of 9/11’s impact on the country and its people through the hazy lens of our current troubles (“The blood and money didn’t fix anything/ We’ve grown accustomed to the depths of the danger/ This is the future/ Severe and always happening”).

While it’s all a bit dour, it’s a cathartic album to hear played live. Devine, though, seemed to rush through it the way one speeds through hard holiday conversations with family so they can get out and see old friends. No surprise, because he then moved on to the second album, 2006’s Put Your Ghost to Rest. For this one, he was joined by that ensemble of usual suspects, the Goddamn Band, as the shifting group of friends and musicians has always been called. The lyrics, written during—and often about—the Bush administration, were still challenging and surprisingly relevant. But the music grew more lush and beautiful, with violin and keyboard and shakers filling in the gaps that Instigator purposely leaves bare. Devine trades in hindsight and foresight, but he’s also a jester. He splashed the three-hour set with jokes and stories between tunes. Some were about why certain songs exist, and others were small nostalgic anecdotes he almost sounded embarrassed to share. Across the night, it was clear Devine is relieved to have survived 2017, is mourning those who haven’t, and is worrying and wondering about what 2018 will bring—just like the crowd of fans before him. —Sean O’Kane | @Sokane1

Photos courtesy of Sean O’Kane | seanokanephoto.com

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Leif Vollebekk Chats and Tells Stories at Rough Trade NYC on Friday

December 18th, 2017

Leif Vollebekk – Rough Trade NYC – December 15, 2017


Leif Vollebekk has a lot to say. At times during a snowy Friday night at Rough Trade NYC made warm by the cheer brought by the Ottawa, Ont., native’s visceral and fatty folk cuts, he seemed more eager to talk to the audience than to play the songs that framed his tangents. But this is simply because Vollebekk’s rich organ-and-guitar-laden outpouring is so effortless. Song is his first language and its communication seems like second nature. His is the kind of voice that makes you let down your guard. Once his country-boy rasp reaches you, you allow it in because it speaks of travels you’ve taken or have dreamed of taking and so many of the relatable feelings of living through them.

Vollebbekk is a torchbearer for the original soul and folk artists of the 20th century, those who we can now only listen to through earphones. This is why seeing him channel artists like young Dylan and Jeff Buckley live is such a thrill. This year’s Twin Solitude augmented Vollebbekk’s authentic, personal songwriting with a more sensual production and many of its songs filled the room on Friday. “Vancouver Time,” “All Night Sedans,” “Elegy,” “Big Sky Country,” “Michigan” and “Telluride” were played with unforced measure, inviting you into his narrative visions, moved along by the slow vibrations of bass guitar and brushed drum strokes behind him. Vollebekk’s 2014 breakout album, North Americana, was visited as well, with “Off the Main Drag” freezing people in their place.

One thing you walked away thinking, back out in the snow, slowly coming to from the trance Leif Vollebekk’s soulful potions had put you in is that he’s a good hang. His music can bring a smile and an upwelling of humanity from the stiffest and most repressed, which is why we need to keep encouraging his likes to play for us, to show us how to take a long look around and take it all in. Performances like his remind you that in the midst of the overload, earnest storytelling through sweet sound is something to slow down and stop for. —Charles Steinberg | @Challyolly

Photos courtesy of Charles Steinberg | charlesosteinberg.com

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Hear Some of the Bands You Can See This Week

December 18th, 2017

Hear some of the bands you can see this week.

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Alone & Together Win Over Music Hall of Williamsburg

December 18th, 2017

Alone & Together – Music Hall of Williamsburg – December 15, 2017


Sometimes you hear or read about an impromptu jam session—a bunch of musicians get together for a friendly set of music in a studio somewhere—and you think, “Man, I wish I could’ve been there to see that.” Of course, it would be a rare treat to get to peek in on such a gathering, but that’s just what it felt like at Music Hall of Williamsburg on Friday night when Sam Cohen, Eric D. Johnson, Elvis Perkins, Josh Kaufman and Joe Russo, performing under the Alone & Together moniker, could’ve as easily just been some friends hanging out in a basement somewhere. The central concept of their show is that they play one another’s songs, so at the outset Perkins sang one of Cohen’s tunes and then Cohen sang “So Long” by Johnson’s band, Fruit Bats.

This led to some interesting dynamics among the musicians and with the crowd. I imagine it might be pretty weird to sing backing harmonies on your own tune if not feel like an out-of-body experience, to see your musical self from the outside. Similarly, depending on their familiarity with the original version of each song, audience members might’ve had a uniquely personal appreciation of each performance. Regardless, the spirit was one of camaraderie, of friends who are also huge fans of one another’s creative output. While the idea behind the show may sound like a bit of a gimmick, albeit one that works quite well, as the set went on, that central concept felt less and less important. The players sang some of their own songs—Perkins doing “Doomsday,” Johnson singing “Humbug Mountain Song”—and with their looseness and the lead-the-way rhythm section of Kaufman and Russo, these actually felt more like covers than the songs they’d swapped. The band made small changes in instrumentation that brought out subtle shifts in sound and energy, particularly from Cohen, who swapped between pedal steel and electric guitar throughout the night, pushing each song to its musical limit.

Regardless of who was singing with whom, it was the songs that were always in the spotlight. There was an understated political thread weaved through the evening on tracks like “Doomsday,” and toward the latter third of the two-hour show, when Kevin Morby, who has also toured as part of the group, came out for a guest appearance highlighted by his “Beautiful Strangers.” It was felt most strongly during a brand-new song from Perkins, “There Go the Nightmericans,” which was a powerful opus of our current political state. The set closed with a rollicking take on Johnson’s “When U Love Somebody,” with lead vocals from Perkins punctuated by Russo’s handclap percussion. In a show filled with what might technically be called covers, there were true covers as well, selections from Willie Nelson and Paul Simon that fit in with the general songs-first spirit of the night. The three-song encore closed with a joyous take on George Harrison’s “Awaiting on You All.” The long set seemed to have flown by, but that’s what usually happens when you’re having fun hanging out with friends. —A. Stein | @Neddyo

 

 

 

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Odesza – Barclays Center – December 15, 2017

December 18th, 2017


Photos courtesy of DeShaun Craddock | dac.photography

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The Pink Spiders Bring New Tunes to Rough Trade NYC on Tuesday

December 15th, 2017

Making punky pop-inflected garage rock, Matt Friction (vocals and guitar), Jon Decious (bass) and Bob Ferrari (drums) formed the Pink Spiders nearly 15 years ago in Nashville, Tenn. Before going on an extended hiatus in 2009, they put out three studio albums in as many years, including 2006’s Ric Ocasek–produced Teenage Graffiti (stream it below). “The Pink Spiders have a rather unique sound for today, when every band sounds like Fall Out Boy, the Pink Spiders mix classic punk, rock and roll, power pop and pop punk,” said Sputnik Music. “This album is full of youthful energy and is extremely catchy. Every song has the capability to stick in your head all day.” The band reunited in the summer of 2016 (above) to celebrate the LP’s 10th anniversary, and with talk of a new album, the Pink Spiders have released some new singles and embarked on a December tour, which brings them to Rough Trade NYC on Tuesday night. Lancaster, Pa., post-hardcore five-piece Carousel Kings and Baltimore rad-pop quartet the Great Heights Band open the show.

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Perfume Genius – Music Hall of Williamsburg – December 13, 2017

December 14th, 2017


Photos courtesy of Silvia Saponaro | www.saponarophotography.com