Tag Archives: New Order


Mutemath Bring New Album to Brooklyn Steel on Wednesday

September 18th, 2017

Influenced by the soulful sounds of the ’60s and ’70s and alternative rock of the past (think: Air, Radiohead, New Order), Mutemath (above, doing “War”) formed a decade-and-a-half ago in New Orleans. The band—now Paul Meany (vocals and keys), Jonathan Allen (bass) and Todd Gummerman (guitar)—has since been equally known for engaging live performances and their recorded output, including full-lengths, EPs and live releases. Their fifth studio long-player, Play Dead (stream it below), came out earlier this month, and their tour in support of it rolls through Kings County to play Brooklyn Steel on Wednesday night. Franklin, Tenn., four-piece Colony House and Toronto quartet Romes open the show.


The Chain Gang of 1974 Kick Off the Weekend at Rough Trade NYC

February 1st, 2017

After becoming heavily influenced by Tears for Fears’ “Everybody Wants to Rule the World,” DJ and multi-instrumentalist Kamtin Mohager launched the post-funk electronic-dance project the Chain Gang of 1974 about a decade ago, earning comparisons to Daft Punk, New Order and Passion Pit with the release of Wayward Fire (stream it below) in 2011—“A bright, hook-laden, bouncy affair that takes your face and rubs it in its subwoofer big beats,” according to PopMatters—and Daydream Forever (stream it below), which per AllMusic has “even more attention to hooks and beefed-up production that thickens the pop sheen with a heavy electronic backbone,” in 2014. With new music on the horizon, the Chain Gang of 1974 (above, performing “Sleepwalking”) play Rough Trade NYC on Friday night. Bel Heir, a Philly trio, open the show.


Bob Moses Expertly Blend Indie Rock and Deep House at Terminal 5

October 3rd, 2016

Bob Moses – Terminal 5 – September 30, 2016

Bob Moses - Terminal 5 – September 30, 2016
Fusing genres to create rhythmically, dynamic songs, Bob Moses, a Canadian duo based in Brooklyn, have been making quite a name for themselves. Having recently launched a 24-city North American tour, the band came to Terminal 5 on Friday night where they were welcomed with smiles and cheers as they made their way onstage. The duo played songs from the from their debut album, Days Gone By, which was also released as a deluxe edition called Days Gone By (Never Enough Edition) this past August.

Bob Moses create a bridge between indie rock and deep house music, and Tom Howie’s voice sounded dramatic yet sensual on songs like “Talk” and “Tearing Me Up,” as pulsating beats and somber lyrics intersected with an interesting story. Their performance is unique, the DJ’ing crossed over with the elements of a live band, creating a set focused on the flow of the rhythm. Bright strobes of colorful, vivid lights filled the venue as they played “Touch and Go,” creating a hypnotic dance floor.

A Bob Moses Story is a mini documentary that captures the way Howie and Jimmy Vallance met by chance and instantaneously clicked as friends and bandmates. Vallance says, “The puzzle pieces fit great from Day One. Don’t compromise stuff, don’t take shortcuts. If it feels good, do it. If it doesn’t, don’t.” And on Friday night at Terminal 5, it felt good. —Karen Silva | @ClassicKaren


Shake It with Bob Moses on Friday Night at Terminal 5

September 29th, 2016

While Tom Howie (vocals and guitar) and Jimmy Vallance (keyboards) were friendly during high school in Vancouver, B.C., it wasn’t until they separately moved to Brooklyn and had a chance encounter—each had studio space across a parking lot from the other—that they bonded over things like similar tastes in music, grunge, punk and electronic, and being two Canadian kids in a foreign country. Thanks to the former, they got into a studio together, and it felt natural from the start. As Bob Moses (above, doing “Tearing Me Up” on The Ellen Degeneres Show), the two gained some attention for a pair of EPs, with what AllMusic called “a sound that falls in the wistful sweet spot between New Order and James Blake”. And their full-length debut, Days Gone By (steam it below), came out last September, “blending smoky vocals with catchy guitar hooks and sedative deep house rhythms. It’s an entrancing combination, and one that translates exceedingly well into the live performance realm,” according to Billboard. “The duo has the authenticity to appease genre purists, yet the lyrical depth to attract non-electronic fans.” Bob Moses have quickly won over audiences across the country, and you can get your weekend started right when they play Terminal 5 tomorrow night.


With a New Album Wussy Graduate to The Bowery Ballroom

July 11th, 2016

Wussy – The Bowery Ballroom – July 10, 2016

(Photo: John Corley)

(Photo: John Corley)

Wussy, the Cincinnati fivesome, write fractured love songs, bittersweet tales of woe, knowingly dire kiss-offs, fist-pumping rockers that turn regret into a hail of guitar noise. That they’re some of the best in the business at doing this sort of thing—sad-eyed but still rock-out-ready indie rock, pop and alt-country—and have until somewhat recently been a secret shared among their hometown fans, Robert Christgau and the handful of other critics who handed them accolades long before the crowds appeared. And then, at long last, audiences did begin to show up, and after years of daylong drives to play 30-minute showcase sets whenever possible, Wussy returned to New York City with bigger audiences and, as of Sunday, have graduated to The Bowery Ballroom. Oh, have they earned it. Their songs are emotional wrecks, lived in without being weighed down. Chuck Cleaver and Lisa Walker and Co. have written and recorded so many of them now without compromising what makes a hard-edged rock song with a tender core such a sturdy thing in the first place. They’re a bit odd—the songs and the band—but by about 15 minutes into a set, you’re enthralled, living in the little, hardscrabble, honest worlds these songs call to mind.

No Wussy show I’ve ever seen has been too long: Always, when they’re leaving the stage for the last time that evening, I’m thinking, “I could really use one more of those.” Last night’s headlining show focused on Wussy’s most recent album, Forever Sounds, and served up tunes like “Gone”—with its pinched, Pixies-like narrative singing over loud guitars—“Hello, I’m a Ghost,” “Sidewalk Sale” and the gently shoegaze-y “Dropping Houses.” Intermixed with these came the throttling “Pulverized,” plus older favorites like “Maglite” and “Pizza King” (“KOA all night or forever if you want it/ We’re catching air outside the value supermarket”—such a Wussy kind of line). Late in the set, Walker claimed the spotlight, with only guitarist and pedal-steel player John Erhardt to accompany her, for the devastating “Majestic-12”—she sang like someone who had only recently discovered she could and wanted to see what such a gorgeous, slightly scuffed voice could do. And they did their typically superb version of New Order’s “Ceremony” as a closer, an esoteric cover that was just the right fit for a band that doesn’t do many of them.

Wussy come off as a lovably dysfunctional family: They banter wryly, Cleaver and Walker draw in most of the energy, and behind them comes an assured foundation from bassist Mark Messerly and drummer Joe Klug, in addition to color and shading from Erhardt, who holds back his steel playing from its traditional role of narrating sad songs, instead making it a racket-bearer, washing what the rest of the band is doing in frothy guitar tones. It wouldn’t work for other groups, but it does for Wussy. And these cracked-poetry songs wouldn’t work for other groups, but they do for Wussy—a band that knows how good they are but never once shed the humility they had before people started to show up.
—Chad Berndtson | @Cberndtson


LNZNDRF Are Otherworldly Yet Familiar at Mercury Lounge

March 7th, 2016

LNZNDRF – Mercury Lounge – March 5, 2016

The first thing you may have noticed as LNZNDRF assembled onstage at Mercury Lounge for the first of two sold-out shows on Saturday night was their matching tie-dyed long-sleeve coveralls. With the stage’s backdrop lit to resemble the cover of their self-titled debut album, a large planetary sphere, the band members resembled some sort of scrappy but very chill NASA technicians. The scene set the tone for the music, originally conceived through a whirlwind session of extended musical improvisations by Ben Lanz (of Beirut) and Scott and Bryan Devendorf (of the National).

The resulting album captures snippets of these jams and delves into darker, louder and even spacier territory than what you would likely expect from their other bands. Songs like “Kind Things” and “Future You” contained intricate moments of almost disorientating feedback alongside minimal guitar lines on Saturday night. And Bryan Devendorf’s powerful drumming soon punctuated the lulling, hypnotic quality with the ability to transform the material into catchy head-nodders.

At moments, LNZNDRF brought to mind the likes of New Order, the Jesus and Mary Chain and even Brian Eno (particularly during Lanz’s vocals on “Monument” and “Beneath the Black Sea”). But despite these comparisons, LNZNDRF also seem unconcerned with fitting into any particular sound or style, instead using their live show to channel the loose, experimental atmosphere of those initial jam sessions—an immersive experience, otherworldly yet familiar. —Alena Kastin | @AlenaK

(Beirut play the Capitol Theatre on 8/1 and Celebrate Brooklyn at the Prospect Park Bandshell on 8/2)



Catch Day Wave Tonight at Mercury Lounge

August 19th, 2015

Jackson Phillips grew up as a jazz drummer. He even attended the prestigious Berklee College of Music. But once there, Phillips became more interested in making songs rather than simply mastering an instrument. (Plus: “I don’t know if you’ve seen Whiplash … it wasn’t to that extent, but it was very competitive and people weren’t nice to each other.”) So he learned to play the piano and moved into production. His first band, Carousel, made synth-pop tunes. But inspired by the likes of the Beach Boys, New Order and Joy Division, Phillips launched the guitar-based project Day Wave (above, doing “Drag”). His debut EP, the well-received Headcase (stream it below), arrived last month, and although he performs live with other people, it was strictly a solo affair: “I haven’t worked with anyone else on the Day Wave project yet. I really like it, compared to what I was doing the last couple years. It’s much easier for me because I’m not bouncing ideas off of anyone and not second-guessing, which is what happens when you’re working with other people.” He’s got a West Coast tour beginning next month, but you can catch Day Wave tonight at Mercury Lounge. Brooklyn duo Surf Rock Is Dead open the show.


Factory Floor Play Music Hall of Williamsburg Tomorrow Night

April 22nd, 2014

Not too long after forming the post-industrial electronic-rock group Factory Floor in London nearly a decade ago, Dominic Butler (keys, bass and vocals), Gabriel Gurnsey (drums and vocals) and Mark Harris (guitar and percussion)—although Harris was later replaced by Nic Colk (vocals, guitar and samples)—began getting compared to the likes of Joy Division and New Order, thanks to a slew of singles, a pair of EPs and numerous energetic live performances. But since signing with DFA Records in 2011, Factory Floor (above, their video for “How You Say”) have streamlined their music, making it more danceable and winning praise along the way. The trio’s self-titled debut full-length (stream it below) arrived last fall to some considerable acclaim. NME says they “have evolved from steel-splintered noise into demented and minimalist techno. Undoubtedly there’ll be a handful of haters who’ll say something’s been lost from their early years, but they’re wrong.” The magazine adds: “No flash, no fripperies, no fucking about: just three like-minded souls making a nasty racket. Good place to start? It’s hard to think of many better.” Of course, with Factory Floor heading our way, one better place just might be Music Hall of Williamsburg tomorrow night.


Peter Hook and the Light – Webster Hall – September 13, 2013

September 16th, 2013

Photos courtesy of Gregg Greenwood | gregggreenwood.com


Peter Hook and the Light Channel New Order Tomorrow at Webster Hall

September 12th, 2013

Former Joy Division and New Order bassist Peter Hook formed Peter Hook and the Light three years ago—along with his son Jack Bates (bass), Paul Kehoe (drums) and Andy Poole (keys), and eventually David Potts (guitar)—originally under the auspices of performing both Joy Division albums, Unknown Pleasures and Closer, live in their entirety. But things clicked, and in 2011, the group put out an EP, 1102/2011 (stream it below), shortly thereafter followed by Unknown Pleasures Live in Australia (stream it below). And now Peter Hook and the Light (above, performing “Ceremony” and “Digital”) are back out on the road, this time playing New Order’s first two albums, Movement and Power, Corruption & Lies. And you can see them take the stage tomorrow night at Webster Hall.