Tag Archives: Nirvana

cat_preview

Two Nights of Metz and Their New Album This Week in New York City

October 3rd, 2017

Alex Edkins (vocals and guitar), Chris Slorach (bass) and Hayden Menzies (drums) formed the fuzz-laden noise-rock punk trio Metz almost 10 years ago in Toronto. Their self-titled debut album (stream it below) arrived on Sub Pop in 2012. Sure, it was loud, but the A.V. Club proclaimed, “For all it’s abrasion and denatured noise, Metz isn’t a statement of nihilism or finality; it’s a bright, exploratory scalpel making the first of hopefully many incisions.” Fortunately, Metz (above, their video for “Acetate”) have indeed made more incisions. Their sophomore LP, the aptly named II (stream it below), came out in 2015 and has a clearer sound. Per Drowned in Sound, “There’s more space, and a better sense of dynamics as well. It’s a subtle change (if anything about Metz can be said to be subtle) but there’s a greater feel of depth here, the songs have more interesting journeys….” And furthermore: “Beautifully brutal weirdo punk.”

Their third full-length, Stranger Peace (stream it below), recorded with acclaimed producer Steve Albini (Nirvana, Jimmy Page and Robert Plant, Pixies), came out just two weeks ago to some rave reviews. “The Toronto-based trio Metz have incorporated harmony into their heavy sound on their third full-length. They shift away from all-out abrasion, adding color to their eruptions,” according to Pitchfork. “To be clear, Metz haven’t turned into a pop band. They’ve actually done the opposite, incorporating harmony without going soft. The fact that so few heavy bands have been able to pull that off attests to how difficult it is. With Strange Peace, Metz make it sound easy.” Out on the road, they play Music Hall of Williamsburg on Wednesday and The Bowery Ballroom on Thursday. Two Brooklyn acts—a duo, Uniform, and a trio, Bambara—open both shows.


cat_reviews

Courtesy Tier Put On a Commanding Show at Rough Trade NYC

August 17th, 2017

Courtesy Tier – Rough Trade NYC – August 16, 2017

(Photo: Daniel Cavazos)

How best to describe Brooklyn trio Courtesy Tier? Blues-adelic is probably a good place to start: These guys work up a woozy, potent racket that can veer Hendrix-ian or Zeppelin-esque and get plenty gnarly—but always in service of sturdy melodies. That they’ve been compared to bands like Meat Puppets, Morphine and Chris Whitley in his Rocket House era isn’t so much that they resemble any of them as much as they similarly put a bit of mess into familiar sounds, making them an acquired taste that, once acquired, feels eminently immediate, alive and embraceable.

Courtesy Tier have been kind of a shape-shifter, growing into what they’re supposed to be. Guitarist-ead vocalist Omer Leibovitz and drummer Layton Weedeman have been the guts of the band for about eight years, and in that time they’ve expanded to as many as six players and collapsed back down to a duo on more than one occasion. The lineup’s seemed to be fluid, but last year, Courtesy Tier settled into their current identity as a three-piece, with bassist Alex Picca aboard as a permanent third member. Out of that chrysalis came their first full-length album, the superb Everyone’s OK, much of which was the focus of their headlining spot last night at Rough Trade NYC.

Courtesy Tier played a commanding show, this night deftly organized around standouts like “Childish Blues,” with its slovenly, ’70s-blues-rock-meets-Nirvana vibe, “Cold,” more of a roiling rock and roller that builds to a shattering metallic guitar climax, and “When You Were Young,” an eased-into but still spiky groove more reminiscent of the pre-pop Black Keys. Courtesy Tier had new songs too, including a cover of Can’s “Vitamin C,” which wrapped a stabbing refrain of “You’re losing/ You’re losing/ You’re losing/ You’re losing/ Your vitamin C” in scuffed pop. It was another reminder that, at the intersection of guitar-heavy power-trio blues and a number of other potential jumping off points, they’re really on to something, without being too fussy about what to call it. It’s Brooklyn-y, in a good way, and perfect for these jittery times. —Chad Berndtson | @Cberndtson

 

 

cat_preview

Slothrust Play a Hometown Show at Music Hall of Williamsburg

August 10th, 2017

Leah Wellbaum (vocals and guitar), Kyle Bann (bass) and Will Gorin (drums) met while studying music at Sarah Lawrence College and went on to form the Brooklyn band Slothrust. “Blending apathetic vocal delivery and sludgy guitars with a sound rooted in punchy blues, grunge revivalists Slothrust breathe newfound life into the angsty sounds of the ’90s,” according to AllMusic. “People have always had trouble comparing us to other bands, but someone recently described us as Nirvana meets Wynton Marsalis, and I loved that,” said Wellbaum. The band’s third release, Everyone Else (stream it below), dropped last fall. “This is an album for music lovers who can appreciate the achievements of a band that’s hitting its stride and has the ability to capture the best of rock, jazz and blues on one album,” per Art for Progress. And with their summer tour winding down, Slothrust (above, performing “Rotten Pumpkin” for Audiotree Live) come home to Brooklyn to play Music Hall of Williamsburg on Friday night. Arrive early to catch Maine trio Tancred and New York City’s Mal Blum & the Blums opening the show.

cat_preview

Spend Friday Night with Goldroom and Autograf at Terminal 5

October 5th, 2016

Los Angeles electronic producer and singer-songwriter Josh Legg began making music under the name Goldroom (above, his video for “Lying to You”) five years ago, influenced by the likes of Daft Punk, Bob Dylan, LCD Soundsystem and Nirvana. And following the release of three EPs, his acclaimed debut studio album, West of the West (stream it below), came out just a couple of weeks ago, providing “a romantic and ambitious soundtrack to end your summer on a high note,” according to Vanity Fair. “No matter the listener’s age, the world could use a little more magic—and Goldroom just may be the man to bring it.” He’s currently out on the road in support of the new music with Chicago house trio Autograf (below, doing a live remix of Odesza’s “All We Need”)—Jake Carpenter, Louis Kha and Mikul Win—who pair “glitched vocals, lurking bass lines and live instrumentation from custom-built instruments” and put as much emphasis on the visuals as they do on getting people to have a good time. And if you’re one of those people looking for a good time, don’t miss Goldroom and Autograf at Terminal 5 on Friday night.

(Come dance with us at these other fall shows we think are right up your alley.)

 

cat_preview

Courtney Barnett Makes the Best of a Rainy Night

June 6th, 2016

Courtney Barnett – Rough Trade NYC – June 5, 2016

Courtney Barnett Gov Ball NYC Rough Trade 2016 by Pip Cowley Day 2-6285
I’m not sure if the proper expression to capture the mood inside the club on Sunday night involved clouds and silver linings or making lemonade out of lemons, but for the lucky (and the wet) who got in, the pot of gold at the end of the rainbow was a free Courtney Barnett show at Rough Trade NYC. After a severe rainstorm shut down Governors Ball, the show was one of several hastily arranged performances around town—no one inside had woken up that morning planning to be there. Still, unsurprisingly, the room was packed elbow to elbow and the steamy warmth of the crowd fueled chants of “Courtney!” as the lights finally went down.

The performance unintentionally served as a nice spot-check on a career that has exploded exponentially. Absent the massive stage of a larger club or the expansive audience of a festival set, Barnett’s charm and talent were right there for the grabbing. Opening with “Dead Fox,” accompanied by an animated video in full Technicolor flickering behind the trio, the band found a glorious sludge of guitar, bass and drums while the audience started to percolate. “An Illustration of Loneliness (Sleepless in New York)” began with an appropriately drowsy mood with a rock-out that somewhat unsuspectingly crept up on the crowd. It was a good template for many of her songs, like “Out of the Woodwork”—and the show overall, which balanced expert, phrase-twisting poetry with audience-bouncing rock and roll, each piece building on the previous. The set bounced between songs from her Sometimes I Sit and Think album and the older double EP, plus a few from neither, providing a nice capsule of the Courtney Barnett sound to date. “Depreston” elicited a full-volume sing-along, a sweaty mass of voices nearly drowning out the band’s, but the song somehow never lost its emotional oomph. Less familiar but equally powerful was their cover of the Grateful Dead’s “New Speedway Boogie,” featured on the recent Day of the Dead. As visions of highway-driving tunnel vision filled the screen, the trio filtered the old hippie screed through the Barnett sound: an excellent too-cool stoner blues.

Like the songs contained within, the show built to a fist-pumping rage, the closing section highlighted by “the hits,” like “Avant Gardner” and “Pedestrian at Best.” The room somehow felt even more packed as the band and audience unleashed their full, pent-up, rain-delayed power. Barnett and Co. closed with “Nobody Really Cares if You Don’t Go to the Party,” which somehow perfectly, inversely captured the spirit of this special Sunday night show. She claimed it was one of their “favorite shows ever,” which kind of felt like a pickup line, but coming from Barnett, I think most in the room believed her. The encore started with a bit of off-the-cuff goofing, Barnett starting and stopping almost a dozen different classic-rock riffs (think: “Stairway to Heaven,” “Wish You Were Here,” Nirvana), the band hopping in almost perfectly each time, and most in the crowd smiling and laughing imagining how great it would be if they really played any of them. Maybe next rainout they will, but instead the audience made do with the fun finish of “Pickles from the Jar,” getting their last bit of dancing in, the proper expression here involving hay and sunshine. —A. Stein |@Neddyo   

Photos courtesy of Pip Cowley | pipcowleyshoots.com

cat_preview

Things Get Bigger for Courtney Barnett at Terminal 5

July 23rd, 2015

Courtney Barnett – Terminal 5 – July 22, 2015

Courtney Barnett – Terminal 5 – July 22, 2015
Courtney Barnett playing a sold out show at Terminal 5? Seems a bit sudden, doesn’t it? But, yes, Courtney Barnett played a sold-out show at Terminal 5(!) and dominated the grand space like it was inevitable all along. While she began the set small, playing the opening song solo in a spotlight as the full house soaked in every word, things soon grew to a size appropriate for the room and just seemed to get bigger and bigger as the performance progressed. The trio—Barnett on vocals and guitar, Bones Sloane on bass and backing vocals and Dave Mudie on drums—exploded with sound on “Lance Jr.,” drums, bass and guitar almost immediately reaching full ignition. It was clear why she calls her band CB3 as this is a threesome following in the grand tradition of great power trios, halfway between Nirvana and the Experience, stripped down onstage with just a few lonely amps, and playing with a ferocity and that je ne sais trois innate to the best. The crowd was certainly well familiar with the songs off Sometimes I Sit and Think, and Sometimes I Just Sit, but working through the material last night, Barnett and her mates made them feel altogether brand new. These were the 3D IMAX versions, extrasensory and totally immersive.

The location-appropriate “An Illustration of Loneliness (Sleepless in New York)” featured a druggy tempo with a low-bass ooze as Barnett spun out her trademark lyrics—“Watching all the movies/ Drinking all the smoothies/ Swimming at the pool/ I’m thinking of you, too”—with charm and confidence while colorized images of the Williamsburg Bridge jittered on the screen behind her. Every song felt like a possible favorite and a potential sing-along. While the full-tilt rockers got the crowd loose and rowdy, the smoldering slow ones were the set’s highlights, keeping everyone rapt in her spell. “Small Poppies” was a revelation: slow-building each verse upon the next, Barnett howling “Eye for an eye for an eye …” while the rhythm section pushed things with a steady veteran skill, eventually making way for an intense spasm of a guitar jam with a hand-drawn monster literally lurking in the woods on the screen behind them.

“Depreston” served as a centerpiece for her skill of mixing the funny and the poignant, layering melodies and meanings within a single song that might have you alternating between smiling, crying and totally rocking out. There was scant banter between numbers, but little was needed with the songs’ conversational wit. What more is there to say when you’re already singing, “Everybody is somebody else’s somebody?” Besides, there was barely time to spare as the extended trio rock-outs ran up against curfew (Barnett quipping, “I thought this was the city that never sleeps!”). They blazed through the crowd-pleasing end of the show with high-energy versions of favorites “Avant Gardener” and “Pedestrian at Best,” Barnett taking a brief moment to appreciate the size of the venue and maybe the magnitude of the moment, before squeezing in a sing-along encore of “History Eraser.” Yeah, it was big, but it’s only getting bigger for CB3. —A. Stein | @Neddyo

Photos courtesy of Gregg Greenwood | gregggreenwood.com

(Courtney Barnett opens for Blur at Madison Square Garden on 10/23.)

cat_preview

Two Chances to See Soul Asylum and the Meat Puppets

June 19th, 2015

More than three decades ago, Dave Pirner (vocals and guitar) formed Soul Asylum in Minneapolis. The band found modest success with their first five albums before blowing up big time and becoming alt-rock darlings with the release of 1992’s triple-platinum Grave Dancers Union (stream it below)—and its huge sing-along hits, “Runaway Train,” “Somebody to Shove” and “Black Gold.” Since then, although the lineup, still anchored by Pirner, has changed, Soul Asylum (above, performing “Black Gold” for Minnesota Public Radio 89.3 FM) have remained active, touring and recording. Their 10th full-length album, the well-received Delayed Reaction (stream it below), came out in 2012. Per the A.V. Club, “With Delayed Reaction, whatever lingering bewilderment and bitterness Pirner felt about success seems to have vanished. In its place is a classic Soul Asylum record: scrappy, aching and only a little worse for the wear.”

That the Meat Puppets are still around is something of a miracle. Brothers Curt (vocals and guitar) and Cris Kirkwood (bass) and Co. have been making their own brand of psychedelic- and roots-influenced punk for more than 35 years—with the occasional hiatus, breakup or prison stint getting in the way—inspiring and influencing the likes of bands like Nirvana, Soundgarden and Pavement. Like their current tour mates, Soul Asylum, the Meat Puppets (below, doing “Plateau” live in the Bing Lounge) have also remained relevant by continuing to release new music, including their 14th LP, Rat Farm, out in 2013. “It’s dizzying psychedelic country in finest Meat Puppets tradition,” according to the Independent, “full of slightly off-centre harmonies in Grateful Dead manner, and plenty of Kirkwood’s swirling, trippy guitar.” Catch both bands tomorrow night at Brooklyn Bowl and on Monday at The Bowery Ballroom.

cat_preview

Girl Band Arrive in NYC to Make Some Noise at Mercury Lounge

March 12th, 2015

Influenced by the likes of Nirvana, Queens of the Stone Age and the Scottish post-hardcore trio Mclusky, four guys—Dara Kiely (vocals), Alan Duggan (guitar), Adam Faulkner (drums) and Daniel Fox (bass)—formed Girl Band more than three years ago in Dublin. Their debut EP, the noise rock–filled France 98 (stream it below), arrived in 2012, which Pitchfork said, “could’ve passed for a product of Sub Pop circa 1988.” Since then, the quartet has become known for energetic live shows. Recently signed to Rough Trade Records, there’s talk of new music, but ahead of that, Girl Band (above, doing “Lawman” for KEXP FM) have booked their first U.S. tour dates, and you can see them at the late show on Friday at Mercury Lounge. Brooklyn psych-pop outfit Monograms opens.

cat_preview

The Wytches End American Tour Tonight at Mercury Lounge

November 24th, 2014

Kristian Bell (vocals and guitar), Gianni Honey (drums) and Daniel Rumsey (bass and vocals) have been making doomy yet infectious music as the Wytches for three years. Based on the south coast of England, the surf-psych trio began to gain a following in the U.K.—including shout-outs from the Guardian and NME—thanks in part to the release of their debut single, “Digsaw,” an EP and because of their mesmerizing live shows. Their impressive debut full-length, Annabel Dream Reader, came out this past August, and NME made comparisons to Nirvana and Black Sabbath while mentioning “exceptional songs full of both melody and menace.” The Wytches (above, doing “Darker,” live in studio for WFUV FM) have been traveling the country in support of their new album, and that tour ends in New York City tonight at the early show at Mercury Lounge. A pair of Brooklyn bands, neo noir punk trio Lodro and doo-wop garage quartet the Teen Age, open the show.

cat_reviews

Ásgeir Leaves No Doubt at Mercury Lounge

June 20th, 2014

Ásgeir – Mercury Lounge – June 19, 2014

Asgeir
There’s something about the far off environs of Iceland that gives birth to unique musical voices. Everyone knows Björk and Sigur Rós, and soon they will know the name Ásgeir Trausti. With one out of 10 people in Iceland owning his first album, he is already well known in his home country and is ready to conquer the States. The English translation of his debut album, Dýrð í dauðaþögn (renamed In the Silence) was translated with the American singer John Grant and released earlier this year.

Donning a trucker hat, Ásgeir ascended to the cozy stage of a sold-out Mercury Lounge. Icelandic folk music preluded the start of the show, however Trausti began his set with the English tune “Head in the Snow.”  There’s something interesting about hearing songs in which you don’t know the lyrics or the meaning behind them. As he sang the pair “Leyndarmál” and “Sumargestur,” thoughts of what they might be about tickled my brain. Was it a ballad for an unrequited love or a song about homesickness for the beauty of his home? Only the Icelandic speakers would know, but the mystery is almost alluringly fitting for the language so steeped in a far-off land.

Weaving between his native tongue and English throughout the performance, Trausti made sure to offer several mid-set treats with a debut of a new song, “Ocean,” drenched in reverb, and a cover of Nirvana’s “Heart-Shaped Box.” The latter was a drawn-out version of the original that reminded me more of Chris Isaak’s “Wicked Game” than of Kurt Cobain’s grunge masterpiece. Trausti managed to play most of his debut album, which included an acoustic rendition of “Summer Guest,” plus fan-favorites “Higher,” “Going Home” and “King and Cross.” For the final song, Trausti admitted that it was “a strange moment” as his band—consisting of his producer, his big brother, the album’s lyricist, and a drummer—couldn’t exit the small stage as he concluded the night with the lullaby “On That Day.” But there’s no doubting the family onstage and the magical evening they produced for the New York City crowd. —Sharlene Chiu

cat_reviews

EMA Entertains Mercury Lounge with New Material

April 28th, 2014

EMA – Mercury Lounge – April 25, 2014

emapromojpg-500x500-non
EMA’s excellent new album, The Future’s Void, is loaded with lyrics exploring the alienation, dissociation and paranoia associated with our modern times, and what it means to be a human in this mysterious universe. At her sold-out show at Mercury Lounge on Friday night, EMA (also known as Erika M. Anderson) and her band led a journey into the void with the album’s opening track, “Satellites.” It began with the pretty, almost romantic sounds of electric violin before being abruptly jolted by a bass hum and heavy static. A beat kicked in and then EMA began to sing, her voice conveying urgency—an appeal.

While performing new songs like “3Jane,” “Cthulhu” and the ethereal “Solace,” along with older material like the Nirvana-esque “Anteroom” (from previous album Past Life Martyred Saints) and “Cherylee” (by one of her former bands, Gowns), EMA appeared intense and serious, giving the music her full attention. Putting down the guitar for songs like “California” and “Neuromancer,” she moved freely around the stage and addressed the crowd more directly, gesturing powerfully with her arms to emphasize her words. Looking right into the crowd during the latter song, EMA repeatedly asked, “Is it true?” with such conviction that it seemed more of an accusation than a question.

But for all the intensity she channeled during her performance, between songs, EMA was quick to flash a smile, joking easily with the crowd and her bandmates, and even poking fun at herself for spilling her wine not once, but twice. And despite the heavy subject matter of much of her material, EMA didn’t hide the fact that she relishes performing, and these two truths were able to coexist nicely onstage. —Alena Kastin

 

 

cat_preview

The Breeders Play a Pair of Shows at Webster Hall

December 18th, 2013

Kim Deal first rose to fame as bassist and backing vocalist for the Pixies. But while the seminal alternative rockers were touring behind their highly influential debut album, Surfer Rosa, Deal began working on new material fit for a different creative outlet. Since forming the Breeders in 1990, she has remained that band’s lone constant as lead singer and rhythm guitarist—Deal’s currently joined by twin sister Kelley on lead guitar, Jim MacPherson on drums and Josephine Wiggs on bass. The band’s first album, Pod (stream it below), put the Breeders (above, performing for the BBC) on the map and went on to influence the likes of Nirvana. “It’s an epic that will never let you forget your ex-girlfriend,” said Kurt Cobain. Nevertheless, the group remained a side project until the Pixies broke up—and although they’re currently back together, Deal is no longer part of the band. But even still, the Breeders went on hiatus in the mid-’90s before reuniting to play several shows in 2001 and release their third LP, Title TK, the following year. But they’re currently celebrating the 20th anniversary of their second full-length, Last Splash (stream it below), by hitting the road again to play full-album shows featuring Last Splash and Pod. Catch them tomorrow and Friday at Webster Hall.

cat_preview

Meat Puppets Still Rule

April 5th, 2013

Meat Puppets – Mercury Lounge – April 4, 2013


That the Meat Puppets are even still around is something of a miracle. They’ve lived through multiple decades of adversity that have swallowed up other bands whole. One of those groups, a grunge band out of Seattle that helped the Meat Puppets gain in popularity by covering their songs on national television, has been gone for almost 20 years. The Meat Puppets’ history reads like a Behind the Music clichés grab bag, including everything from stints in prison to hard drugs and an on-again, off-again history spanning four decades. That brothers Cris and Curt Kirkwood are still even on speaking terms having lived through all this is pretty crazy.

One wouldn’t think that there’s any need for the Meat Puppets to prove anything to anyone anymore, but those crazy motherfuckers out of Phoenix are still at it, plowing through a fiery two-hour-plus set last night at Mercury Lounge, giving each song everything they’ve got and then some. Exhibit A: Cris Kirkwood’s face, home to some of the most interesting facial expressions you’ll find in rock music. Grimacing, wincing and pursing his lips like a monkey, it looked as if each bass note he slapped out hits him like a punch to the stomach. Every second got its own performance. Curt stood at the other side of the stage, effortlessly ripping through searing guitar solos like it was nothing at all. The world should reconsider any Greatest Guitarists lists without Curt’s name on it. Few people have the hand gymnastics it takes to steal guitar styles from so many different genres and toss them all into one blazing guitar solo.

The band’s set included songs from every moment of their lengthy career, including some unexpected covers. There was a surprisingly beautiful rendition of the Beach Boys’ “Sloop John B,” which bled into a near-perfect performance of their classic “Lake of Fire,” complete with a raging solo that kept picking up pace until it had nowhere else to go but to dissolve into its own unstoppable momentum. The band ended their set with “Backwater,” which included the appropriate refrains of “some things will never change.” It felt like an appropriate cap to the night’s performance. Against all odds, the Meat Puppets still fucking rule. Some things will never change indeed. —Dan Rickershauser

Photos courtesy of Peter Senzamici | senzamici.smugmug.com

cat_preview

Garbage Play The Wellmont Theatre Tomorrow Night

March 19th, 2013

Butch Vig became a producing superstar when Nirvana’s second album, Nevermind, knocked Michael Jackson from the top of the charts and went on to capture the zeitgeist of the early ’90s. But he wasn’t just interested producing music. Vig (drums) also wanted to play it. And to that end, he teamed up with fellow producers and multi-instrumentalists Duke Erikson (bass) and Steve Marker (guitar) to form Garbage, even before they added Scottish singer Shirley Manson to the mix. The band entered the mainstream with the 1995 release of a self-titled album, with hits like “Stupid Girl” and “Only Happy When It Rains.” The quartet steadily released more music (another three LPs) and toured through 2005, and then following an 18-month hiatus, returned to play a benefit show in early 2007. But it took another three years or so for Garbage (above, playing “Stupid Girl” for KROQ FM) to return to the studio to work on Not Your Kind of People (stream it below), which finally came out last May. The band is now out on the road, and you can see them play The Wellmont Theatre tomorrow night.

(Friday’s show at Terminal5 is sold out.)

cat_preview

Bob Mould Plays The Bowery Ballroom Tonight and Tomorrow

February 26th, 2013

In the music world, if people know you’re name from even just one project, there’s a pretty good chance you’re doing something right. And if audiences recognize you for two influential bands (one of them iconic) plus an acclaimed solo career, well, you just might be Bob Mould. Raised in rural Upstate New York, he headed to college in Minnesota, ultimately making a home in the Twin Cities and forming Hüsker Dü—Mould on guitar and vocals, Grant Hart on drums and vocals, and Greg Norton on bass—in the late ’70s. Initially a thrashing punk band, their sound grew more melody driven but not any quieter. And while they didn’t find the success of R.E.M., they became indie-rock pioneers, paving the way for groups like the Pixies, Superchunk and Nirvana. But alas, for a variety of reasons, it wasn’t meant to last, and Hüsker Dü broke up while on tour in 1987.

So Mould went solo, releasing the excellent Workbook two years later. It was a big departure from his previous work, with much of the album acoustic with a strong folk bent. Another solo effort followed before he again formed a power trio—with David Barbe on bass and Malcolm Travis on drums—the more radio friendly Sugar. Their debut LP, Copper Blue, out in ’92, earned applause from critics and fans alike. But by 1995, Mould had ended the band and gone it alone again. He’s dutifully recorded more material and toured ever since. And his tenth solo album, the well-received Silver Age (stream it below), came out last year. Watch Bob Mould, above, performing “Keep Believing” on Conan and then go see him live at The Bowery Ballroom tonight and tomorrow, where he’ll play selections from Silver Age, Hüsker Dü, Sugar and his solo classics.