Live – Radiohead @ Blossom Music Center 6/6
Radiohead Live June 6, 2012 @ Blossom Music Center, Cuyahoga Falls, OH
My brains have been scrambled. Radiohead probed my mind… and I liked it.
Radiohead may actually be dark scientists, merely posing as musicians who are highly adept at their craft. Operating at forbidden frequencies, and unlocking aural sequences the equivalent of cosmic code breaking, it seems plausible that this band could cause a cataclysmic celestial event. An event, where formulas and proofs replace measures and movements and theorems and algorithms, substitute tempos and time signatures.
(photography by Radiohead was the band that sold us jazz by convincing us it’s rock. But, after witnessing their experimental mastery onstage, a more fitting decree is – Radiohead is purging our arcane notions of dance music and reprogramming it into something unearthly, maybe even a little unnerving ( like a college student’s introduction to David Lynch). The truth is, Radiohead is alien. The band speaks an entirely different language than most of us, and live, summon an other worldy sound -both unnerving and beautiful. I heard the death rattle of a thousand dying star systems. Felt the rumblings of an astral anomaly and ancient planets violently rotating. I heard all earthly matter beautifully swirling towards a wormhole, being replaced by antimatter as it enveloped all it touched. I heard the sound of the apocalypse, and Radiohead were the end of music on earth. The effects this sonic experiment, caused audience consciousness to disintegrate. From the front row to the lawn, everyone seized and convulsed in unison, as if losing control over their bodies and minds.
-Casey Bowers
Chromatics : Kill For Love
Rating: 5/5 stars
Label: Italians Do It Better
Portland’s Chromatics are yet another band to return to the 2012 musical landscape, after a long hiatus. Matured and introspective and heavier on male vocals, Kill For Love plays out like a warm ocean breeze after dark – a long way from the band’s punk inspired beginnings. With haunting guitar riffs, simple synths, gentle vinyl crack sounds and a re-named Neil Young cover that opens the album, Chromatics craft a dark and beautiful album with cinematic scope.
Listen : Chromatics : Into the Black
Listen : Chromatics : Kill for Love (via SoundCloud)
Live – We Are Serenades @ Mercury Lounge 5/9
We Are Serenades‘ [Adam Olenius and Markus Krunegard and friends] are snazzy dressers, and great performers. On May 9th, at Mercury Lounge, the lovechild of Shout Out Louds and Laakso, put on an incredibly fun and technically inspired show – performing a collection of synth-inspired folk songs – ranging from, the beautiful harmonies of “Daydreaming” to the off-tempo-yet-incredibly-fun “Weapons”. I found it funny – a Swedish band performing in the States, sang back-to-back songs about Mexico – opening their set with “Criminal Heaven” [the song from which the album takes it’s title] and ending on Christopher Cross’ “Ride Like the Wind”. It also dawned on me that “All the Words” will play at my wedding this summer. Check out some images from the show below:
-Cory Greenwell
Of Montreal : Paralytic Stalks
Rating: 2.5/5 stars
Label: Polyvinyl Records
Of Montreal veterans may approach this album, as I did, with excitement and expectations for a mélange of bold, curious, and catchy tunes. Instead, Paralytic Stalks – their eleventh album – presents itself as a challenging patchwork of peculiar hymns and raw lyrical admissions, sprinkled with a few catchy hooks.
Those who became acquainted with the band in their early days as part of the Elephant 6 Collective know that evolution is nothing new to Of Montreal. What may surprise, though, is just how far Paralytic Stalks strays from the accessible, indie-pop ballads of yore, like The Party’s Crashing Us Now.
Kevin Barnes, the multi-talented vocalist and instrumentalist behind this nine-track album, pushes the envelope to extremes in this genre-bending release that ambles from gaudy ‘70s disco to pseudo-country twang. It’s apparent from track one that Barnes has used this album as a personal therapy session, unleashing his innermost thoughts as if he’s on the therapists’ couch.
Spiteful Intervention starts off with a somber, imposing verse before segueing to an energetic, camp chorus. Despite the melodic shift changes, Barnes maintains his classic party trick of juxtaposing morose lyrics on a twee musical background as he exclaims, “I spend my waking hours haunting my life / I made the one I love start crying tonight / And it felt good”. If you’re head-bobbing to the beat then these tidbits of penance may easily slip by, but they shouldn’t because this is what Of Montreal does best.
Next, you’re time warped to the age of disco in Dour Percentage, which draws heavy influence from the Bee Gees. Fast-paced, energetic and bordering on disco- bubblegum pop, Barnes emulates the signature falsetto voices of the brothers Gibb to a tee. The track stands out from others in that it is enjoyably chipper, if a bit ridiculous. Fans of the band’s older track ‘Brush, Brush, Brush’ will appreciate this ditty and have it stuck in their heads in no time.
A recurring theme across the album is that of love and honesty about relationships – including that of Barnes’ wife, Nina. We Will Commit Wolf Murder is the mesmerizing masterpiece of the album. With so much puzzling anarchy, this is one of the few songs that is very well structured. Barnes writes an open letter of love and yearning as he croons the line, “Lately you’re the only dancer I believe in” with an emotional credibility that leaves the heart heavy. It manages to tightrope beautifully between soft cantos and energetic bridges to create a symphony that is simultaneously galvanizing and analgesic.
The theme of love continues in Malefic Dowery, which describes a relationship that has turned mundane over time, evidenced by the lyrics “Now we’re a bore, we’re afternoon TV”, sung with palpable resignation. As the song reaches its peak, Barnes hauntingly sings “Once more I turn to my crotch for counsel / and it won’t disappoint me”, leading to questions of what might have been in his bloodstream.
The closing track, Ye, Renew the Plaintiff, moves away from the more sober songs above into an angry, jumpy piece that is nearly nine minutes long. Dedicated to Barnes’ wife, this honest tune reads like a diary entry before ending with a two minute long kaleidoscopic outro. While making this song was probably cathartic for Barnes, it’s more than a chore to listen to as you trudge through his sonic mental
breakdown.
Barnes has stated in interviews that Paralytic Stalks is meant to be taken in its entirety. The overall experience of the album leaves no grey zone. Patience to process it as a whole, rather than the sum of its parts, might be asking a lot of most listeners. Bottom line: you’ll either find it avant-garde and eccentric, or messy and unmerciful.
-Desmond Carter
Beach House : Bloom
Rating: 5/5 stars
Label: Sub Pop
Beach House’s Alex Scally describes Bloom as “a huge crystal, spinning in a cave with Star Wars figurines.” The quintessential summer album, Bloom is heavy on melody – elevating the bands breezy sonic themes into an intoxicating collection of atmospheric organ and reverb-drenched guitar songs, still grounded by the bands signature vocals.
Listen : Beach House : Myth (via SoundCloud)
KID KOALA’S SPACE-CADET HEADPHONE EXPERIENCE @ THE CANADIAN MUSEUM OF AVIATION
We were then given Sennheisner headphones, motioned into the theater and seated in tiny “space pods” – [ side note: I probably should have worn sweatpants and not the skinniest pair of jeans I own, but I digress]. Kid Koala took the stage, accompanied by his daughter, Maple, sitting contently in the chair beside him. Then, with a giant smile, Kid Koala proceeded to blow every mind in the crowd, as he performed a magic show on his turntables that would make David Copperfield green. It is incredibly rare for a musician to give so much of themselves to the audience. While most Dj’s and musicians stand on stage trying to act as cool as humanly possible, Kid Koala appeared with no pretense; more like a friend – sitting in his living room – doing what he enjoys doing most. This was what made the show such an awesome experience.
I talked to Kid Koala a.k.a Eric San after the show and he let me in on some details for the upcoming Deltron 3030 Event II – the sequel to the legendary Deltron 3030 album- which will be released in July, as well as, 12 Bit Blues another album coming out on Ninja Tune in the fall.
Here is a song called “3 Bit Blues” which appears on the upcoming album 12 Bit Blues.
You can also listen to a couple songs off the Space-Cadet album below [disclaimer: the tracks on this album are so relaxing, I haven’t been able to make it through the album’s entirety without being lulled to sleep].
MP3: Kid Koala: Expedition_ page 45
MP3: Kid Koala: Goodbye_ page 8
If you have the opportunity to check out Kid Koala’s “Space-Cadet Headphone Experience” show, you should not think twice. I left the show feeling so inspired, that I immediately went home and turned on my MPC [MIDI Production Center]. After a 2 month creative drought, I quickly chopped up some samples, remembering how good it feels to create music you can call your own.
Spiritualized : Sweet Heart Sweet Light
Rating : 5/5 Stars
Label: Fat Possum
Spaceman Pierce has landed. Sweet Heart Sweet Light may amount to the best (certainly, the most accessible) Spiritualized album since 1997′s pill-infected Ladies and Genteman We Are Floating in Space. A surprisingly uplifting eulogy to classic rock’n’roll, elevated by sweeping church orchestras and choirs. This is less of a departure album, and more a refined statement. The album art, Huh?refers to Jason Pierce’s mental state while mixing this album over an eight-month brain-fogging hospital stint, fighting degenerative liver disease with experimental chemotherapy treatment. Rebounding from the experience, Pierce emerges anew – crystal clear and grounded. Singing, once again, about Jesus, fast cars, pimps, fire, pain, death and depression, but this time around with both feet on the ground.
Listen : Spiritualized : Hey Jane (via SoundCloud)
STARFAWN: LIVE AT SPIKE HILL 2.29
We caught Starfawn again last night at Spike Hill opening for and outshining Something in Spanish. We first learned about Starfawn a few weeks ago at Lit Lounge when they performed with Teeel and we’ve been huge fans ever since.We gave you the history behind the band when we posted the Teeel remix of their set-closer “Greenlight.”
We highly recommend checking out their Bandcamp page to stream the debut EP, then heading to Moodgadget to buy it.
Starfawn
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Something in Spanish
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[photos: Cory Greenwell]
OTHER LIVES: LIVE AT BOWERY BALLROOM 2.17
Other Lives were at the Bowery Ballroom on Friday night as part of their first major venue headlining tour. Coming off of their tour with Bon Iver, Other Lives will be beginning a ten day stint supporting Radiohead. A big step for any young band, but to kick off Radiohead’s first US tour since 2008, it will be huge. The exposure that they’ll get out of this tour will be incredible and it couldn’t happen to a more talented group of musicians.
I last caught Other Lives at Mercury Lounge back in June (Review), but the professionalism at the Bowery showed a definite level of maturity.
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[photos: Cory Greenwell]
THE DRUMS: LIVE AT W.I.P. 2.14
The Drums performed a 4 song set last night (Valentine’s day) at W.I.P. (short for Work-in-Progress & owned by the proprietors of the Greenhouse). We caught The Drums last at CMJ 2010 (Photos). Starting roughly an hour late a midst the bottle-service-heavy underground art house (even if a bit contrived), The Drums tore through perennial favorites such as “Best Friend” as well as their more current hit “Money” and the dancing made me really miss the days of Mondo at Don Hills.
Catch the photos from last night’s performance below.
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[photos: Cory Greenwell]
Tennis : Young and Old
Rating: 5/5 stars
Label: Fat Possum Records
While most husband-and-wife indie pop duos can induce nausea, Denver’s buzz band Tennis, deliver effortless lo-fi beach pop that is as romantic as the nautical adventure spawning the duos collaboration. Produced by Patrick Carney (The Black Keys), Young and Old is grounded in a retro sensibility that surfaces extra layers of vocal harmonies, jangly guitars and 60′s organ from beneath the fuzz pedal. A sincere sophomore effort that maintains the simple songwriting beauty of Cape Dory – a collection of songs about love, loss and inertia. But, this time around, there is much more anxiety and volume, ensuring each song has more depth and texture.
Listen : Tennis : Take Me Somewhere (viaSoundCloud)
Craig Finn : Clear Heart Full Eyes
No one is able to share spot-on observations about indie/punk/rock show culture and speak-sing about it, in as interesting a way as Craig Finn.
The voice of Lifter Puller, The Hold Steady, and most recently, Craig Finn and Some Guns – the 41 year-old Brooklyn-ite, by way of the the Twin Cities and Beantown, is by far one of the most entertaining, interesting and smartest songwriters of the last 10 years. A former punk club-poet/bar-band bard from Minnesota, Craig Finn moved to New York, formed The Hold Steady, and spun a musical career waxing philosophical about life, death, drugs, girls, God and personal survival – flawlessly enunciating every word over timeless classic rock-inspired bar band riffs, rhythms, and melodies.
Craig Finn’s lyrics and sound are ideally crafted for long, lazy, summer road-trips, hopping in and out of no-name corner bars and sun-drenched music-festivals, gunning down late-night vices and secret lovers. Sounding less like a washed-out, lo-fi, indie-popster drifting towards the beach, Finn is Kerouac’s Sal Paradise embodied – watching the American landscape zoom, and blur past, in a drunken montage of brilliant color.
On Clear Heart Full Eyes – the solo album recorded during a five-month break from The Hold Steady, Craig Finn delivers THE definitive Winter record. A collection of distinctively American tales of woe, broken promises, shattered dreams and heartache, accompanied by eerie, twangy, lap-steel guitar and alt. country swirls, that come together to conjure a barren, winter sky…but stay Positive! Finn sure is. In fact, Finn can’t help himself from staying positive. Even when it sounds like his heart has been broken, he’s lost a friend or his faith, Finn’s clever wordplay gleams light into these gloomy tales, which, in the end shine with possibility – as does the album.
– Casey Bowers
Album – Craig Finn : Clear Heart Full Eyes
Label – Full Time Hobby
Release date: January 24, 2012
Rating – 4.5 out of 5 stars
JEFF MANGUM: PERFORMS LIVE AT TOWN HALL 10/29
[photo: Cory Greenwell]
Evan Kaloudis at OneThirtyBPM reviews Jeff Mangum Live October 29th, 2011 at Town Hall in New York.
Years ago when I began diving into the world of indie rock, I ruled out the possibility of ever seeing Neutral Milk Hotel or the reclusive Jeff Mangum — in any form — perform live. In the Aeroplane Over the Sea would be seen by many as the “crowning gem” of the genre and since the band’s breakup, Mangum had been as elusive a figure as any, only showing his face at Elephant 6 reunions at random.
In recent years, however, Mangum began poking his head out of his shell, first by playing Neutral Milk Hotel songs at others’ shows, to playing full sets unannounced, to playing ATP and embarking on a small tour of his own. About two weeks ago he even stopped by Zuccotti Park for a brief performance at Occupy Wall Street. Naturally, after missing him at ATP, I had to catch him in New York.
I trekked out into the snowy New York night (the first pre-Halloween snowfall since 1958!) and made it to New York City’s Town Hall theater just off of Times Square. The Town Hall hosts a wide array of events including Broadway shows, choirs, orchestras, jazz bands, comedians — hell, you can even catch Rush Limbaugh there at the end of the month (I implore you not to). And while the venue often does do acoustic shows like this, I didn’t really expect to be seated for this momentous occasion.
Opening for Mangum was Ólöf Arnalds, an Icelandic singer-songwriter, who alternated between guitars and a ukulele-like charango. She performed in both English and Icelandic, bantering with the audience throughout her songs as she plucked her strings and arpeggiated her chords before entering into the next verse. The 35-minute set was certainly soothing, and truly showcased Arnalds’ talents — especially her closing: a mic-less, a cappella version of an Irish folk tune — but I couldn’t help but feel anxious throughout the whole set, eagerly anticipating what was to follow.
Mangum soon appeared on stage and the entire theater erupted in applause. Then — absolute silence as he opened up with Aeroplane‘s closer “Two-Headed Boy Pt. Two.” Perhaps it was out of awe, or maybe it was just he nature of the venue, but for his first three songs (“In the Aeroplane Over the Sea,” “Song Against Sex”) there was complete silence except for applause between songs. Mangum commented, “You don’t have to be so quiet,” and went into “Gardenhead” as the cheers began.
Next was the eight-minute epic, “Oh Comely,” which yet again brought the crowd to silence as Mangum clenched his eyes shut and bellowed through the darkness of the theater, going the extra mile by holding notes before carrying into the final section of the song.
After another solemn number, “I Love the Living You” (a Roky Erickson cover), Mangum returned to Aeroplane again with “Ghost.” The silence had become prevalent again, leading Mangum to engage the audience to get them to make some noise: “Now fucking sing!”
The cheering and banter from there on continued, with the audience’s singing becoming more and more amplified as Mangum played through all parts of “The King of Carrot Flowers” without break, and climaxed with his last song of the set, “Holland, 1945.” As he played those opening chords the room suddenly came alive; it seemed as if ever single person in attendance knew all the words as was singing along. It was truly an enthralling moment.
After a standing ovation, Mangum returned with “Two-Headed Boy Pt. One” and b-side “Engine” before taking off into the night, leaving the audience standing and cheering for a good five minutes before they were disappointed by the sight of tech crew taking his set-up apart.
Although the audience lulled at times, Mangum put on a fantastic performance and managed to get us all roaring together to make for a truly ghostly experience. Despite this all — and it pains me to say it — Mangum’s “dee-dees” will never compare to Scott Spillane’s trumpet work, and however great the songs stood on their own, a full-backed band performing them would be worlds apart. Unfortunately, I don’t think a full reunion will ever happen.
Hopefully I’ll be eating my words in a year or two’s time.
Setlist
Two-Headed Boy Pt. Two
In the Aeroplane Over the Sea
Song Against Sex
Gardenhead / Leave Me Alone
Oh Comely
I Love the Living You (Roky Erickson cover)
Ghost
A Baby for Pree
Naomi
The King of Carrot Flowers Pt. One
The King of Carrot Flowers Pts. Two & Three
Holland, 1945
Two-Headed Boy Pt. One
Engine
FUTURE ISLANDS: ON THE WATER
Release date: October 11, 2011
Label: Thril Jockey
-Andrew Bailey
WE WERE PROMISED JETPACKS: IN THE PIT OF THE STOMACH
[rating: 3.5]
We Were Promised Jetpacks: In the Pit of the Stomach
Label: Fatcat Records
Release date: October 4, 2011
When people think of Scotland, three things come to mind – kilts, haggis and the Loch Ness monster. This is a fact and to be honest, it’s quite comprehensive. But after spending a decade living there one year, I quickly realised that beyond prehistoric urban myths and (surprisingly delicious) sheep innards, Scotland has a thriving music scene with a wealth of burgeoning talent and a handful of next-big- things.
For the uninitiated, We Were Promised Jetpacks (WWPJ) build on the reputation of fellow countrymen, like Belle and Sebastian and The Fratellis, falling somewhere along the spectrum between the formers’ poetic melancholy and the latters’ sanguine sing-alongs. Their debut album, These Four Walls (2009), put the Edinburgh-based quartet on the map, seeing them tour America and later open for Jimmy Eat World. Several singles achieved commercial success and served as soundtrack fodder for U.S. TV shows and a film (okay, so it was Hall Pass, but still).
The big question, as with most second albums, is whether In the Pit of the Stomach is a display of maturity or a sophomoric slump.
The opening track, “Circles and Squares”, starts with a cacophonous intro and immediately it’s apparent that compared to These Four Walls, vocalist Adam Thompson is lacking his former energy and passion. Confusingly, it somehow manages to gracefully evolve and ramp up to a powerful crescendo. The reward is a beautiful, contemplative instrumental ending that ultimately saves the song. Nonetheless, noticeable dissonance at Track #1 is never a good thing.
“Act on Impulse” is arguably one of the best tracks on the album. The addictive opening of punchy guitar riffs and drumming goes on for over two minutes and is gentle, upbeat and calming. An ethereal cadence and the songs’ raw lyrics show just what WWPJ is capable of, proving also that Thompson does indeed have the ability to stir emotions without needlessly yelling.
Expectations are lowered in “Through the Dirt and the Gravel”, which is chaotic and frenetically paced. Thompson’s vocals are grating and dispirited; one gets the feeling he can’t wait for this song to end either. While bassist Sean Smith and guitarist Michael Palmer struggle to salvage and inject some much-needed energy, the track sounds like something from a high school battle of the bands.
If you listen to just one song on In the Pit of the Stomach, make it “Sore Thumb”. This autumnal anthem is a modern-day lullaby for 21st century youth. To the social media weary, the indifferent, the young-and-already-blasé, and the confused and searching – this song is yours. It magically encapsulates the orchestral grandeur of Arcade Fire and fuses it with the strengths and personality of WWPJ, notably the exuberance that was abundant in their debut album. The result is nothing short of a poignant indie masterpiece fit for heavy rotation.
Like my year abroad in Scotland, the album avoids any middle ground, favouring an emotional rollercoaster approach instead. Thrilling highs or dramatic lows. Love or hate. Fish or chips. So what’s the verdict – sophomore slump or does WWPJ soar up into the strata? It’s actually not easy to tick either box definitively. In the Pit of the Stomach lacks the gumption and cohesiveness of These Four Walls, which was full of youthful vigor. It is decidedly the awkward, evolving adolescent phase of the band, and while there are moments of beauty and revelation, the underlying discordance shows that WWPJ are still finding their feet. But then, aren’t we all?
-Des Carter
RYAN ADAMS: ASHES & FIRE
ATLAS SOUND: PARALLAX
The real weight of Cox’s work comes from the sense of isolation he creates on Parallax. Where most albums involve the world outside the artist, this album feels completely on its own, a summary of Cox’s stream-of-consciousness style of song writing and perfectly arranged instrumentals. While piecing the tracks together doesn’t necessarily reveal a coherent story or theme, the tone and rhythm of each song, strings together in movie score-esque pattern. Infectious guitar chords on “The Shakes” are echoed deep within the closing track “Nightworks,” in a tangentially related but familiar way. There’s a pattern to so much of Cox’s work, but it’s never boring or predictable. The subtle piano keys on “Mona Lisa” differentiate it from the rest of the album, but the same guitar effects are present along with Cox’s echoing vocals.
The album’s highlight, which truly showcases Cox’s ability to arrange and perform a song, is “Te Amo.” One of the best tunes this year, “Te Amo” has a simple lyrical structure, but is amazingly complex and breathtaking when taken as as a whole.The scaling piano keys at the beginning are entrancing, compounded by the slam of a drum that all lead into the explosion of Cox’s vocals. “We’ll have such strange dreams,” Cox sings in the third verse, the tune, by this time, having fallen into a hypnotic pace. On its own, the tune is perfect. But even as it transitions to the next track on the album, you can hear how it fits perfectly within the context of the rest of the album. And that’s where “Te Amo” excels: in its ability to stand alone as a great single, without retracting from the contained experience of Parallax.
There’s usually little to be learned from an album’s cover art, but Parallax has a story to tell. Cox, grabbing the microphone, standing half-lit and alone, is presented in his truest form. While his other projects also flourish, Cox is at his best when solo, left unaffected by outside voices and concerns. His ability to write hermetically, and at the rate and range at which he does, proves Cox to be an important, if fringe, member of the modern music scene. Parallax challenges current experimental pop music’s tropes and habits, vastly exceeding all expectations as one of the best albums this year, and certainly the best of Cox’s already-storied career.
– Erik Burg
ICEAGE: NEW BRIGADE
Label: What’s Your Rupture
Release date: June 21, 2011
Anger, anxiety, maladjustment and nihilism are all impulses that legions of teenagers combat daily. In Copenhagen, four teens are not merely scrapping against these demons, but waging an outright war on them.
Meet Iceage: a Danish punk outfit, whose rowdy live shows have delineated them the poster children for a “new cult of violent youth” – just have a scroll through the bloody post-show photos on their blog.But their new album New Brigade, substantiates the band as much more than a group of gashed-head exhibitionists and young, brash, noise makers. In a musical climate so over-run with baby-soft indie pop, New Brigade is a refreshingly angry, visceral exercise in contained chaos and high-octane energy output. The album is a post-punk call of arms for loners and anarchists, alike, and easily one of the best punk records I’ve heard in years.
M83: HURRY UP, WE’RE DREAMING
[rating: 5 stars]
M83: Hurry Up, We’re Dreaming
Label: Mute
Release date: October 18, 2011
Hurry Up, We’re Dreaming is twenty-two tracks of flawlessly crafted synth, drenched in intrepid, day-glo, art-pop scenery, barring a wasted moment. What M83 (Anthony Gonzalez) has accurately described as “Very, very, very epic.”
The double-album experience marks M83’s sixth record release, and an ambitious one at that. Siting Billy Corgan’s twenty-eight-track, nine times platinum, alternative magnum opus Melon Collie and the Infinite Sadness, as inspiration, more evoking of The Breakfast Club Soundtrack, Anthony Gonzalez, forges his ongoing love affair with dreams and the magical escapism of his youth into seventy-four minutes of bittersweet nostalgia, reconciled through epic dance jams. The result, is a very long, polished bedroom recording, you can bounce and sway to, contrived as a listener album, not a consumer.
Thematically, this is an album romanticizing youth; utter isolation, ecstatic joy, heartbreak and self-discovery. The first record follows one character’s longing for a relationship to finding love (even if it only lasts two songs), through a period of self-mourning, and new dawn and redemption.
While this is very much a unified album, almost every song on Hurry Up, We’re Dreaming beautifully occupies a space all it’s own. The stand-out single and notably, one of the most redeeming singles of the year, “Midnight City”, is a humid, adrenaline-driven dream of a song, unlike any of M83’s previous work. Here, Gonzales’ voice is extremely compelling, less of a whisper than usual and more of a throaty cry, as eerie vocal harmonies, haunting sub-textures and synthetic strings adeptly sweep you into a highly danceable urban groove, swimming in broken neon light. M83’s signature dream pop aesthetics are all here, but each track feels larger and more bombastic than ever. “Reunion” is an effective track, ruminating on familiar territory from 2008’s Saturdays=Youth; nostalgia for youth, only this time around with heavier soaring synths. And, there is no better example for magnifying the familiar than on “Wait”, with it’s wistful Pink Floyd-like acoustic guitar riff, and high-pitched vocals elevating the song into something bigger and better than any songs off Gonzale’ previous albums.
Hurry up, We’re Dreaming, like almost every “indie” album recorded this year, adopts nostalgia as the basis from which to create, but what makes Gonzalez unique is his ability to dig deeper into the music and memories of his youth and not only move forward with it, but transcend it.
STRFKR: LIVE AT BOWERY BALLROOM 9/17
Starfucker, also known as STRFKR, formerly briefly known as Pyramiddd, performed to a sold-out Bowery Ballroom on Saturday night. A far cry from the Nachbar show I organized in 2008 (link) and even the Mercury Lounge performance of 2009 (link). How things have changed…bigger venue, bigger sound, bigger crowd, and even a bigger band…but there was one major deficiency. Ryan, the face and frontman of Starfucker, is gone. Starfucker may have started as a solo project of Josh’s, but for anyone who had seen them live, Ryan was the center of attention. For those that had never seen Starfucker before, the absence is really no loss. The band sounded fantastic, Shawn and Josh both stepped up to share duties that the comically bad dancer Ryan once alone bore and had I not known better I would think they’d spent years with this approach. Call me an old man, well-removed from the loop, as I was unaware that in early August, Ryan had announced his departure from the band to focus on his solo career. It’s unfortunately hard to recover from an unexpected blow of that caliber. I wasn’t prepared.
Nevertheless, the band DID sound amazing. Starting off with the their first ever single, German Love, the band instantly drew the crowd in. Though in essence a simple and pure pop song, when combined with a rad laser show, harder-than-anticipated synth beats, and a crowd of primarily 18-20 yr olds, a pit was bound to erupt. It was, in fact, in many ways, one of the most aggressive shows I have seen in New York, and it was from the first note. My girlfriend and I were literally forced from front row, center stage to fifth row, stage left by the time German Love had finished. Growing up going primarily to punk shows, I loved it. The energy of the band and the crowd ramped up quickly and never faltered. My concern that the show would lack energy, sweat and dancing without Ryan was quickly alleviated.
Starfucker
Beat Connection
Alexico
"you have punk rock, you have rock, you have blues, you have soul, it’s all disco.” https://www.youtube.com/watch?v=MUOsztgBE-I
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