It was another frigid night in New York City. The chill of the East River winds blew down the streets of Williamsburg like a repo man on a mission. Turning the corner onto Wythe, you could see the line in the distance. The people were coming out of the woodwork to see The Ruby Suns/Toro y Moi.
It may not come easy, but no one in the band Miike Snow, is actually named Miike Snow. The members are Andrew Wyatt, Christian Karlsson, and Pontus Winnberg, who formed the band in 2007. With the success of their self-titled album of 2009, Miike Snow has found its way into the ipods of young and old. The hit single “Animal” has been the subject of much acclaim, along with the tracks “Burial” and “Black and Blue”.
Miike Snow opened up a two day stop in New York City, playing with Delorean at Webster Hall. The group, joined by 3 extra touring members opened the fog infested stage behind plain white masks. The immovable, expressionless masks combined with an impressive light show to create an eerie, entrancing concert. After sufficiently creeping out a majority of the under 21 crowd, the members de-masked and continued the music.
If you’ve been trapped in a bunker for the last few months, you’d be wise to get your hands on some Miike Snow and embrace the bouncy electricity. Although their album delivers a number of catchy winners, the live show is unbeatable.
Delorean opened. Concert openers from the beginning of time have been hit or miss. Much like drawing out of a hat, you never really know what you are going to get. Delorean just happens to be one of the times that you draw a winner. Most likely 6 months from now they will be back in New York headlining, and it will be sold out before I can see them again. Their album “Subiza” is out now, and you can catch them on the rest of the Miike Snow tour.
This was my first time to Webster Hall – Either Miike Snow is reaching the demographic of 18-19 year old females, or the venue attracts them, but I will just apologize if you fall into that demographic, because you are more or less the most annoying people to be at a concert with. Just saying.
The month of March is always accompanied with madness. The NCAA Tournament rouses the spirits of the nation, evoking crowds of painted faces, and mustachio’d fans. But this year, it’s not just the tournament that is bringing forth the face paint and mustaches. It’s the bawdy, unrelenting circus reverie that can only be experienced when Man Man takes the stage. Like Jackson Pollack painting set to music, Man Man is pure insanity, leaving patrons wanting to tear their clothes, and make a mess.
Man Man, a collective of facial-hairily gifted musicians, came to New York University to play before the Ivy league crowd last week. They hail from Philadelphia, where they have been making music since 2004. Somewhere between Vaudeville, side-show, and experimental, the live performance is sure to impress, if not leave you covered in sweat, or other strange liquids. After the success of their CD, Rabbit Habits (2008), Man Man have seen a rise in popularity. However, with Man Man, the live show is requisite. Digital recording cannot capture the chaos of the stage, the awesome maddening imagery set before a wily crowd of drenched moshers.
The band is made up of Honus Honus, Sergei Sogay, Pow Pow, Critter Crat, and Chang Wang. Behind the pseudonyms and war paint, lies a band of men, delving into the unknown. Combining horns, piano, and an array of percussive junkyard instruments, Man Man creates an indescribable genre of music; not pretty, but evincing man’s primitive desire to get weird. And, with titles like ” 10 lb. Mustache”, and “Engwish Bwudd”, you know you are in for some surprises.
Despite their name, openers, Born Ruffians are anything but. They are the vanilla version of Vampire Weekend with intonations of Dave Langstreth (Dirty Projectors). Vampire Weekend is all but a sad state of affairs. Although they may be invited to everyone’s playlists these days, I believe their ship has sunk. And Dave Langstreth’s voice is the only thing keeping DP’s from being the best band around. But, Vampire Weekend are selling out every ticket they can think up, and people are eating up the Dirty Projectors, so the Born Ruffians are on to something. However, history has a pattern of allowing lame bands/singers through the door in small doses. When these get carbon copied, they fall by the wayside. Unfortunately for the Born Ruffians, the Ivy League pop rock genre is being heavily monopolized. That and, anything poppy before Man Man should have been boo’d off the stage, but the clean cut NYU folk seemed not to mind. They are Ivy League after all, aren’t they?
As the final stop of their recent tour, Akron/Family doted their good ol’ indie sound on the hip denizens of Brooklyn. The sold out show at the Music Hall of Williamsburg was everything one could dream of with the grouping of Akron/Family, Warpaint, and Please the Trees. Akron/Family (don’t pronounce the ‘slash’) is a threesome from well, not Ohio. They have been a part of the burgeoning indie scene in Brooklyn for the past few years, and it’s members still call it home. It’s indie rock at its purest. Unexpected, odd, and just superfluous enough in its edginess, without overstepping the boundary into pure mayhem. They dove into a few new pieces, but mostly stuck to work from their latest album, Set Em Wild, Set Em Free. Which is precisely what they deliver in a live setting. A wild, chantable, sing-along experience without the campfire or a bed time. The theme of the show was “F*ck the Weekday”, as they began their set after 11:00pm on a Wednesday, but it’s New York, and Brooklyn no less, so what do you expect?
The three band members share the stage, and share the microphones, contributing their voices in each song. Imagine the distorted sound of Weezer, clashing with the absurdity of of Montreal, with flourishes of folk, hip-hop, and all that’s in between. Akron/Family’s ability to blend electronic sounds with their seemingly tactile harmonies, creates a great balance between man, and man-made.
Though this show concluded their tour, hopefully we can expect another album from Akron/Family in the near future.
Warpaint, a four-piece band from L.A., primed the stage with their sultry, pajama-clad jams. Call it psychedelic, call it sexy, call it what you will, whatever is going on here, I want more of it. I have no aversion to all girl bands, and Warpaint gives no reasons to complain. The reverb suspends the sound in a murky haze, with pounding drums in the background. Warpaint is both, exactly what I want to hear on an acid trip, and what I would want to hear if I was deep sea diving. Anything reminiscent of the unknown, dark, mysterious, and curious. These girls invite you to follow them into the rabbit hole, and I’m following their lead.Their EP, Exquisite Corpse is out now, and you can catch them all over SXSW in the coming weeks.
Hailing from the Czech Republic, Please the Trees kicked off the set. Although they traveled from afar, their sound fits in just right in the states. Lead singer, Vac Havelka, has a bit of an Eddie Vedder resonance in his voice, without all the parodied hoots and hollers. Pure and simple folk-rock, but instead of having its roots in the American Frontier, its in the Czech frontier, which is somewhere between the Hapsburgs and the Franz Ferdinand I.
Czech Republic: The Final, Final Frontier.
There are so few words capable of capturing how good Andy McKee is at guitar. He is possibly one of the best living acoustic guitarists, and yet somehow relatively unknown. Despite receiving over 28 million views on his youtube video “Drifting”, the Topeka, Kansas native is still under the radar. I discovered him a few years ago, searching for a decent version of Toto’s “Africa,” and was delighted to see Andy’s acoustic arrangement.
Andy McKee is simply a genius. And although seeing a genius in action tends to inspire, in the case of Andy McKee, any aspiring musician may just want to lay the axe to rest. A master artist on the strings, Andy McKee puts some of the famous names to shame. The reality is, talent like this demands respect, even if it means realizing I will never be that good.
McKee kicked off his two-year tour at the Highline Ballroom in New York City, the first show promoting his new album, Joyland. Seeing Andy McKee live is a beautiful experience; it’s more than a show. It’s like getting to see Michelangelo work on the Sistine Chapel; truly an artist at work. The guitar simply is an extension of his body. McKee also has mastered the Harp Guitar, a 6-string guitar attached to an added body with bass strings, allowing for a variance of sound and a further showcase of talent. As a Solo/Acoustic/Instrumental musician, McKee has no trouble keeping the audience captivated for the entire set, and leaves people buzzing long after the curtains close. The music speaks for itself.
A simple Youtube search of “Andy McKee” will confirm.
Johnny Dickinson opened, playing a set of folk tunes from all over the world. Primarily known for his slide guitar abilities, Dickinson delivered a soulful array of songs. Calling him a talented singer, songwriter, and guitarist is an understatement. He was the perfect opener for a night of superb musicianship.
Here is McKee’s “Drifting”
Here is a cover of “Africa” by Toto
Here is a cover of “Everybody Wants to Rule the World” by Tears for Fears.
Here is an original called “Friend I’ve Never Met”, on the Harp Guitar.
www.highlineballroom.com
431 West 16th Street
New York, NY 10011-5892
(212) 414-5994
Hoping for Andy’s Arrangement of “Caribbean Queen”
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Made up of an all-star cast of musicians, the Tangiers Blues Band rolled and rocked the crowd at Joe’s Pub last Sunday. The 8 piece ensemble, fronted by a bedazzled and pimped out singer named King, brought the sounds of the South to the Big Apple. Playing TBB originals, blues covers of “My Sharona,” and “Fight for your Right to Party,” along with classic blues riffs, enough soul was delivered to move the building.
Mumford and Sons played the sold out Bowery Ballroom with Freelance Whales last Thursday. If Mumford is coming anywhere near you in the next few months, buy early. The $12 tickets were going for over $100 day of the show.
If you haven’t heard of Mumford and Sons by now, you should get yourself in gear. The London-based foursome might be this year’s best new act (despite making serious moves last year). Their album, Sigh No More, just came out in the states, and I fully endorse a swift purchase/listen. Their music is difficult to classify; it’s like an apocalyptic hoe-down. Led by Marcus Mumford (vocals/guitar/drums), the band harmonizes the foreboding and introspective lyrics to irresistibly danceable jigs.
Their magnum opus to date is “Little Lion Man,” which irreverently screams “it was not your fault but mine/it was your heart on the line/I really fucked it up this time/Didn’t I my dear?” Giving decidedly religious lyrics, an ironic breath of a good old-fashioned expletive. In many ways, it’s the irony that makes Mumford stick out. It’s unusual to hear the banjo in modern rock without the band trying too hard to be “indie” (see Freelance Whales). It’s also unusual to put deep, self-reflective lyrics to backwoods, bluegrass jigs. Although, despite the terrain being somewhat foreign, the product is beautiful. Each member contributes equally to the sound, interweaving quiet moments with bellowing harmonies.
At one point between songs, Mumford noted, “this all seems so serious.” Take it as it lies, it is serious. I felt caught between wanting to clap along, and thinking about my own failures. But it is not a sense of awkwardness I was left with, but a reassurance that it is possible to make good music with a message. Whether that message resembles a Cormac McCarthy novel, makes no difference.
The opening act, Freelance Whales, are New York locals making a name for themselves as well. They will be releasing their upcoming record in March, so stay tuned.
A few caveats: There is a trend in music these days, to have a band with some novelty (an accordion player, lots of people on stage, two drummers, etc.). Freelance Whales, while quirkily breaking the mold of what a band looks like, gets close to going overboard.
Featuring a banjo, mandolin, and some strange accordion might work if it adds something to the music, but when playing it gets lost in the confusion, the novelty loses its charm. All the cutesy instruments seem to say, hey, look, we play cutesy instruments. They also switch instruments every song, which, while a great way to show off, conveys a disastrous flow to the set. Lastly, giving everyone in the band a microphone can be deadly. It’s a live-or-die maneuver and should be done with caution.
That said, Freelance Whales showed some promise. They have a quaint, indie-pop sound, and are trying some positive things. Despite a busy set, the young band cares about their craft. People are talking about the Freelance Whales. And where people are talking, some people are inevitably listening.
6 Delancey Street
New York, NY 10002-2804
(212) 533-2111
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Imagine the Pickin’ on Series putting Cormac McCarthy novels to bluegrass tunes…Last week, while most of the east coast remained buried in “snowmaggedon”, The Editors played to a globally warmed LA crowd. Filling the historic Wiltern Theatre with deep industrial beats and tasteful synth, The Editors led a veritable union of 80′s and modern rock. Blending sounds the likes of Interpol and Depeche Mode, they brought the life of London to the west coast stage. With their third and latest album “all four members were keen to make a far more electronic record, [and] were determined to ‘give the machines a human feel’” says lead singer Tom Smith.
As opposed to bands who hide behind computer generated music, The Editors remain true to their words, bolstering the human elements of their sound through the use of electronics. Not surprisingly, the band’s stage presence is solid, combining all the ingredients of a good concert. Animated movements, bright lights, humility toward their fans.
The set was opened by hometown act, Princeton, followed by The Antlers. You can catch Princeton in LA’s Silverlake scene (and I suggest you do). Though still young, Princeton exudes a calmness that comes with maturity. Bands that are sure of themselves tend to do quite well, and Princeton acted accordingly.
The Antlers, following a successful year with the release of Hospice, are finding their footing in the music world as well. Growing in popularity, it won’t be long until they are headliners, so catch them while you can. The Brooklyn based three-piece act is dynamic, ambling between soft and epic; grandiose and minimal. Expect: Slow, long buildups ensuing, massive cymbal crashes, and messy distortion – ebbing tides of silent sadness and powerful crescendos.
3790 Wilshire Boulevard Los Angeles, CA 90010 (213) 388-1400
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http://blog.lp33.tv/festivals/the-editors-live-at-the-wiltern?ref=lp33&title=1
Colloquially known as “New York’s finest dance band,” Duet, left no window unfogged at their latest show in Williamsburg. Pumping unadulterated saxophone into a healthy mix of keyboard and drums, Duet brought the crowd to life with both originals and covers. Duet consists of three members (that’s right, 3): Tyler Schwartz (Sax), Dominic Fallacaro (Keys), and Aaron Steele (drums). The trio takes popular songs and turns them into jazzy-dance beats, fit to get people of all ages on the dance floor. E.g. “Toxic” – Britney Spears, “Cry Me a River” – Justin Timberlake, “Gangsta’s Paradise” – Coolio, and “Party in the USA” – Miley Cyrus, to name a few.
Duet presents a rare opportunity to unabashedly dance, sweat, and enjoy the close confines of other warm bodies. Additionally, Duet prides themselves on playing shows with ridiculously long sets, taking the party deep into the night.
Too sweaty for decent photographs.
A week ago, if you told me you’d give me $10,000 if I could name one xylophonist, you would keep your ten G’s. This week, I’d be rolling in the dough, because not only can I name one, I can name the world’s greatest.
Sometimes serendipity smiles down upon us. Browsing books in the “Trivia” section of Barnes and Noble (Upper West Side, Lincoln Triangle), I hear over the loud-speaker, that a concert is starting in the performance room, “[jibber-jabber-jibber jabber]…world’s greatest xylophonist.” Naturally, like a moth to bright lights, I head over. Not only do I have an affinity for superlatives, I am inherently curious about novelty instruments.
Barnes and Noble hosts events where authors come to promote their books and accompany their talk with performances. David Byrne (Talking Heads) came not long ago promoting his book Bicycle Diaries. Fortunately for me, world-class xylophonist, Ian Finkel, was promoting his new book, You’re Not Supposed to Be Here, a biographical commentary on a musician’s travels all over the world.
Ian Finkel has been playing the Xylophone since he was 19. He practiced 8 hours a day for years (now only 3-5 hours a day). That is how you become the best. And yes, he is the best. Supported by a cast of talented jazz musicians, Finkel usually plays luxury cruises, affording him the ability to travel the world. However, with such a limited market, Finkel has been called upon to write scores, and compose various works throughout the entertainment world. It doesn’t hurt also that he is the son of the actor, Fyvush Finkel, who you may know from “Boston Public”, or “Picket Fences”. Finkel shared some excerpts from his book, but more importantly, played a few numbers to awe the crowd.
Now you know.
In the interest of Xylophones, enjoy…
Xylophone: Probably the first “X” word I ever learned.
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