Dntel and friends jam at the EARL

Live review: Dntel, The One AM Radio, Geotic at the EARL in Atlanta, 8/21/11

Jimmy Tamborello is the one-man-band known as Dntel, now touring in support of his recent EPs, After Parties I & II (Sub Pop). Tamborello is not new to the indie electronic music scene. Maybe best known for his collaboration with Death Cab for Cutie’s Ben Gibbard on the Postal Service album Give Up, he has been a well-respected DJ/artist for nearly 20 years.

Packing little more than a Mac and a synth, Dntel brought heavy atmosphere to the EARL, performing many well-known songs from his repertoire, including “(This Is) The Dream Of Evan And Chan,” “Rock My Boat,” “Dumb Luck” and “Roll On.” During the show, Tamborello rarely looked up from his instruments, except to acknowledge applause with a glance and a finger wave. He seemed to be in the zone. Known for having guest stars sing on many recordings, he welcomed members of the opening acts to the stage to play guitar or sing at different points. All were talented and heightened the quality of his presentation.

On deck were fellow L.A.ers The One AM Radio, who brought their lush sounds to Atlanta. The trio, made up of Hrishikesh Hirway, Fontaine Cole and Scott Leahy, offered up a plate of delicious electronic indie pop (with one foot in the 80s). Musicianship, vocals and lyrics were all top-notch and most likely had many in the audience scratching their heads saying, “How have I not heard of these guys?” This was minimal gear night at the EARL, as The One AM Radio also created awesome sounds using next to nothing but raw talent. Hirway has singlehandedly made this group what it is since it's beginnings at Yale University back in 1999.

For some indie pop flavor, watch “Credible Threats”

Opening the show was the Will Wiesenfeld project Geotic. It’s actually a side project, because he has become associated with his main project, Baths. Wiesenfeld was alone on the stage with only a guitar and some pedals as the small room at the EARL slowly filled. Once in, though, listeners stood mesmerized at what this kid was doing. Ambient and atmospheric, the music was rich enough to fill the room and then some. On the self-released Mend from earlier this year Wiesenfeld must be asking himself, “Where are all the labels?” Or not. Whatever the case, this is some terrific sonic therapy for what ails you. For free downloads (donate, you slackers!), go to: Geotic.
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Death Cab for Cutie thrill Atlanta

Live review: Death Cab for Cutie w/Frightened Rabbit at the Verizon Wireless Amphitheatre in Alpharetta, GA 8/11/11

Ben Gibbard played like a man possessed Thursday night for Atlanta fans. Maybe that's why Death Cab for Cutie began the show with the eight-minute, stalker-inpsired "I Will Possess Your Heart." Gibbard sang, "You gotta spend some time, love / You gotta spend some time with me / And I know that you'll find, love / I will possess your heart" like it was the first time. Fresh and fantastic.

This night was also Gibbard's 35th birthday, would could account for his stratospheric level of energy. This, in turn, lifted the crowd's excitement level to almost similar heights. It's a beautiful thing to be witness to someone who is so in love with his career. The band is touring in support of their eighth studio album, Codes and Keys. The fans even interrupted the show to sing a loud "Happy Birthday" to the singer. He was happy. In between blistering versions of "Crooked Teeth" and "Long Division" was the new "Doors Unlocked And Open," which gets an easy vote for being great; a song that truly has all the ingredients of a hit. The quartet is rounded out with Chris Walla, the multi-instrumentalist/producer of many Death Cab creations. He took on the guitar, bass, keys and backing vocals. The rhythm section was a force, with the unassuming Jason McGerr on drums, who looks like the dude in the next cubicle until he gets those sticks in his hands (then he becomes cool). Nick Harmer is a monster on the bass and may be confused with a skinnier, more demonic version of Zach Galafianakis. And he plays that bass like a jackhammer.


"I Will Follow You Into The Dark" (Live in Atlanta)

While the highlights of the show are too numerous to list, "I Will Follow You Into The Dark" is surely close to the top. The Romeo and Juliet-like beauty was the sing-along of the night ("If heaven and hell decide that they both are satisfied / Illuminate the NOs on their vacancy signs / If there's no one beside you when your soul embarks / Then I'll follow you into the dark"). It's the ultimate love song.

With the new release, the band has evolved to new heights while maintaining some of the old magic, as heard in the title track, "Codes And Keys." Gibbard plays a beautifully choppy piano and sings his well-known insightful lyrics. This is a band that really has yet to be fully discovered by the average American radio listener. Soon, though. The set list pulled songs from nearly all Death Cab albums. During "We Looked Like Giants," Gibbard jumped on a hastily set up drum kit facing McGerr's kit. And the drum-off was on. Gibbard showed another musical skill and was not a slouch about it.

"A Movie Script Ending" (from 2002's The Photo Album) was another top choice for Death Cab fans. The band returned for a rousing encore ending with the gripping and beautiful "Transatlanticism." With it's haunting and repetitive chorus of "I need you so much closer," this was an apt ending to a special night.

Openers Frightened Rabbit earned their keep that night. Sadly, the band was totally unknown to most of the crowd, but surely gained some warm bodies for their fan club after that performance. Hailing from Glasgow, Scotland, they are doing that whole Brit/folk thing, with hints of Mumford & Sons (minus the banjo, plus some soul) and Arcade Fire (every once in a while).

Leader Scott Hutchison led the impassioned performance, supporting their latest release The Winter of Mixed Drinks. They were a grand complement to Death Cab and fans young and old realized that they just got a two-for-one concert.

Set List:

I Will Possess Your Heart
Crooked Teeth
We Laugh Indoors
Photobooth
Doors Unlocked And Open
Long Division
Grapevine Fires
Codes And Keys
What Sarah Said
I Will Follow You Into The Dark
Title Track
Little Bribes
You Are A Tourist
The New Year
Some Boys
Soul Meets Body
A Movie Script Ending
Cath…
We Looked Like Giants
Marching Bands Of Manhattan

Encore:

Stay Young, Go Dancing
Title And Registration
The Sound Of Settling
Transatlanticism

(Thanks to the bloggers at Death Cab for Cutie News for the set list)

The Wooden Birds in Atlanta

Live review: The Wooden Birds at the EARL in Atlanta, 7/17/11

Andrew Kenny and his Wooden Birds just wrapped their tour promoting the new release Two Matchsticks (Barsuk Records), a well-received and wonderful record. Upon their arrival in Atlanta, Kenny gushed over the EARL being one of their favorite rooms in which to play, even though it was barely half-full. Atlanta's loss. The Wooden Birds proceeded to put on a terrific show, with energized renditions of the album tracks from the new release.

Kenny has been around awhile and understands the ins and outs of playing clubs on Sunday nights and it apparently does not faze him. He was in the brightest of moods and carried on all evening with fans. Best known for his previous success with the American Analog Set, Kenny also recently worked with Broken Social Scene. Matchsticks is the follow-up to the Birds' 2009 release Magnolia, also on Barsuk.

The Wooden Birds began their set with "Folly Cub," then onto the single, "Two Matchsticks." The sound was rich and full - richer and fuller than the record, with Leslie Sisson and Matt Pond adding much to the mix. Many songs were treated to duet and/or harmonizing by Sisson and Pond, which beautifully resonated throughout the room. The band covered most of the new release and several from the first. Kenny also traveled back to the AmAnSet days more than once, as in the closing song, "Aaron And Maria" from 2001's Know By Heart. The bonus, here, is that the song transitioned into the Jackson Browne classic "Somebody's Baby" (Remember Fast Times at Ridgemont High?). It was a seemless transition and a great surprise.



To listen or buy music by The Wooden Birds, visit their website at www.thewoodenbirds.com.

The evening began with a short set from the "modern classical" Takenobu, an Atlanta trio playing violin, cello and drums. A superb lo-fi strings experience going on here which will surely get exposed when they get sufficient exposure.

Listen to "Fight To Make It Up"

Up next was the Atlanta outfit Lily and the Tigers, a self-proclaimed folk/gothic/indie band. The short and sweet "Goin" was performed first, an acapella, bluegrassy thing, which led into "Khatmandu." While the sounds were mellow, the group sounded smooth with singer Casey Hood exuding an Edie Brickell feel. This set provided a nice complement to the opener and headliner.

Listen or buy songs at amazon.com.

The Handcuffs: Worth the wait

Album Review

The Handcuffs: Waiting for the Robot, (OOFL Records) due 9/6/11

"Testing, testing / May I have your attention / We are The Handcuffs / This is a test" Chloe Orwell sings through her bullhorn on "This Is A Test." The good news is: they passed the test. Hell, they aced the test. The dynamic duo of Brad Elvis and Orwell are set to release record number three as The Handcuffs. The record is entitled Waiting For The Robot and is a thrill ride from the get go. Robot is the follow-up to Model for a Revolution (2006) and Electroluv (2008). Songs from both have been plastered all over TV and radio, some of which you may have heard. Influences are wide-ranging, with an iced blend of sixties, seventies and eighties sensibilities poured all over 2011 Chicago. It makes for a highly listenable concoction.

Elvis is a local legend, having been the drumming force behind The Screams, Big Hello, and The Elvis Brothers, before forming The Handcuffs with Orwell. He's been called a "four-handed drummer" due to his powerhouse skins skills that drive each song. Orwell's sultry and powerful voice is the perfect complement to that thumping. Describing the sound of The Handcuffs can be difficult, but to put it simply, they sound like The Handcuffs. That is, a glam-pop-rock inferno that dresses as loud as it sounds (and just as sharp). Having been compared to the likes of the Ting Tings, Sparks and T-Rex, the 'Cuffs offer so much more.

Mike Hagler (Wilco, Neko Case) has returned to produce alongside the Elvis/Orwell joint to create a terrific set of 13 songs that have the sheen, but doesn't ignore those dark and dangerous places. Ellis Clark (guitar), Alison Hinderliter (keyboards), and Emily Togni (bass), help to bring a full sound to those witty and intelligent lyrics, written mostly by Elvis.

"Dirty Glitter" kicks off Robot with a caffeinated shot of the Brad-Elvis-human-drum-machine and Orwell spouting seductive lyrics about being kissed "down to the floor." Good start. "Miss You On Tuesday" is a pop treat including every ingredient in the recipe for a hitmaker. The record flows with an energy that is fueled, again, by Orwell and Elvis. The full band feel is priceless here, though, with Clark, Hinderliter and Togni stepping up to complete a five-piece that should be touring the world right now. These three musicians are talented and seasoned and fit perfectly into the Handcuffs' scheme. And the guitar and bass on "Ooh Baby Baby" is as funky as it gets on Robot.

Listen: "Miss You On Tuesday"

"Eight Down" is a half-ballad that would sound wicked on a Cheap Trick album (listen up, Rick and Robin...maybe you should cover it some day). Elvis does a very rare and better-than-average singing stint with Orwell on "Baby I Love You" ("Put a gun in my hand, put a gun to my head / You've got to believe everything I've said is true / Baby I love you"). A clear standout is "Everybody Waves Hello," which amps up every aspect of the Handcuffs' talents and showcases that Brad Elvis humor by not stating the obvious ("Everybody took off their clothes / Then everybody put 'em back on / In between everybody had a good time / In between everybody had a great time"). Just think Waitresses squared and you'll get the vibe.

On the closing track, Orwell hits near-perfection with "The Scary Side Of Me." Discussions of love and hate and which one we should use radiate throughout this song. "I know the scary side of me," Orwell swoons, "A side I hope you'll never see." A beautiful song to learn, especially in today's America.

Overall, Waiting for the Robot is an outstanding offering from The Handcuffs, and any fan of glam or pop or rock or a combination of the three will find this thing irresistible. Listen to it twice through and you'll have more than one favorite new song. For more information on the new album and tour dates, go to: thehandcuffs.com.

Hospital Ships release stellar new album

Album Review

Hospital Ships: Lonely Twin (Graveface) 2011

Lawrence, Kansas-based Hospital Ships have set sail with a stellar new album. The band's second release, Lonely Twin (Graveface), finds Jordan Geiger exploring places he may never have been (and never thought he'd go). With this meloncholy and whispy release, Geiger sounds like a seasoned veteran, yet there is a freshness and beauty to most every song. Born and raised in the mid-Missouri river town of Boonville, Missouri, Geiger is a small town boy with indie rock aspirations.

Opening track "Love Or Death" is a psychedelic trip back to 1967 Beatles and sounds like an outtake from Sgt. Peppers. "Galaxies" offers up just enough sadness to make you take notice. The cello and keys add emotion to Geiger's excellent lyrical style on this wonderful song. His voice brings visions of Ben Gibbard (Death Cab For Cutie), and that's a good thing. It's not a difficult task to join Geiger in this "mood."



With "Carry On," the band emotes a near country feel, singing, "We will laugh til we cry and we'll drink til we're drunk." On "Anyone, Everyone," Geiger asks "Do you love, do you love anyone?" The songs evolves into a feedback jam before echoing out.

Fans of The Flaming Lips, Bon Iver and Fleet Foxes should dig the hell out of Lonely Twin. To call the Hospital Ships' sound chilled-out pop is not really a fair statement. In fact, Geiger has created a sound and a feeling of sonic ecstasy that pulls you in and keeps you warm for forty minutes.

For most of the album, the pace is consistent and measured. Then there's "Reprise," clocking in at just over two minutes. With it's high energy, fuzzed out guitar and punk-like repetetive lyrics, it will more than likely get your foot to tapping. Fast.

Jordan Geiger and the band have evolved since the first release Oh, Ramona from 2008. The band has reached a level of maturity that usually comes several albums into a musical career. Maybe he's gained that maturity from his lengthy resume of bands, inlcluding Minus Story, Shearwater, and The Appleseed Cast. He recently recorded a session for National Public Radio’s Tiny Desk Concert series which is set to air soon.

Hospital Ships are preparing to tour with fellow Lawrence band The Appleseed Cast. Catch them in a city near you:

July 29th: Austin TX @ Waterloo Records (instore)
July 29th: Austin TX @ Mohawk Inside w/Paper Hotel + White Hotel

With The Appleseed Cast:

Aug 18 - Norman, OK @ Opolis
Aug 19 - Dallas, TX @ The Loft
Aug 20 - Austin, TX @ Mohawk
Aug 21 - Houston, TX @ Fitz
Aug 22 - New Orleans, LA @ Republik
Aug 24 - Orlando, FL @ Social
Aug 25 - Miami, FL @ Boiler Room
Aug 26 - Tamoa, FL @ State Theater
Aug 27 - Atlanta, GA @ Masquerade
Aug 28 - Asheville, NC @ Grey Goose
Aug 29 - Nashville, TN @ End

Company of Thieves steal the show in Atlanta

Live review: Company of Thieves / Ben Deignan / Sleeper Agent at Smith's Olde Bar in Atlanta, June 18, 2011

Chicago's Company of Thieves know how to entertain. On the road with their
sophomore release Running from a Gamble, this outfit also knows how to rock. Leader and happiest-person-on-the-stage Genevieve Schatz puts the E in energy by immediately and excitedly conversing with the crowd. "It's been way too long since we were here last!" she yelled. The fans agreed. With a voice reminiscent of Bjork, Nina Diaz (Girl in a Coma), and a pinch of Edie Brickell, it succeeds as a powerful instrument.

Finally reaching the stage at around 11:40, the band roared through a loud and tight set, pausing frequently to check on the audience and discuss old times ("Who was at Vinyl the last time we were here?" was answered with several claps and yelps). Playing selections from Gamble as well as their 2009 debut Ordinary Riches (both on Wind-Up Records), crowd faves were clearly "Oscar Wilde," "Pressure," and the new and awesome "Death Of Communication."

Throughout many comings and goings of band members, Schatz is currently joined by bandmates Marc Walloch (guitar), Chris Faller (drums), Marcin Sulewski (bass), and Eitan Bernstein (keys). The five seem to get along famously and that comes out in their music, which is free and soaring. Company of Thieves are gaining attention with this release and have on their resume opening slots for OK Go and The Hold Steady, as well as appearances at Lollapalooza, Live From Daryl's House, and Last Call With Carson Daly.

Catch the band on the road through the end of August: tour dates.

Kicking off the evening was the Kentucky band Sleeper Agent. These youngsters woke up the crowd and primed them for a high energy show. This six-piece from Bowling Green just came off a performance at SXSW and an opening slot with Cage the Elephant and are showing their younger fans what punk was all about. The show was raw and intense and the kids had a blast. They will soon be the headliners.

The on-deck slot was reserved for Atlantan Ben Deignan, whose passion for his music was flowing over. The charismatic singer was on from start to finish and fans were dancing right along with him. With a powerfully melodic voice, he's an amalgam of Justin Timberlake, Rob Thomas, and Adam Levine. Furthermore, he displayed the moves and mannerisms of Prince and James Brown while going all Stevie Wonder vocally once in a while. Not bad for a white boy. Still waiting for that big record label break, Deignan has released a CD and a brand new DVD, Keep On Keeping On, which will surely promote his great talent.

Deignan covered Kanye West's "Stronger" and did not disappoint. Not to be shortchanged, his band is a force to be reckoned with. Nothing short of a powerhouse, these guys could give the Roots and run for their money.

The Rosebuds share custody of Atlanta fans

Live review: The Rosebuds and Other Lives at The EARL in Atlanta, June 16, 2011

Imagine working with your spouse 24/7/365. Never a break. But the product you make is in demand and made of high quality materials. This has been the situation for the Rosebuds' Kelly Crisp and Ivan Howard for about the past ten years. The North Carolina duo is on the road in support of their new release, Loud Planes Fly Low (Merge). Sadly, not all business ventures work out. The married Crisp and Howard called their union quits recently, but the Rosebuds continue churning out that great product. You can hear the heartache in "Worthwile" and "Come Visit Me," but there is also joyous abandon, as in the upbeat "Woods."

Not strangers to Atlanta, Crisp and Howard performed like locals playing a gig at a friend's house. Constantly chatting with fans, high-fiving, talking about old times, the band had a great time (and so did we). Throughout the evening, Crisp's birthday was discussed frequently (it was to hit at midnight), and as they wrapped a fine show, a small birthday cake with candles was brought to her on stage and "Happy Birthday" was sung with vigor by her fans.

The set included several exquisite selections off the new Loud Planes, sprinkled with old faves such as "Drunkards Worst Nightmare," and "Nice Fox" (with the crowd helping out, "And it don't mean nothin' at all"). The EARL was packed with happy fans who sang, danced, and reminisced with the group. Crisp and Howard both possess fine vocal talents, but it was the harmonizing that came off the strongest. They traveled effortlessly between folk and rock, hitting everything in between.

After all four consumed the birthday cake, Kelly Crisp announced, "Well, that's it. I guess we'll just hang out now." And she waded into the crowd of friends.

Opening band Other Lives gave the fans a two-for-one show with a fantastic set of something that sounded like a mix between My Morning Jacket and Radiohead, if you can imagine that. With the recent release of Tamer Animals (TBD), the folk/rock outfit from Stillwater, Oklahoma is making a name for itself with sweeping, fantastic songs that you wish would never end. Singer/guitarist Jesse Tabish possesses a strong voice which perfectly complements the band's orchestral sound (and vice-versa).

Originally an instrumental-only band known as Kunek, Tabish made the smart decision to beging singing and never looked back. The multi- multi-intrumentalists in the band worked double-time playing guitar, bass, drums, xylophone, trumpet, vibraphone, keyboards, a laptop, cello, a pair of deer antlers crafted into tamborines, and more. Fascinating just to watch, Other Lives provided a lush sound that easily trumped the visuals.

Find the Rosebuds (on tour this summer with Bon Iver) and Other Lives in a town near you and hear their sounds by clicking here: Rosebuds tour / Other Lives tour.

Mogwai redefine loud in Atlanta

This five-piece band from Glasgow, Scotland must be huge fans of Spinal Tap because they had it turned up to 11 all night. Mogwai is known for the quiet-loud-quiet pattern in many of their songs. But for Atlanta fans, it would be quiet-sonic boom-quiet, which only served their music better. On the road in support of their awesomely titled seventh studio album, Hardcore Will Never Die, But You Will (Sub Pop), the band is enjoying critical success and growing their fan base in every town. Last year's Vincent Moon-directed Burning was Mogwai's first concert film (accompanied by the Special Moves soundtrack) and brought the band to a new level of fame, showing them doing their thing live.

To clear things up, Mogwai means "evil spirit" in Chinese and was also the name of the creatures in the film Gremlins. It has been said that the band had always planned on choosing a better name, but never got around to it. Mogwai is one of the tightest instrumental rock outfits playing today (they've also been called post-rock). Mogwai's style was influenced by such bands as MC5, My Bloody Valentine, Sonic Youth, and Fugazi. Founder Stuart Braithwaite led the band through a stunning set at the Center Stage in Atlanta. Several tracks were heard from the new Hardcore, but they did mix in many from previously releases.



The fabulous "Mexican Grand Prix" exhibits a rare set of vocals for Mogwai on their usual all-instrumental landscape of sound. Although the listener may not be able to decipher what leader Stuart Braithwaite is actually saying, it's effective nonetheless. Other Mogwai selections you should know by heart were "You're Lionel Richie," "Take Me Somewhere Nice," and "Rock Action." Incidentally, Rock Action became the moniker for Mogwai's own record label featuring several diverse acts including Scotland's own Errors.

Errors are currently touring with Mogwai and opened the show on this night in Atlanta. A promising group known as "post-electro," they were the perfect fit for a Mogwai show. Errors have two fine LPs under their belt: 2008's Its Not Something But It Is Like Whatever and last year's Come Down With Me.

Catch both bands on tour now: www.mogwai.co.uk

The Cars resurface with new release and hit the road

After fans waited 24 years - assuming that the Cars would never reform - it has happened. Today marks the release of the first Cars record, Move Like This, since 1987's Door To Door. Sadly, singer and bassist Benjamin Orr passed away from cancer in 2000. The four remaining original members, Ric Ocasek (vocals, guitar), Elliott Easton (lead guitar), Greg Hawkes (keyboards), and David Robinson (drums), will hit the road tonight for a quick U.S. tour.

Fans are hopeful that if all goes well, the band will return to the road and visit those cities they missed in May. Move Like This finds the Cars right where they left off over two decades ago with punchy power pop, great guitar licks, and Ocasek's matter-of-fact vocals. These cuts could easily have been outtakes from any number of Cars LPs, yet their sound and attitude is all 2011.

Move is full of gems that - if you liked The Cars before - will surely please you. "Blue Tip" and "Sad Song" have been circulating the internet for a few months now, but there is so much more here. "Too Late" is a mid-tempo charmer that showcases some nice harmonies. "Soon" finds Ocasek in an effective slo-mo love song. "Sad Song" kicks off with hand claps sounding almost too similar to 1979's "Let's Go," but soon escalates into something bigger.

"Free" is surely on the release schedule as a single. Guitars. Harmonies. Cars. Overall, true fans will not be disappointed. This is as fresh as the Cars have ever been. When Ric sings, "Must this drag on forever?" we certainly hope so.

The band is hitting the road tonight in Seattle and will end up on the 26th in their hometown of Boston.

May
10 Seattle - Showbox SoDo
12 Los Angeles - Palladium
13 Oakland - Fox Theater
15 Denver - The Fillmore
17 Minneapolis - First Avenue
18 Chicago - Riviera Theatre
20 Toronto - Sound Academy
22 Philadelphia - Electric Factory
23 Washington, DC - 9:30 Club
25 New York, NY - Roseland
26 Boston - House of Blues

For more information, go to http://www.thecars.org/.

The Twilight Singers show Hell how it's done

Live Review: The Twilight Singers at The Masquerade in Atlanta, 5/5/11

Greg Dulli is the man. The man, that is, in charge of his band, his sound, and his life. That was not the case a few short years ago. After enjoying success with his grungy Afghan Whigs in the nineties, he joined the ranks of the lost with an alcohol and cocaine binge that is still talked about. But he has come through it wiser, more focused, and maybe a tad bit darker. The new Twilight Singers album, Dynamite Steps, is a fine set of songs that has brought Dulli once again to the forefront of respected musicians. And of course, there’s the voice. The gruff, sometimes scream of a voice exhibits emotion that few others only dream of putting on a record.

The first single from Dynamite Steps is “On The Corner,” a wonderful amalgam of a song that sounds like all the ingredients from his tumultuous life have been mixed in. It is, however, an excellent track which showcases his terrific band, his guitar skills, and again, that voice.

He also is a perfectionist. From his attire (all black), to his directions to the band, then to the audience (“Gotta turn those flashes off. Blinding me!”). And after that, not another camera flashed. Stories of Dulli jumping off stage to beat down some big mouth have been circulated quite frequently. He could be compared with Morrissey, who has the same personality, wears similar clothing, and sings about his inner demons, only with a British accent. He is also a fan of the covers. On at least four occasions, he gave the fans a mash up. When he began singing the Beatles’ “All You Need Is Love” then transitioned into Twilight’s “Love” from 2000, it worked wonderfully. Most people do not realize that Dulli provided the singing voice of John Lennon in the Hamburg-era Beatles movie Backbeat. Love Affair’s 1968 hit “Everlasting Love” was mixed with “Esta Noche,” and done quite well. During “The Killing,” Dulli sang a few bars of Echo and the Bunnymen’s “The Killing Moon.” Incidentally, Ian McCulloch and the Bunnymen were playing upstairs at the Masquerade (“Heaven”) this very evening. Dulli and the boys were content to play the smaller, more aptly-named downstairs club ("Hell”). And what would any rock show be without a snippet of Pink Floyd’s “The Wall.”

The evening was filled with a perfect balance of Twilight Singers and Afghan Whigs tunes. The fan base was strong and Dulli was on top of his game in all aspects. He started off the show by saying, "Good evening, Hell," and it only got better from that point. Other song highlights included "Gunshots," "Teenage Wristband," "Last Night In Town," and "Get Lucky."

Opening the show were Margot and the Nuclear So and So's touring in support of their lastest album Buzzard. The Indianapolis band provided a great rock intro to the night and it was apparent that their fans were in the house.

For more information and to catch this hot tour, go to www.thetwilightsingers.com.

Cut/Copy transport Atlanta fans back to the 80s

Live review: Cut/Copy, Holy Ghost! at The Masquerade in Atlanta, 3/28/11

Australia’s Cut/Copy brought the eighties back to Atlanta on the kick-off to their world tour Monday night. It was all synth and hooks as near-riotous fans jumped and jammed to Cut/Copy’s reinvention of the New Wave decade. Obvious influences include Depeche Mode, New Order, and several other synthpop/new wave/post-punk bands you may remember from back then. Strangely enough, it works.

Touring in support of their third studio album Zonoscope (Modular Records), Cut/Copy are just out to make you dance. While selections were performed from their first two releases, Bright Like Neon Love (2004) and In Ghost Colours (2008), the night belonged to Zonoscope. The first single, “Need You Now,” is a pop song that no one can deny, as witnessed by the fanatical jumpers at the Masquerade that evening. The video is a mish-mash of athletes – in full uniforms and pads – playing every sport but their own, as the band plays their instruments in the midst of it all.

Leader and chief songwriter Dan Whitford (vocals, keyboard, guitar) has fashioned some musical gems and evolved beautifully over three studio albums. Remaining band members include Tim Hoey (guitar, sampler), Ben Browning (bass), and Mitchell Scott (drums). While they have honed their dance pop sound towards a more middle of the road dance pop sound, there is still that déjà vu for the eighties. Some may argue that Cut/Copy have simply copied the awesome sounds of that era, but it’s more of a 21st century eighties sound. Which is better. Besides, imitation is the sincerest form of flattery, right?

After playing the Ultra Music Festival in Miami two nights earlier, Cut/Copy traveled to Atlanta to officially kick off their tour. “How do you all feel about Miami?” Whitford asked the crowd. The response was a mix of boos and cheers. “Well, we just played there and they seem like phoneys. You guys in Atlanta are real. Our kind of people.” This, of course, brought roars of approval from the fans. Talk about telling us what we wanted to hear.

“Take Me Over,” also a new track, was played with the gusto of any live song you’ve ever heard. The sold out Masquerade was under fire and the floor of the place somehow survived, as did all of us lucky humans inside that cavernous place (on the second floor ironically called Heaven). It was a good show.

Openers Holy Ghost! from Brooklyn stole the show before the headliners even got near the stage. With their highly danceable, new disco sound, Holy Ghost! brought down the house with such great songs as “Wait And See,” “Do It Again,” and “I Will Come Back,” which may be reminiscent of something off a Naked Eyes album from 1983, but way better.

Touring in support of their new self-titled record, Holy Ghost! appear to be hitting their stride as an in-demand band. Alex Frankel repeatedly thanked the heaving audience and passed along his appreciation for the “great fans” of Atlanta. Backed by James Murphy’s DFA Records, this band is in good hands and will undoubtedly gain more positive exposure as the tour continues.

“25 On” and The Rainmakers are going strong

Album review: The Rainmakers: 25 On (Bat Records), released 3/14/11

Hailing from Kansas City, Missouri, The Rainmakers have always lived up to the “Show Me State” motto (in a define-rock-and-roll-for-me kinda way). Forming as Steve, Bob & Rich in Kansas City in 1983, Steve Phillips (guitar, vocals), Bob Walkenhorst (drums, vocals), and Rich Ruth (bass, vocals) brought a raw energy to the local music scene. In 1986, the band released their first big-time, self-titled album on Polygram Records after adding Pat Tomek to drumming duties. It cracked Billboard’s Top 100 Albums and even made it into two of Stephen King’s novels (The Tommyknockers and Gerald’s Game).

Overseas fans loved them even more, with their debut single, “Let My People Go-Go,” making the UK Top 20. But Norway fans would take it to a higher level. That is the country in which The Rainmakers are still huge. In fact, the newly reformed band will embark on a two-week tour there beginning next week. Unfortunately, Steve Phillips is busy recording and touring with The Elders, a premiere Celtic band which has itself enjoyed great national success. Multi-instrumentalist Jeff Porter will fill in for Phillips on guitar, vocals, and an additional piano for the new release.

This year marks the 25th anniversary of that debut album, and the boys decided it would be a great time to put out something new. After a fourteen-year break, they have released what could be their most mature and soulful work to date. Timing is also ideal with their induction into the Kansas Music Hall of Fame earlier this month. The new album is entitled 25 On and it consists of twelve songs that run the gamut from a first class melodic rocker (“Given Time”) to a story of life on the road and the joy of finally getting back home (“My Own Bed”) to a wicked political stomper that begs Americans to work together (“Half A Horse Apiece”).

The second track finds Walkenhorst rhyming “ceiling” and “Vermillion” possibly achieved for the first time in music recording history (do the research). On “Turpentine,” the band grooves to a jazzy piano intro and a soulful wonder of a song as Walkenhorst sings, “Got the rollin’ bass, got the baritone / Got a ringin’ high tenor reachin’ Jesus on the phone / And a smooth lead singer got the women cryin’ / Sweatin’ salvation, turpentine.” This song is a prime example of Walkenhorst’s superb songwriting ability as well as showcasing the entire band’s superior musicianship and harmonies. It sounds like a gospel choir straight off the bayou. I dare you not to listen to this one five times in a row. But 25 On has it’s soft spots as well, as in “Baby Grand,” which will touch the heart of any father of a daughter.

The album closes with “Go Down Swinging,” a raucous tribute to life itself, if not simply a musical career. Walkenhorst channels his best gritty-voiced good ole boy blowing away that harmonica and professing, “If I go down, I’m gonna go down swingin’ / If I grow old, It won’t be gracefully / I’m gonna trip and fall, and pass it off as dancin’ / I’m gonna croak and moan, say it’s a new kinda singin’ / I’m gonna go down swingin’” as the rest of the band tries to keep up.

It sounds like the greatest of parties, but it also witnesses a singer and a band looking at what’s left of their lives. The Rainmakers have a multitude of fans around the world who will likely be transported back in time for a joyous musical experience with a band that has been there and back.

Dum Dum Girls take Atlanta

Live review: Dum Dum Girls, Reading Rainbow, Dirty Beaches at the EARL in Atlanta, 3/10/11

Influences on the musical tastes of Dum Dum Girls come from a long list of artists. Dropped names have included The Ramones, Patti Smith, and Iggy Pop. For the new EP, He Gets Me High (Sub Pop), Richard Gottehrer took the production reigns and created an exciting and fresh record. Gottehrer, who has produced the likes of The Go-Gos, Blondie, and The Raveonettes, has taken DDG a step further. Combining indie rock with sixties lo-fi, The Go-Gos these gals are not. With a darker and edgier sound than girl group predecessors, DDG are aiming at a whole new audience.

Taking the stage a bit after 11:00, DDG appeared at first to be walking straight out of the Robert Palmer video “Addicted To Love.” All four ladies were wearing black with serious glares shooting straight through the crowd. However, that image was quickly erased when the music started. Leader Dee Dee (vocals, guitar) has perfectly described the DDG sound as “blissed-out buzz saw.” That about sums it up. The remainder of the group includes Jules (guitar, vocals), Bambi (bass), and Sandi (drums, vocals).

The four-song EP was covered, which includes the songs “Wrong Feels Right,” “He Gets Me High,” “Take Care Of My Baby,” and the final song of the evening – and the most anticipated – “There Is A Light That Never Goes Out.” This cover of the Smiths classic has been covered many times, but never so well. Coming up on the 25th anniversary of the release of that album, The Queen Is Dead, the Girls have timed this one well. With their near flawless arrangement, terrific musicianship (Johnny Marr is blushing at the guitar work, here), and wonderful harmonies, the Girls succinctly capture the teen angst which was Morrissey’s intent with this track.

As the Girls wind down their tour next weekend at SXSW in Austin, they gear up for the European leg with the opportunity to gather new fans around the world. For tour information and song streaming, go to Sub Pop.

Opener Dirty Beaches brought his minimalist rockabilly performance. Basically a guy and a guitar, much looping was on the menu for the evening. His version of the Johnny Cash song “The Singer” was both entertaining and haunting. This set could be described as Twin Peaks weird. The only thing missing was the backward talking dwarf (I’m pretty sure he was in the back room). David Lynch, by now, is surely a fan. That being said, this set was hugely original and complemented the entire evening in a special way.

On deck were Philadelphia’s Reading Rainbow. The duo consisted of Robbie (guitar, vocals) and Sarah (drums, vocals) and at first glance appears to be a White Stripes wannabe band. A closer comparison might be with Mates of State. During some of their great harmonizing, a little X may pop into your mind, with memories of Exene Cervenka and John Doe sharing the mic.

Setting Sun’s Fantasurreal: Comfort food for the ears

New York’s Setting Sun have brought us a beautiful sound that combines several genres. Chief architect of songs Gary Levitt merges indie rock, folk, and maybe a dash of chamber pop in his creations. At times, listeners may think they're hearing Crosby, Stills, and Nash outtakes. Levitt’s layered vocals offer up wonderful harmonies that are complemented by lush instrumentation and sharp lyrics.

Setting Sun's fourth studio album, Fantasurreal, was released last summer (on Levitt's own Young Love Records) and is worth revisiting for those who enjoy discovering good music. The first single, “Make You Feel,” is a superb example of smooth harmonies, this time with partner Erica Quitzow (see Quitzow). When the pair sing, “No one’s gonna make you feel as good as you do,” you should feel that all is right with the world. The addition of the trumpet to this record makes it a true original.

“Into The Wire” picks up the beat with drumming and guitar readymade for a radio hit. This one may cause you to experience a little déjà vu and be reminded of America’s “Lonely People.” Although the seventies seems to have inspired Levitt, his creations are fresh and relevant.

All the songs on Fantasurreal flow like a well told story that draws you in and ends too soon. The album includes many gems, including "The Sympathetic CEO" (a.k.a. five minutes of heaven) and "The Tree," with Levitt and Quitzow chanting, "Don't get carried away / Don't get carried away," which may very well be a warning to the unprepared listener. Fantasurreal will carry you away if you allow that to happen.

Setting Sun is set to tour Europe from late April through late May this year, but should return to our neck of the woods soon after. Catch them if you can. In the meantime, buy this record at Young Love Records today.

Jonathan Richman's still got it

Live Review: Jonathan Richman at The Highland Inn Ballroom in Atlanta, 2/18/11

At 59, Jonathan Richman can still bring the youthful exuberance to every performance. In his first night of a two-night stand at Atlanta's Highland Inn Ballroom, fans stood in awe of Richman's songwriting genius and lightning finger work on his acoustic guitar. Accompanied by longtime drumming partner - 18 years, to be exact - Tommy Larkins, Richman put on the most minimalist of rock shows. The due exhibited polar opposite personalities, with the introverted Larkins, sitting behind the drum kit never emoting, to the wildly extroverted Richman, even walking out in front of the mic to shake his hips and dance with audience members. It was as if an old college pal was in town to party. You may remember him as the guitar wielding singer popping in and out of the film There's Something About Mary, in which he also wrote the theme song. And Tommy was by his side then, too.

His quirky storytelling-into-song style has evolved since his days with the punkish Modern Lovers of the seventies. In that "supergroup" were bassist Ernie Brooks, drummer David Robinson (who later joined The Cars), and Jerry Harrison (who later joined Talking Heads). Richman had been highly influenced by the Velvet Underground while still in high school, and went on to open for them a short time after forming Modern Lovers.

At the Highland Inn Ballroom, fans enjoyed many Richman classics, such as "I Was Dancing In The Lesbian Bar" and "Pablo Picasso" ("Some people try to pick up girls and they get called an asshole / This never happened to Pablo Picasso"). Whether he's singing in English (make that a heavily-accented Massachussetts English) or Italian, Richman always seems to give the audience a fantastic show.

Partly touring in support of his new album, O Moon (Vapor Records), Richman continues to release thinking-outside-the-box tunes that always tell a story and are usually very witty. To find him on tour, visit www.vaporrecords.com.

10 shows you should have seen in 2010

The 2010 musical year in review was a rich one. It seemed to witness a huge leap for the indie music world, with more and more bands getting their sound out there via the Internet. No more fishing for big record label contracts. The 21st century technology has been kind to up-and-coming bands. Following are ten shows that you should have seen with a snippit from each review. Most of these acts are not considered radio staples, but probably should be. Go to the links for each concert to read my full review (shows are listed chronologically).

SPOON at the Tabernacle in Atlanta, 3/20/10 - "While Spoon has had their ups and downs, it seems as if they’re in for a future of 'ups.' On this night, Spoon was the tightest four-piece on the planet. Even with two encores, the band left fans wanting more." http://http://www.examiner.com/music-in-atlanta/spoon-rock-the-tabernacle

THE RUBY SUNS at the Drunken Unicorn in Atlanta, 3/22/10 - "Touring in support of their third studio album, Fight Softly (Sub Pop), the Ruby Suns spun some foot-tapping songs combining indie rock with world beats. At times, all three members were banging on drums. But usually, the tunes were made up of two synths and a drummer. With danceable beats and McPhun’s smooth voice, it frequently seemed as if all these people were enjoying an 80s new wave performance…in Hawaii." http://http://www.examiner.com/music-in-atlanta/ruby-suns-bring-the-tropics-to-atlanta

WILCO at the Fox Theatre in Atlanta, 3/26/10 - "As the evening progressed, the fans remained standing. The lush padding of the Fabulous Fox Theatre’s comfy seats was never utilized. The crowd stood the entire show (even much of the balcony). Tweedy recognized this and was impressed." http://http://www.examiner.com/music-in-atlanta/wilco-the-experience

VAMPIRE WEEKEND at the Tabernacle in Atlanta, 4/8/10 - "The band opened the show with the heavily-Paul Simon-influenced 'White Sky' from Contra. Next up was the ultra-manic 'Holiday.' The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end." http://http://www.examiner.com/music-in-atlanta/vampire-weekend-live-atlanta

ARCADE FIRE at Verizon Wireless Amphitheatre in Alpharetta, 8/11/10 - "Audience participation was mind-blowing and that only made for a better show. Win Butler and company have made a fantastic new record, and fortunately for us, know how to play it live. The show ended with Arcade Fire's signature song from their first album. 'Wake Up' is one of those anthems that is instantly hummable and never forgettable. What a way to end the night." http://http://www.examiner.com/music-in-atlanta/arcade-fire-and-spoon-burn-up-alpharetta

ORYX + CRAKE at the EARL in Atlanta, 8/28/10 - "If you've heard the CD by now (and you should have heard it by now), you'll know that these are nine of the most talented musicians around. And live versions of the nine songs performed came out a bit edgier than those recorded. It was clear that the members of Oryx + Crake were pumped. Audience fervor is the only thing that overshadowed the band members' enthusiam. It was a full house of an appreciative and supportive crowd." http://http://www.examiner.com/music-in-atlanta/oryx-crake-have-arrived

CROWDED HOUSE at the House of Blues in Chicago, 9/5/10 - "The second song was 'Mean To Me,' from their 1986 debut album. This rocked even harder, with Finn's voice as perfect - if not better - than it ever was. And he is one of the most underrated and superbly skilled guitar players out there. Of course, his songwriting is the only thing that surpasses his voice and guitar work. He is frequently compared to Lennon and McCartney for a very good reason." http://http://www.examiner.com/music-in-atlanta/genius-of-crowded-house-proven-yet-again

JAMES at the Variety Playhouse in Atlanta, 9/22/10 - "During 'Say Something,' Booth traversed his way through the audience, shaking hands and walking down a row of seats across the armrests. At song's end, he was quite a distance from the stage, yelling to bandmates, 'What's the next song? What's the next song!' Then, the opening chords of 'Laid' began to a roaring crowd. He hastily made his way back to the stage and brought the house down with this excellent song." http://http://www.examiner.com/music-in-atlanta/james-return-to-atlanta-and-feel-the-love

PAVEMENT at the Tabernacle in Atlanta, 9/26/10 - "While Pavement never had a #1 hit, 'Cut Your Hair' and 'Gold Soundz' may have been close, as far as fans are concerned. Malkmus comes across reminiscent of a Stop Making Sense era David Byrne, with his quirky mannerisms and jumpy moves. He does, however, put everything he's got into his performance." http://http://www.examiner.com/music-in-atlanta/pavement-burn-through-atlanta-on-reunion-tour

LCD SOUNDSYSTEM at the Tabernacle in Atlanta, 10/4/10 - "One more decibal plus one more jumping fan would have seen the crowd plummet to the basement. Murphy, with all his youthful exuberance (he's a very young 40) and high octane energy, was exhausted at song's end, doubling over with hands on knees and huffing like a chain smoker. The fans felt the same way. And the show was off to a smashing start." http://http://www.examiner.com/music-in-atlanta/lcd-soundsystem-show-everyone-else-how-a-live-show-is-done

The new year of 2011 has some big shoes to fill. Better get started.

Was this Wolf Parade's final show in Atlanta?

Live review: Wolf Parade at the Variety Playhouse in Atlanta, 11/12/10

The Montreal band Wolf Parade has announced an indefinite hiatus just days after ending their tour promoting the new release Expo 86 (Sub Pop). The reason for this is somewhat mysterious, as this show was a resounding success, according to the fanatics present on that evening in Atlanta. But then again, what better time to go on hiatus than after a grueling tour? Wolf Parade has been in existance since 2003 and grown its fan base steadily over the past seven years. Expo 86 is their third studio album, each one subsequently reaching more fans.

Wolf Parade is a unique group, in that there are two lead singers. They trade off on leads or do a bit of harmonizing. Any way you slice it, the vocals are quite dandy. Spencer Krug's vocal stylings have an eerie resemblance to that of Isaak Brock of Modest Mouse (especially on the excellent "What Did My Lover Say?"), while Dan Boeckner has a striking visual similarity to Nick Cave. Arlen Thompson and Dante DeCaro round out the quartet's rhythm section, although all four members pass around keyboards and guitars like a virus. In a good way.

The band ripped through an energized set at the Variety Playhouse and kept the crowd on its feet for most of the evening. Several songs from Expo were performed including "Palm Road," "Cave-O-Sapiens," and the synth goodness of "Ghost Pressure."

While Wolf Parade take well-deserved time off, music fans everywhere are hoping for a brief hiatus. For more information and to hear songs and watch videos, go to www.myspace.com/wolfparade

Set List:
1. Cloud Shadow On The Mountain
2. Soldier's Grin
3. What Did My Lover Say? (It Always Had To Go This Way)
4. Ghost Pressure
5. Dear Sons And Daughters Of Hungry Ghosts
6. This Heart's On Fire
7. I'll Believe In Anything
8. Fine Young Cannibals
9. Cave-O-Sapien
10. Palm Road
11. California Dreamer

Encore:
12. You Are A Runner And I Am My Father's Son
13. Shine A Light
14. Kissing The Beehive

Openers OYA (Ogre You Asshole) hail from Japan and apparently got their name from the movie Revenge of the Nerds. That's all they got from the movie because their tunes were cool. The heavy guitar-driven pop/rock was infectious and had the crowd jumping from song one. Nevermind that every once in a while, the listener may hear a little Yoko. Just an aftertaste. With broken English, the lead singer thanked the audience, announcing, "This is our first time playing in America." The land of promise, it is.

Pretty Lights rave in Atlanta

Live review: Pretty Lights at the Tabernacle in Atlanta, 10/29/10

Pretty Lights is far from a household name in America. Even less known is Derek Vincent Smith, the one-man rave machine known as Pretty Lights. Hailing from Colorado, Smith has been doing his thing since 2006, when he released Taking Up Your Precious Time. In 2008, this was followed by Filling Up The City Skies and Passing By Behind Your Eyes in 2009. Soon, he was a well-respected DJ who has mastered digital sampling, electronica, and hip-hop beats.

Early in 2010, Smith vowed to release a trilogy of three EPs before year's end. He accomplished that with the excellent chest thumping of Making Up A Changing Mind (3/2), Spilling Over Every Side (7/29), and Glowing In The Darkest Night (10/22). It seems that Pretty Lights is cruising on a full tank of gas with little chance of running out.

Incidentally, Smith has offered up all his music downloads at www.prettylightsmusic.com for free. But please, throw a few bucks his way when you download.

To be at the Tabernacle in Atlanta for the Pretty Lights show was to be a kid again. It was Halloween weekend and many in the sold-out and standing room only crowd were in full costume. And most of those were the youth of America. Imagine the wildest, loudest, most sardine-like prom you can, then multiply it times a thousand and you'll get the picture. This was a good ol' fashioned rave and these kids were all in.

Smith seemed to be revered as a god, with his sunglasses and hoodie. But he earned it. The music was fantastcally incredible. If any of the older fellas in the crowd were expecting to hear radio staples, they were sadly mistaken - or happily mistaken. Their teenage daughters had told them it would be good. There is evidence that the ground was shaking as much as a mile away in downtown Atlanta. "Is that an earthquake?" "No, it's Pretty Lights!"

Just this year, Smith added drummer Adam Deitch to the live shows. Deitch brings a live rhythm section to Smith's Mac and other digital controllers. Suddenly, it was a rock and roll rave. From the first beat, the crowd was jumping, surfing, and celebrating.

If you like STS9, Bassnectar, or Mimosa, then it's your civic duty to check out Pretty Lights. You will not be sorry.

U2's Boy: The 30th anniversary

It was October 20, 1980, and four youngsters from Dublin, Ireland were being introduced to the world. That was the release date of U2's first release, Boy. Four years earlier, Larry Mullen, Jr., Paul "Bono Vox" Hewson, Dave "The Edge" Evans, and Adam Clayton were still in high school when they unwittingly formed the future 'Biggest Band in the World.' In the fall of 1976, the 14-year-old Mullen placed a notice on the bulletin board at Dublin's Mount Temple Comprehensive School and the rest is history.

None was trained - even proficient - on any instrument. Clayton seemed to be the most unprepared and played the bass guitar out of sheer default (Evans had dabbled on the guitar and Mullen started the band...he chose the drums). After forming in 1976, the foursome initially called themselves Feedback, then The Hype, and finally settled on U2.

While they practiced and perfected their craft, the band gained notice around Ireland for their passionate performances. This bought them the time they needed to attack the learning curve on playing the music. While Bono penned deep and spiritual lyrics about the trials and tribulations of childhood, The Edge painted the musical landscape to accompany them. Success was soon to follow.

When U2 finally signed that contract with Island Records, "11 0'Clock Tick-Tock" would be the first single in May 1980 (although it did not make it on the album). The second single was "I Will Follow," which received much attention in the U.S. in unison with the Boy release in October. Recorded in Windmill Lane Studios in Dublin and produced by Steve Lillywhite, Boy brought a unique sound to the airwaves as punk evolved into new wave. To this day, Boy is considered one of the most impressive debuts by any band - before or since.

"I Will Follow" became U2's signature song, with Edge's spiky guitar intro, Mullen's backbeating drums, Clayton's prominent bass lines, and Bono's emotive vocals - the band's fourth instrument. Surprisingly, the group does not aim for the fences on every song. "An Cat Dubh / Into The Heart" is a beautifully mellow track that showcases all the talents of U2, "Shadows And Tall Trees" could be on any recent U2 album without a blink, and "The Ocean" is a sparse and mesmerizing tune ("Picture in grey, Dorian Gray, just me by the sea / And I felt like a star, I thought the world could go far / If they listened to what I said").

The track listing:

I Will Follow
Twilight
An Cat Dubh / Into The Heart
Out Of Control
Stories For Boys
The Ocean
A Day Without Me
Another Time, Another Place
The Electric Co.
Shadows And Tall Trees

Boy got the remaster/special edition treatment in 2008. The repackaged double-disc box brings the listener back to 1980, when a phenomenon was in the early stages of creation. Learn more about the history of U2 at www.u2.com.

LCD Soundsystem earn it in Atlanta

Live Review: LCD Soundsystem at the Tabernacle in Atlanta, 10/4/10

James Murphy has hinted that this will be the last album and tour for LCD Soundsystem. DFA Records, the company which he cofounded and runs, has been consuming much of his time lately. After signing such up-and-coming artists as Free Energy, Holy Ghost!, and Hot Chip, he is a busy man. Nonetheless, fans all over dread such a thought as a world without LCD Soundsystem.

Touring in support of his latest release, This Is Happening, Murphy will take the band around the world before wrapping up in February in Australia. He has gone on record saying his band has basically set the bar high for live performances. He is correct. On this night in Atlanta, the band was on fire. Not literally, but almost. There is no argument that This Is Happening is one of the best new releases of the year. But a live LCD show is an LCD album to the nth degree / all caffeined up / on steroids. For those fans in the house who did not believe in earplugs, a true awakening was experienced.

When the lights came down to start the show, 10cc's "I'm Not In Love" blared over the speakers. Then Murphy and the band took to the stage to screams and applause. As the opening chords of "Dance Yrself Clean" poured out over the crowd, Murphy sang, "Talking like a jerk / Except you are an actual jerk / And living proof that sometimes friends are mean / Present company expect it present company / Just laugh it off it's better than it seems." Then it went raucous. The massive vibration had to be a combination of the incredible music and the packed-like-sardines fanatics on the floor of the hundred-year-old Tabernacle. That floor is wood and there is a basement. One more decibal plus one more jumping fan would have seen the crowd plummet to the basement. Murphy, with all his youthful exuberance (he's a very young 40) and high octane energy, was exhausted at song's end, doubling over with hands on knees and huffing like a chain smoker. The fans felt the same way. And the show was off to a smashing start.

"Drunk Girls," the catchy and addictive hit off Happening was up next, and the party got crazier. Each member of the seven-piece band is exceptionally talented and added their own unique spin to the LCD sound. Other highlights included "Daft Punk Is Playing At My House" (see video below), "Losing My Edge," "All My Friends," and "Yeah." With each successive song, the volume increased as did the ferver of the band and the fans. Many fans on the floor never ceased with the arm waving, jumping, and dancing. Even the majority of the balcony was moving throughout the entire show.

Many have attempted to label LCD over their short history. Electronica. Dancepunk. Indie Dance. Whatever the label, The Soundsystem have left their mark on music and music lovers. Murphy has definitely fused an 80s sound into many of his songs. The influence of such New Wave groups as New Order and Depeche Mode can be heard in some tracks.

Between the crowd surfing and the crush of fans on the floor, tempers may have flared near the stage. Keyboardist Nancy Whang attempted to calm some nerves saying, "Are we okay here? Everyone okay? Let's be nice." Murphy then spoke up, saying, "If you're taking pictures or videotaping, that's totally fine. But when doing this, you are not really here. We want you here. But I'm not making any judgements." A good point. And a polite guy. He thanked the crowd after nearly every song.

If, in fact, this is the last hurrah for LCD Soundsystem, they are going out with a bang. This was a fantastic live show that will not soon be forgotten. Murphy will more than likely put some time into his record label, then, somehow, get back into the studio. It's what he does best.

Brooklyn-based noise pop duo Sleigh Bells (Derek Miller and Alexis Krauss) got the eardrum shattering evening off to a successful start. Supporting their new album Treats, the Bells have a massive sound considering their only instruments are a guitar and a laptop, with Krauss on vocals. The way the Atlanta crowd responded to Sleigh Bells, you'd have thought they were the headliner.

LCD Set List:

Dance Yrself Clean
Drunk Girls
Get Innocuous
Yr. City’s A Sucker
Daft Punk Is Playing At My House
I Can Change
All My Friends
You Wanted A Hit
Tribulations
Yeah

Encore:
Someone Great
Losing My Edge
Home

Pavement burn through Atlanta on reunion tour

Live Review: Pavement at the Tabernacle in Atlanta, 9/26/10


There aren't many sure things in life. A Pavement reunion was definitely not a sure thing. Especially after the bitter break up of the band back in 1999. Rumor has it that chief songwriter and lead singer Stephen Malkmus just grew tired of touring. And infighting had splintered friendships within the band.

Fast forward to 2009, when rumors began circulating that Pavement may, in fact, reunite for their twentieth anniversary. As they say, there is truth in rumors. Pavement kicked off their world-spanning reunion tour in New Zealand six months ago. Malkmus and founding member Scott Kannberg finally made it to Atlanta's Tabernacle for a sold-out show to a building full of Pavement fanatics. While "fanatics" may be a strong word, imagine nearly every person singing along with most every song. You get the picture.

While Pavement never had a #1 hit, "Cut Your Hair" and "Gold Soundz" may have been close, as far as fans are concerned. Malkmus comes across reminiscent of a Stop Making Sense era David Byrne, with his quirky mannerisms and jumpy moves. He does, however, put everything he's got into his performance.

Guitarist and co-founder Scott Kannberg addressed the crowd with, "We played in Maryland last night. That sucked. We also played Lollapalooza. That sucked too. It's nice to be back in Atlanta where we're loved. Thank you." And love it was. Although Malkmus may not have shown it, he and the band knew they were in a good place. After recent gigs on Late Night with Jimmy Fallon and The Colbert Report, Pavement are enjoying some of the celebrity they left behind in the nineties.

Comparisons to The Fall and The Replacements were evident, as Malkmus channeled Paul Westerberg (who is still alive, by the way). But Pavement definitely has their own sound that remains relevant. Fans all over Georgia look forward to the band's next visit.

Matador labelmates Times New Viking warmed the room up nicely with lo-fi beauties. The Ohio trio. Like Pavement, TNV had some serious fans in the house.

Set List:

Silent Kid
Frontwards
Heckler Spray
In The Mouth A Desert
Perfume-V
Ell Ess Two
Grounded
Stereo
Shady Lane
Kennel District
Unfair
Starlings Of The Slipstream
Cut Your Hair
The Hexx
Range Life
Shoot The Singer
She Believes
Gold Soundz
We Dance
Two States
Stop Breathin'
Heaven Is A Truck
Rattled By The Rush
Box Elder
Date With IKEA
Conduit For Sale!
Here

James return to Atlanta and feel the love

Live Review: James at the Variety Playhouse in Atlanta, 9/22/10

For a band to remain relevant is a challenge these days. For the seven piece Manchester band James, this seems to be a walk in the park. Granted, they have some of the most dedicated fans in music. After back-to-back brilliant albums Seven (1992) and Laid (1993), most music afficianados may have reported the band as gone and forgotten. Not so. James continued releasing good stuff.

Most of James' success can be attributed to lead singer and mercurial mover Tim Booth. That voice is a wonder and has lost nothing in the band's nearly 30-year career. It's a lithesome and beautiful instrument that is instantly recognizable. And to see him move/dance/shake takes every song a notch higher. It's Michael Stipe squared, with flailing arms and such, putting Elvis Presley's hips and James Brown's legs to shame.

The night began on a mellow note with "Dust Motes" off the new release The Day Before The Morning After. Several cuts off the new one were played, all with a decent response from the fans. The new songs blend seemlessly with the back catalog of songs. Throughout the evening, Booth thanked fans and showed genuine appreciation. He mentioned that it had been quite a while since his last visit (14 years) and was visited onstage by R.E.M.'s Michael Stipe and Peter Buck. While in town, "Michael and I went shopping for women's dresses" (see the cover of Laid for reference).

One of the clear highlights was the spectacular "Out To Get You," with Booth singing, "Insecure, what you gonna do / Feel so small they could step on you / Called you up, answering machine / When the human touch / Is what I need, what I need, what I need, what I need, what I need." This, like most songs on this night, had plenty of audience accompaniment.

During "Say Something," Booth traversed his way through the audience, shaking hands and walking down a row of seats across the armrests. At song's end, he was quite a distance from the stage, yelling to bandmates, "What's the next song? What's the next song!" Then, the opening chords of "Laid" began to a roaring crowd. He hastily made his way back to the stage and brought the house down with this excellent song. For the choir parts on "Sometimes," the audience were again part of the song. "Sometimes when I look into your eyes I can see your soul" was repeated over and over by the crowd, while Booth stood motionless just taking it all in. He then joined in on the singing for a beautiful finale.

After announcing that "Getting Away With It" was the band's theme song then performing that song, they left the stage and returned once again for a resounding "Sit Down." During this song, several young women crawled on stage and sat down behind Booth. It was a great evening for James fans who heard a nice mix of old and new. More than likely, this talented group of musicians won't wait another 14 years to return.

The Tom Waits- and Jeff Buckley-inspired Ed Harcourt warmed the crowd up nicely.

Set List:

Dust Motes
Dream Thrum
Tell Her I Said So
It’s Hot
Born Of Frustration
Ring The Bells
Lookaway
She's A Star
I Wanna Go Home
Out To Get You
Five-O
Stutter
Come Home
Say Something
Laid
Sound

Encore:
Bubbles
Sometimes
Getting Away With It

2nd Encore:
Sit Down

Genius of Crowded House proven yet again

Live Review: Crowded House at The House of Blues in Chicago, 9/5/10

Neil Finn has been one of the planet's most talented singer-songwriters since 1980, when he brought his brother Tim's band, Split Enz, into the mainstream with fine songs such as "I Got You," and "One Step Ahead." Once that ran its course, Finn grouped with Nick Seymour and the late Paul Hester forming Crowded House in 1984.

Fast forward 26 years to the House of Blues in Chicago, with Crowded House on tour promoting their sixth studio album Intriguer. Opener "I Feel Possessed" kicked off the festivities at the sold out venue. Like many Finn-penned tunes, this classic begins innocently enough then shifts into a higher gear. But on this night in Chicago, Crowded House shifted nearly every song into hyperspace gear. This was the most rocking show by the band ever witnessed by this reviewer (and he's seen Finn perform six times). It's as if they wanted to prove their relevance to an ever-changing musical landscape, staying young all the while.

The second song was "Mean To Me," from their 1986 debut album. This rocked even harder, with Finn's voice as perfect - if not better - than it ever was. And he is one of the most underrated and superbly skilled guitar players out there. Of course, his songwriting is the only thing that surpasses his voice and guitar work. He is frequently compared to Lennon and McCartney for a very good reason.

Several songs from Intriguer made the cut including the excellent "Archer's Arrows" and "Either Side Of The World." Strangely, the lead-off single from the album, "Saturday Sun," was left off the set list. Neil was in top form, even bopping up and down on some songs and having a fantastically enjoyable time - as did all bandmates (bassist Nick Seymour, multi-instrumentalist Mark Hart, and drummer Matt Sherrod). Always smiling, joking, and laughing, these guys love playing together and it shows.

At one point, it appeared that Neil had the wrong guitar. To kill some time, Mark Hart sang a soulful and bluesy version of CCR's "Born On The Bayou" (definitely an ode to that whole House of Blues thing).

Neil is also one of the best at banter and is funny as hell. He had been sporting a not-so-excellent mustache for the past couple months and was clean-shaven on this evening. Between songs, a fan yelled, "Thanks for shaving!" To which Neil replied, "Thanks for shaving? Have you not learned anything from me over the years? The mustache is back on Monday morning!"

It was evident that the packed house was packed with serious CH fans. On most songs, the foursome was accompanied by a roomful of voices, not missing a word. Finn is famous for his call-and-response moments. And he always tells the crowd that they sounded beautiful.

After a rousing and rocking performance, the boys returned for a fantastic encore. On the stage was a rolled up poster. Neil picked it up, read it, then showed it to the fans. It read, "PLEASE PLAY ONE STEP AHEAD." This was a song from his days with brother Tim Finn's group Split Enz. He then said, "Let's put it to a vote...I'll play the beginning guitar parts from "One Step Ahead" and "I Got You" (another Split Enz tune). He played, the fans voted, and "I Got You" won it. Not before, though, Mark Hart whispered something in Neil's ear. Neil then announced that it was Rodney's birthday and Rodney likes that song (Rodney is on the CH crew). The band then ripped through a scorching version of "I Got You." It was surely the most scorching and excellent version of that song ever played.

As Crowded House passed the two-hour mark and were deep into the encore set, Neil looked to his left and exclaimed, "There he is!" He then asked the audience if they would like to meet his Dad, to which we all responded with cheers and applause. Neil walked over, picked up a laptop, and brought it back to center stage. "Ladies and gentlemen, Mr. Richard Finn." And there was his old man, waving at us on that laptop screen, all the way from Auckland, New Zealand. Neil was grinning from ear to ear. Mr. Finn then, peering out over the crowd, said "Looks to be 20-30 people there!" Neil simultaneously smiled, blushed, and beamed with pride. As the beginning notes of the final song were played, Neil said, "This one's for you, Dad." "Better Be Home Soon" was that song.

For the average fan in attendance, initiation was at hand. For the die-hard fan, this night was glorious and could never be repeated. One can dream, though.

Fellow New Zealanders Lawrence Arabia opened the show and complemented the headliners nicely. What started off like country rock (a tad Wilco-ish) turned poppy, and the quintet really heated the place up. Their single "Apple Pie Bed" fell somewhere between the Crowded House and Squeeze sound and was an audience favorite.

Members of the band, along with Eliza-Jane Barnes (who records and tours with Neil's son Liam) were also onstage to nail "Weather With You."

Set List:

I Feel Possessed
Mean To Me
Twice If You're Lucky
Either Side Of The World
Don't Stop Now
Fall At Your Feet
It's Only Natural
Whispers And Moans
Isolation
Archer's Arrows
Chocolate Cake
Elephants
Born On The Bayou
Nails In My Feet
Hole In The River
Don't Dream It's Over
When You Come
In My Command
Encore
Four Seasons In One Day
Locked Out
I Got You
Weather With You
Better Be Home Soon

Oryx + Crake have arrived

Local and regional bands have been doing CD release shows since the beginning of time (or at least since the advent of CDs). It's a rare occasion when people actually stand up and pay attention to them. Last night at the EARL was a rare occasion. In a sold-out show, local nine-piece collective Oryx + Crake set the bar a tad high for other local bands wanting to achieve such success.

The self-titled debut is breath of fresh air for Atlanta and any God-fearin' American who has an iota of musical taste. Instruments heard were the cello, electric guitar, bass, violin, acoustic guitar, a Mac or two, keyboards, and other instruments too numerous to mention. But it doesn't come out as a confused mish-mash of sound. Instead, fans were treated to some of the most beautiful and melodic music ever to grace the stage at the EARL.

If you've heard the CD by now (and you should have heard it by now), you'll know that these are nine of the most talented musicians around. And live versions of the nine songs performed came out a bit edgier than those recorded. It was clear that the members of Oryx + Crake were pumped. Audience fervor is the only thing that overshadowed the band members enthusiam. It was a full house of an appreciative and supportive crowd.

Chief songwriting duo Ryan Peoples and wife Rebekah Goode-Peoples have crafted some intelligent and moving songs for the new CD. With a plethora of teachers in the group, the literary references cannot be missed (Oryx and Crake, the novel by Margaret Atwood; "Pretty How Towns," the poem by e. e. cummings).

While O+C have a unique sound that really denies any comparisons to other groups, each song tells a different story with a different sound. Highlights included the wonderful opener "Fun Funeral," the apparent ode to an abusive parent "Unbound," "Bed Death," "Open Your Eyes," and "Pretty How Towns" (the true fan would say that each song was a highlight and receive no argument).

The logistics of a tour are hard to imagine with the nine otherwise-employed members (some with children), but it would be a beautiful sight. If only the folks in New York City could get a load of this group live, big things would happen. For now, though, Oryx + Crake seem content to get the message out that excellent music is alive and well in Atlanta.

Show opener Book of Colors warmed up the crowd nicely with violin, viola, acoustic guitar, drums, stand up bass, and on one terrific song, a clarinet. This was to be the first of three nicely presented acts with an orchestral / strings theme. The Atlanta-based five-piece announced that their new disc is in the works. This was an entertaining set.

On deck was Athens band Venice is Sinking, who just released Sand & Lines: The Georgia Theatre Sessions, May 20th-24th 2008. Several songs from this wonderful disc were played for an eager crowd, obviously containing its own contingent of ViS fans. This six-piece was in the groove from the start of their set. Playing in the style of what some have called southern dream-pop, the band sounded excellent with Daniel Lawson and Karolyn Troupe giving some amazing harmonies alongside guitar, bass, drums, trumpet, viola, and synthesizer. With their excellent sound and abrubt song endings, Venice is Sinking is as tight as they come.

O+C Set List:

Fun Funeral
Unbound
I Could Be Anyone Anymore
Open Your Eyes
Pretty How Towns
Superlady
Bed Death
Deep Sea Diver
Lullaby No. 1

Arcade Fire and Spoon burn up Alpharetta

Live show review: Arcade Fire and Spoon at the Verizon Wireless Amphitheatre, Alpharetta, GA, 8/11/10

Arcade Fire have been approaching BBITW status ever since their second album, Neon Bible, was released in 2007 (BBITW = Biggest Band In The World). When their new offering, The Suburbs, debuted at number one, that status was cemented. For some time now, U2 and Bruce Springsteen have been looking over their collective shoulders. Ironically, Arcade Fire have been frequently compared to the two aforementioned artists. Quite a compliment.

So it was at the Verizon Wireless Amphitheatre in Alpharetta (a somewhat swanky suburb itself of Atlanta) that Arcade Fire performed to thousands of serious fans. The serious fans know all the lyrics and sing along willingly. Leader Win Butler exclaimed to the crowd that Spoon was their favorite band. Of course, being label mates on Merge Records did not hurt that sentiment. It was quite the double bill and everyone got a two-for-one show.

He also informed fans that one dollar from each ticket would go directly to Haiti relief - just one more way AF is winning the hearts and minds of its fans. Plenty of great tunes were played from their debut Funeral and their follow up Neon Bible, including the terrific "Keep The Car Running," "No Cars Go," and "Intervention. " But most of the evening saw the band performing nearly all of The Suburbs. Standouts included "Modern Man," "Month Of May," "Ready To Start," "Rococco," and many more.



Audience participation was mind-blowing and that only made for a better show. Win Butler and company have made a fantastic new record, and fortunately for us, know how to play it live. The show ended with Arcade Fire's signature song from their first album. "Wake Up" is one of those anthems that is instantly hummable and never forgettable. What a way to end the night.

Spoon was also on their game on this evening. Although only playing 54 minutes, they lit up the stage and warmed up the crowd. They began with "Don't Make Me A Target," from 2007's Ga Ga Ga Ga Ga. Old and new tunes were performed: old being "I Turn My Camera On" and "Jonathan Fisk" and new being "Trouble Comes Running" and "Got Nuffin."



Britt Daniel knows how to prime an audience. He has the songwriting chops, the cool raspy voice, and some wicked guitar licks. Their latest album, Transference, did very well, and returned them to the not-so-poppy days of gritty, raw music. This is another band that knows how to play live. Too bad it was only 54 minutes.