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.
Tuesday, April 12, 2011
“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.
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.
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.
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.
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.
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.
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.
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.
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.
Monday, April 11, 2011
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
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
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
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
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
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
Tuesday, March 8, 2011
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.
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.
Monday, August 16, 2010
Atlanta welcomes back Crowded House
Live Show Review: Crowded House at the Tabernacle in Atlanta, 8/1/10
Like the Phoenix that rose from the ashes, Crowded House has apparently returned for good. Their 2007 comeback (after a 14-year absence), Time on Earth, proved to be a more mature and deliberate accomplishment than Crowdies had become accustomed to in the eighties and nineties. Now comes the band's sixth studio album, Intriguer. This album continues on the path of maturity, but reaches back to the early days. Just a bit.
Neil Finn and company are once again on the road supporting a new album. The difference is that this seems to be the happiest time in the band’s life. And Neil brought along his son Liam (himself a successful recording artist) and his wife Sharon, who added beautiful harmonies to both Intriguer and this terrific show at the Tabernacle in Atlanta.
Finn opened the show with “I Feel Possessed,” from 1988’s critically acclaimed Temple of Low Men. This excellent selection was a definite crowd pleaser. After another classic (“In My Command”), the band swung into the new album with the first single, “Saturday Sun.” The song is reminiscent of the best Neil Finn has created.
Finn’s voice was even stronger than during their comeback tour in 2007 at this very venue. And once again joined by his son, Liam, who sang on “Silent House,” and “Say That Again.” A true surprise was Finn’s wife, Sharon showing up. Sharon has harmonized with her husband on several songs and sang with the band on the new “Archer’s Arrows” and “Isolation.” Sharon took the stage just after Finn performed a one-man miracle of “Message To My Girl,” the 1983 Split Enz song he wrote for her (“No more empty self possession / Visions swept under the mat / It's no New Year’s resolution, it's more than that”).
A little out-of-the-ordinary moment was when Crowded House performed their first (and arguably best) single, “Don’t Dream It’s Over” in the middle of the show, as opposed to the end of the show. This song has been the signature final song at CH live shows for years. Finn has shaken it up after singing that song live for 25 years. Understandable.
Other highlights included “Distant Sun,” “Whispers And Moans,” “Private Universe,” “Something So Strong,” and “Locked Out.” Finn still pulls the fans in to several sing-alongs for each show. And these sing-alongs are incredible. Everyone in the place knew the words and were able to sing them in perfect harmony. It was a joyous noise. Finn and original CH member Nick Seymour (bass) have been together since the demise of Slit Enz and the birth of Crowded House in 1985. Mark Hart (guitar, keyboards, etc.) has been with the band since the 1993 album Together Alone and drummer Matt Sherrod joined the group permanently for Time On Earth. Sherrod takes what the late, great Paul Hester did and adds some UMPH.
As a collective, this foursome works together like a well-oiled machine. Always smiling and often joking, these guys provided much entertainment aside from the excellent music. Finn has a dry and quick sense of humor. He exhibited that sense of humor when a young lady jumped on stage during the final number, “Better Be Home Soon.” After dancing like a cheerleader possessed for a few seconds, the audience (and surely the cheerleader) fully expected for security to yank her off stage. It didn’t happen. Apparently CH didn’t pay for that level of protection. So, she danced and gyrated throughout the entire song. Finn spontaneously broke into Hot Chocolate's “You Sexy Thing.” And the band followed. So, without letting this moment ruin an otherwise perfect evening, the crowd left the Tabernacle in a great mood.
After years of Lennon/McCartney comparisons, Finn continues to create some of pop/rock’s most listenable and intelligent music. Please Neil, don’t stop now.
Opener Lawrence Arabia, also from New Zealand, warmed up the show nicely with familiar pop hooks and harmonies.
Set List:
I Feel Possessed
In My Command
Saturday Sun
Amsterdam
Four Seasons In One Day
Silent House
Fall At Your Feet
Distant Sun
Either Side Of The World
Twice If You're Lucky
Whispers And Moans
Private Universe / Black And White Boy
Say That Again
Message To My Girl
Archer's Arrows
Isolation
Don't Dream It's Over
Something So Strong
When You Come
Encore:
Locked Out
Fingers Of Love
Weather With You
Not The Girl You Think You Are
Better Be Home Soon / You Sexy Thing
For the Intriguer review, click HERE.
"Don't Dream It's Over" live in Atlanta
Like the Phoenix that rose from the ashes, Crowded House has apparently returned for good. Their 2007 comeback (after a 14-year absence), Time on Earth, proved to be a more mature and deliberate accomplishment than Crowdies had become accustomed to in the eighties and nineties. Now comes the band's sixth studio album, Intriguer. This album continues on the path of maturity, but reaches back to the early days. Just a bit.
Neil Finn and company are once again on the road supporting a new album. The difference is that this seems to be the happiest time in the band’s life. And Neil brought along his son Liam (himself a successful recording artist) and his wife Sharon, who added beautiful harmonies to both Intriguer and this terrific show at the Tabernacle in Atlanta.
Finn opened the show with “I Feel Possessed,” from 1988’s critically acclaimed Temple of Low Men. This excellent selection was a definite crowd pleaser. After another classic (“In My Command”), the band swung into the new album with the first single, “Saturday Sun.” The song is reminiscent of the best Neil Finn has created.
Finn’s voice was even stronger than during their comeback tour in 2007 at this very venue. And once again joined by his son, Liam, who sang on “Silent House,” and “Say That Again.” A true surprise was Finn’s wife, Sharon showing up. Sharon has harmonized with her husband on several songs and sang with the band on the new “Archer’s Arrows” and “Isolation.” Sharon took the stage just after Finn performed a one-man miracle of “Message To My Girl,” the 1983 Split Enz song he wrote for her (“No more empty self possession / Visions swept under the mat / It's no New Year’s resolution, it's more than that”).
A little out-of-the-ordinary moment was when Crowded House performed their first (and arguably best) single, “Don’t Dream It’s Over” in the middle of the show, as opposed to the end of the show. This song has been the signature final song at CH live shows for years. Finn has shaken it up after singing that song live for 25 years. Understandable.
Other highlights included “Distant Sun,” “Whispers And Moans,” “Private Universe,” “Something So Strong,” and “Locked Out.” Finn still pulls the fans in to several sing-alongs for each show. And these sing-alongs are incredible. Everyone in the place knew the words and were able to sing them in perfect harmony. It was a joyous noise. Finn and original CH member Nick Seymour (bass) have been together since the demise of Slit Enz and the birth of Crowded House in 1985. Mark Hart (guitar, keyboards, etc.) has been with the band since the 1993 album Together Alone and drummer Matt Sherrod joined the group permanently for Time On Earth. Sherrod takes what the late, great Paul Hester did and adds some UMPH.
As a collective, this foursome works together like a well-oiled machine. Always smiling and often joking, these guys provided much entertainment aside from the excellent music. Finn has a dry and quick sense of humor. He exhibited that sense of humor when a young lady jumped on stage during the final number, “Better Be Home Soon.” After dancing like a cheerleader possessed for a few seconds, the audience (and surely the cheerleader) fully expected for security to yank her off stage. It didn’t happen. Apparently CH didn’t pay for that level of protection. So, she danced and gyrated throughout the entire song. Finn spontaneously broke into Hot Chocolate's “You Sexy Thing.” And the band followed. So, without letting this moment ruin an otherwise perfect evening, the crowd left the Tabernacle in a great mood.
After years of Lennon/McCartney comparisons, Finn continues to create some of pop/rock’s most listenable and intelligent music. Please Neil, don’t stop now.
Opener Lawrence Arabia, also from New Zealand, warmed up the show nicely with familiar pop hooks and harmonies.
Set List:
I Feel Possessed
In My Command
Saturday Sun
Amsterdam
Four Seasons In One Day
Silent House
Fall At Your Feet
Distant Sun
Either Side Of The World
Twice If You're Lucky
Whispers And Moans
Private Universe / Black And White Boy
Say That Again
Message To My Girl
Archer's Arrows
Isolation
Don't Dream It's Over
Something So Strong
When You Come
Encore:
Locked Out
Fingers Of Love
Weather With You
Not The Girl You Think You Are
Better Be Home Soon / You Sexy Thing
For the Intriguer review, click HERE.
"Don't Dream It's Over" live in Atlanta
Thursday, July 22, 2010
Amanda Palmer and her ukulele take on Radiohead
New Release: Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele
Dresden Dolls leader and Evelyn Evelyn member Amanda Palmer is celebrating her liberation from Roadrunner Records with a special EP of Radiohead covers. She claims to be a big fan and is going about distribution in a Radiohead kind of way. She is a supporter of direct fan-to-artist sales and will be offering her album via a digital only release beginning July 20 through bandcamp. Palmer will be asking for a minimum donation of 84¢, with 54¢ of that going to Radiohead and 30¢ going to PayPal for transaction fees. Hopefully, fans will shell out more than the minimum.
The concept may sound way kitschy, but upon listening to Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele, you will hear Palmer putting her heart and soul into this project. After apparently learning the ukulele as a joke in 2008, there is nothing funny about this record. In fact, this could arguably be considered some of the best Radiohead covers out there. Give it a listen and decide if you agree. Tracks include “Fake Plastic Trees,” “High And Dry,” “No Surprises,” “Creep (Hungover at Soundcheck in Berlin),” “Exit Music (For A Film),” “Creep (Live in Prague),” and “Idioteque.”
This is a rare departure from her “punk cabaret” style of music. For die-hard Radiohead fans, this is a must-have collection of gems. Not only does Palmer smoke on the uke, but her beautiful, emotion-filled vocals should make Thom Yorke a proud daddy.
Go to www.amandapalmer.net for tour and album information.
Dresden Dolls leader and Evelyn Evelyn member Amanda Palmer is celebrating her liberation from Roadrunner Records with a special EP of Radiohead covers. She claims to be a big fan and is going about distribution in a Radiohead kind of way. She is a supporter of direct fan-to-artist sales and will be offering her album via a digital only release beginning July 20 through bandcamp. Palmer will be asking for a minimum donation of 84¢, with 54¢ of that going to Radiohead and 30¢ going to PayPal for transaction fees. Hopefully, fans will shell out more than the minimum.
The concept may sound way kitschy, but upon listening to Amanda Palmer Plays the Popular Hits of Radiohead on Her Magical Ukulele, you will hear Palmer putting her heart and soul into this project. After apparently learning the ukulele as a joke in 2008, there is nothing funny about this record. In fact, this could arguably be considered some of the best Radiohead covers out there. Give it a listen and decide if you agree. Tracks include “Fake Plastic Trees,” “High And Dry,” “No Surprises,” “Creep (Hungover at Soundcheck in Berlin),” “Exit Music (For A Film),” “Creep (Live in Prague),” and “Idioteque.”
This is a rare departure from her “punk cabaret” style of music. For die-hard Radiohead fans, this is a must-have collection of gems. Not only does Palmer smoke on the uke, but her beautiful, emotion-filled vocals should make Thom Yorke a proud daddy.
Go to www.amandapalmer.net for tour and album information.
New release finds Crowded House with unfinished business
In 2007, Crowded House fans got an unexpected reunion of their favorite band. After a 13-year hiatus which showed no signs of ending, mainly due to drummer Paul Hester’s suicide in 2005, the band regrouped with a new drummer, a new album, and a sold-out tour. Now CH have proven they’re in it to stay with their upcoming release Intriguer (Concord Records). Back together are Mark Hart on guitar, backing vocals, and whatever else is needed, and bassist/album cover artist Nick Seymour. Drummer Matt Sherrod has also rejoined the group.
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
The first single off Intriguer is “Saturday Sun,” and ranks right up there with their best songs in terms of songwriting, sing-a-long potential, and hookworthiness. For the most part, this latest effort exhibits are more mature and subdued Crowded House. All songs, however, showcase head Crowdie Neil Finn’s golden pipes, superb songwriting, and much underrated guitar work (his musical arrangements haven’t been compared to Lennon and McCartney for nothing). On the wonderful “Archer’s Arrows,” Neil is joined by wife Sharon for some terrific harmonizing. In true-to-form Finn style, this one grows from quietness to a crescendo and back with great panache.
With the catchy “Either Side Of The World,” Finn sings, “Either side of the world / Chase the sun / Pay the maximum rate / To feel so lonesome.” It’s always difficult for the average listener to understand how someone so successful (and seemingly surrounded by throngs of supporters) can even mention the word “lonesome.” Finn translates this well and always has. He’s truly a deep thinker and wants us all to join him down there.
On a related note, “Isolation” explores that loneliness again (“There’s always a way / To end this isolation / One step away from everyone / If you could open it up / You could connect it to us / One step is more than enough”). Not sure if Neil is delving inward, or observing another. “Inside Out” embraces a countryish feel, complete with Hart on electric fuzz guitar.
Intriguer is an album for the intelligent music lover. No big explosions or gratuitous sex and violence. Just quality music with a meaning. It’s one of those albums that, after several listens, you find yourself loving it. Just like a great foreign film. With subtitles.
Catch Crowded House on the road this fall and become enlightened (www.crowdedhouse.com or www.frenz.com).
Fiction Plane bring the noise with excellent Sparks
For their third release, Sparks, Britain’s Fiction Plane has woven a tighter and more accessible web of tunes. The first single, “Push Me Around” has more hooks than a fishing tournament. Singer/bassist Joe Sumner (son of Sting) sings “I used to think I was something / I used to think I was, but now I’m sure” with all the bravado and confidence of his old man. The song, like many of Fiction Plane’s, involves Seton Daunt’s reggae-tinged guitar, Sumner’s smooth solid bass, and Pete Wilhoit’s explosive drumming.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
The highly caffeinated lead off track, “You Know You’re Good (La La La Song),” shows off Sumner’s strong and evolving voice. And like caffeine, is very addictive. Just listen to it once…you’ll want another cup. While his voice does remind you a bit of his father’s, it’s easy to hear FP’s signature song style. They have slowly made a name for themselves and are succeeding on their own merits. And as a live act, they earn it.
“Russian L.S.D.” finds the boys drifting into Doorsland (you’ll swear that’s Ray Manzarak on keyboards). The pace is measured and the vocals are haunting. Daunt’s guitar solo is wicked as well as his effects later in the song. Nice one. While FP totally nail the near-ballad (“Denied”), their soul lies in rock music.
When Sumner sings, “This is real democracy / This is what the people want / Put your feelings into action, a statement of intent / We speak clearly, you’ll know just what we meant / Revenge, revenge,” in the post-punkish “Revenge,” you’ll believe he’s getting his. Behind these thought-provoking lyrics is a powerhouse three-minutes of great musicianship that WILL make you move your feet. Promise.
Throughout Sparks, one should take notice that Daunt, Sumner, and Wilhoit have pushed the envelope experimenting with new sounds and taking those sounds in new directions. After a massive amount of exposure in 2007-2008 warming up the Police during their reunion tour, Fiction Plane surely found some new fans. This trio has slowly moved out of that big shadow and made a name for itself. For tour and CD information, go to www.fictionplane.com.
Friday, July 9, 2010
Sting brings Symphonicities tour to Atlanta
Live Review: Sting with the Royal Philharmonic Orchestra, Chastain Park, 6/29/10
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Gordon Sumner has been through many incarnations in his life. Before selling millions of records, he was labeled with the nickname “Sting” by his school buddies (for always wearing the same black and yellow striped sweater). But musically, Sting was a member of Last Exit, a large jazz ensemble he played with while still teaching school as a day job. Then, meeting up with the American, punk-influenced drummer Stewart Copeland, they formed the Police. After the demise of that group following the chart-topping perfection of Synchronicity, Sting dropped his first solo album, which ventured back into a bit of jazz.
Since then, he’s experimented with the horn-heavy “Detroit” sound (Mercury Falling), taken on the John Dowland catalog of 16th and 17th century lute music (Songs From The Labyrinth), recorded a dark and personal album of traditional middle ages music (If On A Winter’s Night…), and now put some of his most celebrated songs into a symphonic setting. All the while, keeping intact his core fan base, mainly because he is an artist who takes chances and follows his heart, not the Top 40 avenues.
So, it was on this night in Atlanta, at beautiful Chastain Park Amphitheatre, that Sting performed his Symphonicities for a large and appreciative crowd. As summertime lightening was held at bay as a backdrop, Sting and the 45-piece Royal Philharmonic Orchestra played a terrific two-and-a-half hour concert. The show kicked off with “If I Ever Lose My Faith In You,” followed by some older Police tunes (“Next To You,” “Roxanne,” “Every Little Thing She Does Is Magic,” “King Of Pain,” and “Every Breath You Take”). But most of the set list was culled from Sting’s prolific solo career that has now spanned 25 years.
Some of the evening’s highlights included the cold war classic “Russians” from his first solo effort, 1985’s The Dream of the Blue Turtles (“There is no historical precedent to put the words in the mouth of the president / There’s no such thing as a winnable war, it’s the lie we don’t believe anymore”). Still timely. The song telling the story of an accidental shooting and its aftermath (covered by Johnny Cash shortly before his death), “I Hung My Head,” was emotionally powerful (“My brother’s rifle went off in my hand / And a shot rang out across the land / The horse it kept running, the rider was dead / I hung my head / I hung my head”). Others included “Shape Of My Heart,” “Englishman In New York,” the raucous “She’s Too Good For Me,” “Fragile,” “Moon Over Bourbon Street,” and “Fields Of Gold.”
Throughout the performance, Sting stood aside several times, giving the stage to the perfect Royal Philharmonic Orchestra. The songs were rich and alive. But they’re not just Police and Sting songs with added orchestra. These, for the most part, have been rearranged and “reimagined” for this Symphonicities tour. So Gordon Sumner is enjoying his newest musical evolution. What could he possibly do next? Buy Sting’s Symphonicities out July 13.
Atlanta's Oryx & Crake deliver shining debut
The first track on the self-titled debut from Atlanta’s Oryx and Crake transports the listener to a melancholy place with its cello, guitar, and plaintive vocals of leader Ryan Peoples. Then the guitar gets fuzzy, harmonies are layered in, and the clouds part on the beautiful “Fun Funeral.”
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
The 9-person band has created a dazzling debut that is difficult to label. Among other things, instruments include guitar, bass, banjo, cello, electronic drums, a homemade midi, and a toy piano. Combine these with Peoples’ smooth and striking vocals harmonized with bandmates (including wife Rebekah Goode-Peoples), and deeply interesting lyrics and you have the magic that is Oryx and Crake.
Named after the Margret Atwood novel, Oryx and Crake have birthed their own version of fiction (because this sound cannot be real). Intentionally avoiding the easy hook that would guarantee radio play, O+C instead pursue an eclectic and uniquely stunning piece of work that should be on the radio.
“Bed Death” is at once a simple and complex piece with harmonies, effects, and a spooky bass line throughout. It’s the sort of hypnotic song that you’ll find yourself humming and singing hours later (“Bring it on back! / Bring it on back!”). Falling in the middle of the tracks are two catchy yet brief gems. “Superlady” starts off sounding like a five-year-old playing with the reel to reel but quickly gets mature, while “Pretty How Towns” is a countrified piece of work showcasing some nice banjo.
In the gorgeous “Unbound,” Peoples sings “Everyone is so tired of lugging you around / Everyone is so tired of you dragging us down.” This could be describing one of several possible stories, but seems to be an ode to an abusive parent (“The wooden spoon you used on us has broken.”). With hand claps keeping the beat, “Unbound” is a standout track. “Lullaby No. 1” ends the disc on a mellow note, sounding a bit like a 60’s Beach Boys ballad, but soon evolving into signature O+C, with the addition of more instruments and more personality.
After a few listens, this superb debut sounds like something from a band whose paid their dues; whose time has come. Rarely has a first outing been such an impressive recording. It takes most groups four or five records into their career to achieve such a solid accomplishment. Each of the nine songs on this self-titled debut has its own traits and tells a different story. This does not sound like anything else out there right now. That’s why music lovers owe it to themselves to discover Oryx and Crake now. This group of musicians, if they so desire, will be around for quite sometime.
You can find it on iTunes and more than likely be able to purchase the CD at the release party on August 28 at the EARL in Atlanta. You owe it to yourself to be there. Tickets can be found at Ticket Alternative or at the door.
Tuesday, June 15, 2010
Free Energy and friends burn up the Star Bar
Live Review: Free Energy, Jukebox the Ghost, & Miniature Tigers at the Star Bar in Atlanta, 6/3/10
As drummer Nick Shuminsky took the stage in his vintage Styx t-shirt, the room was transported to the 1970s with little chance of returning. Free Energy, the Philadelphia rock band (transplanted from Minnesota and transformed from the band Hockey Night), have enjoyed a rush of critical success since their March debut entitled Stuck on Nothing (DFA Records).
The first the fans heard out of the band was that cowbell. Then lead singer Paul Sprangers kicked in with the band’s namesake, “Free Energy” (“We're breakin out this time / Makin’ out with the wind / And I'm so disconnected / I'm never gonna check back in”). It’s an infectious song that got the small crowd going quick.
Lauded by Spin as an “excellent” band to watch for 2010" and a Rolling Stone "Best New band of 2010" (“It totally fu@%ing rules. Lighters up!”), and enjoying a slot on Letterman in March, Free Energy has definitely received the press.
Members of the band have based their reputations on the nostalgia of seventies music. On paper, this sounds like a ludicrous idea, especially given the fact that so much new music has become popular and “classic rock” has really not experienced any sort of resurgence. These songs have breathed new life into a genre of music once thought dead.
Wells is the typical rock singer, with his frequent “sweeeet” references and constant Mick-Jagger-finger-pointing. Other highlights included “Dream City,” “Hope Child,” and the latest single “Bang Pop.” The music was fresh, loud, and for the few people at the Star Bar that night, very danceable. The only negative was that is was not a packed house. Should have been.
Opening the show was the obviously caffeinated Miniature Tigers, who pretty much set the place ablaze (not a usual thing for a band opening for two other bands). Singer Charlie Brand reminded the crowd that he was doing ‘shrooms when writing most of these songs. Observing their stage antics, this was not hard to believe. Overall a very fun (and talented) group of musicians. They’ll set off on a headlining tour soon.
Stuck in the middle were Jukebox the Ghost. After seeing an “I Love Ben Folds” t-shirt in the crowd, the reason was evident. From the first notes from JTB, an obvious connection to Ben Folds was realized (they even opened for Folds in 2009). Folds made piano rock cool again (after the likes of Billy Joel and Elton John lost steam the past couple decades) and a connection to him is not necessarily a bad thing.
Oddly, the singer and pianist of JTB is also Ben (Thornewill), and has the chops to keep up with the best of them. “Under My Skin,” “Good Day,” and the catchy “Hold It In” were three selections played by the band.
This was a fantastic evening of three bands with refreshingly different sounds. As the night progressed, band members from all three groups jumped on and off the stage, singing along and playing various instruments (including a rain stick!), culminating with a musical-orgy-of-sorts when nearly every member of every band (plus a few fans) filled the tiny stage near the show’s end. It was fun and actually sounded good. Catch all three bands on the road this summer.
As drummer Nick Shuminsky took the stage in his vintage Styx t-shirt, the room was transported to the 1970s with little chance of returning. Free Energy, the Philadelphia rock band (transplanted from Minnesota and transformed from the band Hockey Night), have enjoyed a rush of critical success since their March debut entitled Stuck on Nothing (DFA Records).
The first the fans heard out of the band was that cowbell. Then lead singer Paul Sprangers kicked in with the band’s namesake, “Free Energy” (“We're breakin out this time / Makin’ out with the wind / And I'm so disconnected / I'm never gonna check back in”). It’s an infectious song that got the small crowd going quick.
Lauded by Spin as an “excellent” band to watch for 2010" and a Rolling Stone "Best New band of 2010" (“It totally fu@%ing rules. Lighters up!”), and enjoying a slot on Letterman in March, Free Energy has definitely received the press.
Members of the band have based their reputations on the nostalgia of seventies music. On paper, this sounds like a ludicrous idea, especially given the fact that so much new music has become popular and “classic rock” has really not experienced any sort of resurgence. These songs have breathed new life into a genre of music once thought dead.
Wells is the typical rock singer, with his frequent “sweeeet” references and constant Mick-Jagger-finger-pointing. Other highlights included “Dream City,” “Hope Child,” and the latest single “Bang Pop.” The music was fresh, loud, and for the few people at the Star Bar that night, very danceable. The only negative was that is was not a packed house. Should have been.
Opening the show was the obviously caffeinated Miniature Tigers, who pretty much set the place ablaze (not a usual thing for a band opening for two other bands). Singer Charlie Brand reminded the crowd that he was doing ‘shrooms when writing most of these songs. Observing their stage antics, this was not hard to believe. Overall a very fun (and talented) group of musicians. They’ll set off on a headlining tour soon.
Stuck in the middle were Jukebox the Ghost. After seeing an “I Love Ben Folds” t-shirt in the crowd, the reason was evident. From the first notes from JTB, an obvious connection to Ben Folds was realized (they even opened for Folds in 2009). Folds made piano rock cool again (after the likes of Billy Joel and Elton John lost steam the past couple decades) and a connection to him is not necessarily a bad thing.
Oddly, the singer and pianist of JTB is also Ben (Thornewill), and has the chops to keep up with the best of them. “Under My Skin,” “Good Day,” and the catchy “Hold It In” were three selections played by the band.
This was a fantastic evening of three bands with refreshingly different sounds. As the night progressed, band members from all three groups jumped on and off the stage, singing along and playing various instruments (including a rain stick!), culminating with a musical-orgy-of-sorts when nearly every member of every band (plus a few fans) filled the tiny stage near the show’s end. It was fun and actually sounded good. Catch all three bands on the road this summer.
Atlanta discovers ambient magic with One eskimO
Live review: One eskimO at Smith’s Olde Bar, 5/26/10
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Smith’s Olde Bar in Atlanta was host to the ambient pop magic of One eskimO. The London, England foursome, led by singer Kristian Leontiou, is touring in support of their self-titled debut released last September on Shangri-La Records. Leontiou enjoyed widespread success in 2004 with his solo hit “Shining,” but felt unfulfilled and decided to take a different path in which he would have greater creative control.
One eskimO’s music is pure and fresh – so much so, that it was recently featured in a Toyota Prius environmentally friendly commercial. That song, which happens to be one of their most popular songs at the moment, is “Hometime.” It’s a beautiful and simple song that one may think will morph into a Led Zeppelin song, but never quite does (“Picture me in a boat on the sea / Five-fingered leaves keep covering me / Don't you know that the big Ferris wheel is eventually stalling?”).
The buzz, though, is all about “Kandi.” Included in the song is a sample of Candi Staton’s “He Called Me Baby.” This is four minutes of pure indie rock perfection and sounded great live (for the awesome animated version of this video, click here). Smith’s Olde Bar was near sell-out capacity and the crowd was appreciative of each and every song. Songs like “Astronaut” left the listeners feeling as if they were floating through space. That’s a good thing, by the way.
Acoustic/electric guitarist Pete Rinaldi sat in the back, where usually the drummer camps. Drummer Adam Falkner was stage right, with a motorcycle headlight drum set (very cool - working light and all). He is a multi-instrumentalist of the finest degree. From his drum kit/computer system, he made sounds that should not be possible from a mere four-piece. And the percussion was chest-thumping, something not present on the CD. Stage left was host to bassist/trumpet player Jamie Sefton, who simultaneously played the bass and trumpet on some songs.
Leontiou drifted into James Blunt-esque sounding vocals at times (a good thing on this night) and once in a while forayed into Mick Hucknell territory. But make no mistake, even with the excellent musicianship coming from the bandmates, the most precise and beautiful instrument was Leontiou’s voice. That voice is One eskimO. Just imagine Keane, but way easier to listen to.
Opening the show was The Frisco Touch. At least that’s how it was billed. The crowd was informed that they were really known as the Automatics. Or the Autumn Antics. Or the Autum Annex. No one really ever figured out who they were. Later research uncovered that, in fact, the band should’ve been called AutumnAttics. Having ties with Atlanta and Athens, GA, one could only attribute an “automatic” type name to a love of R.E.M. They did have the garage rock/near grunge thing going. Maybe a closer relative would be The Smithereens. Nonetheless, they warmed the crowd up for a great evening.
Free Energy travel to the 70s for debut
New release: Free Energy, Stuck on Nothing (DFA Records)
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
It has become the catch phrase for a generation: retro. From eighties post-punk/new wave to nineties grunge, many bands have made a mint restyling vintage music. But now there comes a band wanting to go even further back and relive the seventies. Not many have achieved positive results from this venture, but Free Energy has hit the mark.
On their debut album, Stuck on Nothing (DFA Records), the Philadelphia quintet stir up some cowbell and a whole lot of music that will make you want to hold your lighter high. The lead-off track, aptly entitled “Free Energy,” has frontman Paul Sprangers announcing, “This is all we’ve got tonight / This is all we’ve got tonight / We are young and still alive / Now the time is on our side,” as if he’s describing the band and their current status. After a not-so-pleasant break up in 2007 of their Minneapolis band Hockey Night, Sprangers and guitarist Scott Wells relocated to Philly where they formed Free Energy.
The likes of Spin, Rolling Stone, and Pitchfork have already deemed this band worthy of greatness, as one of 2010’s best new bands. Free Energy has drawn comparisons to Thin Lizzy, Cheap Trick, T. Rex, and numerous other bands that hit in the seventies. Surprisingly, Stuck on Nothing was released on James Murphy’s (LCD Soundsystem) DFA Records, known almost exclusively for its dance aesthetic. Free Energy is NOT considered a “dance” band, but one could wager that you’ll feel like dancing once you hear this stuff.
The fuzz guitar intro on “Dream City” evokes a déjà vu of Norman Greenbaum’s “Spirit In The Sky,” although it doesn’t seemed ripped off once Spranger’s singing begins. The song ends with a beautifully done saxophone that almost sounds like the English Beat’s Papa Saxa, but surely is not.
“Bang Pop” is the newest single and, once again, is a straight-ahead rock and roll melody that will beg you to sing along (“Bang, pop pop / When does this searching stop?"). There’s no such thing as complex lyrics and deep meanings on this record. Just fun tunes that will make you smile.
Free Energy sounds like that awesome bar band in college that you could not believe was not huge. Now they are. Check them out at a venue near you because they’re on tour and tickets are priced like you’re back in the seventies.
Wednesday, June 2, 2010
New release for Solex Vs. Cristina Martinez and Jon Spencer
NEW RELEASE: Solex Vs. Cristina Martinez + Jon Spencer Amsterdam Throwdown, King Street Showdown! (Bronze Rat Records)
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Listening to this first ever collaboration among these three, one can only think of that line from St. Elmo’s Fire: “A metaphysical precision collision.” The Dutch goddess of electronic, Elisabeth Esselink (a.k.a. Solex), got the call to work with the husband-wife team of Cristina Martinez (Boss Hogg) and Jon Spencer (Blues Explosion, Heavy Trash) and jumped in. After a few months of emailing and overnight shipping, the trio had their creation.
Amsterdam Throwdown, King Street Showdown! is a mish-mash of musical genres. It’s as if someone tossed Motown, funk, punk, and jazz into a blender and cranked it up to 11. Martinez and Spencer contribute their share of talking, singing, and grunting on this new release (May 18). On “Don’t Hold Back,” Spencer sounds like vintage 70s Lou Reed while Martinez whispers in the background. If Twin Peaks ever returns to TV, this should be the soundtrack. Most selections on Showdown may cause confusion in the listener at first. There are so many things going on simultaneously that one may not be able to process it all until three or four solid listens. After that, good luck breaking the habit of your latest addiction.
“Galaxy Man” begins with a request from Martinez (“Come on baby and play that song / Come on baby”) that evolves into a heavy beat with off-kilter guitar, horns, and all the while Spencer talking into what sounds like a can (“Galaxy! / They call me the Galaxy Maaaan”). Some songs veer into the humor lane, as in “Dog Hit.” Martinez does a monotone talk/sing, “Do you know where your big barking dog is? / Just got hit by a car but he’s still fine” while Spencer growls lines throughout. Sort of the American funkadelic version of the Sugarcubes - just much darker.
Overall, Showdown injects the listener with groove, plain and simple. Let’s just say that James Brown would love this album. With the Solex touch making this a unique and excellent sound, a tour is in order. If they can just get together in the same country at the same time.
Shelby Lynne & Findlay Brown bring soul to Atlanta
Live Review: Shelby Lynne & Findlay Brown at the Variety Playhouse in Atlanta, 5/15/10
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
The Variety Playhouse in Atlanta was home to a bluesy evening of entertainment. Shelby Lynne, on tour promoting her new release, Tears, Lies, and Alibis (Everso Records). She emoted her twang-laden song creations to a very supportive crowd. Decked out in a black t-shirt, black leather pants, and black cowboy boots, Lynne appears to be a punk/country hybrid. Even her new punked-out haircut was rebelling against The Man.
The Man, in this case, is the recording industry. After years of being “fed up” with record companies, Lynne has started her own Everso Records. Listening to her vent, one cannot help but also hear that big sigh of relief.
Lynne kicked off her first set with “Rains Came,” from Alibis. Most of the evening was dominated by new stuff off this excellent album. Other standout tracks included “Why Didn’t You Call Me?” “Like A Fool,” and “Alibi.” Often compared to such legends as Patty Loveless, Tanya Tucker, and Dusty Springfield, Lynne recorded an entire album of Dusty Springfield songs in 2008 entitled, Just A Little Lovin’ to critical acclaim.
On “Something To Be Said,” Lynne has penned a tribute to Airstream trailers. “I have a crush on Airstream trailers,” she said, before performing the song. “Thinking about how I love my country. We can get in a Cadillac with bologna sandwiches and go wherever the hell we want, with whoever the hell we want, and stay as long as we want” (“There’s something to be said about Airstreams / A rolling home made out of silver / There’s something to be said about Airstreams / Aww who’da thought art was a trailer”).
Lynne’s voice was bold and beautiful on this night, and the four-piece backing her up hit a bull’s eye with each song. She reminisced about her many performances in Atlanta and said that every time she plays here, she is torn. Then, dramatically switching gears, Lynne informed the audience, “Here’s a song I wrote about a whore.” After the laughter died down, she went on. “I like songs about whores. God knows we got enough of ‘em in this world. I don't mind good honest whores, just as long as the stay away from my shit” (from “Buttons And Beaus”).
The bluesiest of the blues came out loudly during Willie Nelson’s “Night Life.” Lynne connects will with old school country, while simultaneously identifying with the next generation. She also is infamous for speaking her mind, as when she told the crowd, “I live in California. When I bring the south out there, they get confused. I live in California so I can smoke weed when I want to. I can grow it too,” she confessed.
Shelby Lynne is tasting success that she has been working hard on for many years. It seems well deserved.
Opening the show was British singer/songwriter Findlay Brown. His affable personality and wonderful acoustic set surely gained new fans. Soon into his set, he told everyone, “I hope you like love songs. That’s about all I’ve got. You didn’t bring your dancing shoes, did you?” If you squint your eyes just right, Brown could be mistaken for a younger (and better looking) Ricky Gervais. After performing the title track to his latest release Love Will Find You (Verve), he begged, “That wasn’t so bad, was it?” He went on to say, “I’m shy. I am. That’s why we do this, us performers.”
Brown has been compared, rightly, to Roy Orbison, with his jet black, slicked back hair, his, fancy cowboy jacket, and especially his smooth and expressive voice. He articulated his love of America, telling the crowd that this is the land of all his musical heroes. He mentioned, among others, Elvis Presley, Johnny Cash, and Merle Haggard. He also spoke of his home of Yorkshire, England. “Do you know Yorkshire? On the moors? Do you remember that movie, An American Werewolf in London? And that pub in the movie called The Slaughtered Lamb? I grew up about an hour from there. Middle of nowhere.”
Among the songs performed, were “Don’t You Know I Love You,” “If I Could Do It Again (I’d Do It With You),” “Everybody Needs Love,” and “Come Home.” Brown uses his self-deprecating humor to his advantage, pulling listeners ever closer to his performance. “Must be kind of boring, one guy standing up here with a guitar.” To this, the audience yelled, “No!”
Findlay Brown has all the tools to become this generation’s crooner. People just need to hear him.
Friday, May 14, 2010
Beach House and Washed Out chill the EARL
Live Review: Beach House w/Washed Out, The EARL in Atlanta, 4/29/10
Baltimore duo Beach House brought their dream pop/indie rock grooviness to Atlanta recently at a sold out EARL. Riding the wave of success from their third studio album Teen Dream (Sub Pop), Baltimore native Alex Scally and French-born Victoria LeGrand illustrated how to paint with music. The new release topped the college charts earlier this year and has been an indie favorite.
Telling the crowd, “This is our fourth time playing the EARL,” Scally may be wondering why the venues have not increased in size since the inception of Beach House in 2004. That’s only a matter of time, as college stations and indie fans across the country are pushing them to the top.
Selections of their dreamy and beautiful music included “Used To Be,” “You Came To Me,” “Norway,” “Apple Orchard,” and the golden sounds of “Zebra” (“Any way you run, you run before us / Black and white horse arching among us”).
Opening the show was Georgia’s own Washed Out (a.k.a. Ernest Greene). Greene came to prominence at this year’s SXSW show and continues to gain fans with each performance. After recently earning his master’s degree, he moved back in with his parents in Macon while desperately searching for work. In his spare time, he dabbled on his laptop making music. After a MySpace page garnered some record executive attention, he was offered a deal.
Washed Out is on top of the new Chill Wave movement and has a static-y, synthpop 80s feel. While mostly instrumental, Greene does add soaring, echoing, and often looped vocals. Overall, he has a nice sound. His debut EP, Life of Leisure (Mexican Summer), was just released in March and has been making the rounds. Greene has made mention of his friendship with Chaz (Toro Y Moi). Both artists are redefining music for the 21st century (in a good way).
Fans heard pretty much all of Washed Out’s EP, which is all of six songs. Don’t fret, though. More is on the way.
Baltimore duo Beach House brought their dream pop/indie rock grooviness to Atlanta recently at a sold out EARL. Riding the wave of success from their third studio album Teen Dream (Sub Pop), Baltimore native Alex Scally and French-born Victoria LeGrand illustrated how to paint with music. The new release topped the college charts earlier this year and has been an indie favorite.
Telling the crowd, “This is our fourth time playing the EARL,” Scally may be wondering why the venues have not increased in size since the inception of Beach House in 2004. That’s only a matter of time, as college stations and indie fans across the country are pushing them to the top.
Selections of their dreamy and beautiful music included “Used To Be,” “You Came To Me,” “Norway,” “Apple Orchard,” and the golden sounds of “Zebra” (“Any way you run, you run before us / Black and white horse arching among us”).
Opening the show was Georgia’s own Washed Out (a.k.a. Ernest Greene). Greene came to prominence at this year’s SXSW show and continues to gain fans with each performance. After recently earning his master’s degree, he moved back in with his parents in Macon while desperately searching for work. In his spare time, he dabbled on his laptop making music. After a MySpace page garnered some record executive attention, he was offered a deal.
Washed Out is on top of the new Chill Wave movement and has a static-y, synthpop 80s feel. While mostly instrumental, Greene does add soaring, echoing, and often looped vocals. Overall, he has a nice sound. His debut EP, Life of Leisure (Mexican Summer), was just released in March and has been making the rounds. Greene has made mention of his friendship with Chaz (Toro Y Moi). Both artists are redefining music for the 21st century (in a good way).
Fans heard pretty much all of Washed Out’s EP, which is all of six songs. Don’t fret, though. More is on the way.
Sunday, April 11, 2010
Vampire Weekend live in Atlanta, 4/8/10
Lead singer Ezra Koenig celebrated his twenty-sixth birthday in front of a sold-out, hyperactive crowd in the confines of Atlanta’s fabulous Tabernacle. But the usual birthday celebration it was not. Vampire Weekend – touring in support of their new release Contra – are on top of the world in terms of popularity. For such a brief existence (2006), the band has achieved success the likes of which most bands only dream (those who do reach it are much older with years of struggles). Named “Best New Band” by Spin magazine in 2008, Vampire Weekend never really had to struggle. And when Contra debuted at number one on the Billboard 200 in January 2010, it was apparent that more than a few people loved this band.
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
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. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
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. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
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