White Denim, Bowery Ballroom 9.10.13

White Denim, jamming, 9.10.13 Bowery Ballroom

News flash:  There are not enough hours in the day.

How can one expect to hear every band, or every song?  Even if that was my full time profession (clearly it is not) it would still be impossible to know EVERYTHING about today's music scene.  Brooklyn Vegan, Pitchfork, and Stereogum all pretend to know, and will do all they can to shame you for you for not knowing.  But they don't have all the information.   At their best they are no more an authority on what you like, than you yourself.

What those outlets have, and others like them, is resources.  They can send tight jean wearing men with larger than life cameras (compensating for something guys??) and note pads to venues in and around the City.   Their employees are also keen on social media.  Their power is spreading the word, no matter what that word is.  This week they dissected Arcade Fire's "Reflektor".   Next week, Queens of the Stone Age, Metallica at The Apollo, or whatever offensive thing Chris Brown is up to (including his music.)  The alt music news cycle is as vicious as your night time cable news.   Gone are the days you can have a meltdown on stage and shake it off.  Do that and Twitter will speculate on the reasons why and take a shot at writing your rock and roll obituary.   "He/She is too depressed."  "They are not getting along."  "Their A&R man said I don't hear a single."

Occasionally the "powers" that be work with you.  It is through one of those sources I ran across an invite to see Austin, TX rockers White Denim play Bowery Ballroom.  A free show sponsored by Rolling Stone magazine and StubHub said the ad.  Never mind I have not read a Rolling Stone music review since 1994  and StubHub amounts to nothing more than a dime store whore for its ludicrously wealthy pimp called ticket brokering.

It's a free show at a terrific venue.  How can you go wrong?  Except of course with the sitter, and work, and school...  bla, bla, bla.  That's another story.  You just make it work damn it!

And White Denim is, if not already validated, a bona fide up and comer in the alt community.  Their 6th LP, the poorly titled Corsicana Lemonade will be released 10.29.13.  The first single, "Pretty Green", has a grit, tenacity and wonderful hook not unlike your favorite Black Keys song.   Blues/Rock/Psychedelia.  It's all here.

They are another band gleefully unconcerned with re-inventing the wheel.

They follow a successful pattern you can find in most Rock and Roll 101 textbooks.   Write some pretty good songs and perform them well live.

James Petralli does the singer/guitarist/front man thing.  He trades licks with Austin Jackson (Austin from Austin- awkward.)  Steven Terebecki (bass)  and Joshua Block (drums) complete the band.  They may look young, but their set Tuesday 9.10.13 displayed a confident and cohesive sound.  They opened with "Green" and absolutely nailed it.  Petralli's voice is strong and Bowery's sound was in top form.  This is a their most "pop" or mainstream sounding song, and it worked so well.  It just might have set the bar too high.  It was great to hear a band's fresh single start a show.  It can backfire if you perform it too well and fail to recapture its energy later in the show.

More often than not the band took a decidedly "jam" turn.  The new record was well represented and it guitar friendly.  The only banter between songs was absent, save for something succinct,  like "This is another new one."

Within more than a handful of songs moments like this erupted.   Lest you forget, this is NOT a pop band.  They want to play those guitars.  They want to rock that bass.  Indeed,  there was some drumming too.

The set was marked with some special moments.  Some of Patralli and Jackson's guitar showdowns appealed to a visceral spot deep in my core.  There were some quieter moments too.  Some of their mid song sojourns simply fell short.   Around an hour or so in it began the whole thing started to dim.

Was it the crowd?  Showcase things like this are always dangerous.  Free is great, don't get me wrong.  But free brings out a weird mix of folks.   Before the show, those closest to stage clearly had no idea who they were seeing, or maybe even where they were.  Much of the audience were employees of the host sponsors.  To further illustrate my earlier thoughts on those who cover the music industry, they are a timid group of people.   Most were there for the event, not the music.  

Amanda Bynes would have been embarrassed at the amount of selfies and group pics taken.

Usually a Tuesday night show, especially at a small club, would bring out a band's hard core fans.  Those folks would in turn, provide an added level of energy to the proceedings.

For too long that energy was lacking at Bowery.

Not the end of the World.  And by no means an indictment on White Denim.

A good night for sure.  Just not a great one.

James Petralli of White Denim

Nice, simple packaging.  

They had more room if they needed it, but White Denim kept it close.

White Denim, (l to right)Austin Jackson, Steven Terebecki, Joshua Block and James Petralli

My 1 minute clip. White Denim jamming.

Wire and Bear in Heaven, Bowery Ballroom 7.16.13

Last week the country became obsessed once again with Tara Reid and Ian Ziering, thanks to the unholy spectacle that is Sharknado.  It was a welcome diversion to the wasteland that is summer television and the disastrous summer movie season.  Big budget "blockbusters" (see Pacific Rim, Lone Ranger and After Earth) have lost millions of dollars at the box office.  And with the exception of weekend cable staples, Dexter, True Blood, and FINALLY The Newsroom, summer is easily forgotten on the tv dial.   These are the dog days in the sporting world too.  The ESPY's?  Really?  

It was with that knowledge my wife and I took a dare from an old friend and bought tickets for Tuesday's show at Bowery Ballroom.  "Sure, why not?"  we thought.  Literally nothing better to do.  It also gave us an opportunity to eat at Supper in the Lower East Side.  Try the bolognese! 

What did we know about venerable Brit punk/new wave act The Wire.  Nothing.  What of their opening act, Brooklyn's Bear in Heaven?  Still nothing.   Maybe even nothing-er.  

We may not have known the bands prior to Tuesday.  But we do now.

Let's set the record straight.  First, both acts had far too many quiet moments during their sets.  Bear In Heaven, who have been around for about a decade, suffered a bit from song sequence selection and had too many slow moments  The trio incorporates synths and tribal beats to create, what some call "space rock."  Their single, "Sinful Nature", from last year's LP I Love You, It's Cool, has flashes of the 80s Manchester sound with a side of Jan Hammer.  They rely a bit too heavy on the pre-programmed computer for my tastes, at least in terms of their live performance.  Singer/keyboardist/founder and frontman Jon Philpot has enough charisma and vocal chops to get your attention.  Drummer Jason Nazary and bassist Adam Wills are solid, if not spectacular compliments.   The styling of the group needs some work, especially if they are going to make a living with a slower paced show.  If there are down moments you cannot help look at Wills and his oddball hat and creepy mustache.  My better half had two of the best lines of the evening.  First, Bear in Heaven might be her favorite "Bear" band.  Apologies Grizzly Bear, Panda Bear, Bear Hands etc...  No apologies to Barenaked Ladies.  You suck.  She was particularly happy she could share that thought with Nazary on Houston St after the show.

Second,  "Wills might be the most unattractive bassist she had ever seen."  Ouch.  It need not be that bad.  Wear the hat like an adult, not child of the 1950s.  And please note, only John Waters can wear a mustache that thin.   Sadly, although Nazary is talented and super friendly, his look (a cross between Woody Allen and Patrick Carney of the Black Keys), does not scream rock star.  

For more check out "Idle Heart"  Great percussion beat throughout and Philpot shows nice, subtle delivery.  A wonderful ode to 80s mood synth.

Also, "The Reflection of You" is a nice example of easy going pop that might make you think of New Order or Joy Division.  

Official Bear In Heaven site

At first glance the youngsters, Bear in Heaven, seem an odd choice to open for vet rockers The Wire.  After all, Wire became a band in 1976 or so.  The members of Bear in Heaven were all BORN in the 1980s.  Differences aside,  these two bands complimented one another surprisingly well.  Long regarded as an important and influential act (very much news to me) The Wire delivered an entertaining, if not awe inspiring set.  Singer/guitarist Colin Newman, bassist/vocalist Graham Lewis and drummer Robert Gotobed are the original members and have more than stood the test of time.  Newman rocks the Joe Jackson/Elvis Costello look.  For a great deal of the show he looked at a mounted iPad between every note/lyric.  This is a bad, bad thing and let me tell you why.

Even if he was not using it for lyrics (it was probably used for the mix and sound- in addition to words), it is, without question, anti rock and roll.  And, since The Wire are noted as forerunners or creators of the post-punk revolution, it can be said with much certainty that an iPad is ANTI punk.  Newman would have been better suited mounting the Ipad in front of his microphone, rather than off to his right. He never made eye contact with his audience and, for much of the evening, had the look of a Jr school talent show instead of the legend many think he is.  His biggest sin however was singing each sung with the same tone and inflection.  If you are not going to look at the crowd your voice had better represent.  Sadly, it did not.

Lewis and Gotobed on the other hand carried the evening with booming bass lines and rapid drum lines.  Clearly they have been doing it for a while.   Gotobed has the arms of a young Gilad and Lewis is a cockney version of Lawrence Tierney circa Reservoir Dogs.  "What do you mean you don't tip??"

Looks aside The Wire's hour and half set was well worth a blind taste test.   Was it an Earth shattering event that has converted me into their biggest fan?  No, clearly my buddy that brought me here has that title wrapped up.  But it sure beat the hell out of Hell's Kitchen or Wipeout, or whatever happy horsesh*t might have been playing that night.

Yeah I suppose I could read once in a while.  But who has time for that??  Except you of course.  Thank you sincerely!

Bear in Heaven, Bowery Ballroom 7.16.13

The Wire, Bowery Ballroom 7.13.13

Graham Lewis, not be be confused with Lawrence Tierney

Add caption

Bear in Heaven's Jon Philpot

Adam Wills of Bear in Heaven

The Wire

Ive been standing on Delancey, and Bowery

Synth Week (Or the Week my Wife Questioned my Sexuality)

About four songs into Grimes set last night at Bowery Ballroom my wife politely leaned over to me and whispered "You have to be a little bi, right?"

Ouch.

You can't be a little gay, or a little bi, right?  And if you are bi isn't that just another way of saying gay? It's like saying hipster, or experimental college phase,  or suburban gay.   But it is gay nonetheless.

So let me premise by saying by each and every account I am a straight man.  Be out and proud I say and I will support you 110%.   Gay marriage is as great (and flawed) as straight marriage.  But I draw the line at skinny jeans and ain't no way men turn me on.

But what is the stance on watching (and enjoying Project Runway and Top Chef?!)  I cancel that out with a love of baseball, football and college basketball, don't I?

Flannel shirts can go either way I suppose.  But I loathe shopping for clothes.

And where do you stand on synthesizers??  I mean, for someone who grew up in the 80s isn't the appreciation of synths my birth right?

New Order.  Human League.  Thomas Dolby.  Thompson Twins.  Depeche Mode.  Real Life.  Icicle Works.  INXS.  Those are just a few that come to mind.  Who am I missing?

And today the mighty synth is back and bigger than ever.  Naked And the Famous, Foster the People, Cut/Copy, M83, Passion Pit, The Sounds, Gotye XX, Walk the Moon to name a few. There are plenty more, like 2 the 2 acts I saw last week.

Tuesday 10.23 American/Swedish act Miike Snow made their Wellmont Theatre debut.  Andrew Wyatt, leader and central figure for the band, is a strong ringleader.  And this is something of a circus.

Front stage is positioned as some sort of spaceship contril room.  Synths face each other stage left and right and light up like a Star Trek set piece.  Think Wrath of Khan, not the tv series.

The only thing distinguishing them from a dj set is live percussion, which they employ quite effectively.  The drum kit gives the illusion of a rock show, even if it is secondary to the proceedings.  This is a synth act.  Swede's Christian Karlsson and Pontus Winnberg were/are a formidable songwriting and producing act without Wyatt.  They won a Grammy for the Britney Spears song "Toxic."

With Wyatt they spin/play/program the beats and allow him enough freedom to act them out.  His voice and their harmonies breathe a toe tapping energy to the live show.

This is as close to a Jersey club as I am ever gonna get.  Even though the place was very quiet (Tuesday night show in NJ soon after they played NYC was ambitious- couldn't have been 1000 people there) those in attendance enjoyed the production.

Wyatt is confident and charismatic.  The Swedes are animated and engaging.  And the hooks, oh the hooks.  ""Paddling Out"" and "Silvia" have earned their rightful place in the synth canon.

Make no mistake, this is as much theatre as it is music.  Lots of the music has been sampled, manipulated on computer and played like your favorite mix tape.

M83 played Wellmont a few weeks prior and absolutely killed it.  Maybe they set the bar too high because Miike Snow left me slightly disappointed.  The small crowd was a little soft too.  Tuesday nights are a challenging night to bring the high energy.  These boys have been touring for like 30 years consecutively too.  That cannot help.  Good stuff for sure, but not life changing.

Which can be also be said of Canadian toddler Claire Boucher, nee Grimes.  We caught her at Bowery Ballroom 10.27.12  performing one of 4 (!!!) sold out NYC shows.   Truth told she is 24 years old.  Tastemaker magazine has called her and her music "as an alien love child of Aphex Twin and Abba."  She played Enya before taking stage.  The set consisted of 3 keyboards and 3 floral covered microphone stands.

It is dream pop.  It is dark wave.  Dark ambient.  Industrial.  Experimental.

The lighting is an integral component as well as Grimes pixie voice and meek, ethereal stage presence.  It was Halloween weekend in NYC too so the kids were all in costumes.  Or were they??

The Grimes set is all synths and moody, mystic vocals.  Boucher can sing.  Her voice brings Julee Cruise to mind.  Does anyone remember Cruise and her work with Angelo Badalementi for David Lynch?  Her look is an amalgam of Kate Bush, Sinead O Connor and Karmin.

What puzzles me most is the lack of live percussion.  It makes the whole event seem MORE theatre than concert.  It was also an issue with Sleigh Bells's show earlier this year.

The whole thing seems contrived.  Do we need the mere appearance of the keyboards.  Is it the same show with the lights and Grimes singing alone on stage?  Probably.

Maybe I'm a bit old for the scene.  Maybe more specifically, I'm no longer taking the drugs required to fully engage with this type of artist.

It plays much better on a lazy Monday afternoon stranded due to a Hurricane.  Pop in the dreamy soundtrack to mellow and let it be.

Live, in front of an under appreciating bunch of twerps, is quite different.  She came on closer to 11:30 too which was annoying too.  Her openers were off stage around 10:45 and let's be honest it does not take much to set her up.  Find an outlet and plug in keyboards.


Thankfully we were able to see Futurebirds earlier in the evening.  They are a guitar band from Athens, Georgia.  Lots of guitar in fact, including a pedal steel.  Sorry, pedal steel is my kryptonite and with the Futurebirds it's pretty darn good.  They were opening up for trendy and buzz worthy band Heartless Bastards.  Their set and stage presence/demeanor were both likable to say the least.  

The guitars help with my heterosexual credibility don't they?  Can I keep my straight card?

Or as a few friends suggested my card may be either a) missing or b) the mere mention of straight card calls for immediate removal of it.

Judge all you want.  More synths shows are on the horizon.  I'm comfortable with it.  Maybe if you aren't you are the one who should be questioning yourself.  ;-)

Uh oh, an emoticon.  Back to square one.  Admitting the problem is step one.



Futurebirds Irving Plaza 10.27.12

Full head dress and feather cape for Halloween.  All I could think of was how warm that must be.

Grimes Bowery Ballroom 10.27.12

Just could not get a decent picture at this one.  Might be time to upgrade phone.  Samsung or Iphone?

Miike Snow Wellmont 10.22.12

They came on stage with creepy Eyes Wide Shut masks on.  Totally cool.

If Eminem were a synth loving, emo singer he might look like Andrew Wyatt