Shepherd's Bush Empire; London, England
“I’m feeling a little out of sorts,” Channy Leaneagh muttered after “Fist Teeth Money,” the bass humming in the air after a delightful rendition. I couldn’t help but feel deflated after hearing the lead vocalist divulge feelings of disappointment about her performance that night. In the wuthering throes of spectacle, Leaneagh appeared assertive, sparkling, and aligned with the rest of the band, but after each combined rush of percussion at the end of a song, she would apologize for how nervous she felt. The Empire was packed to the rafters, a sold-out show for an act with just one album to their name, but who come with substantial celebrity props.
I followed C-Monster’s lead and took my young lady to the gig, or rather, she took me. I wasn’t too geared up about seeing Poliça live because of how their debut, Give You The Ghost, comes across; it’s eerie, illustrious, and beautiful pop that’s so personal it sounds purpose-built for small venues and private playback. Perhaps that’s an unfair judgement call, perhaps not; “There are so many of you,” Leaneagh said somewhere between one auto-tuned frenzy and another. The band played for just more than an hour, which was enough time to hammer every track on their album along with a couple of new songs, much to my gal’s delight. There were screams, whistles, and rapturous applause, but very little movement from the crowd, which was transfixed on the singer as she pranced awkwardly amongst the bass player and two drummers. She seemed fragile, but constantly trying to overcome her anxiety by belting most of the material in a different key to the record, which sounded bold and spirited on tracks like “Darkstar” and “I See My Mother,” but fell considerably flat on the much-anticipated “Lay Your Cards Out”.
We had seats on the first upper level, which gave us a near perfect view — the Empire is an impressive venue, large enough to hold 2,000 people while retaining a degree of intimacy. Only on this occasion, the most intimate moments were shared by Leaneagh and the band, as opposed to the performers and their audience; the singer was so unsettled she darted off stage after the encore without so much as a “Goodnight, London!” They played a new track to finish, which proceeded a gorgeous a capella version of “When I Was A Young Girl”. Those two songs remain our personal highlights of the evening, and a glimmer of promise that Poliça’s new material is going to live up to the growing reputation they have hurriedly crafted — I just hope Leaneagh is ready for it.
[Photos: Carolina Faruolo]
Bad Credit No Credit / Blood Not Paint
The Bowery Electric; New York, NY
Of the innumerable “up-and-coming,” “rising,” “crossover-potential,” “omg like soOoOOo cool” bands that inhabit Brooklyn, many of them fall into one of two categories: those who work hard to attain a tightly controlled and hip aesthetic (though their success-rate varies widely) and those who rebel against this by being as bland and apathetic as possible (see: most bands involving four straight white dudes playing “garage rock”). Bonus points for those who manage to do both!
Blood Not Paint, who opened at Bowery Electric last Thursday, are a decent example of a band that tries a bit too hard to do something I can’t quite figure out. Although they were killing it on the matching black tights and creepy face paint front, their music wasn’t as interesting as their outfits suggested, which was stuck somewhere between power pop and post-hair metal. Although their sound was tight, the whole thing was a bit too much of a put on for me. It was more enjoyable to watch them on the screens by the bar than actually standing in front of them.
But it was cool; I was there to see Bad Credit No Credit, a band with more brass instruments than a high school marching band, a charmingly manic lead singer, and zero pretense. Lead singer Carrie-Ann alternates between playing jazzy, Baltic-influenced horn hooks on sax (where she’s joined by a trumpet, another sax, and two trombones) and singing in a voice that can jump from sultry to screaming in a matter of seconds. She is a total Performer, and her facial expressions convey as much about her dedication to drama as her tendency to unexpectedly launch herself into the crowd and play her sax from the floor. Their set was ecstatic and the crowd responded in kind, doing the Charleston, skanking, and spastically dancing in ways that most New York concert attendees would rather not be seen participating. They are always a great time, and the new material from their 2012 album, The Whole Buffalo, didn’t disappoint. (It should also be mentioned that their lead singer’s side project Clapperclaw is incredibly worth checking out — creepy looped jazz vocals with backing electronics and, or course, more horns that evoke a dream sequence from a Lynch film.)
Guardian Alien sadly cancelled, but it was a night well spent anyway, or at least I seemed to think so, as my night spiraled into raved-out oblivion at a strange Puerto Rican club where the only reasonably priced drinks were electric blue and came in fishbowls. I’m sure the members of BCNC went home and hung out with their cats or practiced the clarinet. They seem like they’ve got their shit together.
[Photo: Emily Wheeler]
Oneohtrix Point Never
The Institute of Contemporary Art; Boston, MA
I visit Boston, my old home, a lot. I have friends there still in college; my old school is there; and my favorite bar is there. Needless to say, there are a lot of memories in that city. But I also feel a personal sense of decay every time I visit, and I never felt it more than this weekend when I saw Oneohtrix Point Never — one of the best shows I’ve ever seen (but more on that later). When I walked into my old bar — my former go-to spot to take dates, all exes now — to get a drink, the usual bartender (Michael) was still there and instantly recognized me, but for most of the new staff, I was a stranger where I used to be a regular. It was also my first time in town since The Boston Phoenix stopped publishing, which is where I got my first job working at a print publication (I was spending my time last week screen-capping my writing on their website before they all turn into a big 404 error), and later, at an after party from a memorial for a friend who had passed away last year, I bumped into someone I had worked with in college. He was embarrassed because he couldn’t remember my name, which I said was nothing to feel bad about: I couldn’t remember his either.
Not to say any of these feelings are unique; in fact, they are extremely mundane. But while none of it was at the forefront of my mind when I went to see Oneohtrix Point Never at Boston’s Institute of Contemporary Art, that changed when Daniel Lopatin, a master at playing with decaying memory, started performing. Anyone who has listened to Replica knows he has a way of injecting these thoughts into your mind, subconsciously or not. The performance, titled Reliquary House, with visuals by Nate Boyce, has been done before at MoMA, but we were given a huge shock right beforehand: The program director made his announcements and then casually ended with, “I just talked to Dan, and he said he has mostly new material tonight.” Before that massive news could even really be processed by any of us, Lopatin and Boyce came out and started.
A reliquary is a sort of shrine that houses ancient relics, and in this case, these relics are commercials: bruised, beaten, broken, and warped in all their beauty. And, with the all-new material (a new album is coming soon, but no details have yet been revealed), Oneohtrix Point Never has progressed the style of Replica beyond anything I could have imagined. The music is a massive collage of memories that are at times stunningly beautiful, sad, dissonant, and spiritual, all of it paired perfectly with Nate Boyce’s hyperreal digital sculptures projected above them. The pairing is very appropriate due to the way OPN’s new songs sound so three-dimensional, ebbing and flowing from overwhelmingly dense to airy and smooth. This time around, he gives the samples more room to breathe, with moments of tremendously heavy beats that just explode out of the mix. Ghostly samples of choirs haunt tracks, and to see him trigger samples in his intense way is genuinely exciting to watch.
One of the major questions I had before going to the show may be a little inevitable. Daniel Lopatin is perhaps the most influential person on the vaporwave scene (it has evolved tremendously, but Chuck Person’s eccojams still remain a blueprint), and I was hoping to see if there was a reaction or a response to it in his new music. And there is. It’s difficult to describe how, and it might just be me hearing him live again with the reappropriative musical context of 2012 in mind, but artists like New Dreams Ltd. (Macintosh Plus) and James Ferraro’s Far Side Virtual felt like reference points in the new music but absent when he finished the set with “Nassau” and (an awesomely dissonant version of) “Child Soldier.” The perfect moment for me, though, came roughly 30 minutes in: after triggering a choral sample over a sea of throbbing percussion, Lopatin actually sat on the floor, back against his table of electronics (and the audience), and looked up at the projector, watching, just his head in view. For just a moment, he was soaking everything in, just as we were.
The first time I saw Oneohtrix Point Never play was about two months before Replica was released. I spoke to him after the show and told him I’d been listening to my promo of the album, and I honestly thought it was the best album of the year. Three months and one perfect score later, TMT named it just that. It’s still early, and we can’t know for sure what the new album will really be like, but after leaving the show with a new perspective on contemporary electronic music, on this city, and maybe a little on myself too, I know one thing for sure: Something is coming from Oneohtrix Point Never, and it is going to be huge.
Devendra Banhart / Swans
Music Hall of Williamsburg; Brooklyn, NY
My girl and I enter to a quaint Devendra Banhart squeaking out Spanish licks and gently plucking strings for a shoulder-to-shoulder, swaying crowd half-repeating the song. He stops, casually speaks his mind to the crowd following meaning to the song just sung, which I hate, but whatever, and provides basis for the next that has seamlessly started playing. With charm and politeness, he croons through seven or eight more songs. Just he and his guitar. I typically have no patience for this kinda stuff, but he convinced me through heckling humor or nostalgia. Maybe it was nostalgia. And he’s funny, and he cuts, and he thanks Swans deeply, and we wait for 45 minutes, as it takes him five to exit the stage and 40 for Swans to dawn it.
Once the Swans flood onto the stage, their introduction is exactly the wall of sound you expect, and my girl is standing 3 feet back with a smile. And as it builds through drums, slide guitar, staggering bass, harsh guitar notes, random persecution, bow-noise, and cries/chants, I realize the whole stage is openly microphone’d. I found this out during the hushed moments as Michael Gira softly (yet through the speakers clearly) directs and perfects the sound emulsion. And this is how the entire two-and-a-half hours proceed: an entirely pleasure-driven live set centering his idea of what Brooklyn sounded like via Swans. Oh, shit that’s terribly bland. I’m saying the carefully crafted egotistical measure that Gira brings to noise and sounds and Swans, including the irresistibly flagrant takeover of marketability in the Brooklyn area (see: Girls), provided a crushing experience both for the drabness of passerbyers in the area, and those forced to this location by Swans fan-dom. The blend was a beautiful awakening for the all-encompassing, endearingly prophetic in might and will and visual thought.
Tate Modern; London, England
When The Mix was released in 1991, it created an irreversible divide between fans who were willing to accept new material, regardless of the form it took, and those who were disgusted by the very thought of a pseudo best-of. Throughout a sweeping gape of the 1970s, Kraftwerk had positioned themselves at the forefront of electronic music in using synthesizers and drum machines to create compositions that set a benchmark for the hordes of aspiring electronic acts that were to follow. The Mix was seen as a turning point because it saw the group demonstrating a desire to revisit past material and identify with their music through a new context. Although this may appear to have been industrious at the time, by that period, their back-catalog had achieved cult-classic status, which meant they were altering their history in ways most fans were not ready for. The Mix was widely shunned by dedicated followers and critics alike, not only because it saw the band looking backward, but because Kraftwerk’s ‘greatest hits’ were being tampered with.
Announcing the leap from analogue to digital recording on the album also symbolized a desire to drive forward technologically — ambition derived from intent to reshape the dimensions of those classics in a way that should have improved sound quality and allowed for fans to experience Kraftwerk in a contemporary light. That never really happened though. Despite the fact that a number of tracks were subject to a dance floor-oriented shift, the mastering of the record left plenty to be desired. It sounded flat, half-baked. The group’s signature tracks had been sacrificed on the alter of remix without yielding particularly pleasing results, and that was enough to push the hardcore over the edge. The Mix consequentially went down as an unjustifiable failure — a step in the wrong direction. So why would anyone in their right mind chose to see that troubled regress performed in its entirety over any of the master works?
For a generation of listeners born after the heyday of Trans-Europe Express, and who grew up in a world coming to terms with the scope of electronic music and its capabilities, The Mix was a solid introduction to the efforts of the very outfit that had kicked things off way back when. The album worked as an embodiment of manhandled success that shed light on previous material in a way that demonstrated Ralph Hütter and Florian Schneider’s willingness to experiment — all this at a time when the remix was a standard format on cassette and CD singles. Indeed, this was my initial experience with the band, and one of the central reasons I chose The Mix as the album to see performed live at Kraftwerk’s recent Tate Residency.
The London shows took place 10 years after the group’s most recent release, Tour De France, and showcased every other studio effort from 1974’s Autobahn hence — eight albums, eight nights. Each performance promised two hours of music, including every track from the album of the day plus a selection of hits with improvisational fragments and state-of-the-art 3D visual effects. The concept sounded amazing when it was announced, and despite the fact that Kraftwerk had already conducted similar performances in New York and Berlin, when the London tickets were released, the Tate website crashed at the hands of rampant admirers desperate to spectate.
The Turbine Hall is a cold and hollow space that works tremendously well as a makeshift stage. As we approached, the chimney protruding from the main building seemed so fitting amid the grey clouds that shuffled overhead it might easily have played a forgotten factory wherein a collection of neglected showroom dummies had been left to decay, only to come alive at night and perform electronic music for a starstruck selection. I had read a number of reviews about the concerts leading up to Night Seven and had a good idea of what to expect: 3D glasses, a black cushion, and a sold-out show that gradually shapeshifts through the album’s tracklist before spinning out into a panoply of hits. However, nothing can quite prepare for a 120-minute spectacle fronted by four men wearing illuminated lycra bodysuits, standing in front of their keyboards and pummeling their audience with cyberling techno classics.
The lights went down and a stern robotic voice projected over the audience: “Ladies and gentlemen” (something in German… something in English), “K R A F T W E R K” — the black drape covering the stage fell to the ground and “The Robots” burst across the venue. It might have been a pumped-up version of the original, but it sounded impeccable with the surround sound set up. The 3D spectacle displayed vintage cuts of mannequins moving their limbs slowly to the thumping drawl of the 1970s classic in an overwhelming surge of nostalgia as Ralph Hütter gingerly manipulated his keys alongside new recruits through the track’s iconic refrain.
After a beautiful rendition of “Computer Love” the momentum of “Autobahn” started up. It’s a track I have been told was revolutionary when it first hit the shelves on vinyl, for if you placed your speakers in the right place when listening to it, the fact that you could hear the cars zooming from one side of the room to the other was considered a mesmerizing party trick — all you had to do was shut your eyes and pretend you were on some sort of mad electro highway. I hadn’t imagined that shutting my eyes would be in the cards this evening, as the 3D visuals were supposed to be a component to behold. However, the MS paint VW that trundled along a cartoon road looked like it had come out of a kid’s TV show — it was a big disappointment that was only half-rescued by a shot of a dashboard and a gloved hand, which slowly turned up the volume to produce a series of music notes that poured out onto the audience to brilliant effect.
By the time “Radioactivity” kicked in, even the sight of people lifting their mobiles every few minutes to share the moment on Instagram could not taint my elated state. This was the track I had come to see, and it went down an absolute treat. It was one of those transcendental ‘wow’ moments that got me thinking, “Am I really here?” “Am I really experiencing this?” The croaking, mechanical voice “Stop! Radioactivity” and the humanized vocals that follow it’s in the air for you and me made this enough of a protest song without the inclusion of “Fukushima” to the laundry list of power plants Hütter reels off as names appears on the screen like newfangled superstar brands — “Tschernobyl / Harrisburg / Sellafield / Hiroshima.”
Each of those songs, along with a wonderful version of the “Trans-Europe Express,” “Abzug,” and “Metal On Metal” sequence, all came in the first 40 minutes or so, which left the rest of the show lingering in the balance of untold possibility. Where I disagree with other critics, such as The Guardian’s Michael Hann, is when he suggests the only place Kraftwerk had to go was downhill. How could that possibly be the case when there remained so many directions to take the show in!? As it happened, the second half was every bit exciting as what preceded. The synthetic panache of “The Model,” the cyber dirge of “Spacelab,” and the menacing whir of “Metropolis” were followed by a version of “Man Machine” that was just delightful, the undisputed highlight of the evening embedded deep within a context of glorious techno pop.
The Mix was somewhat disfigured by the songs played between it, but because the album itself lacks any structured narrative, Hütter’s keenness to experiment became easier to observe. The ‘greatest hits’ set-list avoided a strict diet of traditional crowd pleasers, and while the visuals might not have been wholly successful, they complemented certain aspects of the album’s unintentional aesthetic, which was pitted against an ultra-crisp sonic finish courtesy of the Tate audio setup. The evening was a triumph, even if that ropey stretch of “Autobahn” left me baffled, but then again, I could have always closed my eyes.
OM / Sir Richard Bishop
The Larimer Lounge; Denver, CO
Any metal show might have put a nerd like me out of place, but for some reason I thought a bill like this one would have the least opportunity to make me feel awkward. Of course, showing up without a date didn’t help, but something still felt a little off. Maybe it was ME who was making the SHOW feel awkward. Whatever; a tall PBR ordered, I hung around and wrote notes about the side-bartendress being nervous to plug in a string of stage lights that blew the power last time.
She did end up plugging them in, and all was well, so Sir Richard Bishop sat down and made baby faces at the neck of his guitar while his fingers did unimaginable things… Dirty, aggressive things, things that might get you arrested in certain decades in certain countries. Either the Derek Bailey of psych or the John Abercrombie of raga, or both probably, Bishop fought the bar’s murmurous roar, pulling about as much electricity out of his amp as humanly possible. Riding a pedal tone like a camel through the desert was where he was comfiest, but it was the ballad toward the end that really left an impression; must have been out of a fake book, and I might have figured out the tune if the structure wasn’t so bowlegged and his solo so ‘out.’ But that was the way, and the way led to where it led, which was nowhere, and those of us rapt went right along, straight into the beautiful nothing.
OM didn’t waste too much time following, and after hearing what the subs were capable of during the dub-saturated house music at intermission, I decided to keep a little distance. All for not, for whomever ran sound had Al Cisneros’ bass clipping like a motherfucker while Emil Amos whaled on the ride cymbal bell between bizonkers drum fills. The band fought a weird mix, and the synth guy off to the right seemed like he was falling behind in some spots. But they battled through that too, the same way their songs can feel like epic struggles, finishing strong — OM’s final stroke of raw power was preempted with a beautiful solo section of bass that slithered like a 1-ton snake. The coda was big enough to lift a couple horns from the crowd, and most torsos couldn’t help but rock back and forth, as if everyone’s collective forehead was tied to Cisneros’ tuning pegs like a marionette.
A yawn come 11:30 (am I getting old?), with my blood a few degrees warmer than when I got there, mission still accomplished.