Yo La Tengo / Broken Social Scene
Cornell University; Ithaca, NY
Heartburn: I have it tonight, and it's grinding my innards into gut-mulch. Having forgotten my obligatory roll of generic one-pop chewable tablets, I can do little but shuffle over to the drinking fountain every time it feels like the devil shot a load down my throat. My only comfort is that tonight I finally get to witness firsthand the reason people go ‘Coo-coo’ for Broken Social Scene and Yo La Tengo. Clarification: For the record, I didn't go to the show thinking my appreciation for Yo La Tengo would be bolstered by a forehead-slapping revelation. YLT boast strong studio recordings; from my experience you don't normally hear people say Yo La Tengo is one of those bands you have to see live to fully grasp. But that's exactly what occurred, and with that I became much more of an authority on a band I'd never listened to as much as, say, my go-to artists. It also didn't hurt when, a few days later, a co-worker slyly slid his i-Pod my way with instructions to listen to Painful, particularly "Double Dare." Where the F-plus has this album been my whole life?
It's funny, then, that when I first walked into the Cornell auditorium I saw Yo La Tengo from a distance and dismissed them as a local opener. "There's no WAY YLT's opening this show," I thought as red ribbons of slinky noise darted into my ears. "There's no way some wunderkind Canadian outfit could leap-frog one of indie-rock's most seminal bands after three proper albums... is there?"
Is there? Well yes; Yo La Tengo started playing at 7 PM, and as a result, I not only missed the first few minutes of their set but also disregarded them completely for at least five minutes. Once I realized I'd pooh-pooh'd the legendary trio, all I could do was make my way to the stage as if I'd known it was them all along (as opposed to hitting myself in the head and yelling "I'm so STUPID" circa Chris Farley). It didn't take long for Ira Kaplan to render his Jewish Jimi Hendrix persona more accurately than I'd ever imagined. On this particular Shabbos, Kaplan displayed a magical connection to his guitar and bandmates, groping the former like a blind man feeling up a staircase rail and synchronizing with the latter like two tapes on two decks played at the same time on two identical stereo systems. I'm struggling to remember being this Won Over by a live act I already had a healthy respect for... Bahaus reunion? Nah... Robyn Hitchcock's acoustic set @ Bumbershoot ‘04? Negatory. Corey Feldman live at (since burned-down) Ichabod's North in Spokane, Washington? Pfft; looks like we have a winner!
Watching Yo La Tengo is a lot like taking in a Sonic Youth or Stephen Malkmus show because it ALL starts with the bass player, in this case James McNew. If McNew didn't McSlang big ‘n’ tasty bass lines faster than an auctioneer pitching out bid figures, Kaplan wouldn't have the freedom to hunker over his guitar and bend over at the waist, lunging potently as if trying to nestle something -- a tiny kitten? -- between his legs. It was entrancing, abrasive and, above all else, impossible to turn away from. What's more, if you've been paying any attention AT ALL to the progression of underground rock over, say, the last 20 years, Yo La Tengo will reach -- and tickle profusely -- one of your pressure points. As they always have on their multi-tiered albums, YLT Go There; it doesn't matter where There is because the trio covers so much ground, they inevitably stumble upon nearly every genre imaginable. Everyone's happy. I dug the drawn-out, tension-building lessons in restraint (basically Youth's "Rain on Tin," Tengo-fied) and the skin-scratching noise-noise; my wife dug the bouncy, Spoon-y piano-driven ditties with Pop stenciled all over them.
Now that I'm preparing to jump into the Broken Social Scene portion of this review, I direct you to the first sentence of the preceding paragraph -- times 10 -- because BSS are one of the most bass-driven bands I've ever heard outside of hip-hop and dub persuasions. The fact that three guitarists were running around almost seemed immaterial compared to the band's obvious central theme of tub-chubby basslines that flow like a harpoon from start to finish. Kevin Drew also surprised me with his pipes, singing lead on every song and layin' it down loud and proud like Wayne Coyne would if he could actually pull his upper-register studio vocals off in a live setting. As a unit -- a six-man unit minus Feist, Emily Haines and plenty of others, btw -- the technical abilities of the BSS unit could not be called into question.
I can't, however, say the same about the ebb and flow of their setlist, which didn't change a fookin' bit until the last song. I never realized how easily their songs bleed into one another, like an hour-long version of "Stars and Sons" (though they didn't play that numba, far as I could tell), and it took away from the show. Shame is, with a more effectively chosen setlist -- not to mention the full, swollen BSS lineup rather than the Polyphonic Spree-esque 'lite' version -- this could have been a much more explosive set. As impressive as Broken Social Scene were initially, I found myself leaning over to a companion and uttering a phrase I only reserve for the most frigid acts: "I'm ready when you are."
Need I say more?
The Clean / Times New Viking
Cake Shop; New York, NY
Allow me to pull the curtain back on the concert review genre: It is generally not very good. This is often due to a heavy reliance on cultural anthropology (as though going to a show is such an exotic thing) and ends up indulging in yawn-worthy “you had to be there” stories. With that in mind, I tend to try to stick to the music.
But, through no fault of the bands themselves, this show was actually characterized by the makeup of the audience. Because legendary New Zealand post-punkers The Clean rarely perform in the United States, and it’s also rare to see Times New Viking (pictured), Columbus, Ohio’s newest lo-fi sensation, in this neck of the woods, the concert was in high demand. Add the fact that Cake Shop is really nothing but a tiny, oddly-shaped basement with a makeshift stage area, and you’ll start to understand how quickly the RSVP list filled up. As a result, the place was crawling with industry types and music journalists, all of whom (including this reporter) had called in a major favor for the privilege of sweating through their vintage t-shirts in a room with lamentable acoustics.
I squeezed my way to the front, so close to the speakers that I couldn’t hear the vocals properly, and realized I was surrounded with, well… geeks like me. There was a girl taking photos for Pitchfork and a guy from AAM chatting up some other guy who was apparently in a band. One dude, clutching a $3 can of Sparks and looking like he’d already had a few too many, kept pushing to the front to snap Polaroids. There was even a palpable indie-celeb presence — Ira Kaplan of Yo La Tengo was on hand to cheer on his wife/bandmate Georgia Hubley, who’s also part of Mad Scene, the evening’s opener. The whole thing felt like a CMJ showcase, and I started to hate myself a little bit.
Patience is a virtue, though, and Times New Viking’s set more than made up for the industry clusterfuck. While most of the audience was probably there to see The Clean, TNV put on the most memorable performance of the night, packing several quick, energetic songs into a regrettably short amount of time. This year’s Present the Paisley Reich (Siltbreeze) is the best punk album in recent memory, but there is nothing quite like seeing TNV live.
With only three members and a sparse selection of instruments — a guitar, the world’s tiniest keyboard, and about two and a half drums—the band managed to create a veritable wall of screaming vocals and amplifier noise. TNV’s singer/keyboardist Beth Murphy looked so intense at times I felt I might need to step out the way to keep her searching eyes and anxious vocals from searing through me. The highlights were exuberantly chaotic renditions of “Teenage Lust!” and “Let Your Hair Grow Long,” both from Paisley Reich, but older material blended in nicely. Most exciting of all were glimpses of new songs from the upcoming LP, Rip It Off (Matador). My advice? Start counting the minutes until it comes out, on January 22.
I had to back off from the front lines soon after The Clean’s set began, to get some water and air and to keep myself from passing out. So as far as I could tell, the godfathers of indie were in top form, pounding out their poppy songs with crowd-pleasing verve. Though they certainly haven’t changed much over the years, there’s nothing dated about their sound, which recalls Orange Juice. With a new album in the works, to be released in ‘08, The Clean may be poised for a major comeback.
But to tell the truth, it was kind of hard to pay attention when some girl with bleach-fried hair was bouncing around behind me, screaming to her friends about some party she would be attending later in the evening. “There’s an open bar!” she cried. “I think it’s Josh Hartnett’s birthday party or something!”
I can make fun of it all I want, but at the end of the day, we’re all on the same guest list.
[Photo: Sean Ruch]
APO 33; Nantes, France
This is the second time I have seen Anthony Pateras in Nantes, and for the second time, he has put on one of my favorite shows of the year. Pateras, near the end of a month-long tour of Europe, stopped in to play prepared piano for the latest in the ongoing series of CABLE# experimental music nights, which have also hosted such respected improvisers as Britain’s Keith Rowe and Australia’s Oren Ambarchi. On this night, Pateras proved again that he’s more than capable of standing alongside those contemporaries.
What’s wild is how Pateras takes such raw physical tools (bolts, screws, washers, and metal cords) to transform the piano into a richer, acoustic cousin of a crummy Casio keyboard -- every key has its own voicing, but instead of cheesy MIDI presets, his piano plays from one key to the next like marimba / bucket / live wire / icicle / D flat / buzz / buzz / tinkle / tok! It’s not a piano anymore — it’s 88 detuned voicings chattering over each other in a bubbling, percussive discourse. The colors and timbres he elicits goad the imagination: you hear a swarm of lead-footed ants marching on ice; an archaic telegraph system discovered inside an African hut; the junkyard lullaby that an infant Tom Waits fell asleep to in his crib -- there’s something ludic, starry, and wonderfully broken about this music.
Tonality and technique are important, but a performance requires more than gear and chops -- it’s got to have drama, and Pateras builds loads of it into each piece through a studied and furious abuse of the instrument. He’s great fun to watch: the two hands play on top of each other, pinkies and thumbs darting out to stab notes in distant registers. He often throws his elbows and palms deep into the keys, all while swaying back and forth to hidden rhythms. The piano may be prepared, but it’s impossible for the audience to be -- his fingers scramble over notes in the higher keys before suddenly punching a resonant cluster of low ones, or he builds up a drone at once frothy and undulating right in the middle of the keyboard before breaking into a stuttering series of pauses and bursts that leap from one end to the other, leaving you on the edge of your seat and guessing (wrong every time).
From what I can tell, these dramatic turns are the hallmarks of any Pateras gig. This one was extra special, thanks to the intimate setting (a room that held about 30 people) and the staging: his bench was planted on a large carpet of bright green felt, and a mirror slanted from behind the piano over the top of his head so that from the back of the room, even though his back was to the audience, I could watch his hands sprint and grapple for the entire performance. In the mirror, all that was visible were those hands on the keys, the top of his head, and the green carpet. It was as if he were on a Hollywood green screen, open to virtual transportation anywhere -- Pateras in space! Pateras in the jungle! Pateras in a high-speed car chase!
The great luck of the night, though, was that Pateras was right there, in that room, shredding. Go see him if you get the chance.
University of Iowa Main Lounge; Iowa City, IA
It’s coming up on two years since the last time I saw Bright Eyes in concert, the former being a phenomenal experience at Worcester’s Palladium. That cathartic set featured a multitude of players and dug deep into the back catalogue. In the wake of this year’s modest Cassadaga, I honestly wasn’t sure what to expect this time around. Would the set be heavy on the new tunes? If so, would it suck, or would those songs take on a new life in a live setting? Bright Eyes’ recent show at the University of Iowa’s Main Lounge politely sat somewhere in the middle.
The Sunday evening show began with “An Attempt to Tip the Scales,” signaling that he would at least halfheartedly refer to his pre-I’m Wide Awake It’s Morning era. The older track hardly set the tone for the evening, and while the student-dominated audience didn’t seem to recognize it, it was one of the finer songs of the evening. From the beginning of the show, it was obvious that the sound at the Main Lounge is inexcusably horrendous. This large, carpeted room is clearly not meant to host concerts. The acoustics are brutal, and the venue doesn't frequently host gigs. It didn’t help a performance that bristled with energy at times (“Another Traveling Song”) and likewise fell flat on certain songs (encore opener “Bowl of Oranges”).
Unlike a typical Bright Eyes experience, the performance consisted of the same five members throughout, including Mike Mogis and Nate Wolcott. It felt much more like a band than a collective, as opposed to last time when they began with a harpist and consistently featured dual drum sets. They strayed from anything overly dramatic. Even the normally purgative “Lover I Don’t Have to Love” lacked its traditional bite.
The biggest uproar was for Cassadaga’s lead single, “Four Winds,” which sounds uncannily like “Santa Claus is Coming to Town.” It isn’t a bad song, but the reaction confirmed my suspicions: These folks clearly did not have a lengthy history with Bright Eyes. There was no uproar for “Method Acting.” Perhaps the anemic crowd could be blamed on the Sunday night show, but with no singing and very little swaying, it seemed that they just didn’t understand. In his defense, Oberst didn’t give in. He toted out the piano for a magnificent run through “Spring Cleaning,” off his split with Neva Dinova. Probably the most esoteric song of his set, it was also the best glimpse into the Bright Eyes of old.
No longer his reticent self, Mr. Oberst frequently talked to the crowd, asking how everyone was doing and lamenting the current political landscape and the war in Iraq. It was disorienting to see a highly interactive, almost (but not entirely) bubbly Oberst, but not because it was unexpected. After all, it would be unfair to expect him to be the nervous performer he once was now at the age of 27 and with several major tours under his belt. Instead, it was that he seemed forced in his mannerisms, as though he knew he was supposed to be the affable frontman now but had to struggle to make that a reality.
In fact, the whole concert felt like we were watching an artist at a crossroads, unsure of how to deal with both his own fame and his audience. Whether or not he truly wanted to play all of those songs was likewise mystifying. He seemed most at home in the final song, an unnamed, unrecognized tune that sounded more Desaparecidos than Bright Eyes. On this, he passionately yelped and furiously played, emphatically punctuating the performance by kicking all of his half-full booze cups from the top of his amp in a tremendous spray. When the final notes of his encore had rung out through the dull concert hall, I left thinking less about the performance I had just seen and wondering more where he would be heading next.
A Place to Bury Strangers
The Middle East; Cambridge, MA
The Middle East upstairs was packed wall-to-wall when I arrived. I tucked myself into a corner, facing the stage on the left. Overhearing clips of conversation from the crowd, it was fairly clear that, although Austin, TX-based psych-rockers Black Angels shared the bill, most folks tonight were there to see A Place to Bury Strangers. A palpable buzz was purring through the audience in light of the fact that APTBS has seemingly come out of nowhere to make a name for themselves with devastating live shows. Indeed, their CMJ set at Loisaida was shut down by police after just a handful of songs due to noise complaints. This show was the one time I even considered corking my ears in fear of APTBS' ear-damaging reputation.
The thing that sets APTBS apart from other brutally loud bands, though, is their tunefulness. Underneath all the chaos and noise lies the band's incredible ability to churn out beautiful squalor. They are fulminating, yes, but for every ultra-loud band comparison, one has to be made in recognition of the band's knack for writing gorgeous, melodic songs. It is that sense of balance that makes APTBS so interesting and, based on the night's turnout in Cambridge, popular.
After a few minutes of standing around, the band, led by guitarist/vocalist Oliver Ackermann and flanked by bassist Jono MOFO and drummer JSpace, came out to scattered applause. Ackermann, who runs Death by Audio, a company founded upon the design of ear-shredding effects pedals, began unloading what appeared to be about a dozen of his company's creations and began plugging them into various amps around the stage. With all the pedals and wiring littering the front of the stage, a few people, including Jono MOFO, looked a little concerned when the husky bass player spilled his beer toward the entanglement of electronic equipment.
Without a word, the band launched into the first half of their set, which included "She Dies," "My Weakness," and the violent "To Fix the Gash in Your Head." APTBS take care of the business at hand (that is, playing songs) without extraneous talking or engaging the audience between songs. It was amazing how different the band sounded compared to their considerably less assailing album. Live, they were storming, an absolute onslaught. APTBS is a live band through and through, and what's more is the fact that Ackermann made it immediately clear that his vocals were not an integral part of the show. Unlike the album, where his voice is a prevalent part of the mix, his voice barely rose above a low grumble, like a protest buried under a wall of sound, as he focused his efforts on manipulating the sound of his guitar. Ackermann is actually quite the showman. When not singing, he careened across stage, often leaning and bending dramatically as his amp spit hellfire and white noise.
The second half the performance, about 20-25 minutes long, was a decidedly different affair from the first. Here, the show became one extended opus, as the band flowed from one song to another, never stopping, and included an Ackermann guitar swap. (It was difficult to tell, but I think I heard "The Falling Sun," "Another Step Away," and an extended "Ocean" in there.) I was floored by the constant beauty of the twists and turns, as well as their sheer ability to keep up the torrid pace. At times, it seemed as if Ackermann wasn't playing many notes, letting his various pedals do the work, sound churning over itself again and again. MOFO and JSpace, though, skillfully kept up the frenetic pace, providing a brutal rhythm section that grounded Ackermann's swirling guitar.
The show ended as suddenly as it began, but this time with Ackermann mumbling a closing remark as the band shuffled off, no doubt exhausted. The space was buzzing. My friend and I were close to the exit, and we hurried through the Middle East's adjoining restaurant and out into the cold. For about five minutes, neither of us could hear anything -- the ringing in our ears was literally deafening. A thought, one I expressed internally because I couldn't fucking hear myself talk, came to mind: A Place to Bury Strangers is gonna fuck up their hearing pretty damn quickly as they continue to straddle the line between loud, melodic rock, and blistering noise manipulation. And I think they're fine with that.
Bruce Springsteen and the E Street Band
Verizon Center; Washington, DC
In 1984, I sat in the nosebleed section of the now-demolished JFK Stadium in Philadelphia, shivering in the rain, waiting for the show to begin. It was to be one of the biggest concerts of the year and my first show ever. The one thing that bothered me is that my mother wouldn't let me buy a red leather jacket and sequined glove. No matter -- I was about to witness Michael Jackson and his five brothers on the Victory tour.
Michael Jackson wasn't the only big act that year. Bruce Springsteen released a little record called Born in the USA. In the United States alone, the album sold 15 million copies, produced seven singles, and catapulted not only the Boss to mega-stardom, but Courtney Cox as well.
Flash forward 23 years and look at the career trajectories of Springsteen and Jackson. Springsteen has just produced the moderately successful Magic, his third album in the last three years. Jackson is hiding behind a veil and skirting bankruptcy, and he hasn't made a record since the poorly received Invincible in 2001. What is it about Springsteen that has allowed him to maintain a modicum of integrity these past two decades while being so popular?
Getting into the concert was a major clusterfuck. A few lucky thousand fans scored general admission tickets, which earned them a chance to get a spot up front. Arriving early at the stadium, we all received numbered armbands and were told to line up sequentially at five. Can you imagine 1,000 people -- some drunk, some handicapped, some just plain stupid -- trying to figure that out on their own? Finally, someone called 821, and the 200 fans behind that number got into the pit. I had number 559. It was 5:15 PM. I decided to get out of line and get a salad.
We finally staked out spot on the floor around 6:45 PM. Almost two hours passed before the Boss took the stage. I am tall, and I could see. My friends could not. One guy stepped in front of us, a middle-aged guy with a scarred face, and after my friend asked him to move, he curtly responded, "In a civil society, maybe. This is a mosh pit." A mosh pit? What did Scarface know that we didn't? Judging by the fat, balding, suited hordes waiting for their hero to arrive, the only moshing that would go on was if one decided to have a heart attack during the show.
The Boss and his Band finally took the stage amid gasps of excitement (“There's Bruce!” “There's Silvio!” “There's the guy from Conan!”) and tore into "Radio Nowhere," the first single from Magic. While the album has received decent reviews, the common complaint is that the music suffers from Brendan O'Brien's vapid production. This guy has produced Papa Roach, Limp Bizkit, and Train (among others). What the fuck, Bruce? But stripped of that flat production, the song really took flight. Bruce had the audience from the first chord.
What is most amazing about a Springsteen show is the font of energy from which this guy draws his power. He's 58 years old, yet the amount of vigor he put into the show was astounding. He jumped around; he screamed; he spit water into the air. Bruce Springsteen was on fire.
While the Boss played most of the songs off the new album, it was the more obscure, older tracks that most intrigued a fan like me. "The Ties That Bind" and "Jackson Cage," both from The River, positively killed, and hits like "The Promised Land" and first set-closer "Badlands" still sounded fresh. Springsteen even made a few political swipes at our dear Commander-in-Chief, and while there is no doubt a good chunk of the crowd were lobbyists, GOP aides, and Log Cabin Republicans, no one could boo loud enough over the cheering of "Bruuuuuuuce" to make a difference.
Now, tickets to this show were not cheap. We're talking $100. I could have seen 10 shows at The Black Cat for the price of this one. But the encore was worth the admission alone. I had hoped to hear "Thunder Road," a song that inspires memories of college and the feelings of getting into a car and running off with a girl, and when the piano kicked in, all those feelings swirled back.
Though I've heard "Born to Run" and "Dancing in the Dark" a million times before, nothing prepared me for the emotional impact of the one-two punch these songs would have. All the house lights went on, and I could see the entire arena, filled with people dancing and singing and smiling as Springsteen dove into these two hits. Call me a sap, but it amazed me that something simple like a song could make so many people happy. This is why Bruce is still popular. Though he doesn't have the edge of all our favorite indie bands, he can touch a special place, a little part of Jersey in all of us. It felt good to be part of it.
The show finished with a Pogues-sounding number called "American Land," and as we retreated to the back of the floor, I still found myself smiling. If I had just seen a Michael Jackson show, I knew that smile would be one full of irony. Not this time.
[Photo: Mike Kurman (bonobaltimore)]
Mount Eerie / WOELV / FLYING
Lutheran Church of the Messiah; Brooklyn, NY
I'm about to breeze right past the venue (read: church in Brooklyn) when a skinny kid in a scarf waves toward the door and says, "It's in here." For a brief moment I wonder if it's THAT obvious that I'm headed to a Mount Eerie show, specifically... and then I notice that everyone else on the street happens to be an old, slightly drunk Polish man. Ahh, Greenpoint.
I pay my $8 (thank Todd P for the nice price) and take a place on the floor among kids in sweaters, sipping from bottles of Jack Daniels and 24-ounce cans. And yet, the mood of the place is somewhat reverent, as everyone's eyes are trained on the three-piece on stage. FLYING's lead singer reminds me a little of Phil Ochs in tone, and it's pretty easy to zone out to the plaintive, sweet blend of three voices. A keyboard, drums, and tambourine round this trio out quite nicely, though the keyboard begins to border on the sound of a televangelist's organ. Whether this is appropriate or disturbing for the times, I have yet to decide. Finishing with a song featuring a series of yelps, FLYING end their set, and the crowd's second beer run is under way.
Todd P himself hops up on the main stage and asks us all to respect our neighbors and BYOB, which I find particularly refreshing, because we all know dude could have made some cash on alcohol sales at any show in Brooklyn. Elverum's wife, Geneviève Castrée, who performs as WOELV, takes the stage next. Armed only with a guitar, some effects pedals, and a pixie haircut, she proceeds to lull us into a state of sleepy appreciation with her French-Canadian harmonies, recorded one by one and criss-crossed with the help of a repeater pedal. It proves to be a bit much for the kids sitting on the floor with their drinks, though, and I can feel the crowd's interest waning as the set draws to a close. Still, if you're looking for something to listen to as the snow comes, WOELV would be an excellent choice.
There is some debate as to whether one should sit or stand as Phil Elverum wanders onstage, but the floor-dwellers have it, and we settle in for the Mount Eerie show. Glancing back at the movie screen behind him and watching some of the projected videos as if he's seeing them for the first time, Elverum turns back to us and says, "Okay. I'm gonna start the Mount Eerie show right... NOW." In every recording I've heard of The Microphones or Mount Eerie, the guitar inevitably draws a rumble of protest from the amps, and I'm beginning to think he likes it that way. He begins with "Log in the Waves" a track found on the 2004's live three-vinyl release Live in Copenhagen, and the task of nailing each track to a particular release becomes futile, as Elverum often acts as if The Microphones and Mount Eerie are one and the same. He barely pauses as the end of the song blurs with "Say 'Goodbye' and 'No,'" another track from the same release (or so we're led to believe).
Having never experienced this much of Phil Elverum at once, I begin to see what he is fond of, noting mention after mention of being haunted by ghosts (usually of the female persuasion), mountains, cracks in said mountains, freezing; rocks. He occasionally turns to peer at his video screen and snickers to himself, as if he had been in a rather silly mood when compiling the short clips that cycle throughout the set. We later find out that it's somewhat of an awkward sales pitch, as he offhandedly suggests we buy his new 10-inch/photography book, entitled Mount Eerie Pts. 6 & 7: "Christmas is coming up. Get one for your aunt." But the highlight of the show comes a bit earlier, as he leads the now slightly stupefied crowd in a sing-along of "I Love You So Much!" found on the 2004 Microphones release Live In Japan. Urging us to sing louder, he twists the lyrics to tease, asking "What do I love?" and answering himself tauntingly, "You don't know, do you?"
Amid groans, Elverum announces his last two songs, reminding us, "I've been playing for 39 minutes... that's a LONG time... and you guys need to have time to buy my excellent merch." I realize I paint Elverum as somewhat of a ruthless DIY salesman, but a slight lilt to his voice might as well be a wink with his words.
"You have to read my mind and sing along with me," he warns. “Log on to my brain. I'm completely open. No password or anything. When you pull down the AirPort thing, it's 'Mount Eerie Concert555." And somehow, as we slouch and smile through a chillingly fitting rendition of "Where?", it works. Everyone gets home just fine, though I suspect only one of us will be returning to Mount Eerie tonight, because these lyrics aren't nearly as helpful outside that hallowed church hall.
Mount Eerie - "Where?"
Magik Markers / Grouper / Ed Diamante + Goatgirl
The Hemlock Tavern; San Francisco, CA
I must warn you. It is my belief, shaped after much discussion amongst my colleagues, that Thurston Moore has the touch. If ever a man in the underground could make something out of not much, it would be Moore. Through his label, Ecstatic Peace, Moore is actively cultivating the careers of a horde of musicians who seem to benefit mightily from the association. Take the transients Magik Markers. Magik Markers have entered their proto-famous stage, and they owe their fame in no small degree to the promotional prowess of Moore and his imprint. The legend of their early live shows provides an equally important boost of chatter that has helped elevate the group’s hype to a status that, in the eyes of many hard-working bands and jaded cynics, is way overstated and undeserved. I wasn’t quite sure if all the haters weren’t being too hard on the band. When in doubt, go to a live show.
When I mentioned to Mr P that I would be surfing on the East Bay’s finest warehouse couch for a few weeks in October, he suggested the Markers show at the Hemlock as a potential venue for review. I gladly accepted the opportunity. Magik Markers are at a curious turn in their career, which is evidenced by the latest album, Boss, which sees the band’s old school aesthetic of post-hardcore No Wave nods being eclipsed by songwriting. Curious evolution, perhaps, but then again, maybe Elisa Ambrogio (vox, guitar) got tired of spitting on the crowd. Of course, Leah Quimby (bass) left the band amid rumors that she hated the scene, and for some of us (myself included), she provided a hefty core to the scattered and loose histrionics that characterized the early gigs. To lose her was in many ways to lose the core of the Markers’ sound. For a primer on early Markers vibe, find some of the old videos on the Ecstatic Peace website and watch the chaos as it ensued. Or find some live CDR from a Markers tour with a little banter at the beginning of a set where Elisa apologizes for punching someone in Boston the night before.
And of course, it often goes unmentioned, but I think a lot of the Markers fans (especially those with penises) have a crush on Elisa. The idea of a cute female lead punching an audience member is definitely enough to move a noise rock dude’s cue stick around the pocket pool table. A lead singer inspiring minor-league crushes always helps sell some tickets.
I came to the Hemlock with heightened curiosity. I hadn’t heard the new album, but I had read the reviews and was surprised to see that as the band turned to a more structured and pleasant framework, the reviewers were eating it up. I wanted to see where the band was moving. The last time I had seen the Markers, they were but a duo, and I was unimpressed, or rather, disappointed that there wasn’t more violence or chaos. Pete Nolan’s drumming seemed to have tightened up a bit, but Elisa was just madly mashing pedals and strumming her guitar without touching the fretboard at all. That total lack of virtuosity was pissing off a lot of my musician friends who were practicing arpeggios late into the night, sacrificing their social life in a quest to really play some rock music. I heard repeated statements after seeing a Markers set in ‘06 that went along the lines of “anyone can do that.”
The Markers, it would seem, were (at least early on) relying entirely on a disrespectful vibe and improvised destruction to excite the listeners and viewers. Now that they were going more legit (ostensibly), I figured it was worth checking out, if for no other reason that it was becoming such a big-ass force.
My hosts for the evening, being that I was an out-of-towner with no expectation, made no small effort to advise me that The Hemlock is a place with a strange vibe, a place they detested for shows. Despite the warning, I remained open-minded as we sidled up to the entrance. The guy at the front checked my ID but didn’t take my cover, a curious sign. After stepping through the door, I was immediately sandwiched between bodies and, for the rest of the evening, found it nigh impossible to reach all of the key transit corridors within the venue.
See, The Hemlock has a curious layout whereby the bar, which has a semen-soaked meat market feel, is totally segregated from the venue, which is tiny and shoebox-shaped with nowhere to sit. You can’t sit at the bar and watch the band. To see the show, you pay cover to the second guy, who sits near the small doorway that leads into the music room. Thus, there is no connection between the majority of the bar crowd and the folks crammed into the actual venue room beyond their patronage of The Hemlock and a near-universal appreciation for beer. It makes for a bizarre separation, and frankly, I did not like the feel of the bar area, with its crowded elbow-crashing and claustrophobic bathroom lines. I wasn’t used to seeing so many big dudes in pleated khakis at noise rock shows.
On the flip side, the music room itself was so small and closed off that there was hardly any room to breathe, move, or see the band, unless you crept to the back and stood on a bench. The band was up on a two-foot riser, so audience interaction with the group was prevented. At least most other small rooms put the band right in your face.
When I arrived at The Hemlock, I was later than expected because pizza took priority; my belly prevented me from arriving on time. Through a drawn curtain from the sidewalk external, I glimpsed the opening band but missed the boat. It looked promising, though, at least based on the belly dancing lady. However, by the time I squirreled my way through the beer line and made it past the second door dude, nothing was happening.
After a bit, Grouper took the stage, and I was completely underwhelmed. I recognize the potentially pleasing nature of her music, which would have been nice on a hungover morning on the Cape Ann peninsula with a bloody mary and no desire to move around. However, crammed into the tiny Hemlock boxcar, the flaccid and oceanic vocal lament did nothing for me, so I retreated to the frat room and smoked cigarettes, biding my time by mentally devising innovative ways to exit the venue should a chaotic explosion make escape necessary. I was bored.
After all that was done, I re-entered the place and watched the Markers take the stage. I had heard a rumor (so much gossip about this band) that Ben Chasny and Elisa were ‘dating.’ He had played with them on some other tours, and Ambrogio, Chasny, and Brian Sullivan all just released a less-than-stellar album together. So it was no surprise to see him setting up. At least one of the guitar players that night would be showing off some virtuosity. I’m not sure who the fourth member of the band was, but from what my buddy told me, it’s Pete Nolan’s girlfriend. If all that tabloid-style info was correct, then we had a couple’s band on stage. Weirdness abounds.
The set began with little aplomb. A pseudo-tribalistic build-up transferred into a crooning low volume ballad, with little sonic bursts here and there. Not much hardcore influence peeked through. Instead, the Markers were approaching some kind of Neil Young derivative, with Chasny doing some respectable work on the low-end and Elisa picking out some primitive rhythm guitar and the occasional turtle-speed guitar solo twang. I heard what I thought were Pink Floyd-paced tarmac jams, the kind of thing I like to think airport employees listen to beneath their ear protection. Your AM radio playing a free-form structure from Piper at the Gates of Dawn could approximate the feel. The whole affair stunk of purpose and plans, and I was pretty sure that they were doing something they had rehearsed.
Little sounds here and there caught my attention, like at one point where I was struck by an unidentifiable noise (possibly synth-derived) that was just a little bit more than trippy washes, like plant dew dropping in purple. After that one ended, a break in the band’s volume was met with a shout from the crowd – a request for “Body Rot,” which I am told has the best hook on Boss. That small ignorable moment stood out in my mind, an illustration, if you will, for it showed that the Markers definitely have some fans who are paying Close Attention. The Ecstatic Peace promo machine will have Magik Markers well-positioned, should a couple of rungs on the music world ladder open up for advancement. They have a legitimate buzz and some now-legendary early work to interest new fans, and of course the good looks to inspire celebrity crushes. Teen Beat is waiting.
By the third jam, the tempo picked up a bit and evolved into a garage beat and some surf-town, cop-evading rock vibes. Predictions spewed forth in my estimations of their intent as I studied the song structures, and I fully expected this to break out into some kind of dark pop-rock circuit of Radiohead covers. Elisa has clearly learned more about the guitar in the past few years, and now the Markers seem to be more of a vehicle for her and Pete to collaborate on songs based on her poems. The act is moving beyond an homage to the violent, feminine crowd bashing late-‘70s work of Lydia Lunch that characterized their earlier work, which I must admit totally rocked my world in 2005. I was once totally stunned by the concept but am becoming increasingly dissatisfied with their attempts at maturity. Having Ben Chasny along for the ride certainly adds buttloads of depth to the mélange, but if I want Chasny, I’ll get some Six Organs or Comets. The Markers are in between stages, and their adolescence (mid-life crisis?) is attracting a lot of attention. I’d just as soon wait a few years to see how well they are able to flesh out their new sound. There are other bands to be checking out in the meantime.
Midway through the third jam, my buddies (and ride to the show) were fully disgusted, worn, and tired of the whole parade, and announced it was time to leave. I didn’t get to see the resolution of the Pink Floyd thing (or the other two songs promised) or find out if bottles still get broken at Magik Markers shows. I was disappointed because Magik Markers seem to be concentrating on acting like a ‘real’ band that plays songs that they wrote and thought about, something I never really thought that they were equipped to do. Instead, I had them pegged three years ago as a band under a microscope that would always be plowing the underground with sneers and middle fingers, looking for another dark room to vomit on.
Ultimately, the post-show philosophizing on topics of metaphysical import left more of an imprint on my brain that the Markers show, except for a prime lesson – The Hemlock is a crappy venue and a horrible place to posture yourself amidst psych-rock hopefuls and hype eaters. Why would any self-respecting band put their fans through that kind of torture when there are hundreds of much more enjoyable venues to play in the glorious Bay Area? Could it be $$? Sorry, and for the fans who are saddened to hear such a jaded and cynical appraisal of The Hemlock affair, you need not aim your vitriol any further than my e-mail inbox.
Captured! By Robots
The Annex; New York, NY
What do you get when a super nerd builds his own band? Captured! By Robots.
I didn’t know it was possible to have a one-man band if there were up to nine other “people” playing instruments. Captured! By Robots is Jay Vance, or J-Bot, with the best backup band a person who built the band could have. J-Bot definitely has DIY ethics; the band was constructed when he realized he couldn't stand playing with other real people. Each machine has a specific purpose: there is GTRBOT666 that plays a double necked flying-V guitar/bass, DRMBOT 0110 that plays drums, and the headless horn section that... well this could get tedious.
The story as I understand it is that J-Bot was captured by robots and forced to wear chains and perform with them on a nightly basis. The whole system is wired together and uses air hoses to make the looming machines move. Controls were built into each robot to make it talk through a switchboard on Jay’s guitar. As each of them talk, the eyes glow and move their mouths, as a creepy, mechanical voice argues with J-Bot.
As the band was being set up on this night of its 2007 “Dubya” Fall Tour, the crowd was welcomed by Neil Diamond's "Coming to America" as well as "America, Fuck Yeah" from Team America: World Police. It was only halfway through the show before I realized it was a rock opera about the Bush administration. Every robot was equipped with a new identity: Dick Cheney, Condoleeza Rice, Wolf Blitzer, Nancy Pelosi, Saddam Hussein, the Presidential Hopeful Horn Section, and J-Bot as George W. Bush. Nothing gets me going like a good night of poorly done political satire created by kick-ass robots. Banter between J-Bot and the robots consisted of Cheney wanting to shoot someone in the face and Rice professing her love for Bush. These were cute jokes when they were topical, but it is a little tired now, and the hit-you-over-the-head satire was a little much.
Remarkably, however, the band members aren’t just for show; they play the instruments they were built with. Although they are all machines, each song breathes life into the objects, and they become just as animated as their only living member. Nothing stands still throughout the entire performance. Even when not actually playing a part, the horn section sways back and forth in an erratic fashion, leaning back with each horn blast.
The show featured a mix of everything from thrash-metal to dub reggae, and, admittedly, it is hard not to be enthralled by a guy in chains playing hard rock with a pneumatic band. Songs held together as J-Bot put down his guitar at times, jumped off the stage, and ran into the crowd while the band continued to pulsate. At the end of the show, the crowd pushed forward to try and shake hands with the mechanical instruments.
Despite the flaws of the 2007 “Dubya” tour, I would recommend people see CBR; it is a truly unique experience. This band could easily be written off as a novelty act, but they held my attention from the moment they became alive. The only novelty that should be written off is the annoying rock-against-Bush theme, as no matter what, we have to live with him until January 2009 -- or until he is Captured! By Robots.
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The Thermals / History / Reporter
The Black Cat; Washington, DC
Maybe the guy holding the bloody rag to his head outside the club would portend the other events of the evening. This would be my third Thermals show of the year (one in Portland, Oregon and once before at the Black Cat), and even though the previous performance had been sold-out, none of the crowds reflected the fire and anger The Thermals detonated on their newest album The Body, The Blood, The Machine.
This time the club seemed empty. The Black Cat is a dive-bar with bad sightlines and a stage that is elevated a few feet off the ground. If you stand below six feet tall and you are not right up front, you’re screwed. There is also the “lounge” in the rear of the room replete with musty couches, cigarette-singed tables, and some withered chairs. It’s a good place to wait and have a drink while hapless opening bands drone on and on.
At least the place has character: low ceilings and cramped bathrooms. All that is missing is the obligatory haze of cigarette smoke that has gone the way of the Beta cassette since DC banned smoking indoors. We walk right up to the front.
The Thermals took the stage some time after 11 PM. Billed as a threesome -- Hutch Harris on vocals and guitar, Kathy Foster playing bass, and Lorin Coleman hitting the drums -- The Thermals had carried another guitarist the last two times I saw them. This time they came on as three. Where was the fourth guy? Two weeks eclipsed between my first shows in the winter, and during the second one, the guy had done something to his leg; he wore a big cast and had to sit on a stool. Maybe he just evaporated. No Spinal Tap jokes, please.
The roughly one-hour set favored tracks from Body. In fact, they played the entire album, peppered with songs from More Parts Per Million and Fuckin A such as “No Culture Icons” and “How We Know.” Harris leaped and yelped about the stage, neck strained, veins rough cords, like a Billie Joe Armstrong before he discovered the spread-legged Rock God stance. Foster kept up on the bass, her curls bobbing and eyes rolled up.
But how did it sound? The first few songs were bass-heavy, making it hard to hear Harris’ vocals. The tempo of a lot of the songs had been sped up. There was very little stage banter (and after hearing Kevin Barnes’ banal nonsense a few weeks before, this reviewer is glad) and the band ripped through a lithe set in what seemed to be no time. Songs such as “Back to the Sea” took on a new life, the droning structure gaining urgency not found on the album. The Thermals poured energy into each and every song, including highlights like “An Ear For Baby” and the first set-closer “A Pillar of Salt.”
On their newest record, The Thermals incorporated a lyrical bias against church hypocrisy that added a potent message unheard in previous songs. But this significance seemed lost on an audience that stood stone-cold in the half-filled room (except the four or five teenagers that tried to scrabble to the front for most of the show). As Harris tore through tirades against natural disasters, the price of oil, and Nazis, most stood impassively and sipped their Yuenglings. If lyrics such as “Our power doesn’t run on nothing/ It runs on blood/ And blood is easy to attain” or “They can tell what to read/ They can tell me what to eat/ They can feed me and send me the bill/ But they tell me what to feel?!/ I might need you to kill” don’t get you pumping your fist and angry, what does? Harris must have wanted to let the lyrics speak for themselves rather than pontificate. At one point, he told the crowd, “DC! You speak my language!” I wonder what the hell language was he talking about.
The Thermals returned for a brief encore comprising of a Built to Spill cover (“Big Dipper”) and their light, rollicking theme song “Everything Thermals.” At the end of the set, Harris promised to see the crowd “next year.” The place cleared out pretty fast after that. The bloodied guy decided not to stick around, either.
[Photo: Tom Oliver]