My (Old) CDs - Dillinger Four - Situationist Comedy

I still really love this album. I still listen to it on the subway going to work sometimes (which is a very general statement, because one of course could listen to a lot of shit on their way to work "sometimes"). I like to describe albums like this as hurling - not the vomiting reference, and not quite the Gaelic sport, more like the strong velocity definition of throwing something with a ton of force. 

Each song on this album has a little twist in the hook or riff that makes it incredibly listenable - the layers of distorted guitar all moving to constantly shifting tempos that hit at just the right moments, the back and forth between the two distinct voices (one raspy, one more guttural) - all kind of combines into a very swarthy sound with a lot of gusto. 

Of course a bonus are the amusing song titles and the lyrics have a bit of variety - a mix of truly irreverent spazz with the former and Midwest, earnest self-awareness and cut through the bullshit, heightened-by-a-couple-of-beers-to-keep-things-honest sound offs with the latter. It's a hell of a lot of fun.

This band should also NOT be confused with that band called D4 from Down Under.

Siren Festival - Photos of Friends

Unfashionably late with self-gratifying pictures of my friends at Siren Festival 2010, which had a decidedly less superstar lineup. Then again, Ted Leo disappointed somewhat with a set of non-favorites. Anywho, by the time the hot sun dried me out like Mercury, I was ready to go home and watch episodes of The First 48. I thought Earl Greyhound was bank and defined some badassery.

Hipster Demolition Night at Southpaw May 27th

This piqued my interest sure enough: a small lineup of bands performing as a big eat-shit to loosely defined hipsters everywhere. Now I am not a fan of hipsters (although my girlfriend says if I was white I just might look like one, whew good thing I avoided that when I was born), and I do appreciate the sentiment that Jay Banerjee is putting out there with his Hipster Demolition Night at Southpaw in Park Slope on Thursday night. Yet, I can't help but wonder two things: first, there are plenty of great bands out there that aren't hipster but can't control who champions their music, and second, that hipsters are something to make a stink over. To me, hipsters have taken over all types of music, and many indie rock and indie pop bands are influenced by music similar to what is going to be blasting from Southpaw this week. So where does that leave us? Death metal. If you're going to do an anti-hipster show, you might as well make a point by doing death metal or hardcore punk. Or better yet, just have Seth Putnam do your entire show.

Anywho, I guess we should all agree that there needs to be a whole lot less bullshit when it comes to either music or lifestyle and although Banerjee is all about Brooklyn being the place to demonstrate this kind of movement against those too cool for school and/or a job, Brooklyn is breeding more hipness than any other area.

Titus Andronicus and Parts and Labor at Bowery Ballroom 3.6.10: A Tale of Awesome Drumming

How fucking awesome was this show? Too bad for you, resident film critic Chris Cabin, but you missed greatness.

Billed as a CD release party but since that term sounds like a 7th grade circle jerk, we'll just call it an awesome concert with two awesome bands (sorry first openers, didn't get to check it, I was running through Lost on the Roku (parentheses within parentheses: Roku is the greatest thing ever) because I'm a noob and I need to catch up before the series finale) which made for an awesome time.

Parts and Labor and then Titus Andronicus were so good as a one-two punch, my whiskey soda actually tasted better during their sets.

Parts and Labor is a band that fuses what is be weighty and excellent electronic melodies and modern punk rock into sonic crunches; each song is propelled by some very, very heavy drumming. I don't think I've heard a rock drummer able to get a bigger, rumbling sound out of their set in a long time. Of course, Bowery has great sound but this was insane, the guy was a machine. Tom toms can be powerful pieces to the overall feel of the music and this band had it so right, moving with an unwavering speed that was perfect for shuffling your feet. The one problem was the vocals were a bit on the quiet end for the bass player. The keyboard and almost pushy use of non-guitar sounds was invigorating; you weren't watching a chi chi indie band, but a band that believes in their sound and looks comfortable. The music is pretty simple when you strip it down, but the melodies are very strong and they are able to dress up the songs with a lot of power. They just feel contemporary and it's really interesting to listen to them.

Great sound continued when Titus took the stage; the drums sounded like you were listening to a studio cut. In my review of their new album The Monitor (which officially releases tomorrow), I praised just about everything. Their concert left me with an even better appreciation for their epic songs; it's just really awesome to hear live. During "Four Score and Seven":

"When they see the kind of person you really are,
You won't be laughing so hard, no
you won't be laughing so hard, no
you won't be laughing, you won't be LAUGHING, no
you won't be laughing so haaaaaaaaaaard..."

and then the lead singer shouting, "I WAS BORN TO DIE JUST LIKE A MAN"...

...was cathartic; it was just so damn righteous.

Should I say something like, "Titus Andronicus is like an American version of The Pogues"? I mean I could, but then I guess the Dropkick Murphys would get jealous...

I don't know. I mean after seeing this band, they seem like they have a lot going for them and under all the yelling the music is very accessible and appealing. When I think about stuff going on in rock music I know there are plenty of fresh bands out there, but when you get down to it, there's only so much room on your iPod (or whatever you use). So you think, well goddamn, we need a big band(s) whose music can be a shining example of how to really rock. I'm always looking for that even though I never can keep up with the latest bands or anything. I've found it in Titus Andronicus.

I should also really start a "this is me typing as I'm dozing off to sleep" entries. I woke up and I was like what the hell was I writing.

The Hipster Mom Rikey Ska? Awwwwwriiiiiight

Now I'm not saying The Hipster Mom likes ska. Who does besides me and 7 people in Williamsburg? But she enlightened me on an amazing old Yo Gabba Gabba vid that includes some good ole' moonstompin'.

Today's entry in The Hipster Mom's first Show Off Show Down...show down is a friend of my girlfriend's and I figured I'd throw in a little extra love right here on the KCB. Ladies and gents, commence bla ba dee wacka heart melting:

One day she's going to realize giraffes are much bigger and totally unattainable as a pet. Not smiling anymore, ha!

It's well known that with this little one and my Banana In The Tailpipe colleague's baby Wally, Bensonhurst is really the way to go with kids. By well known I mean 100 out of 100 Bensonhurst newborns are due for greatness a la Saturday Night Fever. The good version. The rated R version.

CD Review: Titus Andronicus - The Monitor

This is a pretty kick ass album from some of New Jersey's newer finest due out on March 9th. You got period references from the album title on down, which is awesome because there's a sense of consequence, of dramatic weight to historical ideas, even if it's just mentioned in passing. Oh and in the epic first track "A More Perfect Union" they mention the Fung Wah Bus, which has taken my ass PLACES.

The songs have such a rugged feel to them, the mid-tempos giving room for the crunchy instrumentation and vocals to affect you and grab your attention without dragging its feet. It's a total rush and you feel invigorated by it, because under all the raucousness there is a sometimes folk-punk feel that keeps everything grounded. Kind of reminds me of the Husker Du song "Folklore", which is one of my favorites by them. The whole album feels at times like a punked up version of In The Aeroplane Over The Sea, which may seem like a big comparison but it rocks that much. They are here to teach you a lesson. A lesson of how to breathe fire and ruin someone else's pristine and proper shit just for the hell of it.

There is some dilly dallying between some of the tracks, sound bytes, I would have probably left it as a separate track like "skits" in rap albums. I understand it helps the overall flow of the album but sometimes the listening experience can't always be so patient. Yet, on the snappy interlude between "No Future Part Three: Escape From No Future" and "Richard II" the songs are bridged so wonderfully. In fact, I'm actually really liking the interludes, it is meant to round out the album and it makes it more of a continuous journeys, and I love journeys like I love potato skins, and I am all about the potato skins and run on sentences.

As I stated before there are some tracks that break 8 minutes in length, but for as much as I hate uber-long songs, I love The Monitor's lengthy work because it switches things up within the music, adding melodies along the way and keeping me constantly engaged, like the biggest, leave-everything-on-stage Bruce Springsteen tunes. The intros, the outros, pianos, rumbling toms on something like "A Pot In Which To Piss" is exhilarating.

It just feels like such an American record. Not that I'm a nationalist or anything, but couple this on a road trip with My Morning Jacket and you're pretty set for the east coast. I always have thought that there has been too much posturing in indie music and bad bands that look like they should just stick to being in Paper Magazine. These guys have testicles, a bad ass name, and for as much as people shit on Jersey, they should hold that state in esteem after listening to The Monitor.

For more on them, go to their MySpace (yes, still exists): Titus Andronicus

They will be swinging by Bowery Ballroom for The Monitor record release show with Brooklyn's excellent Parts and Labor. When you say? March 6th. The album is out on March 9th. 6. 9. I'm a pervert.

Titus Andronicus "Four Scores and Seven Years" parts 1 and 2 from Pitchfork



Parts and Labor "The Gold We're Digging"

Laura Veirs coming to Mercury Lounge February 15th with 'July Flame'

I like 4th of July, it's a nice break from work in the middle of the summer, if you're like me and don't take many vacations because you don't know how to.

Not that 4th of July necessarily has anything to do with singer/songwriter (I really hate that term) Laura Veirs' new record, July Flame. It could be about a fling that happened in July. Or Fire Island. Or you know, a fruit (thanks Wikipedia for crashing my jokes).

This is a really nice record, and it's gentle and sage-like and folksy at parts without being "haunting" or overcooked. It's very accessible which speaks to me because even though I like a lot of different kinds of music accessibility is always something I look for and not shy away from (not that I don't listen to difficult music, you know, to keep my credibility). The album is thoughtful in the instrumentation and variety of sounds produced. It feels like a person who takes the time to think about things and rather than actively deciding something, he or she gives whatever she's working on a little time and things just fall into place.

The vocals are like the lightest wave, moving slowly but as they get closer, it hits you with a bit more power than you were expecting. It's a nice feeling. By the time you're at the punchier "Summer Is A Champion" you know you've found your new Sunday afternoon walking iPod music.

You can check out more about the concert here which also has a link to buy tickets. How convenient. It's also only 12 bucks. How convenient again.

Not Doing Anything This Weekend? Two Different Relief Efforts Over/Under The Radar

There are two (well there are more than two, but Blurt Online and McBrooklyn are quick to tell me) benefits going on this weekend with proceeds going toward Haiti disaster relief.

Star Studded: Brooklyn Vegan was able to put together a fantastic comedy/music lineup for tomorrow's event at 8pm at the Music Hall of Williamsburg (66 North Six St., buy tickets here). Guests include Zach Galifianakis, Britt Daniel (of Spoon), Justin Vernon (Bon Iver), St. Vincent, Janeane Garofalo. Benefits go to an orphanage as well as Red Cross.


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Under the Radar: Lab 24/7 is doing up Kombit 4 Haiti in Bed-Sty (according to the post, 'kombit' is a Haitian creole term meaning "to come together for the good of the community") is having a suggested donation of 15 Washingtons for Doctors Without Borders. According to McBrooklyn there will be food and drink. It's at the same time as the BV show, so choose wisely, but know that in the end your moolah is helping people in need.


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Shout Out To T-Sides Blog: Her Fave Music Of 2009

While our resident film critic Chris Cabin is gearing up for music in 2010, the KCB looks to the T-Sides for help recapping some good tunes from 2009 to start this weekend. While I'm not familiar with everything on her list, I was really into the new Dirty Projectors and Neko Case and I'm glad that I know at least some new music since my iPod must be screaming at me to stop listening to Strung Out and, I don't know, old New Found Glory.

Just as a taste, here's her 5 through 10:
10. (tie) Dan Auerbach, Keep It Hid
10. (tie) Dodos, Time To Die
9. Kurt Vile, Childish Prodigy
8. Akron/Family, Set ‘Em Wild, Set ‘Em Free
*7. Dirty Projectors, Bitte Orca
*6. Wild Beasts, Two Dancers
**5. The Jobz, S/T

She's got the good reasoning for all her picks so I suggest you check out her Top 5, those asterisks/footnotes, and other picks here: T-Sides 2009 In Review.

Where does Animal Collective fall on her list? Read to find out, but check out their video from their past year effort for "My Girls" below. I suggest listening to it after watching Avatar (click to read Chris Cabin's review).

What I Want For Christmas: Mighty Mighty Bosstones Tour in 2010

The good friends at Read Junk posted earlier this month about this, but The Mighty Mighty Bosstones, you know, your favorite band that had a cameo in Clueless (take THAT Save Ferris in 10 Things I Hate About You) have a new album out called Pin Points and Gin Joints. For the cover art, see above.

Anywho, besides being at the crux of third wave ska with their biggest hit being "The Impression That I Get" (which I have told my significant other that their lyrics aren't cookie cutter haha), they were a favorite back in the day (I should change my blog's name to Bands I Really Liked In High School And Are Writing About It In A Timely Fashion Because Well They Are Getting Back Together Or Someone Died Or Joined A New Band Or I Saw Them In Concert) and what I would love to do is go see them live again. Suits? Plaid? Member that only dances and nothing else? Totally.

Anywho, they are currently doing their annual Hometown Throwdown in Boston continuing tonight and tomorrow at the Middle East. But what I really want is for them to do a proper tour next year if they are willing to do so. Seeing them live is like getting the biggest hug and kiss. Especially if that kiss was from a big mustached dude, like Ken from Union Hall. Awesome? I think so.

Here is their recent perf on Jimmy Kimmel, who has proven that more intimate settings are for losers when it comes to late night talk shows.

Subway Musings - Discman Like a Boss

I was coming back from work on the subway listening to a little Scary Kids Scaring Kids, and I was at the front of the train. Being at the front of the train is awesome because you can stare out the front window and with the help of side lights and the train headlights, you can see the trajectory of the train. It's like you're going through your personal cave tour.

Anywho, there was this twenty-something woman with jet black hair parted to one side, bob length. She had a bright purple, old school puffy jacket, kind of like a purple version of the jacket worn by Jennifer Lopez in her "Feelin' So Good" video.

She was quietly rocking a Discman. Large and in charge Discman. Obstructing her purse Discman. She changed CDs and was listening to an old MCA Records compact disc, and it was just kinda glorious to watch. The deliberateness, and patience, and slow pace was nostalgia and hypnotism at once. I would remember for the longest time, I had my old school water resistant Koss portable CD player, bought for cheap at The Wiz (none other) for 20 bucks. One of the best 20 bucks ever, because it was the baddest ass CD player ever. It had rubber on it, and didn't need skip protection because it was a beast of a CD player. It was ginormous. Even if I was a weirdo, everyone loved my CD player. I could submerge it in ze water and it would still play. I had to carry it in my hands everywhere because it didn't fit into any pocket. A tank wouldn't survive a head on collision with it.

So as I saw this woman with this Discman, and not for ironic or hip reasons, switch CDs out, from one full album to the next, I smiled. I bet I could still do it like that (I'm partial to listening to albums straight through). It's not just a technology thing, but the transition from tapes and CDs to something like an iPod is the patience with which we listen to music, the time we take to listen to musicians and the complete work that they record. Of course there are great singles. That's why we take the time to make mix tapes and CDs. The charm is there. You think about the music more. It's great.

Picture this CD player, but a snap on arm on the right and a light gray front. About twice as thick too. And large kooky rubber buttons along the bottom. And the word Koss was embedded on the plastic front.

Oh and before you forgot that I referenced a J Lo music video, BAM:

Zero Bridge plays MTV Iggy Party at Vermillion, new EP

Zero Bridge, who has a new EP out called There We Were, Now Here We Are which came out yesterday, played a fabuloso MTV Iggy party last weekend at restaurant Vermillion. Check out the video below.

MTV Iggy is basically an attempt at "global pop culture" featuring artists from across the world, although most of the homepage is made up of Canada and the US. Vermillion is an attempt at Indian and Latin American flavors, and according to the friends at Yelp, it has succeeded so far.

Add a ethnically-conscious and ethically-conscious band like Zero Bridge and it's basically a formula for cultural positivity even with MTV's presence in the mix. Is MTV even relevant anymore? I stopped watching a while except True Life episodes, but is it still regarded as a premiere destination for youth pop or is it just one in a sea of premiere outlets? Maybe I'm just out of the MTV loop.

Zero Bridge just did a stint in Morocco and played at Public Assembly in Brooklyn for CMJ.

Some video of the perf:

The Get Up Kids @ Gramercy Blender Theater 10.30.09

I consider myself a decent singer. One time maybe 2 years ago at Botanica on Houston, I was at the bar waiting to get a drink and a girl next to me mentioned that I had a very nice singing voice. I thanked her and offered to buy her a drink. She said that she was good and didn't need one, and I joked that I could buy her a water. She didn't really think it was funny, and I joked "weeeak" and she totally called me out on the fact that I was being arrogant when she was just trying to pay a compliment.

I guess that's how this review has started so far.

I usually try to sing at concerts if I'm into the band and know all or most of their catalog and if I feel I'm not doing a disgrace to their vocals by joining in. The Get Up Kids are one such band that I have enjoyed since Four Minute Mile. I sang my heart out at this show, and lost my voice a little bit at two points.

The music was grittier back during Woodson/Four Minute Mile and the other earlier recordings, and the guitars bled in a way that reminded me of a contemporary of theirs, Jimmy Eat World. It's like you are right there in a tiny room listening to their high pitched, fast picking Kansas bravado, so earnest and yet with smart lyrics. Their lyrics would grow more refined on Something to Write Home About as well as a full addition of one of my favorite musicians in James Dewees. The way things started to rhyme was one thing, but also the bare boned simplicity at some points was great.

There are pieces of On a Wire and The Guilt Show that I enjoy but I don't think they compare. There are some nice pieces on Eudora, a compilation they released that I have two copies of because I thought I lost it the first time.

Wearing my buttoned up polo and Metroschifter pin (who have a new album out called Carbonistas, if you are not familiar with them I highly suggest reading up on them) me and several buddies got drinks at Black Bear Lodge before hand and jumped right in as GUK was starting up. At the Black Bear Lodge there was a hilarious coincidence when the bouncer and a baby were inspired by a large animal:

Like Jimmy Eat World again, The Get Up Kids actually have two lead singers; Matt Pryor is generally considered the frontman but Jim Suptic sings some of their most pivotal songs like "Ten Minutes".

I've gone to several reunion shows in the past while, but The Get Up Kids just strike an easy chord for me. I feel like they get a lot of unjustified flack AND praise for being an "emo" band, that term which most people couldn't care less about. It's hard to define their sound which makes a return so welcome in an ever increasing hole that permeates current bands shoved into the same genres. They just do everything better, simple as that. From the very underrated rhythm section of the Pope brothers to Pryor's searing voice (it's piercing and has so much force behind it when he's full blast, almost like an extra distorted guitar) and Suptic's more warm, rounded, blunt singing, all overshadowed by the guitars that almost work as constantly as say Hot Rod Circuit's.

"See those blinding lights? It's call hope. And masks the fact that they totally were picking their noses"

They are also a band that is cohesive in feel and tone; the only thing that I'm thinking of in my chicken wing induced food drunk right now is like a ride that is not too fast but not boring-slow...like the Scrambler? Anyone? Or driving with the window down at say 65 miles an hour. Not gunning it because you want to take in the moments, but with an urgency that pushes you to peak. They have breakdowns at the right moments, chorus melodies that linger for just the right amount of beats; it just all works. Some may call it unoriginal or just blah, but in nearly all of their work and especially the best of their work, it's very personal and can have a wonderfully intimate quality which I love in my favorite bands.

I was nearly screaming out all the lyrics, every word. We had a great view from the back, as the Blender has a nice up slope as you get back by the bars. GUK never has moshing at their concerts which I always found interesting; even at Motion City Soundtrack shows there are circle pits. I always think it is because GUK can have a sense of "older and wiser" as a theme, and maybe that's reflected in the crowd. Not that a good pit means younger and dumber, it's just every once in a while it's good to take a break.

They rolled out songs from every album/compilation (I was hoping for a Coalesce cover) including Replacements and Cure covers. A healthy dose of Four Minute Mile was great; it's their most stripped down and scrappiest work and hits hardest. They also made it through probably my favorite song of theirs "Close To Home" which was awesome enough to give me some sort of righteous conviction which I didn't use toward anything, it just sat in my soul through the rest of the concert. They were able to overcome the uneven sound of the venue to punch out an hour and 15 minutes of pure 1997-2002. Every crescendo, every rising riff was accounted for with my fist pumps and torso tilts. Their songs are like personal anthems; not epic statements, but of one heart at a time, one memory at a time.

Edit update: My buddy went for a second night on Saturday, as GUK dressed up as characters from the Wizard of Oz (a Kansas nod, perhaps) and played Something to Write Home About in it's entirety, which is redonculous.

Dirty Dozen Brass Band does Brooklyn Bowl right on Nov. 5th

Dirty Dozen Brass Band is a band that years ago, when we were all into bands with horn sections (I wasn't much of the swing revival but still a huge ska fan, suck it haters) I was introduced to heading over to Washington Park area of Albany for some fun around town (Music Shack, Last Vestige, etc.) by my friend Mr. Jupin at All Ears All Eyes All The Time.

What I'm all for in this case is the fact that this New Orleans band is not young, but has enjoyed so many years of being around without being a has-been like so many bands who are 10+ or even 5+ years in existence. They are celebrating their 25th anniversary of their first release, "My Feet Can't Fail Me Now", and there's a joyous feeling when you realize that 25 years is so long in any respect (George Carlin said something along the lines of, 'life's not short, it just is compared to how old things like mountains are').

They will be playing at Brooklyn Bowl their first release in it's entirety and people should probably stop doing whatever they are doing there and just listen up. Work up a sweat. Get those feet moving. They bring the funk, but most of all it's just a hardcore horn section. The baritone sax is made for bands like this, just absolutely filthy with the funk.

krts is back at Monkeytown with Ryan Uzi to blow your mind

My man krts is back in action (he's having a busy fall after a nice little break from being so festive) at Monkeytown on November 7th with an audio/visual catharsis that will inspire you and make you wanna get out there in the brisk air and clear your mind and move forth with your life and progress and have those ups and have those downs.

Seriously, you're going to want to make your reservations at the link below. Oh and the cheese plate is pretty good at MT. Oh and did I mention Charlie Pino and his bretheren in Gold Fiction will be there? Oh yes.

From the information booth at my Facebook wall:

After 3 sold-out Monkey Town events, Krts welcomes another emotional roller-coaster of live indie-hiphop/electronic music with live video projection story-telling from award winning filmmaker Ryan Uzi of Light Harvest Studio. Together they tell the story of "The 6th Floor Walk-up" - An intense ride of LIVE mind bending visuals with indie-hiphop styled melodic, romantic, heart breaking and fun LIVE instrumentation.

**WITH A SPECIAL APPEARANCE BY CHARLIE PINO OF the fun indie-rock/american garage band GOLDFICTION!
myspace.com/goldfictionband


This may be the first collective of Krts and Ryan Uzi but, they're not amatuers at grabbing the minds, ears, and hearts of their audience.

Krts's Monkey Town shows had the critics hyping it as "a blend of hip-hop electronica à la Radiohead and Sonic Youth" (Village Voice). Trip-hop legends Nightmares on Wax (Warp) called his latest track "Doran Penny Roller" an "indietronic meets Zapp" crowd-pleaser on their latest 2009 compilation album, “Wax On - Volume 2."

Krts has shared stages with The Beatnuts, Machinedrum, Melo-X, Daedelus, Eliot Lipp, Mux Mool, Mexicans with Guns and others.

Light Harvest is the live multimedia performance work of award winning filmmaker Ryan Uzi. He creates complex visual atmospherics on subjects ranging from politics to paganism, from seductions of New York City to secluded train rides aboard the Orient Express.

Ryan Uzi's cinematic approach to video mixing and projection design has been seen with some of the worlds best DJ's including Felix da Housecat and Mark Farina (Mushroom Jazz), as well as commissioned for live events with the Guggenheim Museum, Diesel, Prada, Adidas Y3, and Flavor Pill Magazine.


****YOU MUST RSVP @ monkeytownhq.com/reservations.html *****

KRTS OFFICIAL WEBSITE
krtsmusic.com
KRTS MYSPACE & VIDS:
myspace.com/krts


RYAN UZI OFFICIAL WEBSITE:
light-harvest.com

New Grade song!!! "These Eyes Are On The Exit"

The other photo I found one of the band members was wearing their own merch. That's no fun...also the above album has a hilarious mistaken identity issue with the Taylor "Soul Patrol" Hicks album of the same name. People looking for the latter album ended up giving this album terrible ratings on Amazon.com because they were too dumb to notice that just maybe the artist wasn't correct or that Satan forbid there's the same title to multiple recordings. Sucks for Grade, and sucks that Taylor Hicks fans are total idiots. I love soul music. Although there's one review that's a 5 star review for the Taylor Hicks album, under the Grade CD page. I think that's probably even more idiotic...

Grade is one of my favorite bands of all time. They dance along a fine line of being too melodramatic, but they back it up with a sensible mix of hardcore, punk, pop hooks, and a tinge of metal.

By sensible I mean their music gets under your skin; there's a familiarity to it, as if they sound like other bands, but the key is they did it slightly before, and did it better. They don't sound overly polished, and are really huge on the 5ths which is a favorite guitar sling of mine. Their pop sheen is buried under tons of distortion and even better, they take their time with the melodies and rhythms. This patience either causes or is because of the heaviness of the sound; some part always feels almost behind in pace whether it's the vocals (strung along with not a lot of regard to the music, very emo eh?), the guitars, or the drumming. It may sound sloppy, but you realize that the music just has this weight to it; that's what makes the sluggishness so appealing. When I take a look at their tabs, I'm amazed at how simple they are.

What helps is the vocals: they switch between these powerful screams and a harsh, raspy, sometimes snotty singing from Kyle Bishop. It never veers into that territory of clean singing, which I feel has ruined so many other bands. The screaming I guess I would not be able to place as different than other bands, but the pitch has a lightness to it that just sounds actually angry and not screaming for a macho effect. The instrumentation from most song to song has the same reverb-y, wide, big pummel to it. It's like one epic scream along after the next. The kind of songs where you stand there and raise a hand, fingers curled, with your palm facing you as you take in huge breaths and scream every syllable, whether you know the lyrics or not, at a 45 degree angle upward.

New song at Grade's MySpace page

With their new song, "These Eyes Are On The Exit", it starts off unassuming and pretty clean, and then tears into what I would think is ecstasy for fans of the band. Talk about not even missing a beat, it feels exactly like their prime material. Sure there's more backing vocals, but punk has to make a comeback at some point right? The words are still unintelligible, there's a slow breakdown in the middle, and the guitar work has the same feel to it.

My friend and office mate Loni from esteemed blogs such as Berman's Bothers informed me that this was part of a split with Bane, who is coming around again in late October to New York to Santos Party House, where apparently everything is possible. It's good to see a band in such good standing with other bands. Also, more bands should do splits in general; I always thought that was a great way of building rapport in the community. Kind of like rappers guest appearing on other artists' tracks, but in a slightly more substantial way.

I'm definitely pumped.

Yo La Tengo Ticket Giveaway - We have a winner!

We have a winner for the Yo La Tengo ticket giveaway, Chris Cab-tion contest stylie. The concert is on Friday 9/25 at Roseland Ballroom in Manhattan, and again, NO Hanukkah shows this year for YLT so get going to this one.

Patrick said: The ass-distraction tactic backfired when Chris' ensuing erection proved far more distracting.

Runner up, who will receive a DVD prize pack is Ed-G, with this ditty: As Tommy bent over to retrieve his fallen cup, Bill decided to give the name "Bowling for Colon-bine" new meaning.

Thanks to Live Nation for providing tickets. If you couldn't think of anything at the time but want to re-live the Chris Cabin magic, go to the original post.

Face to Face @ Gramercy Blender Theater 9.17.09

The evening started off jovial enough, getting a drink with Walter of Marvelous Observations From The Yellow Lines before heading to the concert. I knew that at least at Blender the way the stage curves up I would have no trouble getting a great view if I got there with some time to spare.

Gramercy has inflated their prices somewhat but I was glad that I caught Face To Face with Pegboy and Polar Bear Club (I did not get to see PBC unfortunately).

Pegboy, an older punk staple from Chicago, was hilarious. The lead singer Larry Danmore was fantastic, mentioning that he was 10 years older and also 40 pounds heavier, he still pranced around like a big brat with a gnarly snarl which was awesome. Self-depracating in an endearing sort of way, even though I thought the music wasn't the best. My problem was more the sound system at Gramercy which was not up to par at all this time around (Face To Face had some really messed up low-end sounds on several songs as well). For Pegboy the vocals I felt were a bit high; their music has a sloshy feel with a great guitar presence and I thought that was a bit lost.

Face To Face has not played in about 4 years. This was a reunion kind of tour after playing several shows intermittedly over several months, and it was great to catch them for the first time (when I was most into them was probably high school, and by college nobody came around the Albany area and I had not gone to too many shows in the city, but I digress).

All I know is I think they only played one song off of Ignorance Is Bliss, which I used to own and subsequently re-sold to the used record store I bought it from; not knocking anyone who ends up making a record during their lifetime but it just wasn't that good. Face To Face has been on something like 6 record labels with several albums to their name and all sorts of six-degrees-of-separation with their band members. Being from Southern California during the rise of a new wave of punk in the mid-1990s, I feel like Face To Face was more of a local favorite than a mainstream success. They played a huge chunk of Big Choice which was a breakout record for them (and as my co-worker Loni educated me, their second album), as well as stuff from their self-titled. They are one of those bands that has the respect of a lot of people just for sticking to a particular sound, saying what they mean, and sounding just so tried and true.

Anywho, Trever Keith, the lead singer, is one earnest dude. He's engaging but incredibly thankful to the crowd for being awesome (he noted that NYC always gives Face To Face the biggest reception besides L.A.). He's got this snotty voice but with a low-end tone to it, it's very accessible and interesting.

Heavy on the power chords and big, simple rhyming lyrics, they sound like a west-coast, skater punk band that pulled out a hook or two every song. Lyrically I always thought Face To Face was so bank; they minced epic words with a big-hearted nature, which could turn out cheesy but they make it work and put some power behind it.

They did 3 song tears and then would take a minute to thank the crowd, and then start all over again; the circle pit opened up several times to a fairly large size, but little crowd surfing.

The crowd was mostly older, or at least above 24 I would say; Face To Face is probably one of those bands that the young'uns wouldn't necessarily get into at this point and they haven't been active for a while either (just a hunch, not a statement I'll back up by any means). Lots of 35 year olds yelling the songs that they wanted to hear, which I always found annoying. In the beginning there was this girl in front of me who had a ponytail from somewhat short hair so the tail jutted out and swiped my face a few times, which kinda sucked but once the crowd got moving her and her old man moved toward the front.

In the end though, a great concert. I wish I wasn't fighting a nasty runny nose but I still had lots of fun; their music was built for sing alongs and huge chants and it was good chemistry between the band and the audience.

Yo La Tengo Ticket Giveaway - Chris Cab-tion Contest Special 9.16.09

Today's Chris Cab-tion contest brings extra joy, because I have a pair of Yo La Tengo tickets to give away for their show on Friday 9/25 at Roseland Ballroom courtesy of Live Nation. The tickets will be at will call, so no worries about needed the stub to hold on to your memories. The concert starts at 8pm but make sure to always call beforehand to get set times, so you can arrive when you want to arrive, which is almost always fashionably late, right? There are NO Hanukkah shows this year for YLT so you're going to want to celebrate early, not late this time.

The concert includes:

Yo La Tengo with The Black Lips (always get them and The Black Keys mixed up)

And Visuals by JOSHUA WHITE AND GARY PANTER LIGHT SHOW

Hosted By THE DAILY SHOW’S JOHN OLIVER

Yo La Tengo has been around for a loooong time and with such a large catalog you won't be disappointed. Although I'm not a Mets fan per se, I can dig it. There has been contemporary dance set to their music. That's how awesome. If you can't appreciate contemporary dance, well then you go right out there and get to a BAM performance. I'm not sure why I'm sounding so indignant, but a little energy never hurts. Newest video here (from The Music Slut):



If you don't think you're going to win because you're not witty enough, AND you like Yo La Tengo that much (and don't visit Hoboken often) you might want to pick up tickets here.

Here is your time to shine folks. Comment below and I will choose a winner next Tuesday Sept. 22nd (sorry folks, a couple of late entries extended the contest) from the entries:

The Breeders @ Bowery Ballroom 8.18.09

"If I saw you now
Could I look in your eyes?

Do you think of me
Like I dream of you?

Do you wish you were here
Like I wish I was with you?

Youve loved me before
Do you love me now?"

Visualizing those lyrics in my head as I watched The Breeders perform "Do You Love Me Now" in the middle of their absolutely rock-out set, it rushed me to a place that I haven't felt in a long time. It was before I started listening to frenzied punk and hardcore. I started listening to The Breeders when I was about 11 or 12; I felt like I got the music even though I was a bit young. There was something I connected with in the music, maybe it was the catchy and sometimes cutesy melodies, which appealed to me as a kid. But the noisy distortion, not only on The Breeders records and lead singer Kim Deal's side band, The Amps, and sometimes slow pace (on say, Pod) made me a more patient music listener at the time. There's something about The Breeders music that I always loved, most of all the down to earth nature of their production and guitar exchanges. They are a band that has made the most out of their sound, and seemingly without effort.

Taking the stage were Kim and her sister Kelley along with the newer faces (including the drum and bass tandem of Jose Meledes and Mando Lopez, and guitarist Cheryl "from Florida" Lyndsey). They started off with the trippy "Hoverin'", an Amps song (although first recorded with The Breeders lineup) and went newer with Title TK, and then backward with cuts off of Last Splash and Pod. I personally wanted to see them play "Hellbound" and "Fortunately Gone", which tops my favorite Breeders songs, but they did play "I Am Decided" which I love. All the bigger songs got their turn, "Saints", "Cannonball", their cover of "Happiness is a Warm Gun", "Divine Hammer", "Safari". The sheer thrill of songs like "New Year" with an intense, buzzing guitar section really makes for a powerful set.

The drumming really set the pace; the band was lined up in a row (reminded me of The Locust) which really gave the band great chemistry. The banter just made the sisters more appealing, and the added bonus for the night was guest violin Carrie Bradley, who performed with the band way way back when they first started.

Kim Deal's vocals have always been sharp; she has a wonderful range of expressions, most notably her raw, heavier, smoky delivery, and a more precocious, light tone. Her harmonies with Kelley are on point and sometimes purposely and wonderfully lazy. It reflects the little guitar ditties that Kelley is in charge of, which have a lo-fi, amateurish quality to them that makes the band's sound so unique and stripped and visceral. It's positively charming.

These guys really have a muscular sound that even tops their loudest recordings. There's just a great presence on stage, a sense of wonderment and playfulness from the sisters that is very infectious and combining that with some real groovy rock music makes for a great concert. In that way, The Breeders have some of the most accessible music I've had the pleasure of hearing.

But back to where the music took me. At the peak of when I was listening to them, like most of my favorite bands, I would never get sick of it. I would never get sick of hearing Kim's angelic voice whispering cryptic lyrics. This was a time when I thought this was the only music that mattered. It's an amazing feeling that I probably could have only felt when I was that young. To get to feel that again, live, is pretty awesome.

Not be a nostalgic person; I think the Breeders have so much relevance right now. They were indie before most working bands today were, and I think that gives their music a great perspective. It means they take their influences from a different era. They are on a whole different league than most bands of today (I would attribute it to their punk roots, pop leanings, and the fact that nobody has a voice quite like Kim), and that they are still around and playing to a great crowd at the Bowery is awesome to see because it makes them relevant. After all these years, even on the newer music ("Overglazed" from their most recent full length, Mountain Battles), there's something traditional and back to basics about them. There's no bullshit, and they started from a place unaffected by current music trends which makes everything so refreshing and genuine. It's like you're not just watching another indie band, or even a rock band from the 80s and 90s. You're watching the real deal (absolutely no pun intended). They seem unassuming and then when the music kicks in, they are as assured as you can get. They are still very exciting, and I wouldn't think twice about seeing them again.

Oh and two short encores (ending with "Drivin' On 9")? Yeah they can do that.

The Breeders are playing again tonight at the Bowery Ballroom, again a sold out show.