A trippy night, a trippy band, trippy chill-out music for a sold-out crowd.
New York's new uber-club, Terminal 5, was a far cry from the barely 50-member-strong audiences in the dimly lit clubs of Austin for Explosions in the Sky, as those in the know fondly recall. And a far cry even from the Warsaw, that Williamsburg haven of indie discoveries in waiting. No, New York wasn't offering a kielbasa with a side of spacey guitar freak-outs, this time around.
I'm happy for Explosions in the Sky, with their hard-earned notoriety and well-deserved place in the pantheon of indie rock. You've come a long way, baby.
Give Explosions in the Sky's show tonight a listen and you'll understand why so many made their way to the Westernmost reaches of NY's known universe to hear what would normally be a soundtrack at an NYU smoke-fest. They created atmospheres, vibes and energies. If only I could think of any less bohemian adjectives, I'd certainly use them. But, well, listen and you'll get the idea.
P.S. My dream Central Park Summerstage lineup for summer '08: Devendra
Banhart, Grizzly Bear and Explosions in the Sky. Now that would be a
night. Explosions in the Sky, with their heady soundscapes and an
absolute lack of any kind of vocalization, would be a perfect
counterpoint to Grizzly Bear's harmonies and Banhart's freak folk fuzz. And all under a starry night sky. (*sigh*) What do you say, Kara, can you make it
happen?
Fans of Modest Mouse and The National, rejoice! They're heading back to New York. And guess who they'll be touring with...
R.E.M.?
OK, yeah, that sounds odd to me, too. Then again, Modest Mouse has been known to engage in a little hero worship from time to time (read: Johnny Marr of The Smiths, now in the band). So maybe I shouldn't be so surprised. The important stuff: Tickets go on sale this Saturday, 4/5! >>Buy REM / Modest Mouse / The National tickets here<<
R.E.M. tour dates
with Modest Mouse & The National:
May 23
Vancouver
Deer
Lake Park 29
Los
Angeles
Hollywood Bowl 31
Berkeley
The Greek Theatre
June 03
Denver
Red Rocks Amphitheatre 06
Chicago
United Center 08
Toronto
Molson Amphitheatre 10
Raleigh
Walnut Creek
Amphitheatre 11
Washington, DC
Merriweather Post Pavilion 13
Boston
Tweeter
Center for the Performing
Arts 14
Wantagh
Jones Beach Theater 18
Philadelphia
Mann
Center for the Performing
Arts 19
New York City
Madison Square
Garden 21
Atlanta
Lakewood
Amphitheatre
The National accepting their Song of the Year Award for "Fake Empire" at the Plug Independent Music Awards, Terminal 5, NY 3/6/08.
Must a band play the instruments at all times in order for a performance to be considered "live"? Anyone who has ever seen a DJ or an electro-pop
band will instantly answer, "no, there's playback, and it's totally
legit." To them I say sure, sure, there's a place for playback in music
today. But playing a canned recording is a far cry from being truly
"live". And that's precisely why most bands don't like to draw much
attention to their reliance on playback.
OK, so playback isn't precisely live. But what about looping?
Enter the maestro, David Ford. The Englishman's solo live performances are the
stuff legends are made of. Witness the buzz building to a deafening pitch on
blogs and ye olde print medium magazines. What sets Ford apart from the usual
slate of solo singer-songwriters? He is a one-man-band -- a fully self-contained orchestra of sounds playing simultaneously, with only one dude on the stage.
It also raises that tricky “what is live music” question.
We’ve agreed playback isn’t live, even when it’s used in a live show. But in
the case of David Ford’s loops, where he plays the part right there in front of
you, you can witness for yourself that the first instance of the part was,
indeed, live. And though it is played back repeatedly, it’s not playback.
Dambit Gumby, it IS live.
And in David Ford’s deft hands, it’s electrifying.
It’s unique. It’s what makes him stand apart from the Damien Rice and David
Grey comparisons. It’s what enables him to stand apart from the lush
backgrounds and refocuses our attention on his emotive vocal performance – the
part he uses to really connect with an
audience. Most importantly, it makes
converts out of all who witness the hitherto unheard of artist, and inspires
them to spread the gospel.
Check out one of these upcoming shows and witness the loopiness
yourself:
Mar 28 2008 8:00P TOWN BALLROOM BUFFALO - USA
Mar 29 2008 8:00P ST ANDREW’S HALL DETROIT - USA
Mar 31 2008 8:00P MERCURY LOUNGE NEW YORK - USA
Apr 15 2008 8:00P HOTEL CAFE LOS ANGELES - USA
Apr 16 2008 8:00P HOUSE of BLUES SAN DIEGO - USA
Apr 19 2008 8:00P SINGS LIKE HELL SANTA BARBARA - USA
It was another pinch-me moment on Monday, when your very own TixGirl sat down with one of my favorite bands of the last several years - Australia's Cut Copy - just hours before their sold-out show at New York's Mercury Lounge.
L to R: Cut Copy's Mitchell, Dan and Tim sit down for a beer with TixGirl at D.B.A. before the Mercury Lounge show
Here's what Mitchell, Dan and Tim had to say about their SxSW experience, breaking into the US market, and their sound on the (phenomenal!) new album, "In Ghost Colours," hitting the virtual shelves on April 8th.
TixGirl:
So I understand you're here in NY fresh from SxSW. How was it?
Tim:
Yeah it was good, it was a busy schedule. A lot busier than last time we were there. A lot more shows, a lot more press. We had a lot going because we have a new record coming out. A lot of Mexican food, as well. It was good, actually.
Tim @ The Mercury Lounge, New York, 3/17/08
Mitchell:
I looked at our schedule once we got there, and we had no time to see any other bands. So we didn't even really look at who was playing. But we happened to catch about two bands. One of the shows was all suits. Yeah, it was a bit weird - very SxSW experience.
TixGirl:
Were the shows down there the size venues you're used to playing?
Tim:
Well I guess it was a bit more intimate, which is kinda good at times, I think. Yeah, I like that, it'sgood. And sometimes you do the big scene, too. I mean they catered it for us, anyway. (laughing)
TixGirl:
SxSW isone of those events that's really geared towards breaking bands. And you know exactly what it's like, coming from Australia, to be trying to break into the American market. Have you had any challenges there?
Dan:
Um, not so much, um, we found that a lot of people automatically knew a lot about us already. I guess because we already had a record out, and had toured around on a bus. So we had a bit of an advantage on the bands coming to the States for the first time. If anything it was just a really positive experience. We got some really good size crowds, and a lot of people said we were the best thing they'd seen at the whole event. So yeah, it was really positive. We hadn't released anything or toured in a while, so it was a good thing to get in front of some really key people - the tastemakers and industry people, and especially the real fans who will spread the word about our release when the new record comes out. And it was good for the band to play from the record.
Dan @ The Mercury Lounge, New York, 3/17/08
TixGirl:
The new album is called "In Ghost Colours" and it's out April 8th. Congratulations on that, by the way. I love it - I was lucky enough to get an advance copy, and everyone I've played it for has been just amazed. I'm curious about the title...
Tim:
With Cut Copy it has always been about the whole creation of our kind of music - past and present. Yeah and I guess it was kind of like that, like ghosts of the past.
TixGirl:
Well musically, it harkens to your first album, to me. But it sounds like a bit of a departure from your EP. Were you trying to go in a different direction for the EP, "Lights & Music"?
Dan:
Ah, well, the EP was more like kind of a single, really. At least in Australia. I think releasing it as an EP was more in America. But when you talk about the sound, it's really about the album that's just coming out. With this one, the album is a lot more realized than the first one. I think all of us, when we think of the first one, we agree we sort of got half way there. But on the new one we got a lot closer to the sort of sounds we're after. There are some different aspects to it - more layered, more dynamic, as well as some more loud, dance-y sections to it. And with the guitar there were many-layered sections as well. It got the real highs and lows, the real floaty bits, which I think is sort of a secret to our sound, with a lot of segues so that it just sort of flows together. And I think it's a lot more, kind of... complete.
Dan @ The Mercury Lounge, New York, 3/17/08
TixGirl:
I'm curious about how you approach writing. Cuz I mean, it's such an original sound. I hear elements here and there of things that are familiar, whether they're New Order, or maybe a little Brian Ferry. I'm curious how you approach the writing process, and your influences.
Dan:
I guess with us it's just that we like challenging ourselves, and I guess internally exposing each other to all sorts of different music.
TixGirl:
It sounds like there's such a scene in Australia right now. Or at least bands are making it over here more. The Presets, Sarah Blasko. I feel like I'm hearing more from Australia than I'm used to hearing. Is it a "scene", so to speak?
Mitchell:
Yeah, I think there are a bunch of bands that are all touring the US at this point. I mean there's us, The Presets, the Midnight Juggernauts... I think it's a bit easier for Australian bands to become more prominent in the US, just because, you know this new modern world of technology. It took the power away from record bosses and gave it to people you know you want to have live with the music. I mean, you've probably heard lots more from Swedish bands, as well, right?
Mitchell @ The Mercury Lounge, New York, 3/17/08
TixGirl:
Right, it kind of cuts down those international barriers. So you're from Melbourne, right? Is Melbourne known as a music city?
Dan:
Yeah, there's a lot of bars, and a lot of bands, and a lot of places to play. So it's definitely a good place if you're just starting out in music.
Mitchell:
Sydney's the biggest city in Australia. But Melbourne is more like the cultural capitol.
Get a glimpse of the Cut Copy sound with these videos from the unusually tiny, turning-them-away-in-droves show at NY's Mercury Lounge, including a tune off the forthcoming album, "In Ghost Colours"...
And be sure to catch them live when they're back on US shores -- first for Coachella, and then for a full US Tour with CMJ 07's big buzz band, Black Kids.
It's awards season, so why should indie music go without some
honorifics of its own? In steps the Plug
Independent Music Awards to A.) save the day, B.) give indie
artists some well-deserved exposure, and C.) give NY hipsters an
anti-awards show to not dress up for. (Ironic
t-shirts being the only exception, as comedian and Plug
Awards host PattonOswalt pointed out in his opening speechification.)
The
Pros
A few things I love about the Plug
Awards:
1. Their
mission.
2. Their choice of Terminal
5 as a venue. Nothing says
"independent" more than the city's newest venue floating on its own as
the lone outpost of hipster street cred in the dead calm of Midtown
West Manhattan. I mean, seriously, the only other venues remotely nearby are Carnegie Hall and Lincoln Center! Opera buffs would be
scandalized if they only knew what lurked past 11th Ave.
3.
The upstairs VIP
area. A-buzz with excitement, lush without being too luxe,
lots of famous-face photo ops, and free drinks. Oh, and a kick-ass view
from above for when your feet just couldn't stand the floor
anymore.
4. Their inclusion of best music site, best music
blog, and best music zine in the nomination
categories. It's like a crib sheet for any new scenester
worth their salt. Get thee to Google and set up your RSS's today, my
friend. You'll have all the music news you can handle from these three
lists alone.
5. They understand the power of the indie online
radio station. KCRW and KEXP are among the brightest stars in that
firmament, and despite the public's rapid movement away from
terrestrial radio, these online radio stars show no signs of
dimming.
6. Nick Cave and the Bad Seeds. Jose Gonzales. Michael Showalter's Mixtapes. Dizzee Rascal. That
first duo that opened up the whole show. (Who were they,
anyway? I must know!)
L to R: Nick Cave, recipient of the Plug Impact Award, performing with his legendary band the Bad Seeds
The
Cons
While certainly deserving of our attention,
admiration, and ceaseless celeblogtion, there were a few spots where
this year's installment fell flat:
1. This year's lineup of
live performers left a little to be desired. I mean compare this year to last year's lineup. Um hello, what are we? Chopped liva? Don't we
deserve the same kind of stellar lineup as last year's
crowd?
2. Nobody showed up to accept their awards. I take that
back. Only St. Vincent, The National and Nick Cave showed up to accept
their awards. Even the Battles took the stage only to hand out an award
-- not to accept their own for Best Video. What's up with
that?!
3. Ok so you couldn't be there in the flesh, but why
was it that only Justice bothered to do a video acceptance of their
award? You other winners too lazy? Or did you somehow know in the backs
of your minds that a video acceptance would be just as awkward as no
acceptance at all?
4. Technical difficulties. Poor, poor White
Denim and their unlucky bassist. And that's all I have to say about
that.
5. Bad band branding. I still have no idea who the very
first band (twosome) was,and they were among my favorite performances
of the whole evening. So if you're here to spread the word about
unknown artists, then by all means, spread the word. In print. In big
lights. Over the stage. And leave it up there the whole time they're
playing. Or somewhere. Or at least put a list of the performers on your
official website. Not just the
highlights you thought newsworthy
enough. The Plug Awards are just as much about the little guy as the
bloggable behemoth, remember?
6. What do all of the previous 5
Cons have in common? Do they speak to a larger problem? Maybe the
industry wasn't ready to embrace an awards show that is all about embracing the unknown. But if that's the case, how come last year's
lineup was so strong? I know there's a message in there somewhere. I
just haven't quite figured out what it is.
L to R: Dizzee Rascal, Jose Gonzales, Fred Armisen presenting Plug Award to Annie of St. Vincent, Ian of the Battles
Pros and cons aside, the 2008 Plug Awards are like
a one-stop-shopping list for all your indie needs. So open a new
browser window, pull up
their nominees/winners list, and settle in for a Spring that
really sings.
Thanks, Plug Awards! Can't
wait to see what (or who) is happening in the scene next
year...
Have you snagged your All Points West Fest
tickets yet? Seriously, have you? Got mine today, and it's the one thing
consoling me over my depressing inability to attend Coachella. But believe it
or not, this is actually better
than Coachella, if one can even conceive of such a thing. Yessiree,
my 3-day passes to the All Points West Fest guarantee that I get to see
Radiohead twice. Yes, TWICE! Wait, think about that for a sec. Now
run and go get
your tickets here!
Yes, you East Coast Radiohead
naysayers still have many reasons to catch the All Points West Festival.
Spanning the weekend of August 8-10, it's the first festival to attempt on the
Eastern Seaboard what Goldenvoice has achieved so magnificently in the desert
with Coachella: A multi-day, must-see festival bringing together a diverse
array of genres and the buzziest of buzz-worthy bands. Yep, this is your shot
at bragging rights for the next full year, cuz you caught all the bands the
cool kids will be talking about. And you'll have the
photos to prove your newly cemented indie kid cred.
My
favorite things about the All Points West Festival:
--Radiohead
headlining TWO nights (and I'll keep saying it, thank you very
much!)
--Chromeo
--CSS
--The Roots
--The
New Pornographers
--Mates of State
--Cat Power
--Sia
--Animal
Collective
--Amadou & Mariam
--Rodrigo y
Gabriela
--Grace Potter & The Nocturnals
--Oh yeah,
and Jack Johnson is headlining day 3. How's that for switching it up?
