2008, Jan-Mar

The Hard Lessons; The Sterns
@ Union Hall
Brooklyn, NY - March 28, 2007

This just in from the front: the Hard Lessons are still one of the hardest working and energetic bands in all of rock and they show no signs of slowing down anytime soon. Miss Ko Ko Louise possesses pristine yet sweltering vocals, the Anvil drops the sticks on the drums like hammers (fittingly enough) and of course Augie leads the proceedings with his chop busting guitar skill. A lot of the songs seem to have a new punchy, pugnacious sneer to them - the band sounds more punk than ever on some songs - but there is still that smiling shine to the whole affair, a warm hearted embrace from the trio onstage to the fans in front of them.
The Sterns tap into the essentials for making good pop-infused rock songs but there is something slightly amiss - either the band gives off a negative vibe or they're just not skilled enough or the equipment was just not in their favor this night. Still, there is something there, it just needs to be finessed a bit.

Sons and Daughters; Bodies of Water; The Brunettes
@ Music Hall of Williamsburg
Brooklyn, NY - March 21, 2008

Glasgow's Sons and Daughters are hard to peg down. They seem to dance around a few genres but never fully take a step into each pool. There is an undercurrent of hard country to all of it (and it certainly bubbles over during a summoning of Johnny Cash) but combined with a wisp of 80's rock and a little disco at some songs, the overall package sounds something like a definitive, solid, incarnation of what modern rock is supposed to sound like (are you listening, Foo Fighters?). Lead singer Adele Bethel's voice shimmer and shines in a live setting, hitting every note and taking some notes to new places in the spirit of gutsy rock n' roll.
Bodies of Water may be from California but they sound like they're from Texas. They may be be four people but they sound like the Magnificent Seven if the Magnificent Seven were a rock band instead of a posse. Seriously - every song sounds like a gang riding into town to save the day. The entire band sings together on every song adding even more of an urgency to the western march rhythms that penetrate every song. And it works. By the end of the set, it was addictive.
The ultra charming Brunettes, from New Zealand, know that there is a fine line between acceptable cute and unacceptable twee. They safely, and securely, stay in the cute end of the pool (second swimming pool analogy this review!). Consisting of six, sometimes seven, members, and playing just about every instrument under the sun (lead charmer Heather plays just about every single little tiny instrument ever made, it seems). Yes they can be symphonic and lush, which is par for the course with cute-pop, but they also mix things up. No two songs sounded remotely alike. The opening song even began with a sort of swampy, eerie, sludge. This is a band that seems on the verge of being utterly predictable but they manage to surprise you at almost every turn.

The Hold Steady
@ Hard Rock Cafe
New York, NY - March 18, 2007

Here's to sudden discoveries of relatively unannounced, semi-secret corporate promotional gigs full of free booze and a free band, namely the Hold Steady.
The new material sounds great, much more textured and solid than in November. The now-classic catalog is fresh and ferocious. The band seemed in good spirits and Craig, just by looking skinnier than ever, is an inspiration. The 21 and over crowd cut down on the up-front crowd antics but that didn't stop a 50-year-old from giving Craig a ball cap and then crowd surfing. Yeah, "elderly hipsters <3 the Hold Steady" indeed.

Bell X1; David Ford
@ Bowery Ballroom
New York, NY - March 15, 2008

On a night in which the Irish band of all Irish bands, the Pogues, played one of their sold out Roseland shows in honor of St. Paddy's, it was a bit o' luck to snag a late released ticket to this long sold out pop show by another Irish contingent. Unlike the traditionalist and feisty Irish bands of yore, Bell X1 is in the league of Snow Patrol and Vega 4, post-U2 and Coldplay (aye, a British act, not Irish) buzz bands tapping into heavily layered doses of deep pop music, the Grey's Anatomy canon of music. In a refreshing way, these bands bring to the table a very eye-awakening look at the new Irish, people almost completely removed from the old stereotypes. Rather than be whiskey-swilling punks waxing nostalgic on days of poverty and battle, these Gaelic crews sing very expansive, ultra-radio friendly bits of commonality, and they are beloved by the new Irish yuppies, benefits of the Celtic Tiger, who are immigrants to these shores highly different than the ones who came here generations ago.
If only any of this helped the music in someway.
Much like the aforementioned Snow Patrol and Vega 4, Bell X1 is riding on the strength of one immaculate song, in their case the one called "Rocky Took A Lover". Everything else is weak, meandering, aimless bits of melancholic drivel. Actually, that's not fair to Snow Patrol who do have a worthy runner-up in their catalog - "Run" is decent, though nowhere near as good as "Chasing Cars". But here, there is nothing else. Each song falls apart. Only "Rocky" has any substance, any merit. A full complete thought. But to give these obviously very nice guys some credit, they are not completely without some classic Eire spirit - the lead singer lamented how they lost their luggage in Toronto, and the bus caught on fire coming out of Philadelphia. Slainte.

David Ford - an Englishman blasphemously allowed to open this affair - was quite good. Though he appears to be associating with the mainstream pop crowd, he proves that kind of material isn't synonymous with 100% crap. Each of his works were compelling, his voice and lyrics working and weaving with his backgrounds. And he showed an exceptional bit of showmanship - taking the increasingly used concept of a one-man band looping each live instrument in order to create a full band sound - and ran away with it. In terms of content, he doesn't sound too different from another popular English popsmith named David - Gray. It may be a weekend for the Irish, but damned if Her Majesty's Empire didn't just weasel its way in. Bloody English.

Looker; The Orion Experience; The Red Romance; Prabir & The Substitutes
@ Luna Lounge
Brooklyn, NY – March 7, 2008

I finally figured out the secret to Looker’s success. Primarily playing in a rock genre that is mostly populated these days by young kids emo-ing and screamo-ing their insincerity, Looker brings pop-punk (and similar genres) back to a more mature, substantive level. Whether singing about personal affairs in songs like “After My Divorce” and the show-stopping “Gregory” (by all rights, it should be a radio smash hit) or broader subjects in songs like “Born in the Desert”, “Radio”, or the super stellar “Gates of the Old City” (number 1 on this week’s Top 20 Countdown on the Pennypacker-pod), this band has a wiser and more authentic perspective than many of their peers. Musically, Boshra and Nicole trade flawless harmonies when they aren’t trading guitar licks while A.J. and Robbie bring up the solid rhythm section. Always a good time with this band.
The Orion Experience is a rocking, explosive bit of sunshine and happiness. Similar in energy to Les Sans Culottes, but far from that band’s 60’s au-go-go style, this band relishes in 70’s and 80’s anthem-style pop songs, backed by smashing power chord riffs and a raw attitude. They make me want to play pac-man and watch Different Strokes. A whole hell of a lot of fun.
The Red Romance are reviewed just at a time when this is a blossoming of bands really focused on 80’s New Wave pop-rock. These guys fall in line but in many of their songs they have a clear love for the Smiths and the Cure, adding a little post-New Wave darkness to the mix. They put together well-crafted hooks and riffs, with a deeper, somewhat darker subtext to the proceedings. Another great new band making the rounds.
I only caught the last couple songs of Prabir & the Substitutes but it was pretty impressive. Loud but catchy, with their brand of Virginia stomp-rock, these guys probably put on a heck of a show, too bad I missed most of it.

The Hives; The Donnas
@ Music Hall of Williamsburg
Brooklyn, NY - March 6, 2008

For pure shits and giggles, I went to see those scrappy Hives make their Brooklyn debut, some five years too late. It's always been a mystery why a band that makes such simple music has only put out 4 records in over a decade's worth of existence. It's not exactly the kind of stuff that needs Axl Rose-like deliberation. And their laconic recording style makes their music all the more of a joke. Plus, with all the rapid changes in Indie music, the idea of a new Hives record and tour has lost its grandeur (if it ever really had it - this kind of music should not be considered momentous). But give credit where credit is due: Having not seen them since July 2004 at Irving Plaza, I wondered if they still put on a spectacular live show and they do. Though it has lost some of its luster. The suit gimmick is old. But Howlin' Pelle Almqvist's energy is not. He's still got the magnetism. And one cannot take away from the Hives the simple fact that they are one of the three or four bands from the early years of this decade that brought rock n roll back from the dead. This was a nice trip down memory lane.

Not so nice a trip were the Donnas. They too had their moment in the early years of the decade, really on the strength of one excellent song, "Take It Off". But they had nothing else to them. Not even looks (the exceptionally gorgeous lead singer, Donna A B C or D whatever, is the only dolly in the bunch and by a mile at that). They tried to make a comeback last year with a decent song, "Don't Wait Up For Me", but it was a needless rip off of a couple of Joan Jett hits and it sunk like a stone. They are tired, they are forced. Even the lead beauty's use of "fuck" for every other word felt insincere. They are not punk. They are not anything. They are not even a good tribute to the hair bands they seem to love almost exclusively now. They almost - ALMOST - made me want to listen to Europe's "The Final Countdown" as some sort of refuge.

Pela; Apollo Sunshine
@ Music Hall of Williamsburg
Brooklyn, NY - February 27, 2008

Brooklyn's Pela came out a whompin' and a whoopin' with their thunderous pop-rock. When they are exquisite, they are the utter definition of it. Led by the whirling vox of Billy McCarthy (who boasts a fine fedora), the band hammers away like a construction crew, not unlike the National (whose drummer was hoppin' around the show) but with a concentrated effort to stomp and jig (and not pause for much else). It should be noted that after about half the set, it did start to wear down but this may have been more from Pennypacker's exhaustion than from the band's music. This was no letdown.
Apollo Sunshine, on the other hand, was bad. After starting off with a pleasant dream-rock song and then a rollicking power-chord ripper, it looked good. But the remainder of the set was drenched in prog-jam affairs that put the thing on autopilot and into snoozeville.

The Airborne Toxic Event; Bombaldi
@ Pianos
New York, NY - February 27, 2008

With their first few chords, the Airborne Toxic Event instantly became the second best band from Los Angeles (hard to top X y'all). Driving power pop, substantive deeper melodies at work in the background, anchored by the deep, flowing voice of Mikel Jollet - this band covers all the bases and then some. This wasn't just a typical show either. This was a PACKED Pianos waiting for these guys, a band arriving only with 3-song EP at the merch table. Furious yet elegant, the total package, the ATE cover all the bases of rock n' roll and lived up to what were obviously high and enthusiastic expectations.
It felt like a CMJ show. An overcrowded Pianos, managers/publicists swarming the band in seconds after the set was over.
It cannot be overstated what an unbelievably good time this was. It's not even March yet, and this may have been the show of the year. And where the heck did they come from? It may be premature, but we may be looking at the next big thing here...
And as previously mentioned, here is a band with a great literary reference, but they've proven that DeLillo's White Noise isn't just an ode to the wonders of fat chicks. That's what the book was about, right?
Caught Bombaldi upstairs while waiting for the doors to open. Seem like nice guys working through the pop-rock thing. More hits than misses. Just don't get the costumes though. But at the rate things are going, these guys will be packin' em somewhere soon.

The National; My Brightest Diamond
@ Brooklyn Academy of Music Howard Gilman Opera House
Brooklyn, NY - February 23, 2008

The National took advantage of the excellent acoustics at the BAM Opera House on this, their second of two nights closing out the Brooklyn Next festival. Backed by strings, reeds, and horns (and on "Ada" by Sufjan Stevens), in front of beautiful backdrops, and in a gorgeous piece of art & architecture that is the opera house, the band made a very strong case for the superlative "best band in the world". Though it is a title not given to any band out of the cause of mental health, these guys really are taking a stab it.
The enthralling, enchanting voice and aura of Matt Beringer, singing his peerless lyrics, provide the depth and direction for the bedrock, original sound of the band. They articulate his words in song just about as good as he can himself. This is one successful arrangement. And when he's off running into the crowd, standing on arm rests to pound out "Mr. November", the band is holding the fort down on stage. When he's, whether he admits it or not, essaying the definitive capture of these times in this country in "Fake Empire", they are finding new ways to build a chamber of ethereal and heart pumping sound. And when they all work together as the unit they are on the now classic "Abel" or the towering, perfect "Apartment Story", it is simply the best. Period. The best.
Only 1 disappointment: No "All The Wine". Scandalous.

My Brightest Diamond, the project of Shara Worden, was a quality choice of an opener for this particular kind of show. A hybrid of classical, opera, cabaret, American Gothic, and punk (yes that reads like a description of an electronic-less Bjork but there is some originality here of the first order), this is an acquired taste even if one is aiming to see even a symphonic chamber rock band like the National. If you have the patience, this will work for you. It also helps to be in the setting that it is in.

Sam Champion; Drug Rug; The XYZ Affair; Salt & Samovar
@ Bowery Ballroom
New York, NY - February 15, 2008

So Sam Champion apparently isn't named after the local-turned-national weatherman. Yeah right. Either way, the band Sam Champion revels in an array of 70's arena, southern, and hard rock with many deviations to 80's pop rock (including a cover of Jackson Browne's "Somebody's Baby"). It's easy to see why they've been a New York happening band for awhile, but they also really should have taken off by now. What's the hold up? This is prime material for major success.
The other 3 bands of the night have all been reviewed before and while none of them were bad the first time around, they all exponentially improved since those first times.
Drug Rug has mutated some of the country stomp from the CMJ show into power chord rock n' roll. They can really get a fire going, especially lil' Sarah Cronin with her Angus Young-style spasms, using a guitar that's probably twice her body weight and practically her height. The band, which seems leaner from the first review, has really tapped into something solid, whether it be from their own material or in a cover of a friend of theirs, who is in a band called Viva Viva (though I swore Sarah said "Diva Viva" which had me wondering about the rhyming schemes and what they are smoking up there in Boston).
Alex Feder and the lads in the XYZ Affair bookended their set with their twin power pop hits of 2007 but in the middle they played a sly take on Indie pop. They really sound like no one else. The affable, friendly quartet were joined by a small horn section to do a little Earth, Wind, & Fire post-Valentine's groovin'. Watch out for these guys: they had the largest crowd of the night. Side fashion note: guitarist/keyboardist Russ looked like the second coming of Billy Zoom last review in July, now he's sporting a Joe Jackson/Woody Allen combined look. It's good.
http://farm3.static.flickr.com/2074/2269510456_92253f3c23.jpg
Salt & Samovar seemed to offer a lot more than what was kind of a lumbering set at the O'Death show in December. They incorporate a larger sound, variations on rock and country, and maybe even a little surf on one or two songs?
DJ Awesome Goodtimes spun records between sets and now some observations: The Rapture's "Get Myself Into It" is a smash hit and PEOPLE STILL LOVE THE DARKNESS. THE DARKNESS. But the Strokes' "Hard to Explain" killed the crowd. That's right. New Yorkers were still sweet on the Darkness but not the Strokes. `
Whoever booked this show deserves a slap on the back. This is one of those rare gigs where every act on the bill is a known or budding quantity in the New York music circle. And it was the right mix. Kudos.

Shwa Losben; Chris Bergson Band; Franz Leadon
@ Rockwood Music Hall
New York, NY - February 2, 2008

Indie pop sensation Shwa Losben played to a packed house at Rockwood, delivering the hooks and melodies reminiscent of a young Brendan Benson, but without the look of malnourishment, which goes a long way.
Chris Bergson and his band would be a proper fit on the Raven n' the Blues or the Roadhouse podcast, if he hasn't been on either of those shows yet.
Franz Leadon is a satisfying acoustic guitarist and he certainly had his own crowd in the palm of his hands.

My Teenage Stride
@ Don Hill's
New York, NY - February 1, 2008

First a personal note. Never been to Don Hill's before, have no idea what this mondo party is. I walk in. People dancing. 5 seconds later, as if on cue, Camera Obscura's "If Looks Could Kill" comes on and people go nuts. It was like an entrance theme. I love that band.

Anyway.

Remember the 80's? My Teenage Stride certainly does, and - this is critical here - they remember the good parts. It took me a few weeks to figure it out but they recall, mostly, the Jam (without a keyboard). Power Pop - New Wave - Bar Band. A nice little trifecta to craft ditties if ever there was one. The band, particularly their lead singer, seemed to think they were terrible and that they "need improvement". Eh. If that's what he thinks, so be it. John Q. Public certainly liked it, so chew on that buddy. And don't mess with "To Live And Die In The Airport Lounge", already one of the best songs of the year (Number 1 on the Pennypacker Ipod Top 20 Countdown, 2 weeks running).
Add this unit to the cadre of bands like Looker, Action Painters, and Wormburner - New York bands not exactly part of the current hipster set but carving out a solid niche of no frills, all fun substantive rock n' roll.

"you got to be a child to have straaaaaaaaaaaaaaaaange problems". I love it.

Heavy Trash; Puddin' Tang; Feels So Good Let's Do It
@ Glasslands
Brooklyn, NY - 1/11/08

There is no one quite like Jon Spencer. An amalgam of every pure, vibrant form of Americana rock n' roll, Mr. Spencer embodies the spirit of Elvis Presley and the fire of Jerry Lee Lewis in the rhetorical guise of Tom Waits. His hypnotic voice brings Buddy Holly to the cerebral world. Roy Orbison to the dark side. All the more fitting then that his collaboration with Matt VERTA-Ray (apologies for the misspelling in the year-end review that - for reason beyond control - cannot be corrected) found its way to an esoteric art gallery on the industrial wasteland of Kent Street in western Williamsburg. Between Matt's gruff-yet-suave git skills and Jon's all-encompassing gravity, along with more than able bass and drum players, Heavy Trash is the most thrilling revival of American music. Period.
Puddin' Tang's terrible name (though Puddin' remains one of the funniest sounding words in the language) does not get in the way of their garage-stomp rock. Somewhat eclectic and good fun.
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The needlessly longed name Feels So Good Let's Do It suffered from persistent tech problems and that DID get in the way.

1900's; Stevie Jackson; Laura Gibson
@ Union Hall
Brooklyn, NY - January 10, 2008

What is it with Union Hall and Chicago bands and gals named Laura?

Chi-town wunderkinds the 1900's shimmy and shake with their effervescent Indie pop-rock, still culling the best bits of the 70's and even making this old curmudgeon finally warm up...ONLY A LITTLE BIT...to Fleetwood Mac. And when they aren't doing that, they're jamming psychedelic rock n' roll and ending the show with a big flourish, the knockout "Two Ways". A fantastic way to kick off the year. And they're all lookers - every one of 'em.

Stevie Jackson of Belle & Sebastien played light-hearted acoustic folk and entertained the crowd with his amicable personality, nice suit, and Scottish accent. Glasgow: clearly the Chicago of Scotland. Or is Chicago the Glasgow of America? Stevie rocked out on a Gibson SG during the 1900's finale and did a little all out power pop of his own when the band joined him for his finale beforehand (Soundbites NYC has a video). He also had Laura Cantrell to sing a couple ballads, including Hank 1's "Lost Highway".

Acoustic singer-songwriters are a dime-a-dozen and it's hard to stand out. But Laura Gibson not only stands out, she radiates. Her substantive, full, textured ballads are matched by her delicate, warm persona. She has a true magnetic presence on the stage, not in spite of, but because of, her charming softness. It was like listening to a cloud.

If Laura Gibson's and Laura Cantrell's appearances at Union Hall tonight weren't enough for you, Cantrell will be back in a short order as will Laura Veirs.