ÜberDrivel

Elsewhere

2011-04-04T19:26:00.001-04:00

ÜberDrivel has taken a backseat as I hibernate until summer. However, I am very proud to announce the launch of a new site for Real Estate Weekly (aka my day job), which you can check out at www.rew-online.com. Might have to switch over to Wordpress myself one of these days.

See you when it gets a little warmer.

Happy Valentine's Day

2011-02-14T17:47:00.000-05:00

Beach Fossils and Dinosaur Feathers Played Brooklyn Bowl, Feb. 11

2011-02-13T12:34:00.000-05:00

Talk about a happy alternative. I had originally planned to see Javelin down at Glasslands on Friday, but upon arriving, I learned it was sold out. So I trudged over to Brooklyn Bowl, figuring the massive place would still have room. Thankfully, it did.

I fought my way through the crowd in time to see part of Dinosaur Feathers. The Brooklyn group had just returned from a jaunt to California and were happy to be back. It was an exuberant set, full of multi-part harmonies - although they often were yelps - and a gaudy, piercing synth. That particular instrument was a bit much, overpowering the mix and obliterating more subtle melodies.

Check out their free EP here and their Daytrotter Session here.

I saw headliners Beach Fossils at the Seaport in what feels like an eternity ago - the weather was much warmer, for sure. That set was a jangly, open-air affair, but I found the record a bit too cold, the reverb swallowing everything. "Daydream," with its incessant guitars, was a highlight, but I kept the rest of the songs at a distance.

Thankfully, their live performance is a much more vibrant affair. Singer Dustin Payseur's precise guitarwork and restrained vocals are the band's melodic centerpiece, but the drummer and (shoeless, neckless) bassist were what propelled them to a head-nodding groove. While there's a certain homogeneity in the band's palette, it created a cohesive mood.

And for the last few songs, the band rocked out, dancing around the stage and flailing at their instruments. Payseur slowly unwound his mic and leapt into the crowd, shattering the detachment.

Beach Fossils has a new EP coming out. Grab two older tracks at RCRD LBL.

Rest of the photos after the jump.

Beach Fossils

The Weekend In Dance: Ewan Pearson, A-Trak, The Twelves, Mister Saturday Night, Blkmarket, and Azari & III

2011-02-11T18:05:00.000-05:00

Ewan Pearson

New York may be a rock town, but there is a stupendous amount of electronic music over the next two nights. One solid bet is ReSolute's party featuring Ewan Pearson, who brought his formidable production skills to the last couple Tracey Thorn records. He's also remixed the likes of Ladytron, the Rapture and has a particularly great rework of Cortney Tidwell.. The event will be going down at House of Yes, at 342 Maujer Street near the Grand Street stop on the L train. Tickets here.

A-Trak, known as one half of Duck Sauce and for being Kanye's touring DJ, will be playing at Lavo, a restuarant and bar. Resident Drek Martinez also plays. Not suer how admission works, but more info here.

FIXED's JDH and Dave P are going strong this week, bringing in the Twelves for a party at Good Units at the Hudson Hotel. Tickets here.

Saturday's stuff after the jump.

Mister Saturday Night hosts Soulphiction in a cozy loft. Tickets here.

Back at Basic Units, the folks at Blkmarket Membership take over on Saturday, with Guido Schneider and Jonas Kopp. Tickets here.

Finally, one more round with the FIXED boys. They're bringing Azari & III, who brought us one of the best songs of 2010. That party goes down at LPR. Details here.

Have fun!

Josh Wink, Ezekiel Honig and Delsin Records Played The Bunker, Feb. 4

2011-02-11T17:28:00.000-05:00

Good times as always at the Bunker last week. Ovum boss Josh Wink was on hand, taking over at the front room, but we were mostly in the back, checking a Delsin Records showcase. As usual, things were pitch black and moody, but I've been there so often that it's starting to feel like home.

Rest of the photos after jump.

Guitar Hero Is Dead. Long Live Guitar Hero!

2011-02-09T17:59:00.001-05:00

Activision

Some sad news: Activision Blizzard has canceled the long-running Guitar Hero series, citing declines in the "music genre" (not to mention the music industry). The Journal has the company's stock numbers, which don't look great, but the publisher was still the top video game publisher in North America and Europe. Two huge titles from the Blizzard division boosted the company last year, but this cancellation speaks of the eroding interest in what has been a five-year marathon. In the end, Guitar Hero seemed to be supplanted by the more innovative Rock Band series, which sought to mimic real musicianship in its third installment.

I had many fond memories playing Guitar Hero 2 during college. I started out not knowing that you could hold down the "frets" while strumming, causing me to promptly fail "Message in a Bottle." But I eventually wised up and it was quite a thrill to beat "Free Bird" on Hard. Sadly, I would become more of a Rock Band fan when it was released, although I never did manage to beat "Green Grass and High Tides" on Expert.

Perhaps this decision will prompt some fans to pick up real guitars (from experience, I can say they aren't easy - I've since switched to trying to relearn piano), but we'll always have the memories.

Halcyon Hosts Bea Tricks and Tamur Agha

2011-02-09T17:33:00.002-05:00

Head over to DUMBO record shop Halcyon at 57 Pearl Street tonight at 7 pm to catch free DJ sets from Bea Tricks and Tamur Agha. You can also catch a stream of the show at dailysession.com. It's all part of a twice-monthly series called the Bandwagon. More info on today's show at Resident Advisor.

Profile: Drew Norton Goes Green Screen

2011-02-07T19:27:00.002-05:00

Zandy Mangold

Last fall, Drew Norton set off to change the way music videos are made.

The filmmaker, whose credits include work for Phantogram and Micachu & the Shapes, was inspired by the emergence of British singer Darwin Deez, who used a green screen to catapult his single “Radar Detector” up the charts.

Norton reasoned that a green screen and some technical expertise provided a flexible template for up-and-coming bands, giving them a platform with the potential to go viral.

He saw the upcoming CMJ Music Marathon as an ideal opportunity to test out the theory, and rented out the Seaside Lounge recording studio in Park Slope, setting up Kino Flo lights and draping green on the walls. He dubbed the project Green Screening.

Norton used the website Kickstarter to raise just over $6,000 to fund the project, dangling goodies like mix CDs and other exclusives to donors. Thanks to the effort, he was able to shoot each band for no charge, while still managing to feed himself.

The end result was three video cameras and a battalion of helpers, including David Berman, Jake Kader, Michael Tai, Roy Nowlin, Zandy Mangold, James Wall, Matt Bockelman and Georgia Howe. The team completed interviews and photos shoots with each band.

By the end of production, each band will have an electronic press kit, a goodie bag of audio, visual and written content that publicists and labels pitch to music bloggers and critics. Although Norton had initially pitched the package to labels for a fee, they balked at paying for anything, leading him to pursue a more egalitarian method of financing through Kickstarter.

“People don’t understand how important they are,” says Norton, referring specifically to videos. “They don’t find you on MySpace, they find you on YouTube.”

Despite the early setback, the bands were surprisingly punctual and reliable, with only three of the scheduled 31 not making it. Fueled by booze and the frenetic energy of the week, the result was over a terabyte of recorded material, and limitless possibilities, thanks to the green screen.

“It exceeded expectations in so many ways,” says Norton. “It was one of the weirdest things I’ve ever been a part of.”

Requests for video themes ranged from the ridiculous - a donkey sticking its head into a bowl of chocolate and shooting lasers out of its eyes - to the even more ridiculous. One band wanted to get shot out of a volcano, fly through the sky and eventually land on a “ginormous” private yacht.

Since that autumn week, Norton has been deliberately moving through footage, having released videos from Dale Earnhardt Jr. Jr. and Soft Black. He expects to spend most of the next year editing footage, and the Brooklyn band Friends is slated to have the next video.

Zandy Mangold

Norton grew up in Reston, Virginia, a planned community with a man-made lake near Washington D.C. Although it was envisioned to be a suburban paradise by urban developer Robert E. Simon, the town had issues with congestion and even endured an Ebola virus scare in 1989.

“He’s called it the biggest failure of his career,” says Norton, although Reston has since attracting companies such as AOL and Sprint Nextel to move into nearby office space.

Still, Norton knew that he didn’t want to follow the path of many of his fellow students, who went to nearby schools like the University of Virginia, James Madison University or Virginia Tech.

With encouragement from his father, who told him to expand his perspectives, Norton went to New York, still remembering the moment when he arrived, traveling up the West Village, along the Hudson River.

“It took my breath away, immediately,” he says.

Norton attended New York University, studying Spanish American Literature and Interwar European Politics. His interest in film came later, post-graduation, when he began working as a production assistant.

He worked at Michael Schrom and Company, doing commercial and television work, but his immediate passion was always music videos.

Georgia Howe

From the onset, Norton made it clear that his project would be a labor of love, rather than work. Although he had explored some collaborations, Green Screening is currently free of third parties, aside from the uniforms of Dale Earnhardt Jr. Jr.

“I think I would take a sponsor, but they would have to be unobtrusive and really care about young new music,” he says.

But for now, he’s managed to keep moving forward, although his focus on Green Screening means that he doesn’t have the time to take on paid projects. And while he’s hopeful that some angel investor will suddenly appear, for now, he’s committed to soldiering ahead on his own.

“I like the fact that everything will be given away for free,” he says. “I don’t want to get rich off other people’s material.”

--

Videos and mp3s courtesy of Green Screening and Drew Norton.

Green Screening - Dale Earnhardt Jr. Jr. from Drew Norton on Vimeo.

MP3: Dale Earnhardt Jr. Jr. - "Simple Girl (Live at Green Screening)"

Green Screening - Soft Black from Drew Norton on Vimeo.

MP3: Soft Black - "Lions (Live at Green Screening)"

UberDrivel Podcast 02

2011-02-07T03:29:00.003-05:00

UberDrivel Podcast 02 by UberDrivel

This week, I talk about the Super Bowl, more on Egypt, Walmart, HuffPo and the Daily, along with your weekly concert calendar and music from Robag Wruhme, LCD Soundsystem, Destroyer, Azari & III, and Young Galaxy!

Citigroup Seizes EMI, Looks For Buyer

2011-02-02T00:23:00.000-05:00

Citigroup's 399 Park Avenue and EMI's 150 Fifth Avenue, via PropertyShark

As the month turned over, Citigroup wasted no time in taking control of EMI. The move came as a surprise to former owner Terra Firma, which was expecting to default on its debt before ceding control to the bank. During the takeover, Citi wrote off $3.5 billion of EMI's debt, leaving it with $1.9 billion, but the improved balance sheet is unlikely to change the label's next step: being sold to the highest bidder. NPR compares the label to a house burdened by a subprime mortgage.

As far as potential buyers, Warner has been seen as the frontrunner, even as it considers selling its publishing division, which could, in turn, finance a bid for EMI's back catalog, the most lucrative part of the label. Another contender is BMG Rights Management, a partnership of Bertelsmann and Kohlberg Kravis Roberts & Co. L.P. (KKR), which has considered buying before.

Either way, the future of the EMI looks precarious.

UberDrivel Podcast 01

2011-01-31T02:43:00.004-05:00

UberDrivel Podcast 01 by UberDrivel

I'm excited to announce a new project! Every Sunday, I'll be releasing an hour-long podcast, covering news of the week, upcoming concerts, and, of course, playing some songs. Eventually I'd like to incorporate interviews and more reporting. Stream it above, and click the arrow on the right to download.

I'm definitely eager to improve it, so let me know what you think! More information and links to the various stories mentions below.

Egypt:

Times Egypt coverage and the Lede updates.

Mother Jones blog post.

Al Jazeera English livestream.

Song: Omar-S - "Day"

New York:

Gothamist: photos from Idiotarod 2011

Runnin' Scared: "The Rules of New York City Slush"

EV Grieve: Slushiest East Village corners

Bill Keller's magazine piece

John Koblin on Keller's column

Jon Pareles' Decemberists review

Song: The Decemberists - "Calamity Song" from The King Is Dead

Song: Glasser - "Apply" from Ring

Concert Calendars: Oh My Rockness and Resident Advisor

Song: The Hold Steady - "Chips Ahoy" from Boys and Girls In America

Song: Voxtrot - "The Start of Something" from Raised By Wolves EP

Song: Portishead - "Roads" from Dummy

Kode9, Virgo and Mike Simonetti Bring the Beats

2011-01-28T17:36:00.000-05:00

It's a big night in dance music! First off, Hyperdub boss Kode9 headlines at the Cove in Williamsburg. He was spectacular at the Winter Garden way back in 2008, and this night should be the same. The venue's at 106 North 6th Street (between Wythe and Berry), and entry is free before 11 pm, $5 between 11 and midnight, and $7 after midnight. The price is right!

A couple doors down the street, the Bunker guys will be doing their thing. Tonight's guests include Virgo, who play Chicago house, a genre that the Wall Street Journal (!) describe as "the most sinuous and irresistible" form of dance music. Also on the bill: Detroit's Patrick Russel, who has released stuff on French label Circus Company, sharing a label with the likes of Dave Aju, Seth Troxler and Nôze. Tickets are $20 at the door, but well worth it.

Fresh off a fantastic set at the Italians Do It Better showcase at Webster Hall, Mike Simonetti will be taking over the decks at the Standard Hotel's rooftop bar Le Bain, which has previously hosted Ladytron. The venue is at 848 Washington Street in the West Village, and there is no cover.

Other shows of note: Art Department, which had Resident Advisor's top track of 2010, will be playing at a secret location tonight. There should be tickets at the door, but no idea where it is. And tomorrow night, Omar-S will return to Mister Saturday Night.

Have fun and stay safe, people!

Tonight, Iron & Wine Plays Free at the Apple Store

2011-01-28T12:58:00.002-05:00

Iron & Wine, headed by Sam Beam, will drop by the Apple Store in Soho for a free set tonight, at 7 pm. It should be a lot more intimate than the band's sold-out show at Radio City Music Hall on Saturday, but will likely be packed. The store has been handing out wristbands for guaranteed entry since yesterday - not sure if those are still available - but my suggestion is, arrive an hour early if you want a good shot of getting in.

The band's new album, Kiss Each Other Clean, came out this week, building on the full-band sound of 2007's Shepherd's Dog. It's been pretty well-received.

Check out a recent four-song live recording via NPR.

MP3: Iron & Wine - Tiny Desk Concert at NPR

Update: Other Music also has some live footage.

Katy B Is On A Mission

2011-01-27T01:38:00.000-05:00

Add another eagerly awaited release to the 2011 list: Britain's Katy B will drop her first full-length, On A Mission, on March 28. It'll be 12 tracks, including previous singles "Katy On A Mission" and "Lights On," and judging from past work, she'll be incorporating elements of house, hip hop and (yes) dubstep.

Although she's been scorching the U.K. charts, Katy hasn't made an impact Stateside just yet, but judging from her fellow Brits Kate Nash and Lily Allen, she's poised to do just that. Now, we just need some local tour dates!

Preorder the album in three different ways at Rinse.fm. Video for the title track below.

Portishead and Jeff Mangum Play ATP in Asbury Park This September

2011-01-26T00:04:00.002-05:00

Wild news tonight: All Tomorrow's Parties annual fall festival is moving from Kutshers in upstate New York to Asbury Park, N.J., and this year's show, dubbed "I'll Be Your Mirror," will feature Portishead and Jeff Mangum of Neutral Milk Hotel. That's Portishead's first show in the East Coast since 1998, which was, coincidentally the same year that In The Aeroplane Over The Sea was released. Portishead is also curating some ATP shows over the summer, and expected to be in the States around this time.

The change in venue was due to the deteriorating condition of Kutshers, and also the opportunity to sell more tickets in Asbury Park, the Times reports. Speaking of tickets, a three-day pass is $249, a ticket for Friday is $60, and tickets for Saturday and Sunday are $99. Only a three-day pass will let you catch Magnum on Friday, but you can also seem him on Oct. 3 for $35, which seems fair. Cults, the Album Leaf, Chavez and Shellac are also booked for the event, and another couple dozen will be announced soon.

Tickets go on sale on Friday at 9 am.

Portishead could potentially be playing some one-off shows in the city as well, but we'll have to see. Either way, pretty sweet.

Toro Y Moi Played Mercury Lounge, Dec. 19

2011-01-25T19:39:00.003-05:00

Last Wednesday, I managed to catch Toro Y Moi at Mercury Lounge, which was even cozier than usually. The venue was packed stage-to-door by the time Toro's early set came around, bobbing to the woozy beats. Singer Chaz Budnick exemplified the laidback nature of his South Carolina roots, cooing into the mic and murmuring words of thanks in between songs. And although nominally a one-man band, Toro Y Moi live is definitely enhanced by Budnick's bandmates (including, it should be said, my friend Andy on drums), pushing the sound into that of a full-formed quartet, rather than the shy bedroom producer. It was a nice, if temporary, antidote for the miserable, frosty weather.

They'll be back in early April at Bowery Ballroom and Music Hall of Williamsburg.

Here's live footage of "Still Song," off the new album, via Hippies Are Dead, and a download of the first song they played.

MP3: Toro Y Moi - "Blessa"

Toro Y Moi - "Still Sound" @ Mercury Lounge 01-19-2011 from Hippies Are Dead on Vimeo.

Rest of the photos after the jump.

Major Shakeups at Warner, Universal and Sony

2011-01-24T17:37:00.001-05:00

Last week, the Times reported that Warner Music Group was, as expected, pursuing a bid for EMI, reaching out to the troubled label's debt holder Citigroup. But what was surprising was that Warner had also hired Goldman Sachs to seek potential buyers for itself, a strange "double or nothing" strategy. It appears that Warner's investors, who bought the company from the huge Time Warner conglomerate in 2004, are becoming impatient. They either want the label to expand, likely targeting EMI's lucrative publishing arm, or they want to dump the investment.

On Friday, the Times reported that the other two majors, Sony and Universal, are in a dance of their own. Universal hired Larry Jackson, who will join the Interscope Geffen imprints, after Jackson left Sony last October. At the same time, Universal cut 60 lower-level employees, citing the economy.

In other Sony news, Bloomberg reports that the label will begin rolling out the U.S. version of its Music Unlimited service, seen as an iTunes alternative that will allow the majors to gain a greater share of the profits. The move is compared to the successful video distributor Vevo, which runs off advertising, but Music Unlimited will have a subscription model, rather than advertising. “Free doesn’t make any money,” Sony executive Thomas Hesse tells Bloomberg.

He's wrong. The Vevo model works because it relies on attracting eyeballs, rather than wallets, giving viewers the minor inconvenience of sitting through ads for a relatively painless viewing experience. (Vevo is also pretty integrated with YouTube, a huge traffic booster.) But a product like Music Unlimited has to compete with rampant piracy, and charging a subscription is a big hindrance. If the majors instead explored an ad-driven, streaming service, similar to the television networks and Hulu, they would have a much better chance of reaping a profit. But they're pretty stuck in their ways, and no amount of personnel or branding changes is likely to change that.

Glass Candy, Chromatics and Desire Played Webster Hall, Jan. 14

2011-01-24T02:59:00.000-05:00

In 2007, Chromatics released Night Drive, an evocative, nocturnal trip that was one of the most striking releases of the year. They visited New York a few times since then, but I never managed to catch them until recently, when they played the weekly Girls & Boys party at Webster Hall. Generally, it's a scene and venue I try to avoid - although Webster used to be a solid venue for relatively large indie bands, Terminal 5 has since supplanted it (unfortunately), and I hadn't been there for ages, generally opting for the more intimate venues.

But the night's lineup, which included Chromatics' Italians Do It Better labelmates Desire and Glass Candy, was pretty irresistible. They all follow the same general template of cooing female vocals, and each band has electronic maestro Johnny Jewel on the machines, making for a pretty consistent bass throb throughout the night. Italians' Mike Simonetti added in a diverse, thumping DJ set in between the bands, which was much appreciated.

Desire started off slow, but quickly hit a midtempo sway, and judging by the cheers, it was a sweet spot. Chromatics built on the vibe with a string of signature tracks: "In The City," "Night Drive," "I Want Your Love," and their heartbreaking cover of Kate Bush's "Running Up That Hill," along with some new ones, suggesting that a new album is imminent. Ruth Radelet's voice was spectacular, and she even picked up the guitar. Can't ask for much more than that.

And then it was Glass Candy, which I only knew through the Balearic "Rolling Down The Hills" and a cover of Kraftwerk's "Computer Love," both from the great After Dark compilation. Thus, I wasn't really prepared for the balloon explosion that accompanied singer Ida No's very active performance. I couldn't help but think that it was more about spectacle, rather than sound, but it was pretty entertaining. See for yourself below:

Being There: Glass Candy's balloon rave at Webster Hall on January 14 from THE CULTURE OF ME on Vimeo.

Rest of the photos after the jump. More at The Culture of Me and Pop Matters.

Desire

Chromatics

Glass Candy

Tonight, See Matthew Dear DJ For Free in Brooklyn

2011-01-19T15:08:00.000-05:00

This looks fun! Ghostly shapeshifter Matthew Dear will be DJing a free dance party tonight, in another bash from the folks at Beyond Booking. The venue's at 345 Grand Street, just off the Metropolitan Ave stop on the G, also known as the Lorimer stop on the L. The promoters also promise that the dance floor will light up.

More info on the party here.

Coachella 2011: Familiar Names, Hidden Gems

2011-01-19T02:23:00.003-05:00

Coachella just announced its 2011 lineup, and there are the obligatory big names, but it's the smaller ones that really excite me. As it's such a massive festival, you can pretty much take a bucket and dip it into the current pond of indie bands and come up with a pretty good idea of who's playing, as the fake posters indicate.

Still, some cool stuff here. A Death From Above 1979 reunion is completely unexpected and awesome, and I'm crossing my fingers that they'll make there way to New York. Also, it's wild to see Mumford & Sons up there with Bright Eyes and Animal Collective - I should check them out at some point. The rest of the top half of the bill is solid, but nothing too jaw-dropping for me.

So on to the gems! The band that would most compel me to fly to Coachella would be Glasser. Through Philip Sherburne, I fell in love with the gorgeous voice of Cameron Mesirow, and if I had to redo my 2010 list, she could very well top it. I'm seriously kicking myself right now that I missed Glasser's gig last summer at Glasslands (what an appropriate venue!), and despaired that the band was only during European dates for the rest of winter.

This is my favorite song of the moment:

Other bands I'd like to see (and to this point haven't) include Phantogram, !!! and Klaxons. On the DJ front, I'd like to see the absurdly young Kyle Hall, Cocoon Recordings boss Sven Väth, dynamic duo Duck Sauce and moody, atmospheric Trentemøller.

But this is all pretty hypothetical - it's highly unlikely I'll actually make it this year, and pretty much all bands have or will make it to the city. I would, however, love to attend SXSW and find out if you really can do it without a badge, if anyone's road tripping to Austin from New York.

Oh, and one thing that intrigues me is the Creators Project partnership noted at the bottom of the page. It really demonstrates that Vice and Intel are committed to that brand, which is a good thing, and I'm curious what they'll add to Coachella. Update: Creators have outlined their plans on their site.

Let me know what artists excite you, and if there's anyone on that list that I overlooked.

Stream Broken Social Scene At Terminal 5 Tonight

2011-01-18T20:13:00.000-05:00

In about an hour, at 9 p.m. EST, Broken Social Scene will play at Terminal 5. Instead of wading into the massive crowd there, you can stream the show at Bowery Presents' YouTube page.

Although their last effort, Forgiveness Rock Record, didn't grab me as hard as their previous albums, BSS live is quite a spectacle, and they're bound to be play some of those classics.

Oh, and opener Here We Go Magic is pretty good, too.

Trish Keenan of Broadcast, R.I.P.

2011-01-18T20:03:00.001-05:00

Some really sad news last week: Trish Keenan, the beguiling voice behind the British band Broadcast, passed away due to complications from pneumonia. She was only 42.

While Broadcast was never my favorite band, they encapsulated one of my favorite styles: pretty indie pop, flecked with electronic textures. Keenan's voice was sublime, a melodic anchor even as the band branched out into increasingly avant garde styles.

I'll always regret never seeing them live, but their four-album legacy will always be memorable, with Keenan as its human core.

"Succumb to the line
The finishing time
The long distance runner
Has stopped on the corner
But I won't give up
Although I've stopped too"

R.I.P.

The Bunker's 8 Year Anniversary With Donato Dozzy and Optimo, Dec. 7

2011-01-17T21:57:00.001-05:00

Eight years, wow. I actually had no idea that techno mainstay the Bunker had been around that long, defying the tail end of Giuliani and becoming one of the last sanctuaries for fringe electronic music. According to its history, the party started out in subTonic, which was inevitably shut down, before springing for its current home at Public Assembly, formerly known as Galapagos. Serious props to the folks behind Bunker for continuing to book amazing DJs and for keeping it true to underground roots.

For the very special night, they enlisted Italy's Donato Dozzy to hold court in the back room and British duo Optimo to take over the front. There's a very particular vibe to these events: dense, dark rooms and, for the most part, completely unrecognizable music (someone did play "Rej" once, which was great). For me, it's more about general atmosphere, and on this night, it was really special. There's often a relentless minimalism, but instead, we were treated with melodic, relaxed beats, and even when things peaked, there was a lovely sort of restraint. It was definitely one of the best Bunkers that I've been to.

The next Bunker is on Jan. 28.

Check out RA for an illuminating feature on the dark wave of Italian producers following Dozzy, and more crowd shots at the official site. Rest of my photos after the jump.

Anamaguchi, Lionshare and the So So Glos Played the Knitting Factory, Jan. 6

2011-01-17T21:19:00.002-05:00

A couple weeks ago, Anamanaguchi played to a feisty, sold-out crowd at the Knitting Factory. They've been called 8-bit and chiptune, a style marked by the bleeps and bloops of a Super Nintendo, and often dismissed as a novelty. But unlike the Dan Deacons and Crystal Castles of the world, 'guchi are grounded more in rockist melodies than (just) electro-induced seizures, using video game synth as the topping, rather than the meat, of their sound.

The brunt of their music is composed of the more standard guitar and drum (there's generally no singing, although they pulled off a walloping cover of M83's "Don't Save Us From The Flames"), forming a backbone for the electronic effects. While much of the show was at a frenetic, jump-in-place pace, things got pretty interesting when they slowed down. The highlight was a new song, "UNME," which built on a twinkling hook that morphed into a churning, almost housey blast. They're not quite shoegaze, but the sweeping ambition was a proud successor, and they seem like the perfect candidate for soundtracking the video game version of Scott Pilgrim vs. the World.

Openers Lionshare were an absurd rap bunch, complete with nonsensical lyrics and meow samples. It was mildly entertaining, but not really my thing. Alas, the So So Glos went on early (apparently they had to be somewhere), and I missed them. Next time!

Head over to nyctaper for a full recording of the , and check out "UNME" below.

Rest of the pictures after the jump.

Lionshare

Anamaguchi

Watch Speaking In Code, With Modeselektor, Monolake and the Wighnomy Brothers

2011-01-13T20:39:00.000-05:00

Head over to Pitchfork.tv during the next couple days to check out Speaking In Code, a long-gestating documentary by Amy Grill that chronicles the lives and dreams of techno musicians lovers around the world. It's an ambitious film, spanning years of footage and transporting the viewer from crowded lofts in Boston to the enormous stage at Barcelona's Sonar Festival. It's a study in contrasts: German standards like Berlin and Cologne are easy includes, but spots like Jena, the pastoral home of the Wighnomy Brothers, are real eye-openers.

Along with the Bros., the camera centers on Modeselektor, the mischievous BPitch duo; Monolake, Robert Henke's influential minimalist project; and Philip Sherburne, one of the sharpest electronic scribes out there. Along for the ride is David Day, Grill's husband, an impassioned Boston promoter who dreams of transforming the city into another techno nexus. Although each major character is consumed by music, Grill seeks to illustrate the very human side of its subjects, revealing their aspirations and motivations in striking interviews.

Interspersed with the main stories is an exhaustive who's who in techno, with genre pillars like Reinhard Voigt of Kompakt and Ellen Allien of BPitch Control, which give macro views of their respective labels and cities. But it's the deeply personal narratives that drive the film forward, and Grill's relationship with Day adds another layer of urgency and tension. As the credit bills stack ever higher, the two become increasingly disconnected, both fleeing into their own worlds.

The central theme of music as a form of escapism isn't particularly revolutionary, but Speaking in Code is designed as a gateway into the world as techno, rather than the last word. The nature of the music industry has made any commentary ephemeral, and already, the world has moved on since the last cut, with Modeselektor gaining global prominence with the blessings of Thom Yorke, while the Wighnomy Brothers have split into individual projects. In retrospect, the film captures that delicate moment between obscurity and stardom, a terrifying yet exciting time.

But most of all, it's about passion, and if you're reading this blog, you probably care about music to some degree, and in that case, you should watch this documentary. And if you like what you see, support the artists and buy the DVD. Immerse yourself in music.

Also, check out some bonus footage from local promoter Spinoza, who puts on the always awesome Bunker.

Bryan Kasenic Promotes Minimalism in New York City from sQuare productions on Vimeo.

James Blake Played the Boiler Room

2011-01-03T16:16:00.001-05:00

We knew James Blake had a fondness for indie pop, but it turns out, he's into pop, period. In a spectacular DJ set at the Boiler Room, he goes from Burial's "In Dark" into a remix of Outkast's "Ms. Jackson," Beyoncé's "Videophone" and D'Angelo's "Untitled (How Does It Feel)." Whoa.

You can download the set at Platform Music (via the Fader) and check out video footage below. My only criticism is towards the guy who keeps interrupting.

Blake's self-titled, full-length album comes out on Feb. 8.

BR#38 - James Blake from PLATFORM MAGAZINE on Vimeo.

Listen to New Geotic, Baths' Side Project

2011-01-03T15:07:00.001-05:00

Will Wiesenfeld, who had our 39th most favorite song of last year as Baths, spent his final week of 2010 working on a new record, Mend, for his ambient side project Geotic. He's put up the work on his website, which has free downloads of all of his songs as Geotic (via Prefix). On first listen, it's more placid than his exuberant work as Baths, but there's still plenty of woozy synths and such to keep us happy.

Stream the first track, "Unwind," below.

Hear the New Decemberists Album On NPR

2011-01-03T10:13:00.000-05:00

Two weeks before its release, NPR is streaming the new Decemberists album, The King Is Dead. The album was recorded in a barn outside Portland, Or., according to the station, and features guitar-playing Peter Buck from R.E.M.

The Decemberists will play Beacon Theater for three nights at the end of the month. Tickets for their Jan. 24 show are still available.

NPR is also streaming Wire's new album Red Barked Tree and saxophonist Joe Lavano's Bird Songs.

The Top 50 Songs of 2010

2011-01-01T18:45:00.008-05:00

2010 was quite a year. It was a rebirth, a reaffirmation of my love of music (and writing about it, and taking pictures of it). I still feel as if I'm catching up, but the end of the year provided a great opportunity to revisit what I loved and seek out what I missed.

This is a list of the songs that mattered to me. Please share your own in the comments.

Update: I've received a copyright notice from Google, so I'm going to pull the download link. Sorry.

50. Magda - "Get Down Goblin"

Magda's debut full-length, From the Fallen Page, was a long time coming, but she had already built a reputation with her staggering mix, She's A Dancing Machine, and her impressive DJ sets as part of the Minus family. Although Page didn't quite live up to my expectations, it was still a bold statement, encapsulating Magda's dark, noir aesthetic. And, if nothing else, it gave her an excuse to play in the States, which is always a treat.

49. Delorean - "Real Love"

Spain's Delorean brought their festive indie pop to the last Jelly Pool Party show of the summer (photos to come), and I was quickly taken by their high energy and churning compositions. The band draws from an eclectic range of influences, falling somewhere between indie pop and dance music. "Real Love," is from their 2010 release Subiza, which is actually the band's third album, but first to see worldwide release. They've also remixed the likes of the xx and Franz Ferdinand, proving Delorean is quite adept in the studio, as well as on stage.

48. Azure Ray - "Don't Leave My Mind"

Maria Taylor and Orenda Fink returned after a jaw-dropping seven years since their last release as Azure Ray (I was 15 when 2003's Hold On Love came out, sheesh). Of course, they've both been very active with their solo projects, as well as Fink's Art in Manila. But it's comforting to see them back together, and while Drawing Down the Moon was mostly a retread of what's come before, Azure Ray still does languid pop better than just about anyone.

47. Broken Social Scene - "World Sick"

Alas, I fear the golden age of BSS is over. They were, at one point, my favorite band, on the strength of their self-titled album and the incredible You Forget It In People. But I can't say I listened much to their latest effort, Forgiveness Rock Record, as it didn't strike the same chord. That said, early single "World Sick" is a track where you really felt the full impact of their big lineup. Kevin Drew's the ringleader, channeling frustrations into rock cartharsis, the best kind.

46. Scuba - "Before"

Scuba, a.k.a. Paul Rose, head of Hotflush Recordings, put out an album called Triangulation, which sticks to three general elements, as its name suggests. There's the clattering beats, the bass groove, and then something that I'd describe as "atmosphere." Often, it's negative space and static, adding to the austerity of the music. But in "Before," Rose adds a splash of soul, sampling a woman's voice, and letting in some light.

45. Stereolab - "Everybody's Weird Except Me"

Sadly, Stereolab went on hiatus two years ago, but they accumulated enough material during the sessions for Chemical Chords that they were able to release another album. It was named Not Music, perhaps a play on the group's experimental leanings, which sometimes resemble avant garde noise, rather than traditional pop songs. But not so with "Everybody's Weird Except Me," a lovely track with Laetitia Sadier's pleasant vocals over a playful beat. Stereolab has been missed, but I don't think we've heard the last of them.

44. Lali Puna - "Remember"

How fitting that Lali Puna follows Stereoleb - the two bands have much in common, in particular a penchant for electronic tinkering and an alluring female lead. Lali adds more German influences (they're signed to Berlin label Morr Music, for one), adopting a style that's slightly more mechanical. But Valerie Trebeljahr's voice keeps things emotionally anchored, and the instruments tend to complement her well. It was a treat to see the band release their first album, Our Inventions, in six years. Now, we just need a U.S. tour.

43. Ellen Allien - "Our Utopie"

Ellen Allien, head of the Berlin techno label BPitch Control, is one of the busiest musicians out there. She's released seven albums in the last nine years, an amazing collaboration with Apparat, eight official mixes, and played hundreds of sets. What's more, she's evolved on each original release. "Our Utopie," the chiming opener of her newest album Dust, promises more pop-oriented structure, and the album has more prominent vocals and even some guitars. It wasn't her best work, but Dust was a reminder of how innovative she is.

42. Booka Shade - "Teenage Spaceman"

Booka Shade's show at Music Hall reaffirmed their dominance of the live setting. While most electronic artists bring a mixer and two turntables (or a laptop) and leave it at that, Arno and Walter bring a piles of equipment, which translates into a massive experience. I do miss their subtler days (Movements is a classic), but as their newest album More! suggests, they've embraced a denser style. The tension between evolving and staying true to what made you great is a tricky one, and Booka haven't quite found the perfect balance, but no doubt they'll be back.

41. jj - "I'm The One / Money On My Mind"

Swedish duo jj borrow liberally. They've got the Balearic pop of their countrymen down, with a tinge of psych. They've covered T.I. and sampled Lil' Wayne, adding gleefully obscene lyrics and bubbling synth to their repertoire. "I'm The One / Money On My Mind" takes the xx's "Intro," a wordless track ripe for additions, and inserts Elin Kastlander's woozy voice. It's not nearly as groundbreaking as "Ecstasy," but I'm eager to hear what they come up with next.

40. Matthew Dear - "Little People (Black City)"

Ghostly's Matthew Dear has always had a fluid persona. Under the guise Audion, he creates relentless house; as False, he explores a more minimal style. But fittingly, his recordings under his given name are more man than machine, as Dear's distinct baritone injects a very human element into the music. Black City, his latest release, saw his brand of electronic pop get even weirder, and the pseudo title track is a nine-minute opus that takes the listener on a panoramic journey. Crazy stuff.

39. Baths - "Hall"

Will Wiesenfeld is an energetic dude. When he played Mercury Lounge, the little venue barely contained his boisterous, stuttering electropop. Then, he came back for CMJ and soldiered through six sets, and while his voice was giving out on the final night, his enthusiasm didn't seem dampened. "Hall" is a good summation of his music, as Wiesenfeld elongates the title into a six-syllable phrase, his falsetto floating above a sea of bubbling percussion and squealing synths.

38. Teen Daze - "Saviour"

Teen Daze, the unnamed young man from Vancouver, made quite an impression during the waning hours of CMJ. In the chilly confines of Glasslands, his sunny beats provided a respite, a salve for aching legs. Daze is quite prolific, just recently releasing another batch of songs, and remixing kindred spirits like Washed Out, Yeasayer and Local Natives. There's something exhilarating about his brand of electronic music - "Saviour" is a sweeping testament to that.

37. Azari & III - "Reckless (With Your Love) (Tensnake Remix)"

It's surprising that mysterious duo Azari & III have been around for a year or so. They have a timeless house sound, and while "Reckless (With Your Love)" originally came out in 2009, it's already become a bit of a classic. Hamburg's Tensnake, himself a rising star, gives the track a masterful rework, shaping it into a seven-minute epic. Those vocals! Those drums! Also check out Azari's newest single, "Indigo."

36. Basia Bulat - “Heart Of My Own”

Canadian songstress Basia Bulat has a hell of a voice - it has a rich, soulful quality that's overpowers many of her peers. At the St. Vincent show in Central Park over the summer, I'd argue that she upstaged the top of the bill, playing three instruments and sounding amazing. It's a shame that so many of her Canadian contemporaries get such a larger chunk of the spotlight, because Bulat might be one of her country's best kept secrets.

35. Deerhunter - "Helicopter"

Bradford Cox and company serenade us with "Helicopter," a lullaby-soft track covered in a shimmering haze. (The anti-Bloc Party?) Cox's earnest vocals are emphasized with guitars and drum clashes, but the instruments never overpower his delivery. I can't say I listened to the rest of Halcyon Digest much, but if it sounds like this, I'm there. Seriously, guy is adorable - even Sony Music apologized to him for taking down his mixtapes.

34. Braids - “Lemonade”

Kanine Records has to be one of the most underrated imprints out there. Their current roster has the likes of Surfer Blood, the Depreciation Guild and D.I.Y. favorites Eternal Summers and Dream Diary. They put out the debut of a little band called Grizzly Bear, too. The hits continue with Canada's Braids, a delightful indie pop group with an atmospheric swirler, building to a crescendo before dissipating into a watery finish. Beautiful.

33. Twin Sister - “Lady Daydream”

Twin Sister's beguiling pop has only surfaced through a couple EPs in the band's two-year existence, reflective of their slow-burning aesthetic. Singer Andrea Estella has an understated, lovely voice, the sort that you want to spend time with, and "Lady Daydream" is the ideal environment to do just that. This is defifnitely a band I want to see in 2011, but until then, be sure to check out their Daytrotter Session or this great live footage.

32. Hot Chip - “I Feel Better”

Nerdy gearheads Hot Chip have been a fixture in the DFA-led electro revival for years, and while their latest album, One Life Stand, didn't have the surefire hits of past efforts, it cemented their reputation as emotionally nuanced songwriters. "I Feel Better" is a showcase for Alexis Taylor and Joe Goddard's dramatic vocal interplay, one fragile and yearning, one mournful and dour. But as its hilarious music video demonstrates, the band hasn't lost its sense of humor.

31. Serena-Maneesh - "I Just Want To See Your Face"

I winched during the first minute of this song, but then about a minute in, things got hooky, jangly even. Above the fuzz and lacerating feedback is a pristine pop song, although I'm not entirely sure who's singing - frontman Emil Nikolaisen is the only one credited with vocals from what I've read. Anyhow, the track comes from the imposingly titled Serena-Maneesh: Abyss in B Minor, which follows the band's suberb self-titled debut. Listening to this song is comparable to the first time I heard Loveless - and I can think of no higher musical praise.

30. Beach Fossils - "Daydream"

Mining the same territory as Real Estate and the like, the Brooklyn group Beach Fossils is distinguished by distance. Maybe it's the reverb, but their songs have a certain detachment, as if they really are buried in the sand, a memory of a long-gone summer. (Yes, there are still beaches in winter, but just work with me on this one.) On "Daydream," Dustin Payseur's voice and that insistent riff are just marvelous.

29. Taras van de Voorde - "1998"

In "1998," Bill Clinton was president and we had a surplus. Still, things weren't nearly as interesting as this! Taras van de Voorde, from the Netherlands, takes us on an exhilarating ride with his tribute to the year, breaking it down and building it up over the course of a seven minutes. The track was a hit over at RA, which is where I first heard it, spawning a bunch of remixes. But as with Coke and the Gap, the best idea was the first one.

28. Efdemin - "Night Train"

Detroit gets all the credit. Although the Motor City is celebrated as the birthplace techno, Chicago house also had a huge influence on the development of electronic music. Efdemin does well to name-check the Windy City on his latest album, a meticulous piece of work. Seeing Efdemin at Mister Saturday Night was a real treat, and it proved that he's just as good at commanding a dance floor. This is one of the best electronic albums of the year, no doubt.

27. James Blake - “CMYK”

British wunderkind James Blake's been on many a list at the end of this year, and it's easy to see the crossover appeal. His naked cover of Feist's "Limit To Your Love" is something special, but he's even more impressive within the context of his own creations. "CMYK" is choral dubstep, as Blake samples a menagerie of voices, constructing something familiar, yet completely novel. With a full-length in the works for Feb. 7, next year looks to be even better for Mr. Blake.

26. Toro Y Moi - "Blessa"

A couple years back, my friend Andy mentioned that his friend Chaz was getting pretty big. I unfortunately didn't check it out, but now, he's huge. This year, Toro Y Moi (with Andy drumming) opened for Caribou and Phoenix, and the band's next album, Under The Pine, is looking to be one of the larger releases of 2011. But before we get ahead of ourselves, before that whole "chillwave" thing, these are really good songs. "Blessa" is a woozy tribute to bedroom melodies, an intimate, kaleidescope slice of pop.

25. Pantha Du Prince - “The Splendour”

One of my year's regrets is missing Pantha Du Prince's set before Blonde Redhead at Webster Hall. This is, after all, the man who made "Saturn Strobe," one of the most sublime electronic tracks that I've ever heard. Although Black Noise doesn't have anything to that magnitude, it's still a stately, elegant record, with gems like "The Splendour." Although some might be more excited by the appearance of Panda Bear on "Stick By My Side," for me, less is more.

24. Four Tet - “Angel Echoes”

The first track off Kieran Hebden's There Is Love In You is gorgeous. Beginning with a steady clink, it slowly unspools a wordless vocal sample that swoons and dips, harmonizing with itself. It might be the most straightforward, prettiest composition of Hebden's long and varied career, which has seen collaborations with Burial and the late Steve Reid. But after five years since his last solo full length (2005's great Everything Ecstatic), it was a delight to finally hear him on his own.

23. Beach House - “Norway”

With Teen Dream, Beach House emerged from a cocoon of reverb and crafted something incredibly lush. I remember hearing Norway over a year ago and being struck by how immediate Victoria Legrand's voice sounded, as if the past two albums had been a chance for it to thaw. As the song goes, "We were sleeping 'till/You came along/With your tiny heart/You let us in the wooden house/To share in all the wealth."

22. Belle and Sebastian - “I Want The World To Stop"

It shames to say that I never really got into Belle and Sebastian. I definitely respected them, but was always more partial to their countrymen, Camera Obscura or the amazing, underrated Delgados. But after a magnificent show at the Waterfront, I gave their newest album, Write About Love, a try, and was impressed. This is a more confident, seasoned band - melodic but not merely twee, with lusher instrumentation and vocal acrobatics. Stewart Murdoch and the gang have a great voices.

21. Stars - "Fixed"

As with Broken Social Scene, my attachment to Stars has waned somewhat in recent years. But BSS doesn't have Amy Milan, at least not as a regular, and she still has the most swoon-inducing voice in indie pop. Seeing the band play for two hours in September was amazing, and a reminder of how much I adore their back catalogue. "Fixed" is the full-blast single of The Five Ghosts, the "Take Me To the Riot" or "Ageless Beauty" (still my favorite Stars song) of the album. In other words, exhilarating stuff.

20. Lindstrøm & Christabelle - "Can't Stop"

Although it's the first time Christabelle has been credited, the singer's been collaborating with Norwegian disco maestro Lindstrøm for years. The two had a modest hit with "Lovesick," but it's "Can't Stop" that really takes it for me. Christabelle's breathy voice comes off really strong here, and the percussion and synth buildup are fantastic. As Gawker puts it, this song is for "dancing; arguing with the bartender about how expensive the drinks are after dancing; dancing more." Amen.

19. Jamie xx - "Far Nearer"

The xx's album was by far my favorite of 2009, and hopefully the next year will bring a second one. In the mean time, Jamie Smith, whom I had the huge pleasure of interviewing, released a solo cut, which takes things in a dubstep direction. No word on whether he'll release a full album or just a single or two, but "Far Nearer" was a sensation when it debuted on the radio. I can't think of many bands that the internet would freak out about if such a thing happened, but the xx definitely occupy the highest echelon, which is well deserved. In other Jamie business, he DJed in New York and at the Boiler Room. Busy man!

18. The Pipettes - “Stop The Music (Justus Köhncke Remix)”

It's difficult to continue when two-thirds of your singers quit. But that's what happened to the Pipettes, who hit it big with their retro debut, only to see Rose Elinor Dougall and Rebecca "RiotBecki" Stephens quit for solo careers. After the turmoil, the band went more futuristic on its sophomore effort, and while the results were mixed, a standout was single "Stop the Music" - particularly Kompakt man Justus Köhncke's sprawling rework. The pulsing synth and the voice of Gwenno (or is it her sister Ani?) go down smoothly.

17. Lucky Soul - "White Russian Doll"

It's pretty amazing - Lucky Soul cram more stuff in two-and-a-half minutes than most bands do in twice the time. "White Russian Doll" is a gallopping single, a bold new step for a band that does retro better than so many (sorry, Pipettes). Much credit to Frank at chromewaves for first introducing me, and letting me know that they had a new release. So good. Now then, why aren't these guys huge yet?

16. The Radio Dept. - "Heaven's On Fire"

"Heaven's On Fire" begins with a question: "People see rock and roll as youth culture, and when youth culture gets monopolized by big business, what are the youth to do?" At first it seems rhetoric, but then the voice answers, "I think we should destroy the bogus capitalist process that is destroying youth culture." They're fightin' words, but the subsequent song is sunny, hooky, and great, with no hints of violence. There are even trumpets! So, perhaps it's not the revolution that we dream of (and, anyhow, the internet is freeing the music industry from capitalism), but if nothing else, the Radio Dept. keep us young at heart.

15. Crystal Castles - “Celestica”

Crystal Castles is a band that people love to hate. The obnoxious strobe lights, the 8-bit squelches, the copyright disputes - the Toronto duo has had a rough time. Still, they managed to come up with one of the purest three-and-a-half minutes of electropop this year, a pristine piece that's as precise as singer Alex Glass's mascara. But for a band known for is icy demeanor, there's some vulnerability here, some naked uncertainty under the synth crescendos: "When it's cold outside, hold me/Don't hold me."

14. Yeasayer - "Madder Red"

Back during Yeasayer's All Hour Cymbals era, there was a song called "2080," which was tremendous. "Madder Red," from Odd Blood, is a proud successor to that ambitious, harmonious effort, an absolute triumph. Singer Chris Keating is an able storyteller, weaving apologies into the chorus, while his bandmates provide a stunning accompaniment. As they proved at Governors Island, this band is as huge as the venues that they play.

13. Phantogram - “Mouthful of Diamonds”

I heard this song at Mercury Lounge, and scrambled to jot down the lyrics and look it up afterwards. Thankfully, I managed to track down Phantogram, which is Sarah Barthel and Josh Carter from upstate New York. For a just duo, they make pretty intricate music, and when Barthel's voice goes high on the chorus, it's spectacular. It's a pity that the rest of the album isn't as good - for one thing, Barthel doesn't sing on all the songs - but equaling this one's a tall order.

12. Robyn - “Dancing On My Own”

Robyn had a massive year, cementing her status as a worldwide pop star with the three-part release of Body Talk, along with a huge local show in November and two at Webster Hall in August. (She'll be performing at Radio City Music Hall in February.) The centerpiece of her new record is the "Dancing On My Own," an ode to unrequited love. Almost a minute in, the chorus hits and Robyn's impressive pipes take over, but there's still that emotional vulnerability. In an age of robotic pop stars, Robyn's real.

11. Katy B - “Lights On (ft. Ms. Dynamite)”

Those Brits sure know how to pick their pop stars. There's Lily Allen, Kate Nash (who also released an album this year, which I should check out) and now Katy B, an absurdly young South London gal with a big voice. She has a refreshing overlap of genres, mining pop and hip-hop - some even say there's dubstep elements, but not too sure about that one. Hopefully it's a sign of bigger things to come (and U.S. tours!).

10. Duck Sauce - “Barbra Streisand”

It's not just what you do - it's who you know. And Duck Sauce, the partnership of Armand Van Helden and A-Trak, know a lot of people. They enlisted everyone from Ezra Koenig to Chromeo to the Roots for a video that played like a who's who of independent music. It was also a celebration of New York - of its vibrancy, its culture and first and foremost, its people. Call me biased, but we are the best city in the world for a reason. As for the song itself, it's built around a sample of Boney M's "Gotta Go Home," specifically the opening riff and the "Oooh"-ing chorus, with the addition of the absurd, but somehow completely appropriate "Barbra Streisand" refrain. Amazing.

9. Sleigh Bells - “Rill Rill”

Alexis Krauss and Derek Miller are hardly subtle. Most of Treats is bombastic, blistering noise, likely to rupture your eardrums. But then there's Krauss' voice, a saccharine, at times childish element that made you wonder what would happen if the duo ever made a pure pop song. Well, "Rill Rill" is that song - so different from everything else on the album, but at the same time the perfect complement. Everything slows down, and Krauss takes over, her overdubbed voice dripping over the languid beats like an exquisite honey. The lyrics, as usual, are both nonsensical ("You are the river flow/And we can never know/We're just a weatherman/You make the wind blow") and totally spot-on.

8. Tennis - “Marathon”

Tennis blew into the blogosphere like a summer breeze, dancing through the waves. Their story's been told to death, but it bears repeating: Alaina Moore and Patrick Riley spent seven months sailing, escaping the limitations of modern life in a way most of us can only dream of. With that in mind, their music is conceptual, charting the course of their journeys, but on its most primal level, the songs are dreams of sunnier days and happier people. "Marathon" is the center of that desire, as Moore's buoyant voice floating in splashes of reverb and synth, slashes of guitar breaking like waves. Their upcoming full-length, Cape Dory, is already sounding like one of the best albums of 2011.

7. Cults - “Go Outside”

How the industry has accelerated. Cults released "Go Outside" in March, accolades followed, and then by the end of the year they had been scooped up by Columbia, Sony Music's imprint that seems to specialize in poaching young talent. Still, one good song is sometimes all it takes, and "Go Outside," is spectacular. Madeline Follin's voice goes up for miles, while the signature harpsichord adds a certain delicacy. But Cults looks to be more than just a buzz band - as their #Offline set demonstrated, there's a lot more going on here than just a couple good singles. Their debut album, which should arrive in the spring, is one of my most anticipated releases.

6. The National - “Bloodbuzz Ohio”

The National is one of the biggest bands in the planet right now, sitting down with the New York Times Magazine and hitting No. 3 on the Billboard charts. It's a stunning ascension, and one that's been truly hard-earned and well-deserved. Boxer was an obsessive listen for the better part of two years for me, and it's still a thrill. High Violet didn't resound quite as strongly, but "Bloodbuzz Ohio" easily captures the stately heights of past works, from the instant the drumsticks flick to open the song. Matt Berninger's baritone is one of the most remarkable instruments in music right now.

5. Caribou - "Odessa"

Dan Snaith chronicles the decay of a relationship on "Odessa," the opener of his marvelous album Swim. It's subversive stuff, a big departure from the adorations on Andorra, with a squelching beat and Snaith's solemn voice. He calls the album an effort to create "liquid dance music," and there's a distinct fluidity in the way the disparate instruments collide on "Odessa," fusing rather than breaking or bouncing. There's also a very clear narrative here ("Taking her kids/Driving away/Turning 'round the life she let him siphon away"), but it's unclear if Snaith is a sympathetic ear, or the jealous lover. It's that ambiguity that makes the song so gripping.

4. Mount Kimbie - “Would Know”

During their October performance at the Bunker, Dominic Maker and Kai Campos, better known as Mount Kimbie, did something you're never supposed to do during DJ sets: In front of the packed crowd, they stopped and allowed for applause. Generally when an electronic artist is billed as "live," they're just playing their own songs off a laptop or, perhaps, a sampler (Booka Shade's an exception). But Kimbie played a real set, resembling more of a band than two producers. One of them even plucked a guitar! The audience loved it, and so did I - Crooks & Lovers grew to be one of my favorite releases in the final months of the year. "Would Know," with its skittering synths, generous bassline and cryptic vocals, is dubstep for the future.

3. Janelle Monáe - “Tightrope (ft. Big Boi)”

Janelle Monáe is amazing. Not only did she put out two of the most striking singles of the year ("Tightrope" and "Cold War"), her opus The Archandroid almost single-handedly argued for the relevance of the album. Spanning 18 tracks and over 68 minutes, it's roughly twice as long as everyone else's release, but despite the length, it's a never boring. Likewise on "Tightrope," with a flexing beat that echoes Monáe's lithe dance moves and features, as she puts it, "the funkiest horn section in Metropolis." And then there's that voice, flowing and contracting, moving like no one else.

2. School of Seven Bells - "Bye Bye Bye"

Buried towards the end of Disconnect From Desire, "Bye Bye Bye" is quintessential Bells, a churning pop song with dramatic heights and the Deheza twin's crystalline vocals. Alas, the harmonizing is only on record now, with Claudia's departure from the band in October (she's the one with longer hair), but they're soldiering on as a duo. With such sad news, the song's lyrics take on even more meaning: "Into the wind back to the day we met where you'll settle into/A standing pile of stones I'll skip across that ocean we knew/One by one till there's nothing left of you."

1. Wild Nothing - “Live In Dreams”

There was no doubt that Wild Nothing was favorite band this year - I listened to Gemini far more than any other album. It was more decision of whether to feature "Live In Dreams," "Summer Holiday" or "Chinatown," as each of those songs are individually so amazing. I ended up going with the album's nostalgic opener, which epitomizes a lot of what I liked this year. From its slow fade in, there's a delicacy to the music and Jack Tatum's unapologetic romanticism that's hard to resist. The shoegaze and '80s influences are well documented, and while it sounds as if it's from another era, its emotions are very much those from 2010.

Happy New Year

2011-01-01T03:15:00.000-05:00

But we're not quite done with 2010. Something big coming very soon.

Ted Leo, the Pains of Being Pure At Heart, Holy Fuck and Earl Greyhound Played Siren Festival, July 17

2010-12-30T19:53:00.000-05:00

Coney Island had one of its best years ever, if you measure it by visitors. The city took over seven acres of land, with the intention of preserving the character of the neighborhood and brought in Italian amusement operator Zamperla to run a new Luna Park. But the controversy is far from over, as long-time business owners, Zamperla and the city continue to clash over the future of the storied amusement park and neighborhood.

But as I wrote over at HuffPo, Siren Festival is an annual reminder that the area is far from done. It's a celebration of the vibrant culture and beauty of the area, and also a tremendous showcase for indie stalwarts and rising stars. It's a hope that Coney's future will be as bright as its past.

Earl Greyhound

The Pains of Being Pure At Heart

Ted Leo

Holy Fuck

Beach Fossils and Woven Bones Played The Seaport, July 2

2010-12-30T18:05:00.001-05:00

The South Street Seaport was a staple of the past summer, as it's been for much of the last three years. The atmosphere is incredible - it's a tremendous way to give everyone a reason to come downtown, indicative of the continued transformation of Lower Manhattan, and the city as a whole. Huge credit to the civic groups and, yes, corporate sponsors, who make it possible.

The Friday before the 4th of July, I made my way down to see Beach Fossils and Woven Bones (headliner YellowFever was unable to make it at the last moment), and as usual, it was a great night: jangly guitars under a darkening sky, the East River breeze teasing the air.

A couple months after the show, Beach Fossils played a Daytrotter Session, which you can find here. Rest of the photos after the jump.

Woven Bones

Beach Fossils

Snowpocalypse 2010: The Aftermath

2010-12-30T04:13:00.001-05:00

So, we had a bit of a storm earlier this week, and while the remnants slowly melt, here's a quick photographic tour down Fifth Avenue as it was on Monday. Also, it's a great reason to post one of the best winter songs ever.

Sleigh Bells, Gang Gang Dance and the Rapture Played Creators Project, June 26

2010-12-30T03:52:00.002-05:00

One of the most unusual events of the year was Creators Project, a music and art extravaganza that seemed to come out of nowhere. Sponsored by heavyweights Vice and Intel, the series kicked off in the Chelsea neighborhood of Manhattan, before globe-trotting to London, Brazil, Seoul and Beijing. I was fortunate enough to snag a pass for New York through the open signups, and while the festival had some symptoms of exclusivity and corporate sponsorship - open bars, a private penthouse, free food - there was a refreshing focus on creativity, rather than consumerism.

The location was at Milk Studios at 450 West 15th Street, right by the High Line and a Diane von Furstenberg store, two symptoms of the rapidly changing neighborhood. Although rents have skyrocketed, there's also a pretty vibrant local art scene, and Creators capitalized on the environment by bringing a slew of visual and media installations, including work by Nick Zinner, Mira Calix and the xx. But the main draw was the music, which had some nostalgia-inducing locals like the Rapture and Interpol. "House of Jealous Lovers" and "Obstacle 1" have as much kick as they did in the early 2000s, and it was great to see veteran bands killing it.

On the other side were upstarts like Neon Indian and two of the biggest bands of 2010: Die Antwoord and Sleigh Bells. At the latter, I felt an intense deja vu - it was pretty much Justice 2.0, a sweaty, strob and bass-heavy affair, with an astonishing number of cameras clicking away (see above). Although it was all a bit overwhelming, I'm thankful that Alexis Krauss's saccharine vocals provide real hooks, even if they're often obscured by fuzz.

The signs at the event read "Welcome to Year One" - hopefully there will be many more.

(And yes, M.I.A. also played, but I was exhausted and went home. Sorry.)

Check out photos of Interpol here, rest of the shots after the jump

The Rapture

Upstairs

Gang Gang Dance

Sleigh Bells

Yeasayer, Keepaway and Delicate Steve Played Governors Island, June 5

2010-12-30T00:26:00.002-05:00

As the year comes to a close, I'd like to take a chance to look back and post some photos from the summer that were taken before I started blogging again. Here's the first installment.

One of the first shows of the summer was the kick-off of the "Gone To Governors" series, sponsored by Bowery Presents and the ubiquitous Converse. Having never been to Governors Island, I was looking forward to checking out the tiny landmass, and after enduring a couple hours on line to the ferry, I was greeted with a sandy beach stage, very similar to the ones by the Seaport and Long Island City.

Openers Delicate Steve and Keepaway played energetic sets, but the real attraction was Yeasayer, who have grown by leaps and bounds since their CMJ days. This band can truly command a big stage - their sweeping multi-part harmonies and battery of instruments proving to be quite a match for the ambitious lighting rig and huge crowd. My one regret is that I didn't make it down to Governors for any other shows, as the heat and daunting lines were both pretty rough, but I'm glad I made it to this one.

As a gift to fans, Yeasayer just released a live recording of their gig at the Ancienne Belgique in Brussels, which you can download for a price of your choosing here. You can also grab a free mp3 of "O.N.E." by signing up for their mailing list below.

Rest of the photos after the jump.

Delicate Steve

Keepaway

Yeasayer

Ducktails, Cassie Ramone, Sultan and Friends Played the Showpaper Gallery, Dec. 21

2010-12-29T19:14:00.001-05:00

I had been meaning to check out the Showpaper Gallery on 42nd Street, and last Tuesday's show provided the ideal opportunity. It's a weird place to see a show, just down the street from Capital Grille, Grand Central and, incidentally, in the vicinity of the most expensive office submarket in the city. But with the help of non-profit Chasama, promoter Todd P managed to secure the space for an indie rock venue and arcade by video game collective Babycastles, creating a cultural interloper in the white collar neighborhood.

As previously reported, the location is a nexus of sorts for Showpaper, the free, weekly guide for all-ages shows around the city. The gallery served as the headquarters for an ambitious drop-off operation of specially designed Showpaper boxes throughout the city, and its walls are still covered in the publication's artwork. The installation's games have a retro, nostalgic feel - Rumble Box, which was projected in the front room, was a good example.

On the music end, it was a fantastic lineup: newcomers Friends started things off, the ensemble playing their varied instruments, and singer Samantha Urbani cooing and shimmying on stage, before descending to the crowd's level for the second half. This band could be going places next year - and not just opening for Darwin Deez around the country. They'll also be playing Shea Stadium on Jan. 7.

Next was Sultan, Kayla Cohen's guitar-and-pedals project, saturating the room with reverb and washes of guitar. The songs were long, instrumental pieces, each flowing into another, with a sprinkling of Cohen's ghostly vocals. I'd call it a more eclectric version of Grouper - which is to say, a pretty good thing. (Disclosure: I worked with Kayla at WNYU for a few semesters.)

Cassie Ramone of Vivian Girls played a high-spirited acoustic set, along with two friends. The prolific songwriter, who also plays in the Babies, reiterated relatively simple themes of love and loss. But the music never real sinks into pure despair, as her high, distinct voice is more inclined to yearn than brood.

Ducktails finished things off, with Matt Mondanile setting up with a sampler, keyboard and eventually guitar. It was a woozy, comfortably paced set, building melodies out of minimal elements and stacking Mondanile's vocals on top. He got a little tambourine help from my friend Andy (who drums in Toro Y Moi) on the last song, a nice end to a fun night.

Rest of the photos after the jump.

Friends

Sultan

Cassie Ramone

Ducktails

Free Shows Tonight: Chairlift at the Knitting Factory, Ducktails at the Showpaper Gallery

2010-12-21T20:08:00.003-05:00

Chairlift (via Last.fm)

Although the year is winding down, and the rest of this weeks looks pretty dormant, there's some amazing stuff happening tonight. Chairlift is playing at the Knitting Factory in Brooklyn for free, which feels like their first show around these parts in quite a while. (Co-singer Aaron Pfenning has been touring under his Rewards.)

Over at the Showpaper Gallery on 42nd Street is a great lineup: Ducktails' Matt Mondanile, also of Real Estate, is playing a solo set, along with Cassie Ramone from Vivian Girls, Sultan (Kayla Cohen, a long-time DJ at WNYU) and Friends, who were recently profiled here. Suggested donation is $5.

Both shows start around now, so get going!

EMI Headed To Citigroup; Will Warner Step In?

2010-12-14T01:51:00.001-05:00

In the wake of Terra Firma's failed lawsuit against Citigroup, the private equity firm appears ready to surrender the smallest major label, EMI, to the bank, according to the Post. Hypebot speculates that the transfer could come as early as Christmas. While EMI's finances have actually improved over recent years, Terra Firma looks unwilling to invest the another £200 million by next June to retain control.

Citigroup isn't particularly known for its love of music, and the bank's next probable move would be to liquidate the record company, which has a lucrative back catalogue. A month ago, it was reported that Warner Music would make a $750 million bid, although EMI CEO Robert Faxton wrote at the time that a move would be "utterly idiotic" and devalue the label's long-term health. Sadly, Citigroup's goal isn't to keep EMI healthy - it's to get rid of it for as much money as possible.

Hopefully, something good will come out of this mess.

(Disclosure: I interned at Astralwerks, an EMI-owned label, over the summer of 2008. There were layoffs.)

Superpitcher Played Mister Saturday Night, Dec. 11

2010-12-12T20:32:00.001-05:00

After spending recent nights in sweaty dives and mega-clubs, it was a breath of fresh air to return to Mister Saturday Night's cozy loft. The key word is comfort, with residents Eamon Harkin and Justin Carter keeping things melodic and groovy, but not too loud, for the first part of the night. Unfortunately, projectionist Sam Wiehl, who worked past parties, is back in Liverpool, so the lighting was just the disco ball and a couple of lights, but the DJ selections kept things warm.

The night's guest was Superpitcher, born Aksel Schaufler, a Kompakt stalwart with a playful take on disco and techno. He was all over the place, dancing around, tweaking knobs in the mixer and running to grab the next piece of vinyl for the turntables, which were suspended from the ceiling to prevent vibrations. His set was agile and fun, although not quite as immediate as some of his recorded stuff.

In related news, Kompakt is currently celebrating the holidays with daily giveaways and Resident Advisor published a recent feature on throwing the ideal party, with quotes from Mr. Carter.

Mister Saturday Night and Superpitcher will do it again tonight at the Standard on 848 Washington Street in the West Village. The residents will also be throwing what should be a tremendous party on New Year's Eve with Kyle Hall and Martyn, details here. Flier for tonight and Superpitcher's "Heroin" below.

Rest of the photos after the jump.

The Village Voice Web Awards, Dec. 7

2010-12-11T23:43:00.001-05:00

Four years and a few months ago, as a college freshman, I walked into a record store near St. Mark's and asked for a good place to see concert listings. The guy at the store, which sadly isn't around anymore, recommended the Village Voice, which happily still is. Although I've never had the pleasure at working at the weekly, a number of friends have, and their offices were just a few doors away from N.Y.U.'s journalism department.

The Voice has gone through some changes in the last few years, but their consistently entertaining culture coverage and excellent long-form features have made the paper a mandatory read for me. And they've boosted their online presence, with Runnin' Scared, Sound of the City and Fork in the Road offering daily goodness. So, with its current blog focus and the rapid rise of social media in recent years, it was a good time for the paper to hold its first annual Web Awards on Tuesday night at Santos.

Astronomical Kid, a 14-year-old rapper with a song about his mother, kicked things off, and then it was on to the winners. Host Todd Barry kept a dry sense of humor throughout the night, and while the internet can be a pretty ridiculous thing, it's also got an undeniable grip on this town. From music heroes like Oh My Rockness and East Village Radio to Deadspin to Four Loko advocate Eddie Huang, the web is the record, as well as the playground, of the city.

Christopher Weingarten offered an abbreviated version of his rant on online music coverage halfway through the event, and then it was on to the big awards. Particularly pleasing was the recognition of the two (fake) sides of former Observer editor Peter Kaplan, a frequently hilarious and sometimes poignant chronicle of life in the city, and a fitting tribute to cats at the end. Until next year!

Rest of the photos, including Astronomical Kid, Todd Barry, Christopher Weingarten and most of the winners below. For a complete list, look here.

PS - We're on Twitter, Facebook and RSS, too!

Astronomical Kid

Todd Barry

McNally Jackson Bookstore - Best Use of Twitter to Promote a Business

Pat Kiernan - Best Use of Twitter to Promote a Personal Brand

All City - Best Locally Built iPhone App

Joe. My. God. - Best Politics Blog

Christopher Weingarten

Oh My Rockness - Best Music Site

Joe's NYC - Best Photo Blog

Awesome Slut - Best Sex Blogger

Eddie Huang - Best Local Internet Character (Real)

Spokesman for CrankyKaplan and Wise_Kaplan - Best Local Internet Character (Fictional)

Maureen Johnson - Best Tweeter

"Justice in Brooklyn" by Jami Attenberg - Blog Post of the Year

The Gregory Brothers - "Bed Intruder Song" - Video of the Year

Cats (The Animal) - Lifetime Achievement Award

DJ Koze, Cassy and Isolée Played Santos Party House, Dec. 4

2010-12-11T22:00:00.000-05:00

Wrapping up a two day stretch last weekend, I made my way down to Santos Party House in Chinatown to catch the end of Blkmarket Membership's birthday party for resident Fahad. The lineup was diverse, although I unfortunately missed Isolée, of "Beau Mot Plage" microhouse fame. The Hamburg DJ will be releasing a new album, Well Spent Youth, on Feb. 7, appropriately enough on DJ Koze's label.

Koze was holding court in Santos' main room when I entered, his beats and the pulsing red lights making the space resembling the chamber of a heart. His restrained style of techno has splashes of the exotic - "I Want To Sleep" is a recent example - and the addition adds a funkiness to the sometimes bare genre.

But the real action was downstairs, with Cassy Britton, a regular at Berlin's Panoramabar, part of the legendary Bergain, absolutely tearing it up. A pounding, perpetual beat was a welcome sound after nights of minimalism. Cassy's also a singer, and while she didn't perform on this night, she used a generous amount of vocal tracks, keeping a bit of humanity with the machinery.

Check out Cassy's haunting voice on Swayzak's "Smile and Receive."

More pictures at Resident Advisor. Rest of my photos below.

Yo La Tengo, Syl Johnson, Peter Wolf, Jon Glaser and Ira's Mom Played Maxwell's, Dec. 4

2010-12-07T02:56:00.003-05:00

After celebrating Christmas the night before, Saturday was an opportunity to commemorate Hanukkah at Yo La Tengo's almost-annual bash at Maxwell's. I had been to Hoboken a few times before and, while Jersey has that reputation, I think Hoboken is a vibrant town with a neat restaurant district. Alas, Maxwell's was a bit of a hike from the PATH station, particularly in the blistering cold, but I arrived just as it was filling up. The venue places its bar and restaurant up front, with a pretty tiny concert space in the back. It can get pretty cozy, but it was a treat to catch such a renowned band in an intimate space.

One of the great mysteries of Yo La Tengo's eight-night residence is the identity of the guests. (BrooklynVegan has been keeping score.) The anticipation only grew when Ira Kaplan of Yo La Tengo, who played M.C. throughout the night, came on stage to introduce the first performer. I'm ashamed to admit that I had no idea who Syl Johnson was, but any ignorance was soon irrelevant, as he launched into a brilliant, soulful performance with a full band. What a voice!

Listening now to his records - which date back to the 1950s - I'm struck by how great he still sounds, at age 74. Moreover, he threw in guitar and harmonica, along with some effortlessly hilarious banter, and his band was awesome as well, particularly the full brass section, which included a trumpet, tenor saxophone and horn. Amazing.

Johnson has a boxed set out that mines his many hits and the Times has a profile of him.

Next, comedian Jon Glaser, as "Rabbi Attitude," had a mercifully brief monologue about putting his cat to sleep, finding out it could talk and then admitting it was all a lie and cursing out the crowd. Quite a few people thought it was funny, but I'd rather get my laughs elsewhere.

Finally, it was time for Yo La Tengo. The set was comparable to their CMJ show at Brooklyn Bowl, as an eclectic mix that spanned everything from gargantuan, feedback-drenched epics to sharp, taut indie pop to lovely acoustic meanderings. Again, Ira Kaplan, Gorgia Hubley and James McNew's vocals were all on full display, weaving together on the fuller arrangements and each member singing lead on a few tracks each.

It was a bit of a family affair, with McNew dedicating a song to his wife, who was celebrating her birthday, and Kaplan inviting his mother on stage to close the set. During the encore, the band also enlisted Peter Wolf, an old school Massachusetts rocker who was in the J. Geils Band and Glaser, who hid his face in a mask.

As the band said themselves, despite growing up in relatively secular households, they've really transformed Hanukkah, and the holidays as a whole, into a special time. Going beyond the boldfaced names of the guests and the songs that were played. Yo La Tengo's Hanukkah marathons are a reminder of how generations can come together and share a moment. And that, at the risk of getting sentimental, is the greatest gift of all.

Update: The Voice is reporting Wednesday night's guest is the National.

Rest of the photos after the jump.

Syl Johnson

(Actually the setlist from the night before)

Ira Kaplan and Jon "Rabbi Attitude" Glaser

Yo La Tengo

Jon Glaser, Peter Wolf and Ira's Mom

Magda and Marc Houle Played District 36, Dec. 3

2010-12-04T20:13:00.000-05:00

Exiting the subway station at Herald Square, I was struck by an immediate feeling of displacement. Midtown South, with its mid-rise office buildings, skyscrapers and proximity to Times Square, is a weird, weird place to see minimal techno. But to their credit, Blkmarket Membership and District 36 are betting that Manhattan is ready for a big, new venue dedicated to electronic music. I really hope they're right.

The building is near Fifth Avenue on 36th Street, with the Empire State Building peaking out a couple blocks south. Barricades and ropes corral the entrance from the street, and bouncers flank the doors. Middle-aged pedestrians walked by in the night, glancing curiously at the black-clad smokers and the throbbing bass escaping the walls. Once inside, another bouncer frisks each patron thoroughly, and then it's up another set of stairs to the ticket booth, another ticket check, and finally into the club proper.

The space is enormous. The sound system is robust, enveloping. Bass reverberates like thunder and dozens of strobe lights flicker and pirouette, hitting an enormous disco ball and forming a splash of colors and images on the imposing walls. It is a venue built for maximum effect, a two-level arrangement that recalls the aircraft hanger aesthetic of Terminal 5. But instead of an expansive stage, DJs are suspended over the crowd in a booth, confirming District 36's monogamy with electronic music, but displacing the intimacy of warehouse and loft parties.

Magda and Marc Houle are dominant names in techno, and their sets were suitably physical affairs, pummeling the speakers with brutal force, but also with a certain anonymity. In a recent conversation on Resident Advisor, their new albums were afterthoughts. Although such works encapsulate their styles - Magda's fascination with cinematic noir and dark disco, Houle's more rockist leanings - the mettle of a DJ is demonstrated in his or her ability to command a dance floor, rather than recording original material. Their particular style is pretty much devoid of those one-hit "bangers," creating an overall mood over the span of tracks, rather than fist-pumping through recognition.

It's dark, often difficult stuff, and I still struggle to fully enjoy the music, as much as I respect the people and the concepts. The technical expertise is astounding - Magda's She's A Dancing Machine makes Girl Talk look like child's play - but accessible, it isn't. So, I left District 36 feeling satisfied, but not entirely at ease. And perhaps that's the point.

Rest of the photos after the jump.

Xray Eyeballs, Dream Diary and Eternal Summers Played Shea Stadium, Dec. 3

2010-12-04T19:02:00.005-05:00

The holidays are an extended season, stretching from mid-November to the end of the year. So, it wasn't too much of a stretch to celebrate Christmas last night at Shea Stadium with Kanine Records for a special holiday gig. I was introduced to Kanine years ago through Crashin' In, a weekly party at Public Assembly (then called Galapagos - I feel old!). Sadly, Crashin' In no longer around, but the spirit of unknown bands in cool Brooklyn spaces lives on.

I got there for the second band, Roanoke, Virginia's Eternal Summers, whom I had missed just a couple weeks back at 285 Kent. The duo of Nicole Yun and Daniel Cundiff have a simple organization: guitar and drums, with Yun singing lead and Cundiff adding vocals here and there. Shea's sound system tends to add a searing immediacy to instruments, so despite the lean setup, the band filled up the venue. They call themselves "dream punk," a pretty concise description, although the set was more about impact than hooks.

Dream Diary was next, and I can't think of a more appropriate name for the band. They take the jangly guitars and airy boy-girl vocals of a Pains of Being Pure at Heart and push it to an even more delicate place, strumming shimmering, gauzy riffs. I eat this stuff up and really enjoyed the set, which included a cover of Tom Petty's "Christmas All Over," complete with glockenspiel accompaniment. Check out the cover below, via BrooklynVegan.

MP3: Dream Diary - Christmas All Over (Tom Petty Cover)

Afterwards, there were some awesome and surprising selections for inter-set music, including Ride, R.E.M., Nine Inch Nails (!), and also one of the best songs ever.

Finally, before heading out to Magda, I saw Xray Eyeballs, an ensemble that played bass-heavy grooves. Although there were a couple of guitars and synth in the mix, what struck me was the relentless thunk at the bottom, pretty much dominating the vocals of singer O.J. Thus, it was kind of difficult to discern what the songs were about, exactly, although "Ice Cream Sundae" was definitely the title of one track, which can only be a good thing. Check them out on WFMU.

Rest of the the photos after the jump.

Eternal Summers

Dream Diary

Xray Eyeballs

The Juan Maclean, Tim Sweeney, Magda, Marc Houle, Mary Anne Hobbes and Toro Y Moi Will Make You Dance Tonight

2010-12-03T18:34:00.001-05:00

Whoa, is it going to be a spectacular weekend for dance music!

The action kicks off tonight, with DFA's Juan Maclean and Tim Sweeney of Beats in Space on WNYU teaming up at 287 Kent Avenue. Not sure if that's the same as 285 Kent, but close enough. Expect melodic, funky house and disco all night, and catch a preview with Maclean's guest mix on Sweeney's show. Maclean will return next Thursday, Dec. 9, to Tammany Hall - details on the space, formerly known as the Annex, over at BrooklynVegan.

On the more minimal end, Minus' Magda and Marc Houle will play at Blkmarket Membership's party at District 36, the new midtown spots. I'm really excited to check this place out - here's hoping a large new dance venue can work! No advance sales - tickets are at the door, $20 before midnight and $30 afterwards. Check out a revealing conversation between the two at Resident Advisor.

Finally, English DJ (and journalist) Mary Anne Hobbs will take over Music Hall of Williamsburg, along with Toro Y Moi's Chaz Budnick, who is known to get down under the moniker Les Sins. Tickets are $20 at the door. (Disclosure: Andy, the drummer for Toro Y Moi, interned with me at Astralwerks a couple years back and is totally awesome.)

So, it's a tough choice between the three, but they all start late and end late, just as we like it, and it's definitely feasible to hit up a rock show first (I'll be at Shea Stadium). And this is just the beginning! More to come on Saturday...