Satellite Anthem Icarus: Explosions in Paris

I actually had tickets to see Explosions in the Sky a few weeks back, but I abdicated in favor of a friend who was more into the band, and resigned myself to somewhat ineffective academic work. I'm not sure if I would have enjoyed them, and after hearing this set, the only thing that was really confirmed was this ambiguity. Their new release, All of a Sudden I Miss Everyone, had been garnering rave reviews, but as is unfortunately the case with these critical darlings, there's a bit of a stylistic barrier. In this case, it's the general absence of any pop leanings, in favor for grandiose tracks that are epic in length and sparse on meaning, at least in the literal sense. I'm not sure if this is too loud to be called ambient, but it definitely seems the equivalence of salve for guitar fans.

Anyhow, I'd feel bad if I didn't at least give them, and you, a chance for a connection. Hopefully you'll have better luck than me. Here's a set from La Guinguette Pirate in Paris, recorded on September 22nd, 2002.

Enjoy:

1. Intro
2. Help Us Stay Alive
3. Unknown
4. First Breath After Coma
5. Six Days at the Bottom of the Ocean
6. Have You Passed Through This Night?
7. Memorial

Louder Than A Bomb: Here

Interlude: Three Or Four

Somehow, it's already April. To say that this semester/year is going by quickly is a euphemism, and I've never been so frightened of summer vacation before (semi-independence is a scary prospect). But in an attempt to salvage the last moments of March, despite my protesting ears, I took the N train down to Canal Street for another show. For those of you who aren't familiar with it, Oh My Rockness has a comprehensive listing of virtually all New York shows, and I think it's definitely the best way to figure out who's playing where and when. Last night, they staged a four-band mini-festival. Unfortunately, we missed Del Rey, but the rest of the evening was pretty eventful.

Dragons of Zynth

After hearing the set, it's perfectly reasonable that Dragons of Zynth have ties to TV on the Radio. While I'm still not terribly familiar with either group, the avant-garde nature of the music is pretty apparent. What seems to differentiate Dragons is the sheer intensity of their live show. From the first blast of distorted guitar, I knew it was going to be loud - perhaps abrasively so - but the band was able to channel this ferocity into something more accessible, and more interesting. While the vocals were too unconventional to be considered straight-up rock, they definitely settled into a nice groove at times. The real highlight of the set was undoubtedly the conclusion: a throat-shredding, seizure-inducing affair that culminated with singer Aku leaping into the crowd and passing around a dragon mask. Whoa.

The band don't actually have an album out yet, but with production from TV's David Andrew Sitek, it should be a fascinating record. I'm not sure how definitive this is, but apparently they're also on the upcoming Massive Attack album, whenever that arrives.

MySpace: Dragons of Zynth

Oxford Collapse

Oxford Collapse play energetic, uptempo indie rock, but their set didn't really impress me. I believe the phrase that popped into my head at the time was "yelling incoherently into a snow storm." I was probably exhausted to the point of intolerance, but there's definitely some stylistic incompatibility as well. I do have to credit the band for keeping the energy level high, and they're very dynamic performers, but the songs weren't particularly memorable. Things were reasonably interesting, with the use of two- (and with random people rushing onstage through the side door, three- and four-) part harmonies, but all in all, I was rather disappointed.

MySpace: Oxford Collapse
Official Site: Oxford Collapse (It seems to be down at the moment.)

Walter Meego

"Walter Meego makes pop music," states their Wikipedia entry, but it wan't that clear-cut, at least in the live setting. Their performance resembled a DJ set, with enormous electonic washes and feisty breakbeats (not to mention a rave-worthy audience). What prevented it from being completely digitally driven was Justin Sconza's vocals (as well as live guitars), which brought a human element, however detached. Still, they made as much noise as the previous two groups, and in my electrophile opinion, in a more interesting way. Although not a revelatory experience, the concert did fit the bill of three (and I presume, four) different groups that do not sound at all alike, and I have to applaud Oh My Rockness for their efforts. While I probably don't need more shows to go to, I'll try to check out these types of showcases in the future.


MySpace: Walter Meego
Official Site: Walter Meego (Also seems down at the moment.)
YouTube: Walter Meego - Romantic
YouTube: Walter Meego - Wanna Be A Star

Interlude: I Still Remember

Bloc Party, Sebastien Grainger, Albert Hammond, Jr.
United Palace Theatre, NYC - Mar 30th, 2006

It's been a while. My immersion into Bloc Party came at a somewhat unfortunate time, somewhere between their final shows in New York and the second album recording hiatus. While I never realistically contemplated going to their planned shows supporting (cough) Panic! At The Disco a few months ago, the freakish injury to drummer Matt Tong put an end to any possibilities there. So, it was one of the more exciting moments of musical existence when I heard that they would be playing locally in the Spring. Despite some surcharge mangling, as well as one heck of a trip uptown, the show really met all my lofty expectations, emotionally, physically, and anthemically.

Sebastien Grainger

Due to that aforementioned uptown journey, we arrived at the tail end of Sebastien Grainger's set. What it lacked in length, it definitely made up in intensity. Although he's now bolstered by actual guitars, Sebastien is still using the practice of abrasively loud guitars and vocal pyrotechnics. I can't say that what I heard was particularly impressive, but you can stream tracks below.

MySpace: Sebastien Grainger

Albert Hammond, Jr.

I've never been a huge devotee of the Strokes, but I appreciate their place as one of New York's prominent indie bands. Albert's solo material seems somewhat in the same vein as his regular band, and there's definitely a lot of upside to that. While pretty straightforward rockin', things were kept pretty engaging with a full band effort. The two and three part harmonies were particularly enjoyable, and I'm pretty inclined to check out his album after a fine set.

MySpace: Albert Hammond, Jr.

Bloc Party

As Bloc Party took the stage shortly before 10 PM, the crowd rose en masse, and things were pretty much euphoric from then on. The set began, intuitively enough, with "Song For Clay (Disappear Here)," featuring Kele Okereke's croon before erupting into a full-band blast. "Positive Tension" carried the momentum to greater heights, with the crowd providing that incredibly cathartic climax. As on the albums, this energy was deftly diverted into something mellower in "Blue Light" as the band was bathed in the same substance. But as is the case with most live renditions, this song also featured a blazing second half. After a short bit of banter, they band shifted back to A Weekend in the City's "Hunting For Witches," replicating the spliced radio sample and jittery beat.

So far, so great.



Things continued with "Waiting For The 7.18," one of my favorite tracks from the new album. It sounded gigantic, but one of the few flaws in the set prevented it from being totally sublime. For some reason or another, the songs from Weekend didn't feel that immediate, at least compared to the ones off Silent Alarm. This undoubtedly has something to do with my preference - and greater familiarity - for the latter, but on occasion the vocals kind of blended together on the newer songs, and a lot of the meaning was lost. However, the energy was sustained throughout the set, and I'm dumbfounded by the skill that the whole band demonstrates live. The fact that they were able to do so in what was a huge venue - approximately 3,000 seats - is really impressive. What was also impressive was how the end of "7.18" gave way to "Banquet" in a really incredible transition. I can't say enough about this song, and in its live form, it really approaches the transcendent.



Things get a bit hazy post-"Banquet," (I believe "Where Is Home?" followed) but another huge highlight was "This Modern Love." I've really fallen for this track after repeated listens, and I really think it epitomizes Bloc Party. It's yearning romanticism, perhaps overly dramatic as a result, but so sincere and melodic ("I'll pay for you, anytime") that one can't help but appreciate it. Aside, it's a real shame that they didn't play "Sunday," because I really think it's one of the few songs that comes close to encapsulating all those qualities ("I'll love you in the morning/When you're still hung over"). But in another amazing transition, the mass clapping at end of "This Modern Love" led to the crunch "The Prayer," and things continued with gusto.


Later highlights included the idealist "So Here We Are" (complemented by appropriate lighting, as shown above), and "Like Eating Glass," which closed out the main set. We prepared ourselves for the encore - and what an encore it was. "She's Hearing Voices," one of the few songs that didn't click for me in studio form, created a claustrophobic, frantic mood, with Kele dashing around the stage (and into the audience) and proved overwhelming with its "Red pill/blue pill!" chorus. "SXRT" began as a stripped down vocal track, and then was expanded into a dual harmony and soaring instrumental. Finally, the final track we had all been waiting for: "Helicopter." While this muscular live version didn't quite match the nervy energy of the studio recording, it brought a spectacular conclusion to a brilliant set.

All in all, one of the greatest shows I've ever had the pleasure to attend, or for that matter, an evening of songs as good as any live recording I've posted in this blog. And upon exiting into the brisk Harlem air, I was informed that Bloc Party will be playing at Asbury Park Convention Hall on June 7th. Tickets go on sale at noon today.

Fantastic.

For a wealth of live recordings, b-sides and demos, check out BlocParty.net.

Two of Those Too: Tegan and Sara in NYC

Earlier this week, I received a pleasant surprise in my inbox, notifying me that the new Tegan and Sara record, entitled The Con, will be released on June 24th. Perhaps what is even more exciting is a plan for various small shows and in-stores, followed by a full tour in the fall. I can't think of a more engaging, charismatic band in live form, and I'm really looking forward to these shows. On the other hand, I'm a bit more ambivalent about this potential new album. The legendary (well, relatively) Chris Walla produced it, and the tracklist is rather intriguing. But for some reason, there's been a bit of disconnect when it comes to recent work. I guess the age gap, however slight, is a factor; I find it a bit hard to relate to all these songs on heartbreak that predominate later work.

So, yeah, my favorite album is still This Business of Art. Although I won't hear a significant portion of that album in a live setting this year, there are a huge number of recordings dating from that era, and here's one of them, recorded at our own Bowery Ballroom on May 22nd, 2001.

Enjoy:

1. Frozen
2. Proud
3. Freedom
4. All You Got
5. My Number
6. Buried Alive
7. Divided
8. Hype
9. Goodbye
10. Your Love
11. Superstar

Confidence: Here

Mezzanine / Massive Attack in Berlin

It’s a wonder that Massive Attack’s Mezzanine was ever released.

The album came in midst of a disintegration, as the band’s three core members - Robert Del Naja, Grant Marshall, and Andrew Vowles - were barely on speaking terms (Vowles would leave shortly after its release). Fittingly, the result is an intense, deeply troubling work, but not one merely satisfied with producing catharsis or vitriol. Mezzanine is powerful because of its insidious, relentless mood, mainly derived from Del Naja’s production, with diverse influences ranging from jazz and rock to hip-hop and electronica. The album is not merely a collection of songs, but an immersive experience.

Opener “Angel” features sinister break beats and distorted guitars, but its defining feature is a soulful delivery from the reggae vocalist Horace Andy, setting up a sequence of stunning vocal performances. Del Naja and Marshall entwine raps on the following track, “Risingson,” a nocturnal sequence that samples the Velvet Underground’s “I Found a Reason.” Perhaps most stunning – and undoubtedly the prettiest – is the sublime “Teardrop,” featuring the ethereal voice of Elizabeth Fraser of the Cocteau Twins. “Inertia Creeps” caps off a remarkable first half with Middle Eastern-style percussion and another strong performance from Del Naja.

While this four song set is insurmountable in quality, the rest of the album does not lag far behind, maintaining an impenetrable moodiness. Additional tracks from Andy (“Man Next Door”) and Fraser (“Black Milk”) maintain vocal diversity, while the eight minute crescendo of “Group Four” brings “Mezzanine” to a climactic conclusion.

Darkness has been a mainstay of music of all genres, but never has it been so seductive.

Previously: Maria Taylor's Lynn Teeter Flower

Massive Attack - Live in Berlin, 2003

1. Future Proof
2. Everywhen
3. Risingson
4. Black Milk
5. Angel
6. Special Cases
7. Karmacoma
8. Butterfly Caught
9. Name Taken
10. Teardrop
11. Mezzanine
12. Hymn of the Big Wheel
13. Safe From Harm
14. Inertia Creeps
15. Antistar
16. Unfinished Sympathy
17. Group Four

Unwind: Here

Set Yourself On Fire: Ada in Barcelona

At the risk of coming off as an overt tech-head again (which is really what I aspire to be anyways), here's a kickin' DJ set from another excellent German artist, Ada. I really think this is one of the best ways to experience her music, as even her album material is structured like an extended mix, with each track syncopating and evolving as it progresses. Music is, at least to some degree, about creating a mood, and I think she really suceeds in this regard.

Many thanks to Arivia for getting me into Ada in the first place, and for allowing me to commandeer her MyDataBus account. Hopefully downloading should proceed smoothly, at least for a bit.

Enjoy:

MP3: Ada - Live at Sonar Festival, Barcelona (06.17.05)

Bonus Tracks:
MP3: Ada – Cool My Fire (I’m Burning)
MP3: Ada – Maps (Yeah Yeah Yeahs Cover)

Who Pays The Bill: Here

More Adventurous: CocoRosie in Amsterdam

A few tracks have emerged from CocoRosie's upcoming album, The Adventures of Ghosthorse and Stillborn. The Casady sisters still sound incredibly unique, but this new material seems a bit more accessible, or at the very least a bit more grounded. (I particularly appreciate the lines, "Now, everybody wants to go to Iraq/We might have our freedom, but we're still on crack" from "Japan.") I'm hoping the rest of the album follows a similar line because, well, I'm a bit turned off by the excessive weirdness of some of their older material. One of the real strengths that I hope they really capitalize on is Sierra's incredible operatic vocals, which does seem to be happening on the leaks.

Here's a set that provides both a nice musical intro to the group, and also reveals a quite a bit through various interview segments. It was recorded on VPRO Radio in Amsterdam on May 13th, 2004. CocoRosie play locally at the Warsaw on April 20th.

Enjoy:

1. Not For Sale
2. Interview Part 1
3. Interview Part 2
4. Left-Hand Shoe
5. Interview Part 3
6. Armageddon
7. Interview Part 4
8. By Your Side
9. Interview Part 5
10. Good Friday
11. Interview Part 6
12. Tahiti Rain Song
13. Interview Part 7
14. Beautiful Boyz
15. Madonna

For Sale: Here

The Week That Was #10: Do Not Break

Well, this update comes to you a couple weeks behind schedule, but hopefully I'll be able to justify the wait. Enjoy!


I've discussed Morcheeba recently, and this is one of the songs that have made them a listening staple over the past few weeks. While the acoustic version of the song preserves the vocal, you really miss the wicked turntableism and thumping percussion that makes the studio version so very enjoyable. I also forgot to mention that Skye put out a solo album last year, and I'm sure I'll be checking that out in the near future. You can check out material via her KCRW set, in which she also covers Gorillaz.

MP3: Morcheeba - Blindfold
Buy: Here


Like a large portion of the music-devouring populace, I've been listening to (prefix optional) Arcade Fire's new album, as well as giving Funeral a spin in this particular week. I'm not really blown away by the new album after limited listening, save for the highlights "Intervention" and "No Cars Go," but that's probably my own shortcoming, at least as far as effort goes. Sadly, the band has just cancelled the remainder of their European tour because of Win's illness, and I wish him and them the best. To tie them into their neighbor Ada, here's their take on "Maps."

MP3: Arcade Fire - Maps
Buy: Here


Mirah's understated acoustics are a bit tricky live, and while I wasn't blown away by her set, I've really grown attached to this song. In the same vein as her live shows, C'mon Miracle isn't particularly immediate or hooky, but with time, it's become a comforting listen. There's some really pleasing in the simplicity of this track, and it concludes with a nice drumming burst. I'll definitely explore her other albums, and I'm particularly interested in hearing the remixes on Joyride.

MP3: Mirah - Don't Die In Me
Buy: Here


I may finally have weaned myself off of Maria Taylor, which is to say that sustained album listening has dropped off, but I'm still going through the various pockets of her prolific career. Now It's Overhead is more Andy LeMaster's project, but you can hear a little bit of the girls on the chorus on this track. The rest of the album, which is their self-titled debut, wasn't particularly outstanding, but it seems that they've grown a lot with later work. The second track is a great duet from the two, combining Maria's ethereal "Xanax"-esque voice with Andy's twang to great effect. For those keeping score at home, that track appeared on the Saddle Creek compilation, Lagniappe.

MP3: Now It's Overhead - Blackout Curtain
MP3: Andy LeMaster & Maria Taylor - Breathe
Buy: Here


Ulrich Schnauss doesn't merely make music, he composes. There's an epic quality to his sound that's really absent from most of his peers, and in "indietronica" in general. My first conscious encounter with Ulrich came, fittingly enough, from a couple Slowdive covers on Morr Music's Blue Skied An' Clear tribute. His impressive remix catalogue returned the favor with this emotional reworking of Slowdiver Rachel Gowell's standout single, but it's Ulrich's original material that is really been revelatory. He also happens to be acquaintances with Mahogany, and look for some collaborations in the future.

MP3: Ulrich Schnauss - Monday - Paracetamol
MP3: Rachel Goswell - Coastline (Ulrich Schnauss Vocal Mix)
Buy: Here


Groove Armada lives up to its name. I got into them on a bit of a whim after seeing that a new album (and video) was incoming. I went with their last album, Lovebox, for a proper intro, and in retrospect, that might have been the wrong choice. It's an eclectic affair, with a rotating vocalists and styles, and while there's nothing spectacular here, earlier work looks more promising. I know that's not a huge endorsement, but this track (as well as the new stuff) does bring appealing beats.

MP3: Groove Armada - Groove Is On
Buy: Here


Of course I'm obliged to like Apparat after all of his great work with Ellen Allien (and Damero), but I've found his solo material to be a bit more difficult. Duplex is a pretty glitchy, minimal record and lacks the immediate accessibility of Orchestra of Bubbles. But there's a lot of emotion, particularly in these two tracks, which feature those understated vocals that I'm so fond of.

MP3: Apparat - Contradiction
MP3: Apparat - Wooden
Buy: Here


So, I didn't actually hear this song for the first time until last night (go shuffler!), but it was pretty much love at first listen. I keep telling myself to listen to this band more, and this song was an easy excuse to conform that request. While some critics haven't taken as kindly to this particular Ivy album, I think Dominique's swoon-inducing vocals are the perfect complement to the electronic textures that pervade the songs. Unfortunately, Adam Schlesinger is currently working with Fountains of Wayne, but hopefully we haven't heard the last from Ivy.

MP3: Ivy - One More Last Kiss
Buy: Here