Interlude: June Evenings, Part 1

Sometimes, I think I'm getting too old for this. That's ridiculous, of course - I can't even get into some venues yet, and I doubt I'll be trading my earplugs in anytime soon. But the feeling has less to do with age and more to do with saturation. I assume that at some point, live music just won't do it for me anymore. Thankfully, I haven't hit that point yet, and I'm usually happy that I decide to attend a show. Last month I was pretty much happy all the time. One of my goals this month is to improve the timeliness of these posts, but for now, I'm still catching up.

Central Park - June 14th

I like to tell people that I was there before Vampire Weekend hit it big. The anecdote is usually ended with something along the lines of, "...and I figured I'd never hear from them again." How wrong I was. I haven't mentioned them since a spectacular Mercury Lounge show last year, but their debut album, which was admittedly a rehash of Blue-CDR, is one of the most hyped releases of this year. But you already knew that. Thus, their headlining slot at Summerstage was along the lines of a triumphant homecoming - a very well attended homecoming. We were pretty much on line throughout Born Ruffians' set, which is a pity as I haven't really given them a decent listen. We eventually abandoned the line, and that's when the rain came. That thinned the crowd somewhat, and we (finally) got in.

A-Trak & Kid Sister

A-Trak was billed as Kanye's DJ, and his party-friendly mixing was a fine distraction as the rain dissipated. It's amazing what a little bass can do for a soaked bunch, and along with the obligatory "Stronger" sample, it got the party going. I can't say the same for Kid Sister, who's visual presence was more compelling than her vocals. If it was singing, it was on the hoarse side, and if it was rapping, it was particularly interesting lyrically. It's a bit of a genre gap to pair a hip-hop act with a white-collar indie rock band, and unfortunately little was done to bridge it.

MySpace: Kid Sister

Vampire Weekend

I took a class over the last eight weeks entitled, "Writing About Popular Music." Our last class was devoted to the phenomenon that was Vampire Weekend, focusing on their dizzying ascent from obscurity to ubiquity. It was, for a time, completely impossible to avoid hearing of them. Naturally, it's spawned a decent amount of backlash, but now that it's cooled, I'm thinking this band could be around for a while. I was once again impressed by their live chops. Their collegiate songs of love and grammar, which originated just on the west side of town, fit snugly. Even as the rain began pouring down again, the crowd dug it. And although the stage was massive, that college basement-style camaraderie was still there.


The bottom line isn't effective marketing, but infectious melodies. These songs are clever, but without being exclusive. "One (Blake's Got A New Face)" was a raucous sing-along, while "Oxford Comma" made absurdity awesome. Speaking of which, the band brough on master of ceremonies Andrew W.K. for a cover of Tom Petty's "Don't Come Around Here No More," a firm closer for a triumphant set. I think the band has a bright future - they played a new song, which sounded good - I just hope they don't play Terminal 5 next time around.


MP3: Vampire Weekend - Mansard Roof
MP3: Vampire Weekend - Exit Music (For A Film)
MySpace: Vampire Weekend
Official Site: Vampire Weekend

Music Hall of Williamsburg - June 19th

I hadn't been to Music Hall of Williamsburg in an astounding eight months. Most bands will generally play both Music Hall and Bowery Ballroom, so hoping boroughs is usually unnecessary. But as much as I love Bowery, it was great to be back to the Music Hall, which now has a steel, rotating marquee. The spacious stage is a nice change from compact Manhattan clubs, and frankly, the bouncers are a lot nicer. Thanks to Naomi for the tickets!

Frog Eyes

"Frog Eyes is about freedom," said singer Carey Mercer and damn if he didn't demonstrate just that. The guy was completely uninhibited, dreaming about white rum and comparing his singing to "a boar dying in a tar pit." Admittedly, his voice was an acquired taste, and the chaotic, somewhat abrasive style made it hard to get into. But Mercer was a treat, from his stage banter to his endearing habit of ending each song with a falsetto flourish. The rest of the band soldiered on, with rhythmic drumming and guitar crunches, but it was mostly a one man show.


MP3: Frog Eyes - Bushels
MP3: Frog Eyes - The Oscillator's Hum
MySpace: Frog Eyes
Official Site: Frog Eyes

Shearwater

Shearwater's Rook has been quite well received, and Jonathan Meiburg is a big reason why. He alternates between a delicate, Owen Pallet-esque delivery and soaring outbursts, demonstrating some impressive vocal gymnastics. Each song is a breathing, living entity - with plenty of space for Meiburg's voice to command attention. There's a strong element of orchestral pop, with banjo and strings, and although drummer Thor Harris looks like he's in a Scandanavian metal band, he creates steady, unobtrusive percussion. But unlike the overflowing hooks of, say, Stars, this is a more pastoral affair. As such, the lighting was kept dramatically low, and often it was just Meiburg and some keys or strums. It was a tight 50 minute set - the album is even shorter - but not a moment was wasted. Gorgeous, enveloping, emotional - Rook might just be this year's Boxer, and I can't think of higher praise than that.

MP3: Shearwater - Leviathan, Bound
MP3: Shearwater - Rooks
MySpace: Shearwater
Official Site: Shearwater

Winter Garden, World Financial Center - June 24th

I'm used to getting off at Fulton and walking East, but this night I made an about-face. The World Financial Center, which is just a stone's throw from Ground Zero, makes for an unlikely venue. It's essentially a lobby, with (fake?) palm trees and benches. Security was unfortunately tight, with prime standing area roped off. That said, there wasn't a whole lot to see, but there was plenty to hear. I missed most of the opener, , as I was waiting for my Sonic Youth tickets (more on that later), but thankfully there wasn't much of a wait for the headliner.

Ulrich Schnauss

I saw Ulrich under very different circumstances way back in September. I'm not sure if either case was necessarily better, but this was definitely a more detached experience. As I said, most of the audience was seated, with the overflow standing to the side. While things would thankfully change in the next Winter Garden event, this setup really isolated the performer, and made it impossible to get into a communal rhythm. The bright side were the incredible visuals, and since Ulrich's compositions resemble classical music, it wouldn't be a stretch to call a recital, rather than a rock 'n roll show. But the music is still lovely - Ulrich crafts some of the most cinematic, breath-taking moments that I've heard in electronica. Unfortunately, there weren't any vocal collaborators, and the only real moment of tension came during the distortion-heavy finale. Definitely a worthwhile appearance, but one that could have been more intimate.

MP3: Ulrich Schnauss - A Song About Hope
MP3: Ulrich Schnauss - Monday - Paracetamol
MySpace: Ulrich Schnauss

Interlude: #1

Nothing quite says summer like free music. The South Street Seaport kicked off the season of shows on Friday, May 30th with Wire, a band that I probably should be more familiar with. They're undeniably influential, not merely for post-punkers like Bloc Party and Franz Ferdinand, but they've also been embraced by more electro-minded artists, a direction they apparently took later on. I came across "The 15th" on Ladytron's Softcore Jukebox comp, and the song's also been covered by Fischerspooner. Still, nothing quite beats seeing a band in the flesh.

Die! Die! Die!

But first, the opener: Die! Die! Die! were about as subtle as their name, but directness isn't always a bad thing. It was definitely an explosive start, but marred somewhat by vocals, which weren't particularly melodic or lyrically interesting. But as a friend pointed out, they're a very young band, and what they have streaming online sounds more appealing than what I heard live.


MySpace: Die! Die! Die!

The Venue

I like to think that the abundance of free shows offers an experience that goes beyond just music. It's an opportunity to visit a parts of the city that are beyond the scope of everyday living - in this case the south-western tip of Manhattan, an area that, truth be told, isn't terrible interesting during most of the year. The financial district closes early, and doesn't have the character of SoHo or Midtown, aside from the repetition of concrete. But that changes from June to August, as the neighborhood becomes at least a temporary setting for various cultural events. The schedule for River To River is packed, and the Seaport is a particularly vibrant destination - and not just for tourists.


So I'd like to offer a belated thanks to everyone whom I managed to drag to the show. I know that a lot of us weren't that familiar with the bands, but sometimes that's part of the fun. Summer's about halfway through, but there's plenty of stuff upcoming (and plenty still that I've been to and neglected to write about - it's coming) - and I hope to see you there!

Wire

Since I lack the proper experience with Wire that would allow me to be properly retrospective here, I'll just offer some observations. It was relentless, if a bit repetitive, but also pretty familiar. To be honest, there wasn't that much musically unique about Wire - and again, that isn't necessarily a negative thing. Even without knowing any of the material aside from "The 15th," I was nodding along pretty much all night, a pretty solid indication of enjoyment. I suppose my mindset these days, having approached indie rock saturation, is trying to pick out what differentiates a show from the others. But Wire doesn't really have anything to prove, so that criteria isn't as valid. Anyhow, it was a fun way to kick things off, but it was only the beginning.


MP3: Wire - The 15th
MP3: Fischerspooner - The 15th
MySpace: Wire
Official Site: Wire

Interlude: Wide Angle

I'm behind. No doubt the sheer number of concerts I've been to has something to do with that state, but I will catch up. This show happened an embarrassingly long time ago (May 25th), but it was an anomaly as far as genre, so it remains pretty distinct. Although my tastes are becoming increasingly more electronica-oriented, the sad reality is I'm generally not going to get in to a decent DJ set, until next year. While a mainly indie rock diet when it comes to shows is far from terrible, there's something to be said for some beeps and bloops.

Telefon Tel Aviv

Telefon Tel Aviv create spacious, chill out music. As the name implies, said music has hints of worldly influences, and overall you could call them a more glitchy Thievery Corporation. TTV doesn't quite bring the same crowd onstage, however, as it was just the duo of Joshua Eustis and Charles Cooper. Furthermore, they played all new songs, but presented them in a way that they were just about what I expected - hushed vocalizing and trippy soundscapes, with a healthy dose of drums 'n and bass. I'm biased in favor of this sort of stuff, but I think it's got healthy, widespread appeal. At worst it's background music and in this case, it was much more.


MP3: Telefon Tel Aviv - My Week Beats Your Year
MP3: Telefon Tel Aviv - Bubble and Spike
MySpace: Telefon Tel Aviv
Official Site: Telefon Tel Aviv

Apparat

A year ago, it would have been impossible to imagine Apparat, the alias of Sasha Ring, as anything more than a DJ. That's not to diminish his production skills - his collaboration with Ellen Allien, Orchestra of Bubbles, remains one of my favorite albums, electronic or otherwise. But his solo work didn't quite have the same pop sensibility, until his most recent album, Walls. His instrumentals are heartbreakingly gorgeous; songs like "Fractales" are downright cinematic. It's the addition of singer Raz Ohara that elevates the other stuff from techno to pop, as Raz's slinky, R&B-inflected vocals bring to mind Prince. So it was a relief to see both men in attendance, as well as a live drummer, making the Apparat set resemble a traditional set, albeit with more laptop than usual.


A personal highlight was an organic rendition of "Rotary," from Orchestra. The song's already exhilarating on album, and hearing that drum pattern and the warbling synth live was just awesome. Virtually all of the other material came from Walls, which was fine by me. Raz initially sounded a bit off, but recovered nicely in the second half, which included the great track, "Hailin from the Edge." Sasha has developed into quite a crooner himself, although he uses his voice more for melody, rather than vehicle for lyrics. But when it comes to Apparat, lyrics are secondary.


MP3: Apparat - Fractales, Pt. 1
MP3: Apparat - Hailin from the Edge
MP3: Ellen Allien & Apparat - Rotary

MySpace: Apparat
Official Site: Apparat

Interview: Orenda Fink

Art in Manila is a testament to the power of community.

The six-piece band consists of a group of friends, all of whom live in Omaha, Nebraska. A sort of casual fellowship defines the band’s label, Saddle Creek, which began in the center of the grassroots Omaha scene. Bands on the label such as Bright Eyes and the Faint have achieved international renown, but fame hasn’t diminished the image of Saddle Creek as a large family, an idea that Orenda Fink, leader of Art in Manila, doesn’t dispute. (She is also married to Todd Fink, lead singer of the Faint.)

“We all have one degree of separation from each other, because we live in a small town,” says Fink. “We all are peers and we like to work together and hang out together all together. I think it’s the small town size that makes that community spring up.”

Fink is a ten-year veteran of the music industry. Her early bands include Little Red Rocket and Azure Ray, collaborations with fellow Birmingham, Alabama transplant Maria Taylor. She later released a solo record, Invisible Ones, which became the foundation of her new project – a band that’s greatly indebted to personal connections.

“Most of everyone in Art in Manila were people that I toured with on my solo record,” says Fink. “I just had so much fun with them and clicked with them musically that I wanted to start a band with them. So I asked them if they wanted to do that and they did.”

Art in Manila’s lineup includes Adrianne Verhoeven, Dan McCarthy, Steven Bartolomei, Chris Senseney and Corey Broman and Ryan Fox.

After its spontaneous beginning, Art in Manila progressed quickly, finishing their first album, Set the Woods on Fire, within six months. Although Fink remains the primary songwriter and the band’s most prominent member, the input of her bandmates eased the creative process.

“It was just kind of an experiment – no pressure – just something we wanted to do,” says Fink. “It was good, it was like a new experience for us to be in studio, but it was a really laid back situation. I would come in with the shell of a song – just the guitar, vocals - and present it to everyone, and we would all just jam on it and discuss what direction we wanted to take it.”

Such scenes are distributed throughout the world, and aren’t limited to small towns like Omaha.

Xavier Aaronson, Office Manager at the MuseBox, a Manhattan-based music markerting company, has a similar experience. He attended McGill University in Montreal, and manages Heroes & Villains, a local band.

“The Montreal music scene is so accepting of good music in a non-competitive way that it was easy to book gigs and festivals, partner with other bands, and get the music heard by radio stations and press people alike,“ he says.

Another crucial tastemaker is the blogosphere, a fickle but often critical component of a band’s success.

“The increased leverage that blogs have in stimulating band buzz has helped little and middle-size bands reposition themselves in the limelight,” says Aaronson. “For example, if you look at the line-ups for this summer's music festivals, you'll notice that there are fewer big-name headliners booked and a healthier dose of middle-size bands making appearances.”

Art in Manila may be best known on the blogs for their cover of indie darling Les Savy Fav’s “The Sweat Descends.” Art in Manila’s ethereal vocals and acoustic instruments are a far cry from Les Savy Fav’s abrasive yelps, but as is often the case, the bands are closer than they appear. Fink says that she became familiar with Les Savy Fav after they opened for the Faint.

As a road warrior herself, Fink has a mixed opinion of the touring, which has become the lynchpin in a musician’s livelihood.

“I love being with my friends, but sometimes when you’re gone from your home for six months you have a psychological fissure where you don’t know where you belong anymore. I do enjoy performing, but it can be really taxing on a person,” she says.

Although she clearly loves her home, Fink was greatly influenced by a more exotic locale. She cites Haiti as a powerful influence for her solo album, which incorporated the island’s folk music. But its inhabitants were even more important to her.

“I love the country and the spirit that everyone has there because they’re stuck on this island with this extreme poverty that is caused by the corruption in the government,” she says.

It’s the same perseverance that has given Fink’s career such longevity – with some help from friends.

--

Thanks to Orenda and Lucas! And speaking of friends, Maria Taylor is playing at the Knitting Factory tonight. I'll be there, and I hope you will, too.

MP3: Art in Manila - The Sweat Descends
MP3: Les Savy Fav - The Sweat Descends (Live)
MP3: Azure Ray - We Are Mice
MP3: Little Red Rocket - Light Is Everywhere
MP3: Orenda Fink - Bloodline
MySpace: Art in Manila

Mope

What is it about sadness that makes it so appealing? I suppose that any art form needs tension to be interesting, and often, a bit of bittersweet is the best way to achieve that. Unfortunately, it's become pretty much a given that such subject matter will focus on topics of the romantic nature. That's fine - love is a powerful, universal topic, but it's become so common that at this point, it lacks surprise. Thankfully, bands like Elika keep things interesting, and "The Whip" has been on pretty heavy rotation. There aren't any lyrical revelations, but the song's instrumentals shift and crack like its namesake, alternating distorted crunches with Evagelia Maravelias's airy vocals. The song is on their new album, Trying Got Us Nowhere, and the band is DJing at Lit Lounge on July 1st.

MP3: Elika - The Whip
MySpace: Elika
Official Site: Elika

Scene 1

Berlin is the undisputed epicenter of German techno, but the city of Cologne does pretty well, too. While the Germany's capitol is home to relatively large labels and artists, its smaller cousin possesses a vibrant arts scene and, with its picturesque location on the river Rhine, a scenery to match. Like the perfume that bears its name, Cologne suggests sophistication and appreciation for beauty. In other words, it's a perfect home for Kompakt, a fantastic label that combines appreciation for technology with a euphoric pop sensibility. You've probably heard at least one signee, the Field, whose album From Here We Go Sublime lives up to its name. While dissenters might label his work as simplistic or downright boring, I prefer a more positive descriptor: elegant. However, I can't help but think that the accolades should be spread out, as many of his labelmates' electronic creations are equally as gorgeous, if not more so. Give Kompakt's Total and Pop Ambient series or any of its artists a listen, and prepare to be delighted.

MP3: Jürgen Paape - So Weit Wie Noch Nie
MP3: Justus Köhncke - Parage

MP3: The Rice Twins - For Penny and Alexis
MySpace: Kompakt
Official Site: Kompakt

Utopia

I like atmosphere. Often, more depressive moods capture my interest: unlit alleys, hazy nocturnal skies, smoky nightclubs. Quiet Village's new album, Silent Movie, has its share of quiet moments. But the album is at its best when it embraces its summery, blissed-out side. It's enjoyable and accessible, and the cut-and-paste style meshes quite well. The group is another one of those producer duos, made up of Joel Martin and Matt Edwards, who has recorded as Radio Slave. Cinematic for sure and definitely worth a listen. Also by sure to check out their recent podcast at Resident Advisor.

MP3: Quiet Village - Circus of Horror
MP3: Quiet Village - Pacific Rhythm
MySpace: Quiet Village