Coco66, which is just a blinking neon sign blaring BAR in big red letters, is a non-descript venue with a secret performance space hidden by a big velvet curtain. The show starts at 9:45, but for all good things one must wait. Vacation kicked off the show with their synth guitar, dreamy sound. Lead singer Paul Daily has a velvety voice (he sounds like Matt Berninger from The National) and wraps you in his own world when he sings “Penny Pincher.” From here the crowd kept dreaming with the next opener Windowpeak. A female-led slow grind, dreary rock band that sounds like Mazzy Star. This band is simply incredible and it’s clear that they will be going far. You have to listen to “Harsh Realm” and “Burnout.” You will not be disappointed.And finally, Oberhofer. It was as if all the air had gone out of the room and was replaced with this fucking incredible sound. Their set was way, way too short in my opinion. I could have listened for hours. They closed with “I Could Go,” my favorite Oberhofer song. Something about the light show, Brad’s sincerity in his voice and the yearning sound of both guitar and drum completed the show in the most perfect way. I had a brief chance to talk with Brad Oberhofer backstage who told me of his passion for orchestral music and plans on one day scoring films. Which seems to be new indie scene phenomenon, with Broken Social Scene scoring “Half Nelson” in 2006 and Phoenix scoring the new Sofia Coppola film. All in all the show sounded like three bands, all good friends from Tacoma, Washington, having a good time. They each amped up the energy of the crowd as much as the last band, all their sets were super tight and the light show perfectly complimented the music but didn’t distract from it. Oberhofer will be recording new material after their tour. Next stop, Turner Hall Ballroom in Milwaukee, WI tomorrow night (May 18) with Neon Indian.
More Photos HERE.
For those who know of Montreal might know them as a super flamboyant troupe that can round up a crowd of sweet smelling pretty girls and boys who lust after lead singer Kevin Barnes’ sexual copiousness. It wasn’t always this way, but as time went by members disbanded, got married, rehabilitated, and regrouped. In between, I guess you could say they found the voice they were looking for all those years. With over a decades worth of albums, of Montreal have traveled a lengthy journey to where they are now. Ten years ago you could listen to Kevin sing about fairies living life through an unconscious slumber (see album Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse) and before that of Montreal was part of The Gay Parade. (The album is a personal favorite of mine, but it’s narrative style seems to be a bit much for newer of Montreal fans. I still say it would make for a great play). It wasn’t until their 2004 release “Satanic Panic in the Attic” that the pieces started to stay glued together, and the songs became more like a journal for Kevin Barnes’ personal afflictions and affections . Now, of Montreal are an unstoppable traveling circus, and you’d better hope you have tickets to the greatest show on earth when they come to your town, because it is a show not to be missed!
The show featured opening band Painted Palms, a dreamy synth-pop collective that started the night amidst yellow, green and blue lights. Their psychedelic bass thumping tunes from their current release Canopy will get you lost in the woods on a breezy summer afternoon right by a water fall, even in a hot stuffy music venue in New York City.
The follow up to this scene was quite the opposite. It began with the entrance of of Montreal aficionado and Kevin’s brother David Barnes revving up the crowd in a suit. This was followed by some scantily clad ladies in flesh-tone unitards, and men baring capes and colors of the American flag. The set started with the tune “L’age D’or” off their latest E.P. thecontrollersphere. “For Our Elegant Caste” followed as Kevin sang the first line “We can do it softcore if you want/but you should know I take it both ways”. It’s actually Kevin’s alter ego “Georgie Fruit” who is the protagonist in the story, not Kevin himself, but that doesn’t stop the girls and guys from screaming their heads off.
The theatrics continued through out the night as they performed songs mostly from Skeletal Lamping, and “False Priest”, with an interlude of “My Bloody Valentine” performed by drummer Clayton Rychlik. You name it, it was on the stage, Painted Palms even joined in for a few songs and skits. Some of the stagecraft includes lucha-libre stylized mask and wrestling matches, a reenacted wedding, men in nude big breasted costumes, pig faces, booty shaking girls (and boys), balloons, streamers, and that’s not even everything!
Even with all antics on the stage, they performed an unyielding set without missing a beat.
Towards the end of the encore Kevin threw on a mask and pinned down some opponents which was followed by members of the band crowd surfing. Finally, at the end of the show, multi-instrumentalist K Ishibashi performed “America the Beautiful” solo on the violin while the audience sang only to have it turn into an official hoedown on the stage moments later. Though the photos capture a play by play of the show, it is nothing compared to the spectacle everyone witnessed. Wherever this journey continues to take of Montreal, I will be right there with them, and from the looks of it they are going to continue to flourish no matter where it is the freak train drops them off. Perhaps I should invest in a feathered boa and some glitter huh?
I remember the first time I spotted LCD Soundsystem’s lead singer and creator James Murphy on the L train. It was a Sunday afternoon and we were the only two people in the car, besides a street performer playing a saxophone for change. I sat there only a few feet away from both of them, studying James as he leaned against the door with his headphones on. The performance was one I will never forget. He played that thing with blood sweat and tears, jumping around flailing his legs, while at the same time hitting some of the worst possible notes he could or could not think of. James just stood there nonplussed, as if the man wasn’t even there before exiting the train on 1st Avenue. Though we never made eye contact, I am pretty sure we both shared a moment of random perplexity that made us think to ourselves “Only in New York City” which is perhaps one of the many reasons we love this place so much.
Nearly 5 years later, I found myself standing in a line outside of Mercury Lounge amongst 500+ people for hours anxious to get general admission tickets to what would be the last LCD Soundsystem show ever. The company of friends was the only thing keeping me from thinking about standing there in 14 degree weather risking hypothermia, and the fact that I woke up at 7am to go stand on a line in the first place. A month later, as we walked into Madison Square Garden, my friends and I sighed the words of relief “totally worth it”… When we made it to the floor, we just stood there for a minute and spun our heads around in amazement. We watched hundreds upon hundreds of people dance there asses off, all in unison bearing ear to ear grins. Everyone was clad in black and white, as this was a “funeral” for the band of sorts, but no way did it feel like one. We all knew we were part of something huge. I don’t mean to gush, but you just had to be there.
The show started on a somber note, playing the first bars of 10cc’s “Not In Love”, a track I always include on CD mixes for friends, though I am sure it went unnoticed to most of the audience. The first set included “Dance Yrself Clean”, “Daft Punk Is Playing At My House”, “All My Friends”, and “Tired” with a snippet of 70’s progressive rock band Yes’ “Heart of the Sunrise”, a song I have known since my toddler years. It was a joyful ending as my friends and I danced arm in arm, and great predecessor to the following 2 and a half hours the show still had.
The second set started with a track they made for a Nike ad called “45:33”, which most perceived was performed as a joke, but mostly so Murphy could take a break. The tune previews clips of songs that later became the track list to their sophomore studio release “Sound Of Silver”. Some of the special guest who joined them onstage include Reggie Watts, and DFA affiliates The Juan Maclean and Shit Robot who performed in a rocket ship and a pyramid, putting to rest the rumors that Daft Punk would be making an appearance. Coming into the third set saw Arcade Fire approach the stage to back vocals for “North American Scum”, a ground-shaking performance of “Movement”, the very first song I ever heard by them, and “Home” which I am sure left a cry ball in everyones throat.
But the real tear jerker, of course, was “New York I Love You, But You’re Bringing Me Down”, and it was so for so many reasons. As James announced that he was about to sing his last song ever, the audience booed, prompting him to ask not for boos but for cheers, and cheers he got, for about 5 minutes in fact. He thanked his family, fans, friends, and band mates with tears in his eyes, and started the song, adding profoundly long pauses in between lines. During the songs ending, white balloons fell from the ceiling, and James bowed, sealing the deal on one of the best live performances I have ever seen in my entire life, and the end of LCD Soundsystem.
I still haven’t made eye contact with James, and I probably never will for that matter, but I feel like we relived that moment from 5 years ago. There was no train, no crazy saxophone player, just a lot of love, a lot of energy and an amazing perfromance. Thank you LCD Soundsystem for the music, for the memories, and for sharing a fondness for New York City that will never die…
Like fish to a bait, thousands of Strokes fans piled into New York City’s Madison Square Garden on Friday night. This has been nearly five years too long since the guys took the stage together in the Big Apple.
Openers The Grogs and Devendra Banhart (Who went on way too early), barely gained any attention. Elvis Costello, also known as our “April Fools,” joke, came out and played about three songs as a surprise opener as well. No one really seemed to care unless he was about to take off a mask and reveal he was Julian Casablancas.
We were there to see The Strokes.
A band that brought Rock and Roll alive for many of us in the crowd, you could look around and see the ripped jeans, converse sneakers and unkempt, but perfectly placed hair. It was easy to believe that everything was back in place. Just how we left it five years ago. It was interesting that the band was playing a stadium in NYC, the biggest headlining show that they have ever done in the city. Being about my 6th Strokes show in NYC, I wasn’t sure how they would carry out a big, sold out venue. The answer is nothing more than “brilliant.”
Cue the 9:30 curtain call and on walks the five familar faces. The crowd gave them one of the biggest welcomes I’ve ever seen and The Strokes seemed to be more than thankful. They wasted no time before launching into “Is This It,” a clever first song. Right away we knew every word, so much that Julian commented on it.
The chemistry of the band seemed to be back. They were tight, and not sloppy by any means, even when Casablancas messed up on a couple of lines. Hey, it happens. If you didn’t tell me they were on a hiatus, I would have thought they were playing together every night for the past year together. It was that great. Bands rarely play so perfectly, then again, no band is The Strokes.
From “Reptilia,” to “Under Cover of Darkness, the band delivered. Mixing classics like “Last Nite,” seemed to be flawless amongst the new tracks on Angles, (BMG) which were even better live than anticipated. Casablancas was chatty that night making comments and talking to the band. They seem to be healing with each other and that makes an arena of 25,000 happy Strokes fans. Highlights of the nights included “New York City Cops,” “Life is Simple in the Moonlight,” and “What Ever Happened?,” but honestly, EVERY song was a highlight
Elvis Costello appeared onstage in the midst of “Taken for a Fool,” which seemed to be magical for some or killed it for others. It takes a lot to impress Strokes fans. A lot.
Nick Valensi’s and Albert Hammond Jr.’s guitars intertwined with every single strum and pluck as they held the songs together. Nikolai Fraiture’s bass was smooth and emphasized every note perfectly. Fab Moretti provided brillian percussion bringing up the backbone of the band, even with the occasional use of the drum machine. Casablancas’ voice was dead on with every note and the crowd was right there with him. Jumping into the audience pit a few times, he weaved his way through the crowd and never stopped for a minute. This is always something amazing about the band. They don’t make the fans feel like outsiders, but part of what’s going on.
Climbing on speakers and upper levels, Casablancas was determined to get your attention at any cost. What was that line that Jason Lee said in “Almost Famous”? …”You know what I do? I connect. I get people off. I look for the guy who isn’t getting off and I MAKE him get off.” This my friends is Julian Casablancas. A man who will bend over backwards to make sure you are having a good time and look cool as hell doing it.
A whopping hour and a half later and a short encore, the band closed with “Take It or Leave It.” Just how we remembered it. Ful of energy, an explosion of sound, a jump in the crowd and smooth but raw vocals. As the band left the stage for the night, you could see 25,000 smiling faces.
The Strokes are back.
SETLIST
1.Is This It
2.Reptilia
3.Under Cover of Darkness
4.Hard To Explain
5.Last Nite
6.Life Is Simple in the Moonlight
7.Juicebox
8.Someday
9.You’re So Right
10.Under Control
11.You Only Live Once
12.New York City Cops
13.Games
14.What Ever Happened?
15.Taken for a Fool (with Elvis Costello)
Encore:
16.Ask Me Anything
17.The Modern Age
18.Gratisfaction
19.I Can’t Win
20.Take It Or Leave It
While SXSW is generally for the unknown discoveries, there were of course some blast from the past sets. Nineties revival at it’s peak lately, the real nineties rolled through Austin with a live performance by Meat Puppets at Waterloo Records. Going through all their past hits as well as newer cuts from their upcoming album, Lollipop to a very sunburned audience, the band has aged well musically with experience and possibly made some new fans who hadn’t gone deeper into their discography. That said, while Meat Puppets gained fans, The Bangles certainly lost some at SXSW. After nearly an hour wait for the iconic pop band finally came out on stage at Cedar Street Courtyard. Losing half the crowd to go see TV on the Radio, The Bangles may have lost some fans’ eternal flames, however playing a generally solid set to the restless crowd.
hip hop: kanye west, lil b + diddy + ofwkta, grillade + big krit, wiz khalifa
la sera, dirty beaches, foster the people, naked and famous, gobble gobble, twin shadow, darwin deez, tristen, cloud nothings,
The House Shows
A huge draw for my trip to Austin, was the fact that so many locals opened up their homes and backyard to strangers and bands. While, they do get a little weird, that’s all part of their charm. From home brewed kegs to taco bars in people’s kitchens, Austin’s true hospitality shines through with these shows. Amongst the slew of nameless local bands which seemed to focus on either heavy psych rock or loud noise jam bands, there were shining gems of touring bands that made appearances as well. Baltimore band Secret Mountains (formerly The Owls Go) played several sets throughout the week,
The Hype Bands
The bands everybody has “got to see”, the ones on the top of the blogosphere charts, the ones that will hit mainstream and you “knew about it before everybody else” or ultimately fade into the past without notice or a second album. Cults/tennis/
Our Modern Mystery favorites, Someone Still Loves You Boris Yeltsin took the stage on Friday night at Terminal 5 which was their first time being an opening band in a long time. They knew they had something to prove and they did it well. Starting with Phil Dickey on vocals for the night, the band blew the crowd away and really got the show started. Performing tracks off their new album Let It Sway their catchy indie pop hooks filled the room and had everyone in good spirits. This is a major tour for the boys and we’re proud of them!
-MM
It’s going to sound highly smug of me to say but it has to be said: I was the first person to say Two Door Cinema Club and Tokyo Police Club should tour together. In all honesty I’m not. After seeing Tokyo perform past summer with Passion Pit I (drunkenly) cornered their guitarist/keyboardist Graham Wright and demanded that they toured with Two Door Cinema Club to which he replied “Fuck! You’re the 8th person who’s told me that today!”
Fast forward to January 21st and what would you know? It actually has happened! The two acts are going on a lengthy co-headlining tour around the US and selling out shows effortlessly. To celebrate they even released a mash up of two of their tracks which can be downloaded here
The venue was packed! People of all ages and varieties. A grand highlight of the night was being in the photographers pit and looking at all the young faces. When I was younger I remember music was something you’d use as an escape and the fact these kids would call Two Door Cinema Club an escape was quite something. I personally love Northern Irish music and seeing this band do so well here in the states hit a chord with me (no pun intended). Everyone danced the night away and the band received the most cheer when they played their latest single “What You Know”
For a whole gallery of photos from the entire show be sure to go here
Modern Mystery 
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