Was once a podcast with Elwood D. Pennypacker (@oldtimeelwood on the Twitter) that went by the old expression "Punk Isn't Dead, It Just Goes to Bed at a More Reasonable Hour".
Monday, June 28, 2010
Apples in Stereo @ South Street Seaport
Apples in Stereo @ South Street Seaport New York, NY - June 26, 2010
It figured that as the Apples in Stereo have been a kind of PG version of the Flaming Lips, that they would be ripe to cap off a kids day theme event. After playing their mix of 60's acid-free acid-rock and their new stabs at disco ("Dance Floor" is still killing after a few months) the band got together with the opening act, the Broooklyn Youth Chorus and some of the Brooklyn Philharmonic, for a version of "Energy". Chief Apple Robert Schneider was so touched by hearing children and strings accompany the song he wrote for his own child, he asked them to do it again without the Apples and it was a sweet moment. Then there were fireworks. That's how you do in this town.
In continued proof that the album is dead, this period's playlist is almost exclusively singles. The two exceptions are almost unfair givens, especially considering I only listened to one of them in full for the first time today. That being said, the next playlist may very well be almost entirely made of albums as the Summer of 2010 promises to be a ridiculously productive LP season.
Against Me - "I Was A Teenage Anarchist" I once dismissed band as a pop-punk throwaway with a take-it-or-leave-it social consciousness, but they got me. An anthem for every bitter, disappointed, idealistic, ideological lefty who remembers their youth of rage when they caught they could make a difference. Sigh. Old times.
Apples in Stereo - "Dance Floor" Club-infused rock has become the almost dominant form of Indie rock, at least in terms of the screaming multitudes of bands (while more varied and more conventional Indie rock acts - the Spoons, the Animal Collectives, the Grizzzzzzzzzzzzly Bears - zzzz's for sleep) are considered the elite. The very cheery, sunny Apples in Stereo take a stab at the dance floor with "Dance Floor" and completely obliterate everyone else away. The record is probably good. I should listen to it. Soundtrack of the summer.
Birthday Suits - "Table Talk" A loud, boisterous bit of speak-sing rock. Cute band name.
Julian Casablancas - "Out of the Blue" Phrazes for the Young kind of loses its way but at least I gave it a try. This single from the Strokes singer's solo record is not only the best of the bunch, it is a killer. The opening verse is some of the most amazing lyrics I've heard in a long, long time:
Somewhere along the way My hopefulness turned to sadness Somewhere along the way My sadness turned to bitterness Somewhere along the way My bitterness turned to anger Somewhere along the way My anger turned to vengeance And the ones that I make pay But never the ones who deserve it And the ones who deserve it They'll never understand it. Yes, I know I'm going to hell in a purple basket At least I'll be in another world But you'll be pissing on my casket
Goldfrapp - "Rocket" So this Lady Gaga. Everyone seems to be making a big deal of this Lady Gaga. Thing is, someone out there kind of has all that same magnetism, and that penchant for catchy, Euro club hooks & melodies, without making a fool of herself. Her name is Alison Goldfrapp. And yes that is her real name. I guess.
John Hiatt - "The Open Road" Johh Hiatt is more of a respected songwriter than anything else which is a damn shame because he has some of the most thoroughly lasting recording work of any of his peers. From "Sure As I'm Sitting Here" to Slow Turning and Bring The Family to "Perfectly Good Guitar" and "Everybody Went Low", he has never stopped making great music. He didn't break with "My Baby Blue" a few years ago and he's done it again "The Open Road". He has always been one of my favorite artists if only because he makes a hit, it's a grand slam.
The Hold Steady - Heaven is Whenever You know I like it. But seriously - "The Weekenders" - should be a big hit putting the boys in stadiums. And maybe it just will. Or not. Either way, it's not Separation Sunday or Boys & Girls in America but it is good. Very very good. It is equal parts blatant pop-rock and total classic rock throwback. But there is still the deference to the bar band and hardcore punk that are the combined roots of Craig Finn's lyrics and musical preferences. It's not the Kirby Puckett-style home run of their two big documents, but it's a triple if not an in-the-park play-at-the-plate, like Stay Positive (like the end of the Twins-Braves World Series). Think I'm done with the baseball analogies?
Jaguar Love - "I Started A Fire" I will never forget how I saw all of 15 seconds of this band at Siren Festival to walk away. It was that bad that fast. Yet, back then they also had "Highways of Gold" which was a catchy rocker once you got passed the grating high pitched vocals of Johnny Whitney (formerly of the terrible Blood Brothers). Now in "I Started a Fire", Whitney has tempered the vocals some and it makes for another hit song. I am almost sorry I hated those 15 seconds. Almost.
Damien Jurado - "Arkansas" It took a couple of weeks after listening to this song to realize I've seen this guy. He opened for Okkervil River on The Stage Names tour. He was so serene and Indie (big I) as to fade away but that laid back style has found its footing. This almost doo-wop-ish memory is serene in the right way.
Lonelady - "Intuition" I know nothing much except that I like this song. That goes for knowledge of the artist and life in general. The Internet gives me knowledge. Of the artist. Not necessarily life in general. Are we understood?
The National - High Violet Upon initial listen of the whole LP, it seems "Blood Buzz Ohio" may be the true highlight. But by no means have the National struck out. "Terrible Love" - which comes off gleaming in that Pitchfork film - is exactly the National as we know them, before a few tracks establish a bit of a more inward, less dramatic affair (not so much a return to the first couple records as a new way of looking at old things). "Afraid of Everyone" represents the real new approach to this record: Matt Berninger has forsaken those Alligator screams seemingly for good. After the bass-voiced Boxer, Matt seems to have discovered a steady higher pitch for large swaths of song. It's good. But the bass in that lurking, menacingly disarming voice is the gravity of the band. To say nothing of the continued swells of symphonic fury the Dessners and Devendorffs do so well. The National's most "Chamber Pop" sounding record yet, (a label I never quite liked but maybe finally understand), High Violet ends with an incredible back-half. It looked the National were going down early in the 5th but leave it to the regional relatives of the Big Red Machine to come from behind and win in the bottom of the 9th. I told you I wasn't done with baseball analogies.
With a new blog name, new pen name, new everything this year, it makes sense to tackle the year in review a little differently from the last few years. Scrapping the traditional awards-style listing, and ignoring the countdown listings that everyone else does, here is just an all-things-equal review of a LOT of the music heard in 2007, broken over several parts this week. And only 1 mention of Amy Winehouse, promise!
Action Painters
Live Show
Record: Chubby Dancer
Songs: “Absolutely Clear”, “Sooner or Later”
Well it never worked out that a second Action Painters live review took place in 2007, but the random drunken entry on an August Thursday, just a few songs worth made a big impact. The Chubby Dancer EP justified what was heard, especially the lead off tracks, “Absolutely Clear” and “Sooner or Later”. The former could have been a hit single in the last 25 years and the latter is a modern rock power pop bit of heaven. If the band likes this kind of attention, they should personally thank ol’ Pennypacker’s crazy Latina ladyfriend, whose bootyshaking and drink pouring antics drove the old man out of the yuppie bar and in a cab to the Merc.
Ryan Adams & The Cardinals
Live Show
Record: Easy Tiger
Song: “Halloweenhead”
Quite a year for Ry. He limited himself to just one record and solidified his bond with the Cardinals. Neal Casal, Jon Graboff, Chris Feinstein, and Brad Pemberton, helped steer Ryan through his new, aware sense of the world around of him. “Halloweenhead” showed off the project’s ability to bust out a single so smoothly made that the rough edged vulgarity almost slips by entirely. The small show at the Hiro Ballroom was one of the highlights of the year, with a funny Ryan sounding excellent and the acoustics of the small room matching the band’s fluidity. The Halloween night mega-show was too long for its own good but the band still sounded in fine form. Here’s hoping Ryan has an even better 2008 and if not, there’s always DJ Reggie to fall back on. "Halloweenhead" live at the Hiro:
Apples in Stereo
Live Show
Record: New Magnetic Wonder
Song: “Energy”
Sweet, syrupy, but nevertheless 3-chord bad ass fun, Robert Schneider’s Apples in Stereo is the most accessible spin-off of Elephant Six. Their LP was a treasure chest of single-friendly anthems, led by the begging-to-be-commercialized (in a good way) “Energy” and their live show at the Music Hall of Williamsburg was every bit as fun as it should have been. Hey! This summation was completed without using the word “Psychedelic”. Yes!
Yeah, It’s A Bit Complicated was all right and “Direct Hit” and “People In Love” were the best tracks on it. “Direct Hit” in particular was a solid single. But let’s not kid ourselves. Art Brut is all about the live experience. Whether it was the headlining spot at the Highline Ballroom or opening for the Hold Steady at Terminal 5, it was proved that Art Brut’s songs are nothing without Eddie Argos’ spoken word engineering. Direct Hit SPTV:
“Atlas” by Battles Seven-minute singles are really unheard of, now and pretty much ever, but New York math rockers Battles did just that. A song straight from Munchkinland in Hell, “Atlas” is a stomp-filled, metal-inspired opus that actually says something good about prog rock.
Band of Horses
Live Show
Record: Cease To Begin
Song: “Is There A Ghost”
They look like they should be a jam band but instead Band of Horses crafts an ethereal mix of Indie pop. Making South Carolina a respectable place to be, Ben Bridwell and company look past their “Weed Party” shenanigans for the magnificence of a single like “Is There A Ghost”. Admittedly it’s so simple as to be annoying, but Indie pop should always be this simple. Punk sensibilities never heart good pop music. Their Terminal 5 show was more than decent and kudos to Ben for actually mapping out the plan for everyone there: (Paraphrasing) “Ok so 2 more to go, and then we’ll come back out for four more, so six songs total and then you guys can go, OK?) Video
“Because I’m Awesome” by the Dollyrots This is a really dumb song on a really terrible album by a pretty bad band. That being said, the song can be played on repeat for hours. It’s so good and so bad at the same time, it makes you want to listen to Little Steven’s Underground Garage all over again…and then turn it off forever. Video
“Been There All The Time” by Dinosaur Jr One of the absolute singles of the year. Dinosaur Jr. has been through a lot over these many years and this ode to early 90’s-style fun-rock is a reminder that there’s been a lot of crap out there on the radio, and the old guard still do it better than anyone else. What a song. Video
Scott H. Biram
Live Show
Record: Graveyard Shift
Graveyard Shift is more than fine but it was the live show at the Luna Lounge, which has matasticized into a sprawling, experimental thing, that keeps Biram relevant and, more importantly, damn good. Live in Texas:
Black Tie Revue
Live Show
Eh, take Code Fun for what you will. It grows on you but none of this matters as Pittsburgh’s BTR is one of the best live rock n’ roll bands around. A little power punk, a little garage, a little bar band-y, they cover all the bases equally without falling off the cliffs. Solid, solid, solid sets at the Cake Shop and Southpaw this year. SPTV at CMJ
Cake Shop The neatest little idea on Ludlow Street (and the Lower East Side and lower Manhattan for that matter), the Cake Shop really came into its own this year with a host of reviewed gigs (some great, some not) and a ton of other shows that didn’t make the Sonic Parthenon calendar but nevertheless assuredly tore the house down (The Clean, Jay Reatard, King Khan & BBQ Show, etc). Camera Obscura
Live Show
Record: Let’s Get Out of This Country
Let’s Get Out of This Country came out in 2006 but was not heard by Pennypacker ears until this year. In retrospect, it was the Best Album of 2006 and will make a big claim on the Album of the Decade title in a few years. The band made two trips to New York this year, the second of which fell into the Sonic Parthenon purview. A beautiful, intimate set at Sound Fix Records in Williamsburg was one of the most singularly enjoyable moments possible (even with the ultra-packed crowd and a stomach ache). And the little stage banter between Obscura leader Traceyanne Campbell and this writer was as cute as it was sudden. It was so thoroughly a great gig, it inspired the birth of Sonic Parthenon TV. And the next night’s spectacle at the South Street Seaport should be wrapped up in a little box and held tightly forever. One of the best bands in the world, period. SPTV at South Street Seaport:
Chicago (the city) City-based scenes will come and go but take note of this one right now as it begins its ascent up. The Changes, Scotland Yard Gospel Choir, and the 1990’s, are the vanguard in the Windy City’s more pop-infused efforts. The Changes were last year’s best new act and the latter two are duking it out for this year’s title (good thing the old award process was scrapped). And to top it all off, the garage rock sound is still being served well, namely by the continuing presence of the charmingly feisty Miss Alex White and the arrival of the Yolks. Daaaaaaaaaaaaaaaaaaaaa bands. 1900's at CMJ, SPTV:
Scotland Yard Gospel Choir at the Empty Bottle
The Changes' "When I Wake", video released this year:
The Yolks
Miss Alex White at CMJ, SPTV
CMJ Music Marathon In accordance with the revamped spirit of this blog, this year’s CMJ was the first to be reviewed on all five nights. Wormburner and Looker owned night 1 but Mixtapes and Cellmates, by a razor thin margain, were the previously unknown act that became the find of the night and the marathon. Black Tie Revue kept things going on night 2 and then the Dirtbombs anchored the In The Red label show at the Mercury Lounge on night 3, with Jay Reatard, Miss Alex White, and Turbo Fruits helping out and then some. Night 4 started off with the sweet sounds of the 1990’s and Sahara Hotnights (and Drug Rug too for that matter) before the Dirtbombs brought it home at Southpaw. And Saturday night was a little return to the old Detroit days with the Hard Lessons in Brooklyn and the Dirtbombs in Hoboken. CMJ Personal Highlight: Chicks. CMJ Lowlight: Missing out on Looker’s house party down the block from the Dirtbombs gig. Drag. SPTV at CMJ
Elvis Costello
Live Show
The May show at the Nokia was a lesson in legend. Dapper in a suit, with sparkly slippers to keep himself comfortable, Costello dished out “High Fidelity”, “Alison”, “Watching The Detectives”/”Let Him Dangle”, and “Welcome to the Working Week” among other chestnuts. Always independent minded, no one tells Elvis what to do and no one wants to.
“D.A.N.C.E.” by Justice THE Hipster dance song of the year and giving Gnarls Barkley’s “Crazy” a run for its money. The child-turned-melisma drenched singing voice was disturbing but the beats brought it home. The Terminal 5 shows were missed but that’s probably the best way to treat that venue: as a dance club with DJ’s.
The Dirtbombs
Live Show
No new record, no matter. Five New York area shows by one of the best live bands in the world, and what do you expect? The end of the revolving door really seems to have meant something. This is the only Dirtbombs line-up this blog has ever known and it may as well stay that way. Great people, great band, great times. Next year, a new record (which already sounds great, by the way) and a return to the Bowery Ballroom. 2008 could very well be the Dirtbombs’ year. SPTV at CMJ:
“Don’t Let Him Change Your Mind” by Jarvis Cocker One of the nicer, sweeter singles this year, from the Pulp helmsman. A likeable fellow with a loveable track. Video
Electric Six
Live Show
Song: “Dance Pattern”
This was the year that Electric Six was supposed to go away. Enough was enough. How much longer can someone parlay the Disco-Metal thing? And sure enough, a large chunk of the egregiously named I Shall Exterminate Everything Around Me That Restricts Me From Being The Master was D.O.A., how it was with Switzerland. But something happened: “Dance Pattern” was one of the best songs of the year, and the live show actually not only remained good, and not only improved from 2006’s mid-year funk, but the last outing was their best yet. And credit has to go to Dick Valentine for potentially making a serious impact on the culture with the phrase “put a little mustard on it”. "Dance Pattern" live at Southpaw:
“The Equestrian” by Les Savy Fav One of the more rollickin’ punk songs of the year, from an eclectic band whose live show is hyped to death but has yet to be reviewed here. Hear it with this video
Robert Schneider is one of the most likable men in rock, a verbose goof ball who combines psychedelic stylings with power-chord rock n' roll. His band, the Apples in Stereo, are truly in the vein of the Flaming Lips and other neo-psychedelic bands, but it is that consistent yearn for anthemic rock that helps the Apples stand apart. Live-wise, the power really shines and, at least on this night, Robert kept the talking to a minimum, focusing instead on bringing the house (pretty crowded but far from sold out) down, which he more or less succeeded at. "Energy":
Both Aqueduct and the Old Soul were complimentary power-pop bands. The former, from Seattle, sounded, at times, more 80's - especially when using some electronic gizmo. Also led by a likable (and notably unglamorous) frontman, Aqueduct would sometimes lose their way but they managed to bring it back to where it had to be time and again. The fun, rollicking cover of R. Kelly's "I'm a Flirt" was a high note. The Old Soul, from Toronto, are a more eclectic brand of power-pop rock. The one unifying theme in all their songs seems to be a subtle ragtime-ish swoon. All 3 bands had a good time but these guys really seemed to be having a good time. Also, a little anthemic but again, with a twist. Pictures here.
Carina Round @ Sound Fix Brooklyn, NY - September 16, 2007
There are two ways to think of Carina Round and the two ways do not contradict each other: Joni Mitchell and PJ Harvey defied science and had a baby and out popped Carina Round. That's one way. Another way is to ask you if you remember the mid-90's when a flock of female singer-songwriters seemed to really come into their own. On the one end were alternative rebels like the aforementioned Harvey and Ani DiFranco, and on the other were the more mainstream, pop-oriented acts like Sarah Mclachlan and her Lilith Fair cohorts. In the middle of that wide chasm, lies Carina Round. Think of Sarah Mclachlan's best work, Fumbling Towards Ecstasy, dirtied up a bit by Polly Jean, and this is the music put forward - strikingly and successfully - by Carina. Carina's vocal talents are fascinating - she can sing pop songs dearly but she can thrown her voice around like a punching bag, creating effective alternative sounds. Her ability to scream a note without really moving her lips is a bit hypnotic to watch. This night, in a stripped down set of acoustic guitar and one electric guitar, Carina's music did not have the full register that it does on her records but it offered a simple, basic examination of the pop-craft she's weaving. It is this kind of pop-music with a knife edge that needs to be pushed and played and popular. Here's an SPTV Mini-clip of "Come To You":
