Sufjan and Justin: clips to listen, laugh, and cry to

It was a week of emotional highs and lows. Two of my most-anticipated shows of the summer happened: Sufjan Stevens and Bon Iver. At a glance, the two artists don’t seem to have a lot in common other than being at the top of the indie game. But the more I thought about them, the more I began to see similarities.

Both The Age of Adz and Bon Iver Bon Iver are clearly more ambitious albums than their predecessors. Each invoke a bigger, more expansive sound, whether through an added network of noise and effects or simply due to the addition of brass and manpower. With his song titles spanning various geographical locations (many tied to a single state: Wisconsin), Bon Iver’s Justin Vernon has even made an album that seems to pick up on the whole 50 states project where Sufjan left off.

And yet, the shows could hardly have been more different in feel. Where Sufjan’s show at Prospect Park last Wednesday was an absurd display of glow-in-the-dark tape, trippy projections, giant inflatable men (the kind you see waving back and forth at used car lots), and costume changes; Bon Iver’s show was full of restraint, by comparison. What they did have in common was an air of desperate yearning to their performance – the kind that makes for a compelling and convincing show.

Take a listen to some clips.

First, Bon Iver from his show at the United Palace Theatre on August 9th. (Full review here on Brooklyn Vegan.)

A recent Bon Iver show (photo Steven Worster)

Ok. I admit I’m still not into the smooth jazz of “Beth/Rest” from the new album, but as a few people have pointed out to me, I do believe that Vernon is, so I’m willing to indulge him a bit. I’m definitely glad I got to see the indoor show though. I know he started off making music in a cabin, but somehow, gilded interiors and red velvet seats just seem fitting.

“Calgary” 

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“The Wolves (Act I and II)”

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“Skinny Love”

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Overheard on the train after the show:

Guy: I noticed you didn’t cry at all…
Girl: That’s because I have no feelings.
Guy: Oh, yeah. I forgot you’re actually a robot.
Girl: I could totally dance you under the table though.

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Now… Sufjan. I saw his second show at Prospect Park last week on August 3rd. (Full review here on Brooklyn Vegan.)

For a while, I was a bit annoyed the weather hadn’t co-operated. But by the end of the 2-hour+ set, I no longer cared that I was soaking wet. As a testimony to the crowd’s dedication, all umbrellas were lowered when Sufjan started, but at least where I was standing, no one budged from their rain-soaked spots for the whole show. I fell in love with Sufjan through Seven Swans, but you know what? I didn’t even miss the earlier material. (ok, so hearing “The Transfiguration” or *gasp* “Sister” would have been awesome, but I have to say, I’m down with The Age of Adz. The more I listen to it, the more I want to listen to it.)

Sufjan Stevens at Prospect Park (photo Jon Uleis)

Was the show perfect? Well no. (You try singing through a mass of balloons after you’ve been dancing for two hours non-stop.)
But it was certainly wild and glorious.

Here are some clips from the show. Listen out for the lovely Cat Martino and DM Stith who contribute vox on a number of the songs.

“The Age of Adz”

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“Get Real Get Right”

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“Enchanted Ghost”

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“Impossible Soul” (shortened version)

White Magic and a blond Vincent Price

Last night marked one of the final events of the summer for the Celebrate Brooklyn series.

White Magic

The evening began with a set by the appropriately creepy psychedelic/folk group White Magic as the sun went down. Unlike a lot of her contemporaries, singer Mira Billotte is soulful (and yes, a bit eccentric) without being overly dramatic, which is a nice change from some of the overly hyped and annoyingly affected singers of late (like Nika Roza Danilova of Zola Jesus).

Take a listen to an excerpt of one of their songs:

After White Magic played, musician/composer Marco Benevento and his two musical collaborators set up their gear at the pit in front of the stage, and a giant screen was assembled in anticipation of the main event – a special movie screening of Roger Corman’s House of Usher based the chilling tale by Edgar Allan Poe.

Check out the trailer for the movie here:

Benevento composed an original score to accompany the classic early 60s horror film. The music was pretty sweet – even if the movie itself was a bit… campy and the dialogue was sometimes a bit difficult to decipher.

Here’s an excerpt from the beginning of the film when Philip Winthrop arrives at the Usher mansion to collect his (doomed) fiance, Madeline, from her creepily over-protetive brother, Roderick (Vincent Price).

When Benevento isn’t creating scary scores, his music is actually pretty sunny.

Northside Fest – Friday

Hess is More + Kid Koala (Pospect Park), Tame Impala (Glasslands), Darlings (Public Assembly) – June 25th

When I left work Friday night, I went home, thinking I might just take it easy and watch a movie, but apparently, a quiet evening was not in the forecast. Soon after arriving at my apartment, I noticed (via Facebook) that one of my friends from high school was playing the vibes at Prospect Park, so I ran over to catch Hess is More. Though I only saw the group’s last three songs, I was completely charmed. I’ve heard Hess is More recorded, but never live, and it’s quite a different affair in person. Mikkel Hess, the mastermind behind the project, played the drums with his back to the audience (so that he faced his band), but it worked… probably because he’s got that irresistible air of modest Danish enthusiasm. His playfully inventive songs coupled well with the jazzy techno beats. Do yourself a favor and check out Hess Is More on Soundcheck.

Up next was Kid Koala. For his first set, he was joined by DJ P-Love and for the second, The Slew (featuring the ex-WolfMother rhythm section). More than a talented disc jockey, Kid Koala’s ADJ is also a graphic novelist and something of a comedian. He broke up his two sets with a game of bingo, featuring hand-drawn illustrations from his own repertoire. I may not have won, but I did enjoy seeing his whimsical creations (and even a family photo or two) flit across the screen.

Kid Koala sampled music from a wide swathe of genres. Outkast, and old jazz tune, and a song from Monty Python were just a few of the things he spun.

Next, I embarked on a quest to obtain a coveted badge to this weekend’s Northside Festival. Luckily, I didn’t have to look far. I arrived at Death By Audio just in time to grab one from a friend. After slipping in a piece of paper bearing my name, I headed around the corner to check out Tame Impala at Glasslands… only the line was out the door and down the block by the time I got to the scene. Luckily, I found a way in just as the young band was starting to play.

Tame Impala

With their long (often sun-bleached) hair, lackadaisical stage presence, and sunny, psychedelic leanings, they easily fulfill the requirements of an Australian band. Heck. Two of the members were even shirtless (of course, that could have been more a result of the unbearable heat and humidity and not their homeland). Even the vocals seem to fit in with the band’s overall presentation. Instead of hogging the stage, lead guitarist and vocalist Kevin Parker unassumingly jams off to the side of the stage, leaning into the mic to sing only occasionally. The vocals may not be the focal point, but Parker’s voice is smooth (if indecipherable) and the group’s harmonies are pretty solid. And then there are the kazoos… at least for one song.

Check out “Sundown Syndrome” (complete with foreign subtitles!)

More than just your average recent reincarnation of a psychedelic band, Tame Impala also seems to have something a little jazzy going on. Good stuff.

To cap off the evening, I headed over to Public Assembly to catch a set by the Brooklyn band, Darlings.

Darlings

Initially, I walked into the wrong room at the venue, and I was thrust into the honkey-tonk world of cowboys (and girls dressed like pin-ups from the 50s and 60s). Hmmm… this isn’t quite right. I consulted the sign outside the door and noticed to my relief that there was another space across the hall. Bingo.

They may have already played a show at another venue just a couple of hours before, but they seemed to have a surprising amount of energy. Matt Solomon, the drummer, made exaggerated and crazed arm motions and Joe Tirabassi refused to obey the tacit code of bass players to remain motionless. The audience responded the energy and actually danced around in front of the stage. It wasn’t until after the show had ended that one guy took off his flip flop and noticed that his foot was bleeding… profusely. After seeing the puddles of blood on the floor (it appears as if he stepped in some glass and didn’t initially notice), I decided to call it a night.

It was certainly an action-packed evening. I only wonder what tonight will hold…
That said, let me know if you have recommendations!