Reason #532 for living in New York…

Because at 2:00 p.m. on any given day you might receive invites from three different people inviting you to see a private show featuring The Shins.

Stepping into Le Poisson Rouge last Wednesday was a bit like stepping back into time. As I stood in the crowd, waiting for the show to start, I found myself looking around, half expecting to spot Natalie Portman lurking somewhere in the shadows.

Though The Shins had released two albums (and decent ones, at that) well before Zach Braff’s heralded Garden State soundtrack hit the ears of the mainstream-indie masses, much of the band’s rise can arguably be linked to this infamous scene:

“You gotta hear this one song. It will change your life, I swear.” (2)

And yet, it hasn’t necessarily been a smooth ride for the band. Shortly after they left Sub Pop in 2007, The Shins underwent a swift series of major structural changes, leaving only one principal member, singer/guitarist James Mercer, left standing.

The (new) Shins (photo courtesy of the artist)

But despite the change in line-up, as soon as I heard Mercer’s distinctive voice break into “Kissing the Lipless,” it was as if nothing had changed. It was surreal. The sound was tight, the energy, there.

“Simple Song” (the first single from their upcoming album)

“Saint Simon”

With or without Portman’s approval, The Shins are poised to be one of the better indie bands of the last decade… at least as long as Mercer is in the band.

The Shins’ new album, Port of Morrow, drops on March 20th on Columbia. Until then, you can stream a video – or just the audio – of Wednesday night’s show courtesy of NPR Music. (Clearly, the audio quality is much better over there.)

Set list
Kissing The Lipless
Caring Is Creepy
Simple Song
Bait And Switch
Saint Simon
It’s Only Life
September
New Slang
The Rifle’s Spiral
Australia
No Way Down
Phantom Limb
One By One All Day
Port Of Morrow

—
(1) Apparently, former keyboardist/bassist Marty Crandall agrees. “I would definitely attribute a lot of [our rise in recognition] to Garden State. That had a pretty huge impact. We saw double and triple sizes of crowds and sales of the first record. It multiplied our fan base immensely.”

(2) The Shins nearly did change my life, quite literally. On the way to see them play my freshman year of college, an aggressive 16-wheeler was inches away from careening into our navy blue Volvo station wagon on an overpass. (My only thought during my near-death experience was, “Oh come on, you’ve got to be kidding me! At least we could die after The Shins!”)

Borrowed nostalgia and the mid ’90s alt music scene

The Olivia Tremor Control + The Music Tapes – Le Poisson Rouge – September 21st

Sure, I spent a decent amount of time listening to Of Montreal and Neutral Milk Hotel, but I never really got around to hearing much from most of the other projects tied to the Elephant 6 Collective… which is one of the reasons why I decided to check out The Olivia Tremor Control and The Music Tapes last night. (Review here on Brooklyn Vegan.)

I was curious. Curious to see a couple of early ’90s indie rock legends and curious about their fans. Going to shows featuring new artists can be fun, but it can also be kind of a drag sometimes, especially when the sets are a mess and the crowd is annoyingly aloof and indifferent. Maybe I was also trying to get in on the nostalgia somehow. Group nostalgia is a weird thing. Even if you weren’t technically involved in the scene in the first place, it’s easy to get swept up in the emotions. So I was in elementary school when The Olivia Tremor Control  started playing and touring. What of it?

So I didn’t really have much of an idea of what to expect going into the show, but despite my lack of knowledge about the discographies of the two artists, I immediately felt like a part of the scene, thanks largely to The Music Tapes. Jordan Koster, the main man behind The Music Tapes was a delight. Not only did his music (and the giant 7-foot tall metronome) keep you guessing, Koster himself was full of whimsical mystery.

Julian Koster playing the singing saw at a show on 2/18/09 (photo Bradley's Almanac)

After kicking off the show with a sort of gypsy carnivalesque gig, Koster offered this by way of explanation:

Lovely, lyrical, and magical.

I know there are decent, genuine artists out there who are just beginning their musical careers. I know. But sometimes, it seems like the only bands that get any buzz are the ones that are just saturated with cheap irony and carefully marketed kitschy weirdness. Yes, Julian Koster is quite eccentric and his songs and stage presence are often strange, but there’s something in the music that just feels real, raw, and honest.

Though I enjoyed the frenetic energy of The Olivia Tremor Control, it was The Music Tapes that really intrigued me, so I’ll leave you with a song from them:

Want to hear some stuff from The Olivia Tremor Control? You’re in luck. NPR Music recorded it. Stream it or download it here.

Wild Beasts bring their game

Though there was a variety of things going on last Thursday night (the free Austra/tUnE-yArDs show and Superchunk to name just a couple), I decided to check out the UK group Wild Beasts. (OK, to be fair, I stayed at Pier 54 long enough to see about six songs from Austra before dashing over to Le Poisson Rouge.) Having only heard a handful of songs, I didn’t really know what to expect, but it’s always nice to see a new band.

Wild Beasts (via the artist Myspace page)

Wild Beasts began their set with a dark, moody intro that complimented the dimly lit stage. But instead of relying primarily on one sound, they deftly mixed together different moods, tempos, and genres. After playing a few of their more sombre songs, they opted for brighter melodies, supported by electronic underpinnings and engaging percussion. To add to the variation, Hayden Thorpe and Tom Fleming also traded off lead vocal responsibilities.

After powering through a short set (50 minutes or so), they returned for a trio of songs, including the dancier, poppier number “All The Kings Men,” which you can hear by clicking the play button below:

Given the reception of their recent LP, Smother, and the dedication of their fans (excessive cheering replaced the usual idle chatter), I wouldn’t be surprised if Wild Beasts turns in the intimate vibe at LPR for a much larger space next time around.

Shabam, pow, pop, wizz

Friday I caught the fifth installment of Doveman’s Burgundy Stain Sessions (my third).

Doveman (photo Katerina Plevkova)

You can find a full review here on Brooklyn Vegan, but I thought it might be nice to post some audio clips here to go along with the text.

By far my favorite part of the evening was the segment involving Sean Lennon and Charlotte Kemp Muhl, the couple behind the band The Ghost of a Saber Tooth Tiger.

The Ghost of a Saber Tooth Tiger (photo Christ Devos)

This was their first song last night. (The onomatopoeia interjections seem to be a homage to this song with Brigitte Bardot.)

I loved how much their songs varied from one to the next and the banter between Sean and Thomas. After the odd French rap, for instance, they played this:

Of course, the moment I think people will most remember was when Sean covered one of his dad’s songs. (That’s him singing backing vox, with Rufus on lead.) Talk about shivers. Those lyrics – though inherently hopeful – have certainly taken on an air of sadness, too.

The Burgundy Stain Sessions, January

Doveman and friends – Le Poisson Rouge – January 14th

When I first witnessed the bill for Friday night’s show, I admit my stomach got away from me for a second. Sure, Doveman and Sam Amidon often play together… but Glen Hansard? Special guests? I was hooked.

Doveman in concert in January of 2010 (photo Katerina Plevkova)

“Thank you so much for coming,” Thomas Bartlett (Doveman) began. “This is the first of these concerts that I’ll be doing, and I thought it would be nice to start with just me and Sam because me and Sam have been playing music together since we were five.”

The two kicked off the show with a simple, lovely, and faintly religious little song, “All is Well.” Ringing out with repeatedly, the titular refrain seemed like a perfect starting point for the evening.

After getting temporary sidetracked, trying to remember the date, Amidon quickly interjected, “So we’ll have some songs about Jesus,” not so much as an apology but as a simple disclosure/admittance. With his voice full of yearning and his wildly candid stage presence, Amidon easily assumed the position of a well-intentioned but slightly off-kilter preacher. During one of the more religious songs of the evening, he raised his hands up in slow spirit finger fashion, as if overcome by a subdued religious fervor.

Sam Amidon's spirit fingers at a show last January (Photo Katarina Pievkova)

Like his childhood friend, Bartlett also had a kind of awkward intensity to his performance. Bartlet’s stylized method of pian playing was captivating. Even on the quieter songs, he’d hunch down far over the keys and suddenly lurch back with one hand in the air. For him, playing the piano was a form of cardio.

Amidon’s songs were ripe with tales of wayward sons and evocative language. (In Sam’s world, cheeks are red and rosy and the grass is always green, green.) After a few songs, Bartlet (aka Doveman) and Amidon were joined by a small group of musicians.

Sam Amidon, Doveman, and friends perform “Prodigal Son:”

With the likes of Doveman, Sam Amidon, Glen Hansard, and Beth Orton all announced on LPR’s site, it was hard to imagine who the ‘special’ guests might be, but I was glad to see that the adjective was not taken lightly. After Sam had played through a few of his songs, he casually announced, “We’re in a gospel mood,” which was apparently Annie Clark’s (St. Vincent) cue to make her way to the stage to fulfill her role as a “great gospel guitarist.” Crouching down on stage in the shadow, Clark joined Amidon for one more song before the spotlight officially shifted to her. As she stood up, the stage lights shone through her messy main of curly hair, creating a halo that complimented her Amidon-annointed title.

Annie Clark performing in Seattle, 2008 (photo Shawn McClung)

Annie Clark and friends perform “Some of Them Are Old” (a Brian Eno cover):

The evening proceded with a potpouri of performances. Hardly a song or two would pass before the configuration on stage would change. Beth Orton, Glen Hansard, and Dawn Landes would each have their turn. “One thing I realized is that I hate talking on stage so much that things are really going to need an emcee,” Bartlett joked.

Beth Orton, Doveman, Sam Amidon perform the beautiful “Castles:”

The evening felt special – not just because of the talented and humble group of musicians on stage, but because sitting in the audience, I almost got the feeling that we had a behind-the-scenes look at their musical process. More times than not, the featured musician had to quickly teach the chords of the song to everyone else on stage. It felt raw and intimate. In a funnier moment, Hansard turned to Bartlett at one point, saying, “none of your jazzy shit, alright?” which elicited a quick chain of laughter throughout the room.

Many of the musicians played songs that are either too new to be officially recorded or so old they were all but forgotten. During Hansard’s performance, he actually performed a song he had apparently written a few hours prior in the dressing room.

Glen’s new song (a thinly veiled ballad about his former lover, Markéta Irglová):

Glen Hansard performing in 2008 (photo Jeff Meade)

Throughout the evening, the interplay and on-stage banter among the artists were quite charming, especially between Amidon and Bartlett. Apparently, these evenings are going to be part of a series.”This whole evening was modeled on salons,” Bartlett eventually admitted.  “I was really not enjoying playing shows for a little while and I realized that this was a really fun way to do it. If I just bring my friends along than I have a fun time, too.” Nice strategy.

Here’s one with Doveman and the whole gang:

Coming up at the next Burgundy Stain session: singer-songwriter and performance artist Justin Bond.

Taken by Swedes

When I arrived at Le Poisson Rouge tonight and saw what appeared to be a movie playing on a screen on stage, I was afraid I had come on the wrong night. (Shoot. Did I just spend 12 bucks to watch a movie?) But before I could worry to much, the side door opened, and Victoria Bergsman (formerly of the Concretes and the chick from “Young Folk”) and her backing band walked on stage, bearing incense.

In the minutes leading up to Taken by Trees’ set, people sheepishly lined the walls, as if afraid to stand in the middle of the floor, but at Victoria’s request following the first song, the crowd stepped forward and closed the gap.

Victoria Bergsman of Taken by Trees

For a Swedish artist, Taken by Trees sounds fairly… worldly, and I suppose that’s only fitting. Her last album, East of Eden, was recorded in Pakistan. According to Victoria’s website, she has always been intrigued by ‘the rhythm, drums and flutes of Pakistani music.’ Her live show may not feature Pakistanis singing backing vocals like her album does, but her performance is still tinged by this disparate culture. Instead of your standard drum kit, the two percussionists incorporate various types of shakers and bongos.

The mood was right, the crowd reverent, and the music mesmerizing (1), but it all seemed to stop too soon. Taken By Trees’ set clocked in under 45 minutes, which seems like a more appropriate length for an opening band than for the main act. (And no, there was no encore.) Honestly, it was kind of a let down, but it did leave me wanting more…

Taken by Trees may not have played this cover song, but I’ll leave you with it for fun anyway.

Set List
1. To Lose Someone (listen)
2. Anna
3. Greyest Love of All
4. Day By Day
5. Too Young
6. Summer Sigh
7. Only Yesterday
8. Watch the Waves

—-=
(1) Elsa Chiao also sounded fantastic on backing vocals. Chiao’s angelic high voice complimented Victoria’s deeper tones.

A varried line-up and a delightful evening at the Rouge

Efterklang + Daníel Bjarnason + Samamidon – Le Poisson Rouge – March 3

It’s rare that I enjoy every artist on the line-up, but Wednesday night’s show at Le Poisson Rouge hit all the right notes. Sure, I was a bit bummed out that Balmorhea had canceled (due to “urgent family matters”), but the last minute replacement for the opening slot, Samamidon, was a welcome addition to the roster.

Samamidon is one of those artists that I’ve seen scheduled to play countless times in the area, but I’ve never gotten around to actually checking him out properly. His performance tonight made me regret not making more of an effort to see him in the past. Sam unceremoniously took to the stage, picked up a ukulele, and began playing.

Samamidon

Sam’s pleasant demeanor and warm voice make you feel like you’re hanging out with an old friend whom you’ve known for years.  Perhaps it doesn’t hurt that he sounds a lot like Alexi Murdoch or even a bit like José Gonzalez.  Sam rotated instruments, playing the banjo and guitar in addition to the ukulele, and he was accompanied by drums. The sound was minimal, but it was the perfect start to the evening. Whether he was telling a story about animatronic dinosaurs or singing a cover of an R. Kelly song (“Relief”), Sam captivated the quietly seated audience. (1) He closed the evening off with the lovely song “Wedding Dress.”

Samamidon is scheduled to release an album at the end of the month, entitled I See the Sign. Download a free track from it here.

Next up was Icelandic composer/conductor Daníel Bjarnason… or more accurately, I should say Daníel Bjarnason and his sixteen-piece orchestra. I’m still not quite sure how they fit so many people and instruments on stage, but it was marvelous. A piano, violins, viola, cello, upright bass, clarinet, trumpet, trombone, oboe, clarinet, french horn, suspended gongs, and a full-size harp all decorated the stage. It was truly a sight – and a sound – to behold.

Daníel Bjarnason

Daníel’s music is beautiful, but often a bit creepy – discordant screeches were built into the first song the orchestra played. At times, just a few musicians play at a time and the sound is minimal and harmonious, but there are also sudden moments when all the instruments jump in at once, each jostling for attention to be heard through the pandemonium.  During one such moment, I know I’m not the only one who visibly jumped a little, and when I looked over at Sam, I could detect a small smile creeping over his face. To get a taste for yourself, head over here and stream a few songs.

Playing Radiohead in between sets was a bit of an odd choice, but I suppose Efterklang is pretty much Denmark’s Radiohead. I love Denmark – don’t get me wrong. They just aren’t really known for their music (or their food for that matter). Before Efterklang had even started to play, I immediately had a big grin on my face as they walked on stage. They were dressed boldly and brightly – reds, purples, greens, and blues from head to toe.

Efterklang (Photo: Rasmus Weng Karlsen)

Many of the songs the band played were from their new album, Magic Chairs, which came out just a few weeks ago, including “Alike,” which does remind me a bit of Radiohead.

In addition to the obvious – the music, I love Efterklang for their charming stage presence. All of the guys in the band seem so genuinely excited to be playing -  as if they can’t believe that they’re on stage in New York. Even lead singer Casper Clausen was in high spirits despite having been to the doctor earlier in the day for his throat and almost calling off the show. Luckily, despite this setback, Casper’s voice was in fine form, and he still had plenty of energy to march around on stage. For more punch, Tim Cronin of Camera Obscura joined the band on stage to play the trumpet throughout the evening.

The set may have been relatively short, but the energy was all there. Following the one-song encore of “Mirror Mirror,” the audience applauded generously, and the guys from Efterklang stood on stage grinning, pointing at the crowd, and enthusiastically clapping as if we were the ones who had just put on the show. The effect was utterly charming.

Do yourself a favor and head over to 4AD to check out some sweet videos of Efterklang performing songs from Magic Chairs.

–
(1) Hear and watch Samamidon performing “Relief” at a show in Dublin here.

Tight quarters at the Rouge

Laura Marling – Le Poisson Rouge – February 12

Friday night’s show at Le Poisson Rouge was certainly a departure from the norm. Forget the reverb, forget the laptops. The two artists of the night were each of a more organic breed. The show kicked off with The Wheel from Denver. The gentle tones of the upright bass combined with the vocals of frontman Nathaniel Rateliff  exude a kind of familiarity and comfort that make The Wheel perfect for a seated show… or a front porch. The Canadian Tuxedo and cowboy boots were also a nice touch.

Nathaniel Rateliff and the Wheel

The Wheel also joined Laura Marling for a number of songs in her impressive set. To call Laura Marling a singer-songwriter seems almost insulting given the depth of her talent. She has a phenomenal voice, she writes evocative and intriguing lyrics, and she certainly knows how to play the guitar. Oh yeah… and she also has a fantastic presence on stage. She’s shy but candid, pessimistic but playful, and bright-eyed yet jaded.

Then there are the lyrics – the beautiful and heartbreaking lyrics. Marling doesn’t seem to believe in love, God, or fairytale endings. Instead ghosts, sadness, sins, and sickness populate her songs. She sings so sweetly that it’s easy to miss the sinister tone that many of her songs have until you catch a line like: “My happy man my manic and I have no plans to move on.” The song, “My Manic and I,” is one of my absolute favorites as of late (even if it does come from her debut album and is not new).

Laura Marling - now a brunette

A lot has happened since Marling’s debut album, Alas, I Cannot Swim. After all, she was just 17 and unknown when she released it in 2007. She is certainly still shy, but according to a recent article on the Times Online, Marling’s intense social unease is beginning to subside. In the interview, she states:

What I’ve figured out in the past couple of years is that you can be shy, but you can also step it up a notch and, you know, be on the level with people.

Even the name of her  second album, I Speak Because I Can, seems to exhibit a natural evolution.

Of course, that’s not to say that she’s invisible. One of her new songs re-tells an old fairy tale of sorts about a girl who was brought up in isolation in the woods, tried to enter society, couldn’t cope, and went back to the wild. Marling is scheduled to release two albums this year: I Speak Because I Can and Devil’s Spoke.

CMJ – day five

After a full day of show-going yesterday, I was almost too tired to make it out to anything last night, but since I had bought my ticket to see Sin Fang Bous and múm months ago, I decided to soldier on. After all, they’re both from Iceland. A chance like this probably doesn’t come too often. I had been warned that it might be a bit sleepy, but I figured that after a long week, sleepy might not be so bad.

the members of múm offer you a colorful kaleidoscope of sound - even on rainy days

While the show was definitely dreamy and ethereal, it was far from sleepy. I was impressed by how much múm moved the crowd. Every now and then a special kind of feeling permeates the room and elevates a good show to a great show. The members of múm were incredibly talented and gracious. You could tell they were genuinely having a good time, and that feeling was contagious. They danced and flitted about stage as they made their music. Note: the use of the word ‘made’ in the place of ‘play’ is significant here. Many bands with strange sound effects like múm have a tendency to be rather disappointing live because so much of their sound is contructed ahead of time and simply played from a laptop. This did not seem to be the case with múm. They truly were making the music right there on stage with the help of a number of strange instruments and an impressive range of vocals.

In addition to playing a number of my favorite songs from 2007′s Go Go Smear the Poison Ivy ( including: “Guilty Rocks,” “Marmalade Fire,” and “Blessed Brambles”), they played a healthy selection from their recent album Sing Along to Songs You Don’t Know. The final song of their set (pre-encore) was “Sing Along,” which featured borderline cute/creep lyrics and cue cards to get the audience to sing along, too. Oh, múm, your last album may not be as strong as its predecessors, but “You are so beautiful to us, we want to lock you in our house,” too.

Here’s a video from Pitchfork TV of one of my favorite songs, “Guilty Rocks” :

So thanks, múm for helping CMJ end on a high note.