End of the year best, the final round: Albums

Oy vey! This should not have taken so long to put together. I apologize for the tardiness of this list. The truth is I really struggled to put it together. 2010 was consumed by rampant concert-going and reviewing to such an extent that I didn’t have much time for experiencing music in its more packaged and produced form: the album. Thus, every time I started working on compiling this list, I found myself thinking of more albums I hadn’t ever gotten around to. As a result, much of the past month was spent playing catch-up. Without further ado, here are the results.

1. The Age of Adz – Sufjan Stevens (Asthmatic Kitty)

The Age of Adz opens with the deceptively calming and methodical “Futile Devices” – almost as if nothing had changed since the gentle days of Greetings from Michigan. Of course, it isn’t long before things start to get a little… strange. In an interview with WNYC’s John Schaefer back in the fall of 2009, Sufjan talked about his new project, saying, “Well I’m not interested really in a collection of songs in an album, but what if the song itself is the album.” The Age of Adz is a fascinating, experimental adventure – far more experimental than much of the music that typically falls under that tired tag. Yes, it is bombastic and wildly ambitious. Yes, it was met by much flak when it was suddenly released – especially on the heals of the mild and beautiful EP All Delighted People. But sometimes, it’s the art that takes the most risks and is the most divisive that is most worth a look. Take it or leave it, love it or hate it. Gather ’round. This is the age of Adz. Let the flutes flutter, the guitar sound out triumphantly, and the back-up singers belt it out and dance with glee.

Sufjan Stevens, “Age of Adz” clip:

As you will no doubt notice, observant reader, there is a significant gap in my list here. What happened to albums 2-3? You may be thinking to yourself. Well for me, the year’s number one album was obvious… so obvious that the next few had me stumped. Nothing seemed to make enough of an impression to warrant a position so close to The Age of Adz, simple as that. Please don’t interpret the gap as a cop-out. Instead, it is a powerful statement about my feelings of the year in music and my love of my top album. It’s true, I didn’t think it was the most impressive year as far as the album goes, but in this gap, it’s important to note that there is also hope. Every year, I struggle with my limitations. I’m simply not able to hear and synthesize enough albums. In 2010, some of my favorite albums of the year (DM Stith’s Heavy Ghost, Silje Nes’ Ames Room, and Holy Sons’ Decline of the West) are from previous years. I like to think that perhaps I just haven’t yet discovered my other favorites of the year.

4. Go – Jónsi (XL)

Thanks to my early love for Sigur Rós, I have long been captivated by Jón Þór Birgisson’s heavenly voice. But with many of his band members taking a musical hiatus to have kids, Birgisson had a little extra time on his hands and Jónsi was born. From the moment I saw the strange but gorgeous video for “Go Do,” I eagerly awaited more. Go is positively radiant – a celestial kaleidoscope of sound. One of my biggest regrets of the year was missing him in concert. Apparently, it was a sight to behold. (Luckily, you can at least listen to his show at the 9:30 Club, thanks to the folks at NPR Music.)

Jónsi, “Go Do” clip:

5. Halcyon Digest – Deerhunter (4AD)

I was tempted to throw Atlas Sound’s Bedroom Databank on the list, but though the impromptu collection contains an intimate collection of hushed and deeply confessional lo-fi songs, Halcyon Digest is clearly the more cohesive and consistent release. Bradford Cox’s songs may often be grim, but somehow, Halcyon Digest seems – dare I say it? – upbeat… even when the lyrics cover things like perpetual darkness and abandonment. Halycon, indeed.

Deerhunter, “Don’t Cry” clip:

6. High Violet – The National (4AD)

Yes, sometimes Matt Berninger whines on this album. Yes, it may have taken me longer than it should have to get into it. But despite these caveats, High Violet remains one of the most impressive outputs of the year. The instrumentation is full-bodied and complex and the lyrics are brimming with highly evocative one-liners. (I was carried to Ohio in a swarm of bees sounds almost mythological, and a game of nuns versus priests sounds both comical and terrifying.) Absent of any obvious stand-out tracks, High Violet is also truly an album to be digested in its entirety.

The National, “Anyone’s Ghost” clip:

7. Cloak and Cipher – Land of Talk (Saddle Creek)

At casual listen, Lizzie Powell has the kind of smooth, innocuous vocals characteristic of an artist found on the adult easy-listening channel, but don’t let that fool you. From seeing Land of Talk perform twice this past year, I know the woman to be a powerful force, and her lyrics are some of the most powerful I’ve heard all year.
Land of Talk, “Color Me Badd” clip:

8. I Speak Because I Can – Laura Marling (Astralwerks)

Interestingly, this album was not initially on my list. Besides “Hope in the Air,” there just weren’t any tracks as good as “Ghosts,” “My Manic and I,” or “Crawled Out of the Sea.” But then I got to thinking… Alas I Cannot Swim is perhaps one of my favorite albums in the last five years. So what if I Speak Because I Can didn’t top it. The truth of the matter is that any Laura Marling album is going to be better than average. Everything from the title of this album to the tone reveals a more confident and mature Marling. Maybe there aren’t (m)any tracks I would listen to on repeat as I did with her previous material, but it remains a solid album. I eagerly await what comes next.

Laura Marling, “Hope in the Air” clip:

9. All Alone In An Empty House – Lost in the Trees (Anti)

When I first saw Lost in the Trees open for Efterklang in the spring of 2008, my friend and I were so impressed and moved by the haunting melodies that we each bought an album – a rarity for us spoiled college radio kids. For front man Ari Picker, making and playing music is a deeply moving and cathartic experience. At a recent show at the Mercury Lounge, he said, “I started listening to classical music in 2005. It was an interesting experience. I started getting a feeling like I was in church or something. It was a mind-opening experience.” Like the band’s older catalog, All Alone in an Empty House is delightfully gothic and brimming with intensity.

Lost in the Trees, “All Alone in an Empty” clip:

10. Love Remains – How To Dress Well (Lefse)

Reminiscent a bit of Bon Iver, How To Dress Well is a hazy, melodic collection of songs that seem to be made for the cold, dark days of winter. Love Remains is a complex and intriguing synthesis of bedroom music, 90s R & B, and fuzzed out, heavily distorted electronica – all accompanied by Tom Krell’s piercing falsetto. The songs flow from one to the next with ease and create a haunting and hazy tableau of sound.

How To Dress Well, “Can’t See My Own Face” clip:

11. Made in the Harbor – Mountain Man (Partisan)

For the first few times I saw the name Mountain Man floating around, I was quick to dismiss the band. Haven’t I heard this before? I thought to myself. But this isn’t Man Man, Young Man, Black Mountain, or the Pink Mountaintops. There isn’t even a man on the album. Instead, three lovely ladies team up to create Appalachian folk-inspired ditties, full of three-part harmonies, sparse instrumentation, and a lot of heart, and the result is captivating.

Mountain Man, “Animal Tracks” clip:

12. The Calcination of Scout Niblett – Scout Niblett (Drag City)

Simultaneously abrasive and demure – Scout Niblett is an enigmatic figure and a compelling songwriter. Her music is marked by furious highs and delicate lows, and she navigates between the two like a restless, overenthusiastic child choosing between new toys on Christmas. Fitting for its heavy sound, The Calcination of Scout Niblett dropped back in January, and as the colder days set in once again, I find myself listening to it with increased frequency and fervor.

Scout Niblett, “The Calcination of Scout Niblett” clip:

13. Magic Central – Breathe Owl Breathe (Hometapes)

I had this album for a couple of months before I finally got around to listening to it. Big mistake. I adored the group’s earlier material for its warmth and down-to-earth simplicity like a little kid loves his blanket. Now, with Magic Central, the sound is more expansive, but the content remains charming familiar. In his characteristic rich and relaxed tenor, front man Micah Middaugh sings of everything from the benign, everyday (an errant mustache) to bigger, heavier topics (like how to forget a former love). As the story goes, the Michigan-based group retreated to a cabin in the woods cabin to soak up the sun and play some music. The formula may be a bit hackneyed now, but the end result is no less worthy.

Breathe Owl Breathe, “Dragon” clip:

14. Write About Love – Belle & Sebastian (Matador)

After some five years of waiting, I anxiously awaited the release of Write About Love. I spent a lot of time with Belle & Sebastian over the years. A lot. After such a long hiatus, would they be able to retain the glow of previous releases like The Boy with the Arab Strap, If You’re Feeling Sinister, or Fold Your Hands, Child You Walk Like a Peasant? Sure, Write About Love may not glisten, but it certainly still has its moments.

Belle & Sebastian, “Come On Sister” clip:

15. I See the Sign – Sam Amidon (Bedroom Community)

Sam Amidon may seem like something of an odd choice for the list. After all, the man doesn’t even write his own songs… well not exactly. Instead, he adopts and adapts old folk and gospel songs (and even the occasional cover) and makes them his own. Amidon’s fast finger-plucking skills and rich, well-weathered voice combine delightfully in I See the Sign. Though the lyrics may not be his own, each song readily evokes a story. Everything from stubborn damsels to matricide, and a wayward son populate the album.

Sam Amidon, “You Better Mind” clip:

—

Honorable Mentions go to:

Allo Darlin’ – s/t (Fortuna POP)
The sunny, upbeat stylings of this Australian pop group are likely to get stuck in your head for hours on end.

Allo Darlin’, “Dreaming” clip:

Broken Bells – s/t (Columbia)
‘Super’ precedes ‘group’ for a reason. Take exhibit A, Broken Bells – the work of James Mercer (The Shins) and Brian Burton (Danger Mouse).

Broken Bells, “Vaporize” clip:

 

Efterklang – Magic Chairs (4 AD)
Efterklang is a great live act, and I like the first few songs of Magic Chairs, but for whatever reason, I never seem to get beyond the first 3 or 4 tracks before giving up.

Efterklang, “Alike” clip:

 

Phantogram – Eyelid Movies (Barsuk)
Mesmerizing and quixotic songs couple well with Sarah Barthel’s equally intoxicating vocals.

Phantogram, “When I’m Small” clip:

Perfume Genius – Learning (Matador)
In all honesty, I have yet to obtain Learning in its entirety, but I’m digging what I have heard of Mike Hadreas’ docile, heartfelt songs.

Perfume Genius, “Learning” clip:

Glaringly and intentionally absent:

Arcade Fire – The Suburbs (Merge)
When Funeral came out in 2004, I remember thinking that it was a big moment in indie music history, but for whatever reason, I have still never been able to get into this band. I’m sorry.

Beach House – Teen Dream (Sub Pop)
I loved Devotion as much as the next guy, but despite my fierce desire to get behind this album, I simply can’t handle how raspy Victoria Legrand’s voice has become.

Mumford & Sons – Sigh No More (Glass Note)
In my book, Fanfarlo, Noah and the Whale, and Laura Marling all deserve more praise than their British folk contemporaries, Mumford & Sons. For what it is, the presentation is just too gruff for me, and the intensity seems artificially heightened.

End of the year best, round one: Shows

I’m starting with this list because it is perhaps the easiest to compile. More to come.

There are 19 here. Deal with it. They’re also in descending order, for dramatic effect.
(The asterisks link to the appropriate show review.)

19. Warpaint – Music Hall of Williamsburg, December 2nd *
This was another surprise. Though I had heard the name Warpaint thrown around for a few months, I knew little about them going into the show, but they had me bewitched with their alternating vocals and mesmerizing minimalism.

18. Seabear – Mercury Lounge, March 25th *
I really can’t get enough of these quaint Icelandic bands, homespun sweaters and all. The harmonies and the impressive range of instruments in this large band leave me with an extra spring in my step. I want to get inducted into their family. You don’t think they’d notice if I joined in, do you? Maybe I could play the tambourine… or just pretend to sing.

Seabear (Photo Thomas Helbig)

17. Land of Talk – Bowery Ballroom, November 6th *
I really loved this album – the lyrics especially, so seeing Land of Talk this past November was a real treat.

16. Bonnie ‘Prince’ Billy and the Cairo Gang, The Babblers – Town Hall, December 8th *
Surprisingly, this was my first time seeing B’P'B. It was a long time coming. Perhaps the biggest surprise of the evening, however, was The Babblers – yet another of Will Oldham’s special projects, featuring the irresistible Angel Olsen on vox.

15. tUnE-yArDs – The Bell House, February 5th *
With her wild gaze and tribal-influenced songs, Merril Garbus is a force to behold. From what I heard, she stole the show from the Dirty Projectors when she opened for them. Somehow, that doesn’t at all surprise me.

tUnE-yArDs (Photo Jessica Amaya)

14. Casiotone for the Painfully Alone – Mercury Lounge, October 14th * (an interview with Owen)
I’ve seen Owen more times than nearly everyone else (3 or 4 times this year alone), and every time is a treat. This show was an extra treat because it was one of his last performances as CFTPA… ever! (I also attended his last NY show the next night, but the Brooklyn Masonic Temple was not the right environment, and too many people were there to see the other bands on the bill – ahem, Dan Deacon and Lightning Bolt). What a sweet man. I look forward to hearing his next musical project.

13. Scout Niblett and Holy Sons – The Mercury Lounge, October 6th *
After the disastrous Cat Power-esque performance in 2007, I’m certainly glad I gave you another chance, Scout (aka Emma). I love how raw her voice is and how she effortlessly shifts in tone from the sweet, innocent girl to the big bad wolf. Though I had never heard of them prior to the show, Holy Sons wowed me so much that I left with two albums.

Scout Niblett (Ian Crowther)

12. Lost in the Trees – The Mercury Lounge, August 23rd *
These guys from North Carolina are every bit as mesmerizing now as when I first saw them in 2008. Their moody orchestral arrangements and haunting lyrics make me shiver every time.

11. The Blow – Glasslands Gallery,  May 13th *
Oh, Khaela. Your banter about the lost album with the unnamed starlet (Lindsey Lohan) may not be true, but it makes for quite an entertaining schtick. I love her beautiful, awkward stage presence and the candidness of her songs.

The Blow (Photo Devyn Manibo)

10. Beirut – Music Hall of Williamsburg, July 5th *
The man has French horn tattoos. Enough said.

9. Belle & Sebastian – The Williamsburg Waterfront, September 20th *
This was perhaps my most anticipated show of the year. I’ve spent countless hours listening to Belle & Sebastian. They were just one of those formative bands for me. Too bad it took me like 6 years to actually see them. The show was good, and the band was charming. Sadly, it just never could have lived up to my expectations.

Belle & Sebastian (Photo Amanda Hatfield)

8. CocoRosie – Music Hall of Williamsburg, September 15th *
This was kind of the wild card of the year. I wasn’t sure if I’d want to storm out of the room or take the sisters home with me. The latter was more accurate. I was pretty much speechless by the end of the night.

7. Andrew Bird – The Guggenheim, August 5th *
Andrew Bird… at the Guggenheim. The set-up alone is drool-worthy. Then there was the ‘forest floor of horns’ and the multi-level rotunda, designed by Frank Lloyd Wright.

Andrew Bird (Photo Macey Foronda)

6. The National – Radio City Music Hall – June 16th *
I’d say I preferred their show at the Bell House or BAM earlier in the year (whoa, I saw them 4 times)… except for the fact that this was the show when Matt Berninger left the stage, climbed over the seats in my aisle, and landed in mine. The feeling of his hand on my shoulder as he steadied himself and the knowledge that I could have easily reached across the three-inch divide and caressed his cheek, are almost too much to handle.

5. DM Stith + Silje Nes + Inlets – Littlefield, June 13th *
Again, a fantastic line-up and a small, intimate show (with seats!). This was my first encounter with the Norwegian beauty Silje Nes, and I hope to see her many more times. And David Michael, might we go on a picnic sometime?

4. Laura Marling – Le Poisson Rouge, February 12th *
I love this girl… even if her songs strongly suggest that she doesn’t believe in the emotion. She is miles in front of her British contemporaries (Noah and the Whale, Fanfarlo, Mumford and Sons). Laura, I foolishly invite you to ditch Marcus and trample on my heart instead.

Laura Marling (Photo kDamo)

3. Efterklang + Sam Amidon + Daniel Bjarnason – Le Poisson Rouge, March 3rd *
I loved each of these acts individually. Together, they made for one of the most memorable shows of the year. What a talented array of musicians. Even though shows at LPR can be a bummer due to the pesky 2-item minimum at tables, I’d gladly hulk in the corner for you any day, Sam.

2. Atlas Sound – The Bell House, February 3rd *
Remember when the Bell House consistently hosted great musicians? I really hope these winter shows become an annual tradition as Bradford hinted a couple of weeks ago. I love Deerhunter, but I feel like Bradford would be dead without Atlas Sound to channel his surfeit of creative energy. Wonderful, heartfelt show – a nice contrast to the cold, dark February night.

1. Sufjan Stevens + DM Stith – Beacon Theatre, November 14th *
How could this not be the best show of the year? One minute I was dancing and laughing with glee and a few songs later, I was silently sobbing. Simply amazing.

Sufjan and his ladies (Photo Tammy Lo)

“The Geese of Beverly Road” takes on a whole new meaning

I recently took my first stroll through Beverly Road in Brooklyn’s Ditmas Park, and let’s just say I was enchanted. The houses are brightly colored and mostly Victorian in style, and there are trees everywhere. It’s one of those streets you just walk down with a smile on your face.

A house on Beverly Road (Photo 'Flatbush Gardener')

Shortly after I walked to the subway stop (and vowed to find a way to live in Ditmas Park), I began to think about the National song “The Geese from Beverly Road,” and I got this great image in my head of Canadian geese hobbling down the road.

Canadian Goose (Photo John Glass)

Fast forward a few weeks, and I can’t believe what I’m reading in the paper. The New York Times ran an appalling story that detailed the capture and execution of thousands of geese in an attempt to lessen the complications between geese and airplanes.

The captured geese are placed alive in commercial turkey crates. The geese would be brought to a secure location and euthanized with methods approved by the American Veterinary Medical Association. Euthanized geese would be buried.

On Tuesday night, The National played their song “The Geese of Beverly Road” in Prospect Park where sadly, the geese had been wrangled up and killed, but they refrained from getting into the politics of the situation much, saying only “This song has definitely taken on a different meaning recently, but we don’t want to be distasteful.”

Here’s hoping the zombie-like impulse that drives “Conversation 16” doesn’t come back to haunt us, too.

My tenth grade moment

So I saw The National for the third time this year – this time it was at Radio City Music Hall. Quite a change from seeing them at the Bell House in March. Before the show, one of my friends said that the show probably wouldn’t be the same since the lead singer Matt Berninger wouldn’t hop off the stage like he normally does, but it turns out that the size and formality of the venue is no hindrance to Berninger’s performance. As if painstakingly following a script, Berninger did indeed leave the stage on a few songs.

Matt Berninger (Photo Shawn Anderson)

But the real magic happened during “Abel.” At least, it did for me. Berninger jumped off the stage and started pulling that oh-so-long mic chord behind him as he walked up the aisle in the theatre. For a few seconds, I lost sight of him. And then, there he was, right outside my row. And then… what? He started climbing over the seats and ended up stumbling right into Row WW, Seat 409 – my seat. As he stood haphazardly balanced on the seat behind me, he leaned over, grabbed my shoulder to steady himself and put the mic right in my face as he sang. And, though I know nearly all of the lyrics to their songs and the chorus to “Abel” in particular is embarrassingly simple, I admit I froze a little and was too stunned to sing along. After my moment had passed, Berninger continued on his way, climbing over the seat in front of me and then heading back to the stage.

The above was just an excerpt from my review for Brooklyn Vegan. Check it out here.

There were a lot of haters in the comments section for that post. Mostly they were hating on the band or the sound quality at the venue, but one person commented that the review seemed like it was “written by a 10th grader for the high school rag.” Initially, this got me down a little. I need to be edgier with my reviews, I thought. Then it hit me. I felt exactly like a fifteen-year-old girl when Matt singled me out. It was seriously insane. For the 15-20 seconds that he stood their in my seat, I actually don’t remember hearing anything, which I think is why I couldn’t bring myself to sing along. It was as if my brain made a snappy decision. What are the most important senses in this situation? OK. Sight and feeling. And my hearing just temporarily vanished in order to allow me to really take in the scene in front of me and be hyper aware of Matt gripping my bicep. Complete sensory overload.

Brooklyn Vegan – not a food-related site

Hey, guys. So a few days ago, I got an email from popular NY-based music blog Brooklyn Vegan, asking me if I’d like to write for them, and I decided to give it a try. This means that there will probably be fewer live concert reviews here, but the blog will live on! (Of course, Brooklyn Vegan is also just a click away).

If you aren’t National’d out by this point, I encourage you to check out my first post about Saturday night’s show at BAM. Exciting stuff.

I probably won’t link to BV every time I post something there, but I will mention it in my new Twitter feed. Follow me for the latest.

The National: High Violet

The National – High Violet [4AD]
Release date: May 11

In a 2007 interview with The Nerve, singer Matt Berninger commented:

The National, in my mind, has always been a New York thing. As far as New York being a place where there’s more pressure, I think the opposite is true. The city is incredibly nurturing to bands.

The National may New York to thank for much of their success as musicians, but something seems to have happened to them – or at least to songwriter Matt Berninger – that changed his opinion of the city, for the worse. Gone is any semblance of urban satisfaction on High Violet. And I’m not talking about just a passing disparaging comment. No, the disdain seems to be palpable.

Lyrics range from “Lemonworld”:
So happy I was invited. It gave me a reason to get out of the city. See you inside watching swarms on TV. Livin’ or dyin’ in New York it means nothing to me.

to being stuck in New York and the rain’s coming down in “Little Faith.” There’s even a post-apocalyptic reference to the Manhattan valleys of the dead in “Anybody’s Ghost.” (1)

I can get beyond the whining for the most part. I mean who doesn’t long to get out of the city every now and then. Berninger’s pleasant deep baritone also masks most of the complaining. But it’s another story entirely on songs like “Runaway” and “Vanderlye Cry Baby Geeks” when he leaves behind his smooth voice and stretches his range to sing higher notes. Some people complain that Berninger’s voice is too monotone and lacks diversity (2), but High Violet suggests that maybe Berninger should stick to what he does best.

Take ”Runaway,” for example:

Of course, you could also argue that the strain in his voice is more raw and really expresses a sense of longing, and there’s something to that. I still maintain that it’s a dangerous territory to enter due to the risk of sounding pained – and dare I say it – a little bit… emo.

In addition to the New-York-sucks motif, preoccupations with water and weather also factor prominently into High Violet. It’s really astounding. Tracks 4, 6, 7, 8, 9, 10, and 11 all contain references to water be it through oceans, rivers, rain, or floods.

But let’s move beyond all that. I’ll try not to take the whole New York thing as an affront.

Over the course of their career, The National has showcased increasingly excellent instrumentation, and High Violet is no exception. In addition to the usual fare, brass and string instruments factor prominently into the lush mix. They may officially be a five-piece, but in a live setting the sheer volume of textures on the album becomes apparent via the extra help the band invokes to help complete their sound.

Take a listen to one of my favorite cuts from the new album, “Anyone’s Ghost,” which the band recently performed for WNYC’s Soundcheck:

Gone are the raucous songs of the past like “Mr. November.” But that doesn’t mean that High Violet is without feeling.

Waves of paranoia and frustrations invade the lyrics. At one point, Berninger basically admits to being a zombie. I was afraid I’d eat your brains, he sings in “Conversation 16.”

But what I love about The National is that they don’t just create an art form for the ears. The lyrics of High Violet are highly evocative. Intriguing one-liners fill the songs with images.

I was carried to Ohio in a swarm of bees sounds almost mythological, and a game of nuns versus priests sounds both comical and terrifying.

The bottom line: Is it good? Yes. Do I like it more than Boxer? No… at least not yet.

The dapperly dressed quintet is playing a (rather impromptu, and almost definitely sold-out) show at BAM this Saturday. Check it out if you can. The sound quality promises to be fantastic. Also – let me know if you have an extra ticket! (My computer at work was so slow that the show sold out before I could even pull up the page to get a ticket).

—

(1) I also could have sworn that the lyrics to “Anybody’s Ghost” were:
The city is not inside my heart. It was. The city should tear a kid apart. It does.

But it turns out they’re: “you said it was not inside my heart”

(2) I, on the other hand, have always been drawn to his soul-satisfying voice.

Catching up with The National

The National – The Bell House – March 13

Sometimes, it’s nice to plan for shows in advance so as to avoid last minute conflicts, but other times, it’s best to make plans as you go. Three days ago, I didn’t know that the National were playing a couple of shows at the Bell House (conveniently located 7 blocks away from my apartment). Last night, I found myself not at Union Pool seeing Scout Niblett as I had initially planned, but sitting outside the Bell House in the rain, hoping to find a way into the sold-out show. Luckily, I was approached almost right away by a well-dressed man who asked me for my name and phone number. Ten minutes later, I got the call that my name had made it onto the guest list. Success.

I admit I hadn’t heard a thing about the opening band, Buke and Gass. Part of me was worried that they’d be terrible. That happens sometimes. Someone owes someone a favor, someone’s friend wants to play. It gets messy. That said, I was pleasantly surprised. Buke and Gass is just two people – Arone Dyer on vocals and ukulele and Aron Sanchez on bass and percussion.

Buke and Gass

Despite their modest appearance, their sound is surprisingly big and heavier than you might expect from a woman who exudes little kid charm. Arone wore her hair in two messy buns and seemed positively elated to be playing – to the extent that she giggled between nearly every song. If all this is sounding a bit too twee for you, you’ve got the wrong impression. Buke and Gass exert just the right amount of sass, thanks largely to Arone assertive vocals and the duo’s carefully texturized sound. Suffice it to say that I’m looking forward to hearing more from these guys.

As you probably already know, The National’s previous album, Boxer, garnered a considerable amount of praise when it was released in 2007. It made the coveted number one spot on many end-of-the-year lists. Just knowing that the National were about to release a new album had me excited, but an intimate show at the Bell House? How fortuitous.

The National (Photo: Keith Klenowski)

As promised, The National played a number of songs from their upcoming album, High Violet, which officially drops May 11th.

alleged High Violet cover

Though it was the first time I heard any of their new songs, many of the themes expressed in earlier albums (madness, brains, melancholia) seem to crop up in their new material as well, as was evidenced by the very first song.

This is the happiest song on our new record. It’s called “Sorrow,” joked singer Matt Berninger. In between sips of his chilled white wine, Berninger continued, Last night we were nervous, so we came out and had an awesome show. Tonight we’re confident and usually when that happens we take a dive, so we’ll see…

The band followed up “Sorrow” with two additional new songs before breaking into a string of older songs, including “Mistaken For Strangers” and “Secret Meeting, which elicited enthusiastic responses from the crowd.

Compared to the older songs (especially those on Alligator), the newer songs seem more toned down, which is probably for the best – at least for the time being. Though he was able to conceal it for the most part, Berninger is in the process of finding his voice again following his recent decision to give up smoking.  I quit smoking a couple of months ago, so if I coughed on you, it’s not a disease. It’s my lungs regenerating. Sorry.

Despite Matt’s difficulty nailing some of the more aggressive parts of the songs, he certainly did not lack energy. He frenetically paced around the stage and certainly made the encore memorable by rushing into the audience during “Mr. November” and singing the desperate chorus with anyone and everyone he could grab with a good pair of lungs. As he stood on top of first an amp and then a dividing wall, towering over everybody, it was clear that he certainly had the rock star act down. But the thing I love about Matt is that he still manages to be self-deprecating and soft-spoken when he speaks between the songs. I love this discrepancy between his softer side and his sheer recklessness. It’s as if he takes on another persona once he starts singing – especially with songs like “Mr. November,” “Abel,” and the end of “Secret Meeting.”

With as many as ten people playing along at times, the sheer sound produced on stage was impressive, and the addition of the trumpet and trombone pack a special punch.

With a playtime that clocked in at around an hour and forty minutes, this is what a concert should be, and hopefully more will be in the works. After all, they do live in Brooklyn.

Set List
*Sorrow
*Anyone’s Ghost
*Little Faith (Chrome Horse)
Mistaken for Strangers
Secret Meeting
*Afraid of Everyone
*Bloodbuzz Ohio
*Lemonworld
Brainy
All The Wine
Apartment Story
*Runaway
*Conversation 16
Abel
Daughters of the Soho Riots
*England
Fake Empire

Encore:
*Vanderlye Crybaby Geeks
Mr. November
*Terrible Love

*asterisks designate new tracks to the best of my knowledge.

For a great set of photos from the first night’s show, go here.

Also, check out a recent live performance of the new song “Terrible Love:”