In a small and cozy dimly light red room at Rockwood Music Hall, Scott Matthew graced the audience with his presence and talent.  The crowd quietly listened to the Australian born New Yorker play his new album, Gallantry’s Favorite Son, at his record release party.  The drums and bass were pushed far back as we listened to Matthew gently strum his ukulele.  There’s nothing more classic than watching a passionate musician only with his guitar, if there only was a fireplace crackling to the side, it would have been the perfect setting on a cold winter’s night.

The intimate environment went well with his personal songs about love and life’s complexities.  He sang some melodramatic melodies about past relationships, threw in some whistles and lightened up the mood.  It’s difficult to categorize his voice which makes it truly is unique and endearing. It features a touch of rasp, but yet feels pure, filled with vibratos and crescendos that create the right mix for his gentle folky ballads.

If you’re in the mellow mood, Gallantry’s Favorite Son is definitely worth listening to.

The Asteroid’s Galaxy Tour (once again) rocked their performance in NYC and played at the Irving Plaza.  It wasn’t too long ago where they played at the Bowery Ballroom. There were several similarities within the shows: the size of the venue, the wooden floors were shaking from the uncontrollable movements of the crowd, Mette was stunning as always, and their standout jazzy tones captured the audience’s heart. The one major difference was that they just released their new album, Out of Frequency, that day. We were all in for one big surprise….

They opened with a long instrumental introduction before Mette walked onstage.  Waiting in anticipation to see her ensemble, considering her role as a boundless fashionista, I instantly admired her look.  Looking as if she stepped out of Marc Jacobs’ Daisy ad, she wore a vintage inspired navy blue dress with a lace collar, pieced with Janis Joplin-looking sun glasses.  Accompanied by the intricate lighting, her blue dress beamed through the entire performance, literally. There are pictures to prove it.

Throughout the show, they played a variety of their old and new songs.  The six member band produced multiple layers of heavy jazz, classic funk, followed with a pop-rock twist, while incorporating a high-hitting perfect pitched voice.  I call the latter mix, “The Asteroid’s Galaxy Tour’s formula,” and it has yet to be topped.  They give an effortless attempt to master the funky and fun, yet casual and hip show. They played their classics; Sun Ain’t Shining No More, Golden Age, Sunshine Coolin’, Around the Bend, and ended with Push the Envelope.  Some songs they rocked from Out of Frequency included Major, Heart Attack, Suburban Space Invader (which they played in concert for the first time).

I’ve expressed my deep rooted love for this talented band because they are truly a jewel within the music industry and fresh breath of air.  My only question remains, when are they coming back to NYC?

This previous Saturday I was lucky enough to sit down with the fellas from the boom booms followed by their concert at Sugar Nightclub in Victoria.
Prior to the interview and concert I was excited as The Boom Booms are an up and coming band who seem to be perpetually expanding in song choices and career moves. Their success grew further recently as they were awarded the high up in the Peak’s “Top 20 BC Bands of 2011″.

The boys have remained humble and focused during the process of further recognition. They explained to me that they are doing what they have always done, but now they have greater recognition from the public and thirsty record producers. This of course feels nice to the band but is not the foundation of why they approached the music industry.

Every member of the six piece rock/Latin/reggae band emanates something musical, in their gate and the way they speak and the way they communicate with one another. They all complement one another in conversation and on stage. This is evident of a band that chooses members that are suitable and compatible. They have travelled extensively together and four of them live in the same house in East Vancouver, while the 2 members live within shouting distance. When asked how they manage this they explained cohesively; they have become used to one another and being together just feels comfortable.

The boys are taking off to Brazil this week to expand feed their musical curiosity, expand with their music and shed light on the current issues that attack one of the most influential countries in the world.

The Boom Booms live is an interactive experience, they make it their responsibility to get limbs loose on the dance floor which is exactly what happened in the packed in the Raptors venue. They each interact with the crowd and make sure the audience is connected, this connection is what makes their performances electric and lithe.

Their set lists are commonly designed before each show based off of who they are playing with and how they are feeling, allowing authenticity to each performance. The fellas include choreographed dance sways, sing alongs and even Nelly covers. The underlying foundation of the Boom Booms is fun, I anticipate this quality to stick with further musical evolvement during their time in Brazil.

After seeing Caveman perform at the Bowery Ballroom, I now understand why it was a sold out show.  To put it simply – it was amazing.  All of Caveman’s unique features were enhanced during their set.  If you are like me and have listened to Coco Beware for the past five months on loop, seeing Caveman made me Decide how Thankful I was to have such a Great Life.  Ok, I’ll stop having fun with song titles and try to portray how these New York natives put on such a colorful performance.

Each member of the band played an integral part with the ensembles. The keyboards, tambourines, two guitarists, and multiple drums added many layered elements to their four-part harmonized songs. The talented lead singer, Matthew Iwanusa, mastered the multi-tasking while he covered songs using drums and tambourines while singing each high note right on pitch.  Although I’m not aware as to the meaning behind their band title, I can rightfully say, the show/members embraced caveman-like tendencies.  Slightly hunched, Iwanusa ardently banged on the single drum while the rest of the sounds beautifully rang through the ballroom as if it were inside an echoey cave.

Compared to their album, the show had several psychedelic components to their set. The long resonating outros to certain songs reverberated throughout the venue and had a powerful impact on the listener.  On top of some new songs they performed, they played their entire album.  They ended with Great Life and brought some of their talented friends to beat the drums with them on stage. Not only did I slightly feel I was watching a mini drum circle, but was intrigued by this spiritual experience.  Although it was just a couple of guys having fun and jammin’ to a great song, it was a moment that every concert attendee pays and prays to see-the organic development of watching the performers getting lost in the music. Priceless.

The Devil Wears Prada - Jeremy DePoyster

The Devil Wears Prada

The Devil Wears Prada - Mike Hranica

The Devil Wears Prada - Mike Hranica

Setlist: TDWP in Montreal
Full set of photos: jakemullan’s flickr

I generally give positives reviews, because (thus far) the shows I’ve attended have been good. Therefore, I find it difficult to express myself when a show was truly amazing.  Macklemore & Ryan Lewis’ performance at the Bowery Ballroom was flat-out incredible. Although there were some heavily rehearsed dialogue parts between the songs, the overall performance was profusely high-energetic.  Although some parts did seem staged, you could sense his sincerity towards his fans and his passion for music pervaded throughout his performance. His eccentric costume changes, humorous commentary, exuded confidence, and articulate rhymes, made this a stand-out performance and my crush for Macklemore & Ryan Lewis intensified like a middle-school girl.

Macklemore embraces the Seattle swagger demonstrated by his clothes which looked like he bought them at trendy vintage store. He began with a leather jacket, followed by a denim jacket touched with black fringe dangling from his side, ending with an 80’s big-hair wig that sparked the crowd’s enthusiasm.  There was never a dull moment within all the chants and interaction among the crowd. When he played “Life is Cinema” sampling the Killers’ “All these Things that I’ve Done,” got the crowd literally jumping.  The audience truly “got soul” and preached it as everyone was making the ground shake from their chants and boots pounding against the wooden floors.  Although the majority of the tracks had everyone visibly bobbing their heads and clearly rapping every word, “Can’t Hold us Down,” “And we Danced,” “Irish Celebration” and “My Oh My” were other knee-benders.

I felt like I had a deeper understanding of Macklemore’s character regarding his past battles, his roots and his drive.  It’s difficult for an artist to immediately find a connection with their fans given an 1 ½ time span. Macklemore undoubtedly did just that.  His exposure of himself through is music and his comfort on stage was noticed.  It also helps that he has remarkable enunciation while spitting his rhymes, supported by his meaningful and intelligent lyrics.  He has true talent as an entertainer; but most importantly, he has true talent as an artist and his exceptional performance proved it.

Right before he exited the stage, he ended the show with a splash of colorful confetti sprinkling throughout the crowd. He then exited. I secretly wanted to chase after him.

John Flansburgh aka DJ Flansy Curates Playlist
For Guggenheim “Art After Dark” Event, Dec 9

International Tour Continues in the US This Winter

“After 30 years, They Might Be Giants retain the virtues that have endeared them to everyone from indie-favoring hipsters to the preschool set… ”
- USA Today ***

“They Might Be Giants is a band that simply loves making music, something that still excites them after almost 30 years.”
- Billboard

“As nerd culture and popular culture have become virtually indistinguishable, TMBG is nobody’s secret; for proof, ask just about any kid.”
- NPR

In the many months spent creating and then promoting their summer hit record Join Us, They Might Be Giants recorded several new tracks, not all of which made it onto the album. The band has compiled the best of these recordings to create a brand new full-length, made up of rarities and many previously unheard tracks. An eclectic follow-up to their latest LP, Album Raises New and Troubling Questions is out now alongside Join Us on Idlewild Recordings.

On Album Raises New and Troubling Questions, the band puts a unique electronic twist on their classic track “Istanbul (Not Constantinople).” Today the band has unleashed the brand new video for the Electronic Istanbul (Not Constantinople)– watch the trippy video

The Guggenheim is hosting an after-hours celebration of Maurizio Cattelan: All, the exhibition the New York Times calls, “one of the most audacious exhibitions in the Guggenheim’s half-century.” The event will take place on Friday, December 9th and features a specially curated playlist by TMBG’s John Flansburgh AKA DJ Flansy. Click here for more detail on the event. Tickets are available for purchase at the door.

Revered for their unique brand of rock and energized live show be sure to catch They Might Be Giants as they continue their US tour with Jonathan Coulton this winter in a city near you!

?They Might Be Giants Tour Dates
# = w/Jonathan Coulton

1/27: Santa Cruz, CA @ The Rio Theatre
1/28: Los Angeles, CA (Special Family Show) @ Royce Hall UCLA
1/28: Los Angeles, CA – 30th Anniversary Show @ Royce Hall UCLA
1/29: Tempe, AZ – Marquee Theatre
1/30: Tucson, AZ -@The Rialto Theatre
2/1: Tulsa, OK (Rescheduled from Sept.) @ Cain’s Ballroom #
2/2: Dallas, TX @ The Granada Theatre #
2/3: Austin, TX @ La Zona Rosa #
2/4: New Orleans, LA @ Tipitina’s #
2/7: Tampa, FL @ The Ritz Ybor #
2/8: Orlando, FL @ Hard Rock Live #
2/9: Ponte Vedra Beach, FL @ Ponte Vedra Concert Hall #
2/10: Atlanta, GA @ Variety Playhouse #
2/11: Atlanta, GA @ Variety Playhouse #
2/12: Chattanooga, TN @ Track 29 #
2/14: Charlotte, NC @ McGlohan Theater at Spirit Square #
2/15: Raleigh, NC @ Lincoln Theatre #
2/16: Charlottesville, VA @ Jefferson Theatre #
2/17: Baltimore, MD @ Ram’s Head Live
3/8: Northampton, MA @ Calvin Theater #
3/9: Providence, RI @ Lupo’s Heartbreak Hotel #
3/10: New York, NY @ Terminal 5 #

The title track on The House Built around Your Voice is the only other example of music that resembles the legendary Antony. However the Darcy’s, (made up of four young gentlemen) are original; this is clear immediately. The all encompassing voice that captures overwhelming beauty and pain has only been achieved once before on this decade until these fellas rolled around. The haunting lyrics become alive through the evocative vocals that attack, release and resonate beyond belief.

The instrumentals are rich yet weightless and ascend listeners somewhere wonderfully frightening. Like a room filled with glow in the dark stars without any recollection of getting there. Each song takes listeners one step further into their inviting elevator to hell. “ The Mountains Make Way” sounds as if the song itself has been syringed with beautiful doom and “I Will Be Light” took be somewhere I have no plans to come back from.

It is revitalizing to hear a new band that is no afraid to expose the wonder of experimentation and the splendor in the dark.

All I can say about Das Racist (actually, I could talk for days about them) is they are dope. What I mean by dope is that they are the wittiest, swaggerlicious, intelligent, entertaining and raddest cats in NYC. 

The group played in their stomping grounds at Brooklyn’s Music Hall of Williamsburg, this being their last show of their U.S. tour before they head overseas. It’s always enjoyable seeing artists who are playing in their home town because there’s always a little more sense of community within the audience. Their technique of mixing humorous puns with important social and political issues is a challenging task and many rappers cannot fulfill this characteristic.

Williamsburg saw an easy-going performance; nothing seemed staged or rehearsed with Das Racist’s trio naturally spitting rhymes from some their greatest tracks. Michael Jackson, Power and You Oughta Know amongst others.  The show saw guest performances from their friends, as well as those featured on their tracks.  It was the type of show where you want to go on stage and hang with them because they’re just having a good time.

Their styles are naturally cool, their witty jokes are solid, their mojo’s are dope, their beats are creative, and their raps are addictive.  Enough said.

Actually formed before his time with the Crows, Tender Mercies took a backseat after guitarist Dan Vickrey was recruited to play alongside Duritz and co., and even though the seeds were planted, a proper release from them wouldn’t emerge for another two decades. Given how consistently busy the Counting Crows are it’s a miracle this record was even made.  Though the Crows have made a career traveling  all over the world, that laid back San Fran feeling is definitely still here, and at times the vocal styling’s sound eerily reminiscent of other California contemporaries, most notably David Lowery of Camper Van Beethoven.

Unlike the Counting Crows, Tender Mercies sports more of a country twang, which in no small doubt is due to Vickrey’s incredible guitar skills. The solos here are amazing, and his gentle bluesy feeling fits the arrangements perfectly. Everything’s in the right place, and even though 20 years is a damn long time to wait, the juxtaposition between Vickrey’s and Winningham’s guitars equal a very rewarding, if not solely relaxing, release.

The best thing about this album isn’t its pristine production, or excellent musicianship, it’s the stark honesty that it conveys. At times Tender Mercies can seem dull, and at others at can seem quite moving. There really isn’t anything special, nothing momentous, just honest, melodic rock n’ roll from a group that’s been a long time coming. Tender Mercies is the product of seasoned musicians that like to make music and have a knack for crafting a tune, which is something that’s always welcome in today’s muddled musical environment.

A hidden gem lost amidst the self-promotion and commercialism, Tender Mercies is a quiet homage to the classic Americana style. At the core of this album there is something beautiful, innocent and brutally honest. A subtle group with a powerful release, Tender Mercies is a breath of fresh air in an otherwise smoggy street.