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Straight to Video
Rock Art Rock
The Decemberists
September 19, 2009
Terminal 5, New York, NY
By Amanda Hatfield "The Decemberists played a special one night 'lottery show,' where the songs played were picked at random by a master of ceremonies, played by John Wesley Harding..."
Ra Ra Riot
April 4, 2009
Webster Hall, New York City, NY
By Amanda Hatfield "This show was, at the time, the biggest one Ra Ra Riot had sold out as headliners, and it was clear to me after watching it that the band is destined for even bigger and better things..."
Florence and the Machine
October 28, 2009
Bowery Ballroom, New York City, NY
By Amanda Hatfield "Florence Welsh and her backing band delighted and mesmerized a sold-out crowd at Bowery in her first official NY headlining show..."
Dirty Projectors
July 19, 2009
Williamsburg Waterfront (Brooklyn, NY)
By Amanda Hatfield "I was skeptical about how well Dirty Projectors' gorgeous, complex vocal harmonies would carry over outdoors, standing under hot sunshine..."
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Art Brut
Art Brut
Art Brut vs. Satan
(Downtown, 2009)
Art Brut makes music about the music they love. Art Brut vs. Satan is an ode to various strains of the punk and indie scenes, as well as the DIY ethos that spur them. Heavily accented Brit Eddie Argos waxes lyrical about the lo-fi aesthetic to the point of romanticism, but rightfully so. “Slap dash for no cash, those are the records I like / Why would you wanna sound like U2? Just press record and play it straight through!” he exuberantly wails. After all, it’s the raw background noises, the crack in the singer’s voice, the fingers on the fretboard, the seething of the tape hiss that add glimmers of humanity, not to mention reality, to the music we adore. When recorded in the family basement, it’s the kind of music that makes parents say, “turn it down,” and as Argos notes, we can hear them say it in the recording. There’s nothing more punk rock than that.
But what’s most refreshing is the band’s unbridled enthusiasm for the genre that they love and pay homage to. The Frank Black-helmed production lends Art Brut newfound confidence. While they still retain their scrappy Bang Bang Rock & Roll charm, there’s an improved sharpness to the melodies and a greater comfort level with their instruments. But more importantly, there is also no pretense of hipper-than-thou elitism or jaded cynicism. On “The Replacements”, Argos marvels that he can’t believe he just discovered the titular band. It’s a down-to-earth admission that’s nearly unheard of in the indie realm. And one that kids might be making in regard to Art Brut 20 years from now.
Brakes
People will accuse the new Brakes record of pointlessness (if they know who Brakes are, that is), which will bring up a good discussion of what the point of Brakes was in the first place. People mostly hate novelty bands, side projects, and particularly junctions of the two that grow in seriousness as they go. Occasionally, a hit helps. These guys don’t have one. And what’s more, they stole a member of a more serious band who people like, British Sea Power’s Eamon Hamilton, who adores playing an under loved alt-rock archetype: The bald shrieky guy. Of course, I’m speaking from my post in America, where I nabbed the debut Give Blood from a dollar bin, not Britain, where the same record was voted #1 by Rough Trade Shop. The even better follow-up Beatific Visions seemed to stall everywhere; who wouldn’t want to hear a Frank Black clone spazzing “Porcupine or pineapple?! Porcupine or pineapple?!” in their ear? I guess it’s just me then.
Barring an iPod commercial appearance or some minor airplay coup for “Oh! Forever”, the new Touchdown looks to fare even worse—third album by novelt-ish side project of minor critic heroes anyone? As such, expectations are simpler: Dimmer production, more jam-with-hooks than full-fledged melodies, and no Pipettes guest spot (they—she?—ain’t faring so well themselves these days). There’s not a one-minute dick joke or a sweeping country ballad in sight. What that leaves, and what Fall fans and Rough Trade shoppers should know so well, is a moving-to-keep-moving album, another ground out in the finest Hüsker Dü or Fall fashion for spontaneity, not expedience, even if it’s their least spontaneous yet.
Other Lives
Other Lives
Other Lives
(TBD Records, 2009)
Back when members of Other Lives were a more instrumental outfit called Kunek, they made a beautiful, sweeping record called Flight of the Flynns. It was lush and inspired, and it caused me and my rock journalist brethren to take note. But although Flight of the Flynns had an overabundance of magical, orchestral arrangements (all of which translated well in their live show), it was obvious the group lacked the strong center that would help them appeal to a wider audience, as vocals in the music seemed like a garnish and none of the tracks particularly stuck in your head.
Now the Stillwater, OK group, comprised of Jesse Tabish, Colby Owens, Josh Onstott, Jonathon Mooney, and Jenny Hsu, is at the onset of an exciting deal with TBD Records (the imprint of ATO that was started to release Radiohead’s In Rainbows), releasing the self-titled, full-length follow-up to their well-received, also eponymous, EP from last year. And where their ethereal earlier music was pretty but fleeting, Other Lives takes a stronger stand, cleverly infusing a prevailing lyrical narrative and more instrumental diversity.
Shit Disturbers Extraordinaire: Black Kids vs. Morrissey
Last fall, an uncontrolled frenzy swept over the internet. No, there wasn’t some sort of debilitating pornbot virus on the loose. Folks were just losing their shit for Jacksonville, Florida quintet Black Kids. Not long after a breakout performance at Athens Popfest, the group released their debut EP Wizard of Ahhhs for free on MySpace. No matter that it contains only four songs. Folks heaped superlatives on it. Pitchfork gave it an 8.4 and proclaimed, “Black Kids make catchy, tightly executed songs that put a memorable stamp on pop’s classic themes.”
Next—overcome with irrational indie-rock exuberance—a number of major labels entered into a bidding war for the band’s US services, with Columbia winning out and releasing Partie Traumatic earlier this year. The album contains all of the Wizard of Ahhhs tracks, as well as six more in roughly the same vein; that is, electro-styled synth and guitar-driven tunes that you can dance to. But while songs like “Listen to Your Body Tonight” and “Look at Me (When I Rock Wichoo)” are undoubtedly DJ-friendly, the best tracks, “I’m Not Gonna Teach Your Boyfriend How to Dance With You” and “Hit the Heartbrakes”, pull the rug out from under pop preconceptions via unexpected plot twists and uncomfortable themes like gender ambiguity and incest.
Hmmm… accessible songs that work both as rock and club tracks, full of confusing, even shocking, lyrics… sound like anyone you know? Oh yeah, Morrissey. Not surprisingly, Black Kids frontman (and principal songwriter) Reggie Youngblood acknowledges a debt to Moz’s “funny, but heartbreaking” songwriting style. The band’s drummer Kevin Snow said in an interview with MTV Liverpool Music Week 2008, “I think that we also have a similar twisted approach to writing a song. The ability to make something that’s perhaps a little subversive lyrically.”
Part II: Rock ‘n’ Roll Animals in Europe, ‘73
A couple of hours after our border incident, our little caravan came across a truck stop. I felt a little out of it, but Frank, a Brit to the end, cheerfully announced as we pulled into the parking lot: “Time for tea and sandwiches!” He, of course, appeared to be just fine, but I knew he was still hurting, too. Introducing ourselves to everyone in the café, we told our tale of the border crossing. As we finished, everyone clapped and we took a bow. Frank later told David Gray that, more than likely, his book had been confiscated to embellish the story of the guards drinking with two crazy Englishmen. I was just happy that we were still in Germany.
After lunch, Frank jumped into the driver’s seat of the truck again and David decided he wanted to drive the motor home. A few miles later, David spotted a huge military tank on the side of the road with a US soldier flagging us down. Happy to see us, the soldier told us the tank had broken down.
“Can you give me a ride to the base?” he asked. “It’s about 10 miles down the road.” We all looked at each other and told him to “jump in.” Introducing ourselves, we told the soldier we were touring with Lou Reed. He started laughing and we asked him, “What is a tank doing here on the highway?”
Flashbacks in Shakermaker’s Fabled Front Porch Sound
I’ve never been to Chapel Hill, but when I listen to Shakermaker, I can’t help but imagine what it’s probably like. I can picture the kind of city that must have inspired and given birth to music like this: A leafy green city full of streets lined with Victorian-style rental houses. And inside the houses the wood floors are scuffed by secondhand furniture and nice sound equipment, and people gather on porches a lot to try out new guitar riffs. And, when 9pm or so rolls around, everyone finds their way to the local venue to support the local bands. The venue is, of course, filled with girls in dressy black skirts, and shy boys who are actually really good dancers, if you get up the nerve to ask them.
Don’t correct me if I’m wrong about all of this, okay? Shakermaker puts me in a really warm headspace, and it’s something I’d like to hang onto for a little while.
Thoroughly intelligent, charming, and melodic, often deceptively easy to listen to, the music of Shakermaker has been shaking up the local scene in Chapel Hill since the early 2000s. Members Mitch Eubanks and Jesse Moorefield have been friends since they were both members of the same high school marching band. The two got together after school to rehearse (non-marching band) music together under the Shakermaker moniker. “We often would have parties over at my house while my dad was away on business,” says Moorefield. “One time we got caught, and my dad banned us from practicing in our living room. With no place to practice, we kind of disbanded.” Years later, after college and a move to Chapel Hill, Eubanks and Moorefield met up with Brian Toomes and Jeff Feasel, and solidified the current line-up. The four played early shows at local venues like the now-defunct GO! and Cat’s Cradle, where today Moorefield is a production manager.
Watermelon Slim and the Workers
Watermelon Slim and the Workers
No Paid Holidays
(Northern Blues, 2008)
In recent years, Watermelon Slim has risen to the top of the blues genre; his last LP, The Wheel Man, helped him garner six nominations at the Blues Music Awards, a feat that has only been accomplished by legends like B.B. King and Buddy Guy. Slim’s got his own legend, and it starts back in Vietnam, where he learned how to play slide guitar backwards on a lap dobro with a jagged pick cut from a tin can and his standard-issue Zippo lighter subbing in as slide. Slim is credited as the first Vietnam veteran to release an album, 1973’s self-titled protest blues record Merry Airbrakes, which contains lines like, “If I die in battle / Pick up my AK-47 and fight on.” Back then, he was known by his given name, Bill Homans, and described his album as “anti-capitalistic, anti-imperialistic,” and containing “incontrovertible underground credentials.”
It was 30 years before Slim released another album. But he stayed busy working a handful of odd-jobs, and picked up his blues name while harvesting watermelons, as he recalled on 2003’s “They Call Me Watermelon Slim”: “I was standing in a great big old field full of watermelons down in southeast Oklahoma about 23 years ago. Had me a great big ol’ slice of red watermelon in one hand and a Hohner D harmonica in the other—not a woman within 20 miles. I was getting to be a lonely SOB. But I looked at the harmonica and I looked at that piece of watermelon and I said, ‘Wait a minute, I got me a blues name! I’m Watermelon Slim.’ And I been Watermelon Slim to this day.”
Awesome Fest, Handsome Furs, Crash Normal, and more
Awesome Fest 2 (Night One)
April 18th in Point Arena
Admit it: It’s tough going, but the idea is so palpable, so ripe with potential, that to an adventurous fan it’s hard to ignore. Hop in a (rental) car after a long week of work (or school) and drive three hours north to see a bill of some of the best bands the Bay Area has to offer. Rock the tiny seaside town of Point Arena from the stage of an old-timey movie theater. Camp out in the woods. Get down with weird, old hippies. They love it, right? This idea of a festival: A Promethean light bringing youthful culture to the serene dark of the northern coast, where only lighthouses and stars dutifully shine.
For the organizer, Nate Hooper, Awesome Fest probably hinged on some version of this fantasy. It was good to see that, in this era that craves immediate gratification, at least a small host of people cared enough to forgo convenience for the sake of an experience such as Awesome Fest. But as much as the location of the venue, or the winding mountain/seaside roads that led there, weeded out all but the most intrepid of fans, then the lack of adequate promotion similarly limited attendance. Moreover, those who made it looked so exhausted from their trek that the majority of them sat in their seats for most of the evening. While the first night of the festival offered a lot of musical talent and DIY flair, its idyllic setting took a toll of diligence on the part of bands and festival-goers alike.
Failed brakes on their van nearly spoiled the evening for the Morning Benders, who returned to Awesome Fest for a second year. But despite nearly careening off the side of a mountain, the Morning Benders sounded expertly composed. Of all the performances, theirs was the most polished. Their suspiciously nostalgic, catchy tunes culled only good vibrations from their Phil Spector influences. Supplemented with a youthful charm, thus far unspoiled by touring hazards (it is only recently that the Oakland-based quartet has begun touring outside California), the Morning Benders looked green, but sounded golden.
Dinky Dawson and the Legendary Gig Wagon Races

In April, 1969, Fleetwood Mac had just finished Top of the Pops for the BBC, and I headed straight to my favorite watering hole, La Chase on Wardour Street, right above the Marquee Club. Sitting at the bar was an old friend from my days as a DJ at the Mojo Club in Sheffield, Long John Baldry. As we chatted over a pint, I learned Clifford Adams, Fleetwood Mac’s manager, had been talking to him about a short tour with B.B. King and the Mac with Duster Bennett opening. Baldry would be the master of ceremonies. I thought that would be brilliant. John said he had always wanted to see B.B. King and was ecstatic that he would be touring with him for eight shows. After another drink, John and Jack Barry, the owner of the bar, took off downstairs to see a new band playing at the Marquee.
As Jack was leaving, he said he had seen Baz, an old friend and roadie for Keith Emerson’s new group, the Nice, heading to a corner pub with Keith Moon. I said, “They must be going to get trashed,” and decided it was time to leave myself.


Williamsburg: Amazing Baby vs. Savoir Adore
by: Ben Westhoff
Savoir Adore, meanwhile, arrived on the scene with just as much talent but far less razzle-dazzle. Though, like Amazing Baby, they hail from that mecca of artsy privilege, Williamsburg, Brooklyn, their irrepressibly giddy, pure pop tunes haven’t set the buzz machine in motion for some reason. While plenty of folks have fallen for their album In the Wooded Forest, the Fader profiles, groupies, and movie star camaraderie have been slow in coming.
Both groups have benefited from ties to MGMT, the psych-rock outfit that found worldwide success last year. Savoir Adore signed with Cantora, the indie label that released MGMT’s 2005 Time to Pretend EP, while Amazing Baby’s guitarist Simon O’Connor palled around with MGMT’s Andrew VanWyngarden and Ben Goldwasser at Wesleyan College, itself something of an indie music farm system.
O’Connor and Amazing Baby’s other founding member, lead singer Will Roan, met each other after their college bands were booked together for a New York show. “I think I was hooking up with the same girl at the same time as someone in Simon’s band,” says Roan, adding that he’s fairly certain it wasn’t O’Connor.
They played a number of shows together, and after O’Connor graduated, he moved into a pad in Brooklyn, where Roan would crash whenever he came down for the weekend during his final year at Bard College. The pair began collaborating on various band projects and later worked together in a music distribution office, where their duties included crafting ringtones. In 2008, they formed Amazing Baby, focusing on a studio-centric sound that included layer upon layer of percussion, guitar, and keyboards. Their live shows, meanwhile, featured as many as 10 people on stage at a time, and early praise for the group was swift and unequivocal. “I think people liked the spectacle of this crazy band,” Roan says. Eventually, the lineup was rounded out with bassist Don Devore, guitarist Rob Laakso, and drummer Matt Abeysekera.
After releasing an EP called Infinite Fucking Cross last summer, they were pursued by a number of labels and ultimately signed with Shangri-La, who put out their full-length debut, Rewild, in June. Many of the reviews focused on the album’s seemingly hallucinogenic-powered prog, psych, and goth rock, as well as the group’s hipster aesthetic. Some of this had to do with their video for Rewild track “Headdress”, which featured topless girls, wearing paint and capes, prancing around in the woods.
Then there was the encounter with Bill Murray, who dropped in on their 2008 Halloween show wearing a rubber mask with black glasses. He and Roan hung out all night long, attending a house party, smoking cigarettes on a roof, and drinking bourbon on a friend’s couch. Notes Roan: “It’s one of the few stories I can tell where my mom is jealous.”
Savoir Adore’s story is far less flashy. Principal members Paul Hammer and Deidre Muro met while students at NYU, where Hammer played in a group catering to “sorority girls,” he says. Both possessing musical backgrounds, they decided to play a show together and then later conceived an album almost spontaneously. While on a train ride to visit Hammer’s parents at their home in a bucolic section of Holmes, New York, Hammer and Muro brainstormed the plot for what would become their first EP, The Adventures of Mr. Pumpernickel and the Girl with Animals in Her Throat. A concept record focusing on a professor and his meetings with a troubled student and a fairy who lives among the trees, it showcased the pair’s great talents for collaboration. Taking turns on vocals and instruments, they introduced the harmony-heavy, ever-sincere fantasy pop that would become their signature sound.
They return regularly to Holmes, where Hammer’s father Jan—a jazz and rock
keyboardist who was enormously popular in the ’70s and ’80s and crafted the Miami Vice theme song—has a studio. Savoir Adore recorded In the Wooded Forest there, trading off on guitar, drums, and bass for hours at Hammer’s studio, which actually is ensconced in the middle of a wooded forest. While successfully employing a sound that suits their strengths, the full-length lacks a unified storyline like their EP, but boasts more fleshed-out tracks. At times, the preciousness can be a bit overwhelming, but songs on the album like “MERP” and “Early Bird” are as euphoric and hummable as anything to come out of Williamsburg this past year.
Their work seems not to contain an ounce of pretension. Savoir Adore certainly isn’t trying to impress anyone with their cool, and their seeming lack of self-consciousness is responsible for much of their appeal.
Amazing Baby also developed much of their music during long jam sessions. While employed at the music distribution company, they spent their evenings making music until the wee hours, allowing themselves only as much sleep as was absolutely necessary. Their goals were somewhat different from Savoir Adore’s, however. Roan told Spin that they were “desperate to convey a feeling of ecstasy.” Indeed, almost every one of their tracks is epic, or at least strives to be epic. While they often succeed in this regard—songs like “Kankra” and “Pump Your Brakes” are full, bombastic, and satisfying—it often feels like they’re breaking off more than they can chew. Much of Rewild lags, bogged down by excessive instrumental wankery and semi-pretentious lyrics that are difficult to wrap one’s mind around. (“We are starving cannibals / She protects her animals,” from “Smoke Bros”, has been particularly derided.)
With only one album each to judge them on, one could make a pretty good case that both Amazing Baby and Savoir Adore have the potential for long, gratifying careers. For the time being, however, the latter act’s less pretentious way of conducting business has led to a more satisfying catalog.
Listen: Amazing Baby, Various Tracks [at myspace.com]
Listen: Savoir Adore, Various Tracks [at myspace.com]
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by: Ben Westhoff
published: November 9, 2009 in column: The Switchback
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