Live Review: Make Do & Mend @ Santos Party House NYC 5/19/11

Five years ago I was heavily into bands like The Sleeping, Thursday, Alexisonfire, and Bayside. These bands made music that would keep me happy and going to shows. These bands were passionate, catchy, and had a driving, vibrant force with strong vocals and honest lyrics. In 2011, one of those bands offering me the same pleasing show-going experience is Make Do and Mend, a Connecticut band that you can call post-hardcore or melodic punk. The nuisanced difference between the two can be put up for argument, but their deliver is passionate. You can see this when watching the band perform. One things for sure though this band is driving.

At Santos Party House the band played a tight 25-minute set that included songs from their EP Bodies of Water and their latest LP End Measured Mile. Over a steady guitar line the band starts with "Shambles," as the James sings: 

I don't believe in anything worth fighting for, worth dying for.

I don't believe the clouds are hiding much more than a reason to downpour.

So what would you do if you were me? Give up, forget, go back to sleep.

My ears are quickly glued to his voice before the song gets into," Winter Wasteland," my favorite song of their set. It caught me off guard, but the back and fourth drum action was pumping. My head grooves back and fourth until th chorus hits:

Where were your arms when the wind was so cold?

Where were your hands when the time was so hard to hold?

I'm coming undone thirty-five miles from home, on this winter-campus wasteland all-alone

Folly (reunion) @ Maxwell's in Hoboken

Folly is an innovative band with a sick gift of mixing hardcore, punk, metal, and ska with some lighter parts  thrown into their music without sounding weird or awkward. Their opening song for "Discussion Is For The Pigs" blared loudly and the pit opened up and kids started hardcore dancing. It was the first time I was at a show at Maxwell's where kids were moshing this hard. I've seen a good Screaming Females show get wild, but nothing like the intensity of this show. I grew up on Folly in college because they were a staple at WSOU, the radio station I worked for in South Orange, NJ. I couldn't help but two-step, jump up and down, and sing along to the few songs I remembered. Though it had been three years since Folly called it a day, they came back in full force and sounded like they hadn't even had that much time away from playing music. They were clearly well practice and still so into what they were playing. I think they may have been better than the last few times I remember seeing them at Montclair State University and Bloomfield Ave Cafe. Singer Jon said that their bassist Arben is moving to Colorado, so they figured if they're going to do some shows they might as well do them now while everyone's still around. It was a good time. I got hit in the mouth and my glasses almost got destroyed but all was fine in the end. It was good to get out to a fun hardcore show and dance around and try to pile on top of people. Now they are set to play two dates at the School of Rock this weekend and two dates at the Stanhope House the following weekend. It's going to be sick.

Titus Andronicus shoot music video in NJ

Titus Andronicus on the roof of the Iron Monkey

Titus Andronicus spent a day in New Jersey on Feb. 20 to shoot a video for their song "No Future Part Three: Escape From No Future" from last year's release The Monitor. The plan was to perform mini shows in Little Egg Harbor, Asbury Park, New Brunswick, and Jersey City. Director Tom Scharpling along with a crew who helped create the videos for the New Pornographers "Moves" and Ted Leo And The Pharmacists "Bottled In Cork," would solicit a call for fans to come out to the shoot. The Jersey City shoot took place on the roof of the Iron Monkey, a bar located just a few blocks from the PATH train station. Being just 30 minutes away I got on the train to make the shoot. Although I arrived at 8:30pm, the band didn't arrive until 10:30pm. 

Shortly after the crowd was let up to the roof. It was pretty packed, so much so two support beams broke. The band played "A More Perfect Union" followed by two takes of "No Future..." It was pretty fun and Patrick got the crowd going. The crowd singing, "You will always be a loser" together was pretty cool.  Somehow a New Jersey Devils chant erupted. Afterward handed out free posters and signed some autographs. I wish I had brought my Monitor LP for the band to sign. Their April 29 show at Maxwells is already sold out but you can see them at Music Hall of Williamsburg on April 30. Do. They put on a good show. See here and here.

Here's a funny picture of Patrick holding a Titus Andronicus license plate: 

Live Review: Notar @ R Bar

Notar @ R Bar 11-3-10

 

Notar was on fire at the R Bar last week for his ep release show. Blending hip hop and smooth vocals with tight rock instrumentation and solid beats, that is not to be confused for shitty rap rock, Notar provided a fresh musical take on the mundane waters of a played out style. Honestly, the music was far more rocking than what I expected it to be, but it was tight- I was taken back. 

 

On "Stranger," a toned down song with some hot beats, slower rhythms, and clean vocals from Adam Duritz of the Counting Crows. He sings the chorus: "I'm just a stranger in this town, feel like my days are numbered now. When we met I couldn't figure it out but either way I'm lonely now."  Then we got "Alcoholic," an honest song that features some nice guitar parts. The song is intense and heavy. The raps over the clean vocals are nicely done. Though not at the show, it's cool to note that ep closer "Reach" features Chris Carrabba of Dashboard Confessionals. It was good to see the energy between Notar, the musicians, and Adam. 

 

The way they looked at each and performed together was cool. The show ended with some freestyle by Notar, Adam D, and illSpokinn. I didn't think this was taste, but I was wrong. This guy puts on a good show, for real. You'll be bouncing along to the music in no time.

Live Review: Bad Books @ Bowery Ballroom 10-20-10

Bad Books might seem like a side project or split record for Kevin Devine and Andy Hull, but the two friends have made it clear that it's more than that. Much more. Bad Books isn't a one time thing, Hull said, at the band's sold out Bowery Ballroom show on Oct. 20. Bad Books isn't just Devine and Hull. There's Robert McDowell, Jonathan Corley, and Chris Freeman,  and Ben Homola of Manchester Orchestra.

For what's it's worth, I had only heard three songs from the new record before attending this show. What I heard I mostly enjoyed. I was looking forward to getting surprised. Now, vocally Devine and Hull are some of the best. They know how to use their voices appropriately with the music. I must say that some of the guitar work was least than appealing for me, like "Baby Shoes" and "Holding the Laughter Down." However, live I could listen pass those unappealing chords to take in the overall experience and the lovely vocals. The set was filled with the band's new self-titled album.

Live Review: Florence and the Machine @ Apple Store SoHo 11-2-10

"A falling star fell from your heart and landed in my eyes"

Florence and the Machine is the kind of band that touches you with its music. Much in the way that awes. When you see Florence sing, it looks easy. Her singing is as effortless as a baby's sob. So easy to get your attention. She makes it look easy. It's natural. She was born to sing. Her voice is beautiful. She's simply stunning. She performed a free afternoon show at Apple Store SoHo with her harp player Tom Monger and Robert Ackroyd on acoustic guitar.

During the course of the show she joked a bit. She noted how "everyone expects" her to be "abnormally tall." She also introduced the second song, "Drumming Song," saying that this version of it has no drums, but that it's really about imaginary drums anyway. Throughout the set she thanked the crowd for coming. Perhaps, the most comical moment was when she said: "It's funny being here in the hub of technology land...everytime I come to America I lose an iPhone. I've lost two so far." The set closed with "The Dogs Days Are Over." The intimate 30 minute performance was nothing short of stellar and I was glad to be apart of it.

Setlist:

1. Cosmic Love
2. Drumming Song
3. Girl with One Eye
4. Between Two Lungs
5. Hurricane Drunk
6. Dog Days Are Over

Live Review: Automatic Loveletter @ School of Rock, South Hackensack, NJ

Juliet Simms of Automatic Loveletter 10-1-10

photos & words by Rozlyn Smith  

On October 1st, I made my way over to the School of Rock to see Automatic Loveletter open for Valencia. I've heard they were good, but I personally never checked them out. But that night I was blown away. The fans both in the crowd and people I know personally were right. The four piece surpassed my expectations.  Also, any band who agrees with my theory that there is no such thing as too much information is automatically awesome in my book; but what made Automatic Loveletter rock the charts for was their stage presence and raw emotion emitted by front-woman, Juliet Simms. I'd describe them as mellow and romantic yet filled with energy and lyrics that can relate to anyone.

Starting off their set with "The Day That Saved Us," I noticed that there was not a single person in the crowd who wasn’t moving or even bobbing their head.  Following up was "Story of My Life." The title is rather fitting with the lyrics. During the performance of the song, I could see how true the lyrics are to Simms’ life and her journey through the power she put into her vocal performance. Another song that really stuck out to me was "Hush." Described as an “old favorite,” I could see why. The audience was tearing up while singing along. After, Simms turned her back to the crowd while Tommy Simms got on the microphone and said "if she doesn’t see all those fists in the air, she’s not going to be happy," and the audience complied.  Everyone had their fist in the air and each fist was in sync with each other, it was rather impressive. During "Heart Song," the fists were still pumping and Juliet even got into some of the audiences’ faces. In one instance, a fan yelled back with her and it was a truly amazing artist to fan moment. "Let it Ride" ended their set on a romantic yet uplifting tone. The vibe from the audience after the set was a very pleased one and all I saw were people smiling and just in a general good mood. Even I couldn’t help but smile after their set. I was very impressed by their performance.

Also on the bill for the evening was The All Ways, We the Chosen, and Jet Lag Gemini. Check out more photos below. 

Live Review: Titus Andronicus, Free Energy, & Screaming Females in NYC

 photo by kolored for BrooklynVegan
story by star morales

Luck had it that two of my favorite New Jersey punk rock 'n roll bands would be playing together at the spacious Webster Hall and I would get to see them with a good friend. Titus Andronicus hailing from Glen Rock and Screaming Females from New Brunswick would unite for a rockin' evening with Philadelphia's Free Energy. This night would cap off Titus Andronicus' tour with Free Energy and was probably the biggest show of the tour. What's cool is that there seemed to be more people in attendance than when I saw the band opening up for Man Man at this same venue in 2008. This is certainly a testament to how far the band has come in just a few years and only two albums. The band's epic qualities, intelligent lyrical themes, and grand musicianship is what makes the band exciting for me. I saw Titus and Screamales at the beginning of their tours, but why not see them again? Seeing this show was a great way to spend my Saturday night. 

Screaming Females nailed it with their punk driven, heavy, rock 'n roll set. They played a nice mixture of new songs from their latest album, Castle Talk, as well as older songs. They kicked it off with the catchy, quick poppy "Bell," and then hit a few newer songs, including "I Don't It," "New Kid," and "Sheep." They played older song "Stave the Beat," with its insanely driving beat, delicious shredding guitar, jammy edge, and screamy vocals. What's neat about seeing Screaming Females live is the improvisation in the guitar playing! It's wicked cool. They closed with the stellar "Lights Out," prompting me to two-step, air drum, air guitar, headbang, and dance around. It wasn't the typical Screaming females crowd I'm used to, but I didn't care, I still danced. I didn't care I was only. The sound was great, the band was great, and I had fun. Thanks, yet again, for a great time Screaming Females.

Free Energy, who brought a poppy feel good rock flavor to their music,  was next. Many of the people I was around seemed to be familiar with the band. They danced, sang, and had a good time. I enjoyed "Free Energy" and "Bang Pop," for their fun, catchy rock. Titus' Amy Klein played guitar with the band for one of the songs. Jumping up and down with a smile, she added some extra flavor to the song. I've sadly forgotten which one.

Titus Andronicus got Webster Hall rockin' with their hour and a half long set. Highlights included, opener "A More Perfect Union," "Four Score and Seven," "The Battle of Hampton Roads," "Theme from Cheers" and "Titus Andronicus." Goodness this band sounded great. Their performance speaks for itself. They closed with a cover of AC/DC's "It's a Long Way to the Top (If You Wanna Rock n' Roll)" featuring Free Energy. They called themselves "The Temporary Tattoos," which seemed to be a joke since Amy Klein had gotten everyone temp tats. I want to try and say more, but truly I'm near speechless. I've written about them before here and here. If you care about good, passionate rock, then check out any of these bands.

See below for setlists and links to other coverage with photos. 

Live Review: The Anabolics & The All-Girl Boys Choir in Brooklyn

The Anabolics @ Trash Bar 9-20-10

Brooklyn's Trash Bar served up some lady rock 'n rollers on Monday night.  Local actThe Anabolics, self-described as 'the bastard child of the Clash and the Shangri-Las,' played some garage-pop rock songs. The melodies were catchy. Drummer Marcelo took the lead on vocals with guitarist Anna and bassist Valerie doing backing vocals. I gotta love an old-school rock 'n roll pop band that stills wears leather, black threads, fishnets, and boots!

Also, on the bill was California's The All-Girl Boys Choir--rock 'n roll with soul! The band is Marlene Hammerle on lead guitar, slide guitar, and harmonica and Alicia Warrington on vocals, drums, guitar, bass, and banjo. Live the band guitar play along to their own recorded bass and drums tracks. Pretty cool deal. I haven't seen a band do something like this. They also threw in some air kicks, too! T'was a good night of rock. Not over the top but still totally rockin' and solid.

See below for photos. 

Live Review: Cassette Kids in NYC

Cassette Kids is four Aussie kids, now living in Brooklyn, who write good dance songs. They make you feel alive, they get you dancing. The beats are hot and moving, the vocals clean--there's not a word you don't miss when Katrina sings. Everyone in the band moves when they play. Bassist Daniel  Deitzslides his feet, Katrina jumps up, guitarist Daniel Schober moves his head up and down, and Jacob Read-Harber keeps the beat. The amount of energy this bands put into their performance is great. "You Take It" is an edgy song, the band played with oomph. The single "Lying Around" is a sexy, dance number that gets you pumped. The pop number "Spin" is catchy and dancey. Duh! Right? Indie electro-pop, for the win. This song surely beats many of the ''pop" songs out there. If you like The Ting Tings or Little Boots, then Cassette Kids is for you. The band was holding it down at Mercury Lounge. They knew how to work the crowd and they played a fun, first NYC show! They're playing the CMJ Music Marathon in October. 

See below for photos.

Live Review: Screaming Females in Brooklyn (setlist, photo)

Yes another Screaming Females entry and I wasn't even actually at the show. Screaming Females played their record release show at Knitting Factory on Wednesday night. Since it was a late one, I wasn't able to make attend. But I was pleased to hear that the venue would be broadcasting the show live on-line. The quality turned out pretty great, both sound wise and picture wise.  In true, record release form, the band played all of "Castle Talk" excluding the less rockin', lighter "Deluxe." The set was filled with a cool introduction, two songs, the full album, and a two song encore. The four non "Castle Talk" songs were pretty obvious for anyone who knows the band. Right now the stream is still up. It might still be up when you read this, so if you're interested go here. Even seeing the band on-line, I still get chills and can't help to think they're so great live. What makes them great like I've said before is that there is no bullshit to this band. The band plays song after song, with improvised guitar played, and spot on beats. The way Marissa Paternoster shreds and plays her guitar is great to watch, the way Mike moves about while playing his groovy  bass is dancebable and the way Jarrett gets funky on his drums is delightful. 

Something that struck me was what Marissa had to say to the crowd, not once but twice:

"you guys gotta calm down... you can dance but don't hit anyone..." AND then immediately after "Nothing at All" ends Marissa says: "I want you guys to have fun, but you guys look like you're hitting each other and there's a lot of little people like me trying to watch and I don't want them to get hurt. So try and be gentle, please. It's also distracting because it's scary as shit." 

Marissa is addressing show violence. Shows should be fun! This is something that very recently I've been discussing. It's great that she spoke up about that and the crowd responded with "Yeahs' and "whoa's," like they were happy that someone said what needed to be said. We go to shows to have fun, so let's have. fun Not mess up other people's good time with drunkenness, obnoxiousness, or the like. It's not right and it's great Paternoster didn't accept that.

Screaming Females will perform with Titus Andronicus & Free Energy at Webster Hall on Sept. 25. 7pm. See below for setlist.

Live Review: Black Birds in Kearny

I biked over to the Kearny VFW aka The Irish to see a rad punk show featuring Black wine, Trophy Wife, Black Birds, and The Obvious. This space has a front bar and sizeable stage in the back that comfortably fits 200 people. The event "Revolution Grrrl Style NOW'' featured grrrl singers, guitarists, and drummers. It was great to see so many female lead bands. The sound was great and the bands were pretty tight but sadly there wasn't much of an audience. I'm not sure if this was for lack of promotion, the show happening on a Monday, the fact that it had rained just before the show, or because people don't know where Kearny is. Rising Jersey bands Screaming Females, Titus Andronicus, Ted Leo, and more have played this space, but even so it seems the venue hasn't developed a name yet. I had see Black Wine and Trophy Scars before, but I was interested in checking out Asbury Park band BLACK BIRDS. They had a sweet riot grrrl-influenced, garage-punk sound. Lead singer Alyssa looked really into her performance and halfway through her set performed on the floor. The guitar playing was great, too. Check them out! They just put three new songs on their MySpace.

Tonight they're at Lit Lounge, 93 2nd Ave, New York City. 8:30pm. 21+. $6. with Ishmael

http://www.myspace.com/blackbirdsnj

See below for more photos.

Live Review: Warpaint @ The Whitney Museum of American Art

You might not imagine what Warpaint sound like by simply looking at them. Most bands that make you dance have a keyboardist. Not Warpaint. They're different. They use the traditional guitar, bass, and drums to effectively make your body move. They have more of a jammy-dance feel. But their music spills elements of post-punk, magical melody, dream pop, psychedelic, and rock. They play beautiful, delicate, and may I say pretty sexy music.

The drummer keeps a steady beat and the almost noodly guitar is magical. They remind me of Brooklyn instrumental band, Each Other's Mothers. It was hard to see the band being amongst hundreds of others. Though I was only a few feet behind the band I couldn't see over the crowd. There were several amazing views of the band though. The folks who were in the front, the folks who were outside looking at the band through the glass and those on the second floor looking down. Though the band was playing a museum the vibe felt just right. They performed on the floor, a rather intimate affair, and there really wasn't anything around them make you think it was a museum.

Many of the Warpaint's songs are ones you can get lost into. "Beetles" is the prime example. The seven minute jam showed off some great guitar and the band's ability to flawlessly shift to a lighter sound. The lyrics are sensual:

Let's get naked and rip down the wall that makes me crazy/ tell me how/ Someone hold my hand and give me lessons 'cos I wanna

It was nice to see an all female fronted group playing this type of music. Something different in the indie world where bands are either to loud or too soft. I think Warpaint is just right. They don't overdo it. The band closed with "Billie Holiday,"  half of a cover, many of the lines are taken from Smokey Robinson's 1964 song "My Guy," (a hit for Mary Wells, also performed by The Supremes). The song is a much slower version of the original. I was nearly in tears it was so beautiful. Couples could be seen holding each other and locking hands. It was easy to close your eyes and just fall in love with the song. What a way to close off a set.

See the video footage below for proof. 

Live Review: Screaming Females, Nude Beach, Big Soda @ Death By Audio

It's amazing to think that Screaming Females has toured with big name acts, got legit booking agents and publicists, and is coming upon their fourth album and still play D.I.Y shows, sell their CD and vinyl both  for $10, and after a dozen or so times of seeing the band, they're still able to bring a new show every time. This is something special. This is a band that stays true to their ethic and that's no bullshit. The band's consistency and rock'n'roll magic has made many talk. Well, ok, maybe reasons of Marissa's height and dress that too many other writers seem to dwell on. But it's not about looks with this band.  This band is about the music. This band is fucking punk rock.

The band played a packed Death by Audio, just the second date of the band's North American and European tour. Folks there were genuinely enthused to see the band. The trio opened with a new song called “Sheep” that got some bodies moving. The catchy “Bell” followed and the rowdy crowd started to dance. How can you not dance to a Screaming Females jam? The new songs sounded better live than I remember from hearing them at Bowery Ballroom back in February. A surprise was hearing “The Real Mothers,” an older song that I don't think I've ever heard live. The band closed the set with the bass starting “Baby Jesus.” Man, King Mike's bass lines rock! Marissa also improvised on guitar parts. The crowd wanted more. They started the encore with a new song, which Marissa said the crowd might not like and find boring. The crowd still jammed out.

Finally, the band went into possibly their most well-known song, “Boyfriend” and the crowd went off. I love the screams in this songs and I couldn't help but get into the mosh pit, scream my heart out, and raise my fist. This was a killer, gnarly version of the song. They played this one out so much. Riff after riff. It was unrelentless. About halfway through the song, Marissa screams: "when you sit on the fence I will burn in hell," holding the scream "hell," like crazy. She takes off her guitar, as if stripping herself to reveal something even more powerful-her voice, over bass and drums. She grabs the mic, walks back, and screams her fucking heart out, repeating the same line. Singing with all the might I think I've ever heard her sing. She throwds her guitar and a beer bottle lightly down, then turns the knob on her guitar, so it sequels. She does this everytime for the song. Jarrett and King Mike still playing. She picks up the guitar places it up against the amp, then goes to her guitar pedal. Knelt down. Face down. She picks up her guitar slowly. Puts it on and plays an extended version of the song. I couldn't help but smile. She looked so serious on stage, yet comfortable and open.

I was having fun and for once I could have fun with everyone else. That's what feels so good about a Screaming Females show. You can be yourself and no one gives a shit. They're all there for the reason you are: to dance, let loose, and listen to good rock. Behind the band was artwork painted by Marissa on the wall.

Nude Beach played some catchy punk rock. Big Soda played some poppy rock that featured members of Little Lungs and ex-Cheeky.

Screaming Females are back on Sept. 15 to play their record release show at Knitting Factory in Brooklyn with Shellshag and Big Eyes.

See below for setlist and videos. 

Live Review: Living Days @ Brooklyn Industries, Union Square 7-29-10

Living Days. Let's just live these days our way. When I first heard "Go Oblivion" by Living Days I thought that the singer sounded like a dude. But upon listening more Stephonik Youth's voice doesn't really have a particularly masculine or feminine voice and that's what I like about her voice. It's different than a lot of voices I've heard recently. There's a definite '80s seduction in her voice. It's no surprise this five piece hails from the ever-diverse Brooklyn. The borough has been spilling out great indie bands left and right and Living Days is no exception. The band's self-described ''dark new romantic pop'' is popping. The band sound like A Ha meets The Human League meets The Gossip. How killer does that sound? 

They played the Indie Nights series in the basement at the clothing store, Brooklyn Industries, to a large crowd, some who may have been there solely for the free Vodka and chips. But hopefully they got turned onto to the band. Black and pink balloons covered the floor. Stephonik danced about, wrapping her microphone around herself, and often getting into the crowd to sing and dance. Drummer Lacey was spot on and steady. The rest of the players got it going on. I couldn't help but smile and dance. I was upfront. A young girl was on the side, the youngest in the crowd, for sure. Stephonik sang to her and handed her one of the ballrooms. It was cute. Playful. The band's set was playful and fun. I felt comfortable. I felt warm. I felt alive. I wish I had someone's hand to hold or someone to kiss or someone to dance with. For broken hearts, for lovers, for collapsing memories. Living Days.

The band perform next at The Studio at Webster Hall on Aug. 27th with Naked Hearts and Teletextile. $10. 19+. 8pm. More info here.

More photos below.

Live Review: Each Other's Mothers, Resistor, Trophy Wife, Titfit @ Stolen Sleeves Collective (photos)

photos & story by Star Child

It was so casual walking into the house. You wouldn't think in just a few hours a show was going to start, had it not been for a few instruments obviously displayed. I arrived at seven, the time advertised on the flyer. I thought that was odd considering this thing I still haven't gotten used to called "punk time." The show wouldn't start for another two hours, though, I was informed by the host that it would start around 8. Two bands still hadn't arrived. It happened to be the two local acts on the four band bill. While I waited I made myself useful and offered my muscle power to Trophy Wife, who arrived the same time as me. I helped bring records, cymbals, and other drum gear up. After, I got directions to a falafel place, then quickly walked back, to make it in by 8, but alas the show still hadn't started. I spoke with a few peeps, tried getting a grasp of when the show would start but the host didn't know. Host? Promoter? Those words sounds far too formal for a show like this. Perhaps ''the guy who threw the show'' is better. Anyhow, all this had me wondering about D.I.Y. shows and how they are hardly ever on time and lack organization.The show would finally start at nine and a band who I had never seen would take to the floor for an aggressive, riot-grrrl influenced punk set.

Tit Fit tells it how it is. Their lyrics are about personal experience. Honest. Vulnerable. "Girls and queers up front," called out singer Heather. Tit fit. Shit fit. What fit? A few songs in she said, "We all love Huggy Bear," and then went into a cover of Huggy Bear's "Her Jazz." She made it a point to speak about and introduce the songs. Some were about sexual consent. Others, like the one below, is about evil ex's:

as radicals. as feminists. as anti-patriarchy, anti-panarchy queers. we owe it to each to be good to one another. we owe it to each other to be honest with our lovers. we owe it to each other to take care of one  another. WE OWE IT TO EACH OTHER TO BE HONEST WITH OUR LOVERS. you're a lying, selfish, user abuser, manipulative, LIER. LIER. bullshit. 

you can go to hell, you can go to hell (you can). you can go to hell, you can go to hell (you can). you can go to hell, you can go to hell (you can). you can go to hell, you can go to hell (you can).

This song was brilliant! Goodness, we need more bands to be open about stuff like this. How true are these lyrics? To paraphrase, vocalist for this song and guitarist otherwise: there's nothing better than screaming your heart out, saying what you need to say, to make you feel better.

Resistor from North Carolina also played. I could barely hear the vocals, but I could see the passion in the singer's face. Trophy Wife, now from Philly, formerly from Washington D.C., played a heavy set. The guitar and drum duo ripped! I was headbanging away.

Each Other's Mother only play one show a year, so for many this was a special show. The four members are heavily involved in others projects, work, and musical endeavors, so it's no surprise they only get together once a year. It's better than breaking up, I say. As long as they can keep it going and at least play a new song or two every time they perform, it can certainly work. Rachel (guitarist) plays for Bridge & Tunnel and does work with Ghost Robot Ninja Bear, I believe; Angie (drums) has been in so many projects in the last year it's almost hard to keep up, Kathi (guitarist) is the drummer for Zombie Dogs (who is releasing a 12'' LP soon), and Allison (bassist) makes jewelry.

I saw the band for the first time last year at Silent Barn with Algernon Cadwallader, Taigaa, and Songs for Moms. That show was my first real look at the Queens/ Brooklyn D.I.Y. scene. The place was packed, hot, and alive. I was completely floored. At Stolen Sleeves Each Other's Mother energy was pretty great, albeit a shy looking Allison playing in the back. Rachel, Kathi, and Angie looked super into their performance. All three display a passion for playing that was nice to see. The instrumental noodly music is  danceable and just fun to watch. They started with a Metallica medley. "Extra Extra" the band's only song with lyrics, "extra, extra, read all about it" got the crowd excited. The band closed with "Three," a jammy, impressive guitar song.

It was a show that gathered together fans, friends, lovers, bikers, queers, feminists, and musicians for a show that highlighted a successful D.I.Y show, in terms of turnout and sound quality. The floor was packed and so was the second level, where folks were sitting down and watching down on the show.

Rachel said it best: "I play music because it's fun and I want to make people feel awesome." Similarly I attend shows to have fun and feel to awesome. Rachel, Each Other's Mothers, you made me feel great! In the end, while lack of timeless bothered me, waiting was so worth it for these bands.

I'm a geek, so I picked up a setlist and kept track of set times (can't help it, I'm the queen of time), and also took photos, which you can all see below.

Live Review: April Smith + The Great Picture Show @ The Bell House 7-22-10

photos & story by Star Child

April Smith and the Great Picture Show is a band you don't just want to hear. You want to see. To truly feel the effect of the music, you have to see the magic of the band live. Smith and company bring it back to 30's and 40's cabaret and pop and add strong, catchy and sophisticated pop-rock beats and a soulful style. The members dress sharply, in pants, button down shirts, vests, dress. The whole nine. Surely, they're ready to perform. "The Great Picture Show" isn't just a clever title. It's quite appropriate. The songs speak deep like a story you want to piece together to bring yourself together, each song making up what is Songs for a Sinking Ship. Smith has the poise, wit, and voice that many probably wish they had. Cute, yet sophisticated, Smith joked around and spoke of being surrounded by friends and great people. 

During "Colors" a large crew of friends, including Jenny Owens Young and The Woes, two of the opening acts, joined the band.  The result was a full, fun time. A steady drum beat kept the song together and everyone else contributed some bit to the song, including gang vocals. "Movie like a Screen" shows off Smith's pleasant vocal: "I just want to mean something to youuuu."  The jammy keyboard and subtle upright bass sounds along with various other instrumentation added some nice spice to music that is typically seems confined to your typical instruments.

The show was great. At times sexy. At times serious. At times fun. By always passionate. The room was packed. And folks seemed to be having a good time. That's a show! Bravo.

The band's next show is August 11 at Le Poisson Rouge with Eli "Paperboy" Reed & The True Loves. More photos below. 

Live Review: No Pasarans & The Night Marchers @ Maxwell's 7-18-10

No Pasarans @ Maxwells

For a band that hasn't played together for 10 months, No Pasarans sure had it together. The band keeps post-punk alive in New Jersey with their unrelenting brand of rock. the Jersey City/ Hoboken based band features Eric Mason, also a member of the folk/rock band Secret Country. Here he played bass and  guitar and chopped away comfortably. The band opened for John Reis from Rocket From the Crypt, Drive Like Jeju, Hot Snakes, newest band, The Night Marchers. The three guys play in the vein of Fugazi, Q and Not U, Wire, and mix 80's punk like Naked Raygun and Pegboy. "Mobility at Last," was one of favorites of the set. This band needs to play more shows. I can imagine a nice line-up with No Pasarans, Screaming Females, and Black Wine. Don Giovanni Records and Killing Horse Records bands fit perfectly together!

The Night Marchers, who played the much larger Siren Festival the day before, got the crowd moving with their brand of rock 'n roll. The steady guitar prompted some shaking and headbanging. But singer John said that his band's music isn't made for dancing or something life that.Their set was garage-rock at its finest.

The Acorn and Communipaw @ Maxwell's 7-13-10 (photos)

Acorn

The Acorn are surprising in a different way: rather than pull strings slowly from your heart, they tap them like fingers across a piano, making your feet then tap a steady beat against the filthy hardwood floor. The Canadian sweethearts are bright enough to make you smile to yourself in a crowd, and soulful enough to make you bite your lips, holding back the urge to sing along, even if you don’t know the words. 

Communipaw

Communipaw is the kind of band that comes up on shuffle when you’re walking home after a long, shitty day at work. The sunlight’s fading on the west horizon, and night is crawling slow and violet up the sky. The music matches the ache in your calves--every crash of guitar feels like another stretch, longing to end up somewhere familiar. Their kind of folk is bittersweet--it draws things out of your memory that you’ve forgotten, or recalls the things that you desperately wanted to forget. When I saw the New Brunswick band at Maxwell’s on July 13th, I was caught off-guard. Bond’s voice is both melancholy and defiant, and their lyrics have heart, the kind that your tired head would be singing if your thoughts were set to music. 

Both of these bands are great to see live, in their own different ways, but the one thing they have in common is the ability to influence the small beating bundle beneath your ribs.

--by Zandra Ruiz

More photos below. 

Live Review: P.S. Eliot, Football, Etc, Big Kids, 1994, Kicking Spit in NJ

New Brunswick shows are not just about the music. It's about the excitement of the moment, dripping in sweat, the people you know, the ones you encounter, the flyers you pick up, the sore subjects, football, etc. Ok, two band references at the end there. But the point is that these shows are more than just music, it's about the experience you gain from it, the people you speak to. Talking to Kate of Big Eyes/Cheeky and reminiscing about the awesome sold out Bomb the Music Industry show at Knitting Factory in 2008, talking with Mercy of Football, Etc about the music scene, and getting merch from Football, etc, being remembered by P.S. Eliot, and meeting new New Brunswick kids, the dancing and being excited  about this line-up with other fans was the thrill of what made this night a good one, not simply the great tunes.

It was my first New Brunswick, NJ show since seeing The Measure (SA) in December, mostly because of the recent NJ Transit fare hike (it costs $18 roundtrip to commute from Newark to the hub city). But I didn't want to pass up the chance to see 5 exciting bands, including 3 I haven't seen before. Kicking Spit from New Brunswick, 1994 from Lancaster, Big Kids from Oakland, Football, Etc from Houston, and P.S. Eliot from Birmingham performed.

Guitar riffs, fast drums, toned out bass, and somewhat low but urgent vocals could be heard coming from Kicking Spit. This was my second time seeing them. The first was the band's first show at the last New Brunswick show I attended. Since then the band has released a tape, went on a spring east coast tour, and is already planning for national tour in August. The band seem to be moving quickly. Singer Mark B's other band Seasick is playing their last shows before hiatus this weekend, so Kicking Spit seem to be a priority right now. I think it's so easy or at least easier to book these kinds of shows because the member's of the band know so many friends and bands who have connections to show spaces. This is important. The contacts.

1994 and Big Kids also played. They had a somewhat tingly punk sound with post-hardcore leanings. Like is a constant problem with these shows, the vocals could hardly be heard and the mix was too loud. Football, Etc and P.S. Eliot made out better. The guitars weren't as loud, so the vocals could be heard better. The two bands complimented each other nicely. Football, Etc had an emo/indie rock sound reminiscent of Rainer Maria. Bassist Mercy looked like she was having a great time. Two fans up front were completely into. it One of them had what I like to call the "New Brunswick dance" going on where you bend over a bit, shake your head, dance around, and motion with your hands like you're air drumming or something. There's always been someone at these New Brunswick shows that dances like that and she was the one. It was a fun albeit somewhat short set. Next was P.S. Eliot who has really come into their own. I love their slight punk/indie rock flavor. Last I saw them was in March with The Two Funerals. Here they played a bunch of older songs, a brand new unrecorded song, and their latest 7-inch song "Bear Named Otis." Everyone gathered around together up front, dancing, and singing/screaming along to the songs, especially "Like How You Are." I just loved hearing the lines: "you're pretty in the kind of way the compliance is dull" and "you're beautiful to me." Heartfelt. Uh, it just got me and the whole set was great. The crowd called for one more song, so they played "Sore Subject." It was nice to be greeted with welcome, friendly words, and smiles.

--Star Child

P.S. Eliot setlist and Football, Etc photos below.