Look at me, I made a blog

Northside Festival 2009 - Day 3

2009-06-23T10:00:00.007-04:00

Images via Auditory Threshold

Finally, Saturday had arrived, and that meant only one thing to me: I would finally be seeing Kurt Vile and hearing the music that has been haunting my existence. I start most of my days with Constant Hitmaker and always end them with God Is Saying This To You..., with some other Kurt Vile songs in between. Today, I listened to "Freeway" for an hour straight. If you ask how this is possible, you should probably give the song a listen and tell me how you could NOT play it for hours on end. Even now, I am listening to "Don't Get Cute" on repeat. Needless to say, Kurt Vile was my must-see act at Northside Festival, especially since I missed him at Silent Barn on my birthday.

But, before Kurt Vile would close out the night at The Shank, there were a few bands to stand through, ranging from good to painful. We arrived minutes before Best New Music'd Woods hit the stage. The Shank was so packed that badge holders were no longer granted entrance, but a few dollars ameliorated that situation. Seeing as the event was hosted by Less Artists More Condos, I wasn't surprised to see that The Shank was less of a "venue" and more of a practice space with some loft rooms, a little reminiscent of the place that held the last LAMC show I attended. The lack of air ventilation didn't deter people from checking out Woods, who was clearly one of the most popular acts of the festival.

I have to admit that I didn't like seeing Woods at Underground Lounge, where they performed with Wavves and Nodzzz. At that show, the sound was so unbalanced from where I was standing that everything just sounded like noise. Although the sound at The Shank wasn't the greatest and Jeremy's mic cut out at times, I could actually make out the individual components of their music. For me, being able to break down the sound complexities gave me an understanding of Woods that I didn't have before, one that is crucial in my appreciation for their music. Music aside, I have a lot of respect for Jeremy Earl and his label, Woodsist, which is putting out some of the most exciting music that I've been listening to in the last few months. Everything that I've ordered from Woodsist has been personally mailed by Jeremy Earl, and that is amazing to me.

To Clean - Woods

Kurt Vile and the Violators were scheduled to go on at 1 AM, but some members of the Violators were held up elsewhere. By the time the full band materialized on stage, it was close to 2:30 AM. As Kurt tuned his guitars, he said, "Sorry for the delay...pedals." The joke was lost on most of the crowd. I would have liked to have seen Kurt entertain us by himself in the meantime, but I guess the bill did read "Kurt Vile & the Violators." While the band only played for about 30 minutes, it was enough to leave me wanting more. Sure enough, I've been giving Kurt Vile plenty of rotation since the Northside performance. I may prefer Vile's bedroom rock stylings of Constant Hitmaker and God Is Saying This To You…, but seeing him with the Violators only confirmed my belief that Kurt Vile is destined for stardom (including an imminent BNM stamp of approval from P4K). During their set, I kept on shaking my head in disbelief. The same man who serenades with "My Sympathy" is also capable of jamming out the epic "Freak Train," complete with an unforgettable scream-sing. The two songs seem wildly different in style, but yet they both exemplify Kurt Vile's musical identity. Hippies Are Dead most eloquently strives to describe it in their review of God Is Saying This To You…. I hope we hear more of this brilliant juxtaposition on the forthcoming Childish Prodigy, to be released on Matador in Fall 2009.

Keep an eye out for the repress of God Is Saying This To You. They're only printing 500 more copies, so do not snooze on this purchase. You may want to order directly from Mexican Summer to avoid any mishaps. Kurt Vile will be performing during the Woodsist/Captured Tracks Festival, which has the most amazing lineup I've ever seen. I assume this will be KV without the Violators. Edit: The Woodsist show will be Kurt with a full band, but he has alluded to a couple solo numbers as well.

Freeway - Kurt Vile

My Sympathy - Kurt Vile

Don't Get Cute - Kurt Vile

Order Constant Hitmaker here. His entire discography is also available on iTunes. Do the right thing, buy it all, and then tell your friends to do the same.

Past coverage on Kurt Vile here. Thanks to Will Shu for shooting the show on behalf of MusicOlogy.

Northside Festival 2009 - Day 2

2009-06-21T23:36:00.003-04:00

via Auditory Threshold

Day 2 of the Northside Festival started off with Sunset Rubdown, one of the festival's headlining acts. Sunset Rubdown began as a solo project of Wolf Parade's Spencer Krug, but it eventually grew into a full band. Sunset Rubdown has been touring North America in support of their latest album, Dragonslayer, and they made a stop at Studio B. Unfortunately, their set was plagued with many technical difficulties. Spencer faced the challenge of malfunctioning mics the entire night. Each time his mic was swapped out, the new one would inevitably cut out a little. I guess Studio B's equipment just couldn't handle Krug's powerful voice. Despite Krug's entertaining Canadianisms, the crowd was audibly distracted as the band pioneered through.

Idiot Heart - Sunset Rubdown

via Auditory Threshold

We wanted to drop by Real Estate's set at Death By Audio, but we were running too late to make the trip worth it. Instead, we headed over to Music Hall of Williamsburg to catch Kristian Matsson aka The Tallest Man on Earth. We last saw Kristian when he opened for Bon Iver. Since then, his Dylan-esque melodies and vocals have won over quite a crowd in New York, and it was obvious by the audience in attendance. Kristian was completely channeling a rockabilly style with his clothes and hair, and it always surprises me that he is indeed Swedish. No cover of Nico's "These Days" on this night, although someone did shout out a request, but you can enjoy a video of a past performance here.

via Auditory Threshold

I'm pretty unfamiliar with John Vanderslice and his music, but I decided to check him out based on some recommendations. There's something about him that reminds me of some of the music that I listened to during the 90's, including Better Than Ezra. Extremely accessible musicians like Vanderslice are pleasant to listen to, but they don't leave much of an impression on me. Out of his set, the song that I musically enjoyed the most was "Tablespoon of Codeine." Aside from the politically driven lyrics, the track has simple, yet haunting melody lines that have a way of embedding themselves into your memory. John Vanderslice is currently touring North America with The Tallest Man on Earth.

Tablespoon of Codeine - John Vanderslice

Coverage from Day 1 here.

Northside Festival 2009 - Day 1

2009-06-16T11:35:00.003-04:00

via Auditory Threshold

This past weekend, L Magazine cured NYC's SXSW envy with the first Northside Festival, a music and art-filled four days in North Brooklyn. Known for being musician and artist friendly, Williamsburg and Greenpoint were the obvious choice locales for a Brooklyn-based music festival. With a dense population of music stages and art galleries, North Brooklyn is dream come true for a music lover, and I thank L Magazine for taking full advantage of the local culture for the festival.

Northside Festival kicked off on Thursday with a short list of events. The first stop for me was Ducktails, a project of Matt Mondanile who also plays in the much-loved Real Estate. I only caught the end of his set which included "Beach Point Pleasant," a track off the recently released self-titled LP (Order here). Cameo Gallery, a fairly new art gallery/music venue located inside the Lovin' Cup Cafe, was a strangely appropriate venue for Ducktails. Darkly intimate with iridescent strips hanging from the ceiling, Cameo could be the best indoor space for an experimental one-man or one-woman show. That being said, I have to admit that seeing Ducktails live wasn't the most thrilling experience, which is what I expected going into the show. Because I have such little knowledge of what actually goes into creating his sound, it was hard for me to be engaged. 7 inches has some great insight into what he believes Matt is doing onstage, and I highly suggest that you go over there and read his write-up. If someone would like to walk me through some of the technicals, I would appreciate that, too. Ducktails has an awesome LP, and I recommend that you pick up a copy. I ordered directly from Not Not Fun Records and it came with some interesting packaging. Ducktails was also featured on the Free Music Archive recently.

Let's Rock the Beach (Live at WFMU) - Ducktails

After Ducktails, I stayed a little longer for Julianna Barwick. I don't know much about Julianna, so this may be a crude evaluation of her set. While I think some of her songs are very beautiful and soothing, it was uninteresting for me to watch someone use samples and only contribute live vocal loops. "You Catcher" has beautiful minimalist picked guitar lines and upper register piano chords, and I would have liked to have seen Barwick create the instrumental loops herself. In a way, Julianna Barwick's music reminds me of French films, the ones that have no real plot, pinnacle, or resolution. Some people are into that, but it's not my cup of tea.

You Catcher (Daytrotter Session) - Julianna Barwick

To close out the night, I headed to Studio B, which is once again in danger of losing its liquor license. Brightblack Morning Light sounded like a psychedelic funk band, backed by a couple brass instruments. I recognized the saxophonist from the Akron/Family show at Bowery Ballroom. As much as I liked Brightblack Morning Light's sound, their songs started to blur together after a short while. Calming music, but not the best band to see late at night when all you want to do is crawl into bed.

Oppressions Each - Brightblack Morning Light

Elsewhere at Northside Festival, correspondent Auditory Threshold attended a headlining performance by The Hold Steady and shot some great pictures. Head on over to Auditory Threshold to see and read the rest.

Grizzly Bear - MHOW 05.31.09

2009-06-02T07:00:00.001-04:00

via Will Shu

The NYTimes may have hated seeing Grizzly Bear, but I couldn't disagree more with the review. After this past weekend, I've now experienced Grizzly Bear four times, and the guys sound better with each show. Some people are turned off by the band's lack of crowd interaction, and I can understand that. I definitely thought the band looked bored by their own music when I first saw them. Since then, I've been educated by One For The Good Days to watch drummer Chris Bear if I ever need to be entertained. But, I don't go to Grizzly Bear shows to be visually entertained. Over and over, I go back because I simply can't get enough of the absolutely stunning moments that they create, the kind of music that is so beautiful that it breaks your heart every single time.

When Grizzly Bear started with a near-perfect rendition of "Southern Point," one of my favorites off the latest Veckatimest, I knew that their show at Music Hall of Williamsburg would be a special night. In the smallest venue I have ever seen them play, Grizzly Bear seemed at ease, as if they were actually enjoying themselves. That's right, the normally stoic Grizzly Bear members had smiles on their faces. They appeared noticeably more comfortable, and the audience could hear it in the music. I preferred GB without the extra trimmings like Nico Muhly or the ACME String Quartet who were both at the Town Hall show I attended on the previous Friday. Seeing the four members up close, I couldn't help but think how cosmic it is that these people somehow found each other in order to create this music. I don't know how people can find Grizzly Bear to be cold, because I find their music to be extremely transportive in the most emotionally manipulative way. It is rare to find music so powerful that it's able to speak to you on a somewhat subconscious level. Yes, they are very precise musicians, but their consistency is something I look forward to with each concert. In the end, I have to admit that I may have an uncommon reaction to Grizzly Bear's music. When I hear a song like "Little Brother," I can't help but smile like a fool. Maybe particular music elements resonate deeply with me, but I know that I'm a fan for life.

One thing I noticed during the show was how much I enjoyed listening to the older, non-Veckatimest material. It took me quite awhile to wrap my head around Yellow House, but I almost think I like it more than Veckatimest. After carefully listening to an album for an extended period of time, I find the "lightbulb moment" (if it ever occurs) to be such a delightful reward. With Veckatimest's greater immediate accessibility, the epiphany factor is now missing for me. I've now gone back to listening to Yellow House, of which "Easier" is my current favorite. If you've recently become a fan of Grizzly Bear, I suggest that you take the time to go through their earlier discography.

And, don't forget to watch Chris Bear if you find your mind wandering at the next Grizzly Bear show. Click here for past Grizzly Bear coverage.

via Will Shu

Southern Point - Grizzly Bear

Easier - Grizzly Bear

Girl Talk, Violens - Hiro Ballroom 05.28.09

2009-05-29T00:50:00.004-04:00

Thanks to BrooklynVegan's tip, I entered in a photo contest and won a camera and a pair of tickets to a private Girl Talk show at Hiro Ballroom. The 2nd prize winning photo can be found here, and you can see that it's a pretty amateur fan shot. Nonetheless, it won something and I happily danced to Girl Talk for the fourth time in two years. A significantly smaller and older crowd (21+ only) made the experience much more enjoyable, although I was a little disappointed to see so many people not dancing as if they didn't know what to do at a Girl Talk concert. Girl Talk shows are always a good time to let loose and jump around to songs that you may remember from Jock Jams (Volume 1).

By now, you should know that Girl Talk shows are crazy, complete with inflatable balls, bubble machines, and a DJ who will not stop moving around. I wouldn’t say that I’m the most dance-happy person, but I will get down to Girl Talk because it really is a shame not to have a good time. Although the grand prize winners were supposed to dance onstage for one song, the crowd rushed the stage during the first song in true GT-show fashion. This time I didn’t get crushed by eager dancers, but my friend J. and I opted for more breathing space and left the stage after a few songs. I pretty much lose it every time Gregg samples anything Daft Punk (especially “Aerodynamic”), but I wish he would bring back the Grizzly Bear “Knife” sample. I’m still holding onto my memory of Grizzly Bear joining Gillis onstage at Pitchfork Music Festival ’07.

Girl Talk shows have always been a bonding experience for my friends and me. I listen to music that they’ve never heard of, and I flabbergast them by barely knowing any Top 100. These differences aside, my friends and I know how to have a good time and we have Gregg Gillis to thank for providing a happy medium. Girl Talk: Bringing weird indie kids and mainstreamers together since 2006’s epic Night Ripper.

Violens, who has also been given love on Made a Blog, opened for Girl Talk. Their performance of “Already Over” was divine, and I can’t wait for their forthcoming album.

Thanks to Spin and Canon for sponsoring the event and Absolut for the complimentary open bar.

Violens

Onstage view of Gregg Gillis

Already Over - Violens

In Step - Girl Talk

Purchase Feed the Animals here.

"Ambivalence Avenue" - Bibio

2009-05-26T07:00:00.000-04:00

via Warp Records

Back in December and January, Here We Go Magic's "Tunnelvision" was my in-transit anthem. The song's upbeat, repetitious melodies kept me moving very quickly from door to door, a motivation that I desperately needed back then. Even listening to it now brings back memories of the snow, cold wind, and busy Manhattan streets. Now that the weather has warmed up and leisurely strolls have become a new habit of mine, I find myself playing "Ambivalence Avenue" to accompany me on explorations in my new neighborhood.

While I had downloaded experimental electronic artist Bibio's new album sampler on RCRD LBL, I didn't listen to any full songs until "Ambivalence Avenue" was featured on Pitchfork's Forkcast. Founded on layers of acoustic guitar loops, "Ambivalence Avenue" is an infectious tune that sounds so natural that it hardly suggests the complicated recording process, as outlined in Bibio's bio via RCRD LBL. Combined with the warm lo-fi sound, the lethargic rhythm of the song (I believe it's in 3/4 time) paints a picture of a lazy summer Sunday, complete with deliberately slow walks that have no real destination in mind.

Judging by the rest of the sampler, I'm excited to hear the rest of the album. I was surprised by the wide range of genres that Bibio dabbles in for the forthcoming Ambivalence Avenue, including funk and hip-hop, which I didn't expect after hearing this song. Ambivalence Avenue will be officially released on June 22nd, but you can pre-order it on vinyl and CD here.

Ambivalence Avenue - Bibio

"Power Osci" - Shuta Hasunuma

2009-05-20T20:15:00.001-04:00

via Western Vinyl

Yesterday, I received a wonderful surprise in my inbox from Brian over at Western Vinyl, home to past obsession Here We Go Magic and J. Tillman, the Fleet Foxes drummer. Shuta Hasunuma is a glitch pop artist from Tokyo who is fearlessly making some of the most engaging electronic music that I've heard in a long time. Combining traditional instruments with electronic layers, Hasunuma gives a modern context to his beautifully organic soundscapes.

"Power Osci" from the forthcoming Pop Ooga is definitely the pop song of the album, and it has been playing on my headphones and speakers all day. The song begins with a complex plucked guitar loop, joined by a simple synth keyboard melody. When Hasunama's voice enters the web of sounds, an immediate warmth soothes the listener. His wispy, R&B-tinged voice reminds me of the male J-pop artists I listened to nearly a decade ago. Perfectly complementing the intricate instrumentation, the vocal melodies are straightforward and delightfully catchy. I have no idea what Shuta could be singing, but I must admit that I have attempted to "sing" along. Needless to say, I should stick to just humming for now.

Pop Ooga will be released on vinyl on June 9, but it seems like it's available on iTunes now. Fingers crossed for some future U.S. dates.

Power Osci - Shuta Hasunuma

The Play - Shuta Hasunuma

"Early Warnings" - Foreign Born

2009-05-19T07:00:00.003-04:00

via Dim Mak

Introduced to me by Ed Droste of the much-loved Grizzly Bear, Foreign Born is a folk rock band hailing from L.A., a music city that I tend to overlook. Foreign Born has been around since 2003, but I only recently started listening to them, starting with their forthcoming album Person to Person. There's something strangely familiar about Foreign Born's sound, probably because I associate certain techniques with specific artists. Listen to the intro to "It Grew on You," and tell me if you hear Radiohead as I do. Whatever their influences may be, Foreign Born uses the elements to mold a new incarnation, one unlike anything else I'm listening to at the moment.

The latest free song off Person to Person is "Early Warnings," a tune that plops down in your head and refuses to move. Starting with a cascading, African-inspired riff played on a hollow body guitar, the song has an instrumental melody that one might expect from a certain Upper West Side Soweto-influenced band. Lead singer Matt Popieluch's vocals are finished with a touch of reverb, which gives it an M. Ward-like quality. There's nothing groundbreaking about "Early Warnings," but it's so delightful that I can't help but leave it on repeat.

Person to Person will be released on June 23rd. Pre-order the album here. Foreign Born will also be supporting Grizzly Bear at a couple of shows before embarking on a nationwide tour with The Veils.

Early Warnings - Foreign Born

Vacationing People - Foreign Born

Akron/Family - Bowery Ballroom 05.06.09

2009-05-12T07:00:00.004-04:00

How does one even begin to describe Akron/Family? Aaron Kayce at Jambase hints at a close description by saying that Akron/Family is "fifty bands in one." Indeed, their music seems to be influenced by so many genres that it's impossible to put them in any category. In the simplest words, I would say that Akron/Family's music is by and for true music geeks, the ones who get a kick out of testing their music knowledge. Yea, you know who you are.

After hearing so many people personally recommend seeing Akron/Family live, I was too curious to pass up another opportunity to see them. The band's latest album, Set 'Em Wild, Set 'Em Free, had been released on the previous day, so they organized an all-ages record release show with special guests that included the eccentric Charlyne Yi and William Parker's Southern Satellite, a modern free jazz ensemble. To be honest, I had heard very little of Akron/Family's music prior to the show. Since I'd been told by my friend Lyanne that the live performance quality generally surpasses that of the recorded songs, I decided to go into the show with a blank slate and no real expectations. Turns out this was the best way to go.

At most shows, the bands usually stand around onstage and play songs that roughly resemble their recorded form. Sound familiar? Well, Akron/Family deviate from this traditional format and use their stage performance as an opportunity to showcase their improvisation skills, as well as their cohesiveness as a performing band. Joined onstage by backing brass, woodwinds, and strings (including some members of Parker's ensemble), Akron/Family preceded to blow my mind, especially when they embarked on extended jam sessions. It's really incredible to experience a band who is able to improv so well with each other that I could have mistaken the long interludes for pre-written, rehearsed music. One of my favorite songs of the night was "Everyone is Guilty," a song that seemed to be constantly evolving with each passing second. With funk guitar riffs, rustic American percussion, tribal-like sing/shout lines, classic rock and metal chords, and even Aaron Copland-inspired instrumentals, it was a song that epitomized Akron/Family's unique sound and dynamic style. Of course, the night would not have been complete without a couple audience sing/snap-a-longs and an ending performance among the crowd of fans.

If you're looking for a traditional concert, then an Akron/Family show is the last place you should find yourself. But, if you're interested in experiencing a one-of-a-kind show that emphasizes the improvisational ideas of free jazz, then they cannot be missed. I admit that I am very unfamiliar with Akron/Family's discography, so I can't comment on how the new material stacks up against the old. But, I've posted a song called "River" from Set 'Em Wild, Set 'Em Free. It's one of the more linear and accessible Akron/Family songs, and it's a good place to start.

Thanks to Kyle and Addison for making me see this band. It was one of the most memorable shows I've ever attended.

River - Akron/Family

St. Vincent - Virgin Megastore Union Square 05.05.09

2009-05-11T07:00:00.004-04:00

Didn't think I was going anywhere, did you? Once again, it's been a bit quiet on the Look at me, I made a blog front. But, after an unfortunate hard drive crash, an apartment move out of Manhattan, and a quiet passing of another birthday, I'm glad to be back with a series of very belated posts that will be up this week.

Amidst the chaos of my life, I managed to sneak in some much-needed music therapy with a brief set by St. Vincent at the Virgin Megastore in Union Store. For inexplicable reasons, I am generally not a big fan of female singers, although there are several female vocalists that I do appreciate. After seeing her live, I've added St. Vincent to this growing list. Originally from Texas, Annie Clark aka St. Vincent is not a newcomer to the music scene with past solo efforts and as a member of Sufjan Stevens' touring band. While she's been highly recommended by my friend David, I didn't give St. Vincent a serious listen until I got my hands on her latest album, Actor.

Actor was a pleasant listen, but the stickiness factor of the album didn't kick in until I saw St. Vincent and her backing band. With the new album awkwardly playing through the store speakers in the background, St. Vincent and her band kicked off the short set with "The Strangers." The "jammier" songs like "Actor Out of Work" and "Marrow" showcased St. Vincent's phenomenal talents, as evidenced by the arranged layers of multiple instruments, as well as her ability to really rock it on the guitar. My current favorite song, "Laughing With a Mouth of Blood," was a more minimalist pop tune, with catchy lyrics and riffs. In combination with the unique instrumentals, the emotion that St. Vincent conveyed with her voice was what made the short performance leave a lasting impression. In general, Annie's sultry voice was so perfectly controlled that it was a little hard to believe your ears. In "The Party," she expressed a subtle vulnerability in her voice to accompany the ambiguous lyrics, suggesting a certain melancholy. Toward the end of the song, every member of the band joined her in acappella choral form, demonstrating that everyone onstage could indeed sing. Does anyone know more about the backing band members?

If you have a chance to see St. Vincent and her band, please do not hesitate to go. They only performed five songs of Actor, but it was enough to convince me to carefully listen to the rest of the album. Actor is currently available for purchase. Tickets to St. Vincent's Webster Hall show on May 20 are still available for purchase.

Actor Out of Work - St. Vincent

Laughing With a Mouth of Blood

"Moth's Wings" & "Little Secrets" - Passion Pit

2009-04-28T07:00:00.000-04:00

Passion Pit will never play a venue this small ever again

Aaaaand, I'm back on the Passion Pit wagon. If you follow Look at me, I made a blog or I force you to listen to me talk about music, you may have noticed that I don't mention Passion Pit anymore. I started listening to them last July and audaciously declared them as "the next big thing" after seeing them at the first show of their Pianos residency. I went on to see them two more times last fall, including at the BrooklynVegan CMJ showcase and a packed, sold-out show at Glasslands Gallery. And, sometime after that, I started to lose interest. Their names and faces seemed to be everywhere, destined to meet a Vampire Weekend-like fate of irritating stardom, all without having released a proper debut album.

When this much hype surrounds a band that I like, I try to be cautiously optimistic about their forthcoming album. After hearing "The Reeling," the first single off Manners, I honestly wasn't that impressed. Sure, it's catchy and children's choirs seem to be the fad of the year (i.e. Grizzly Bear, Peter Bjorn & John), but it seemed almost overproduced and dragging in length towards the end. I still listened to it a lot, but it didn't have the viral charm of the Chunk of Change EP. Hearing "Little Secrets" over the weekend chased away my reservations about the new album, and now I can't wait to hear more of Manners. I can't really explain it, but the intro to "Little Secrets" is the most addicting 24 seconds I have heard in a very long time. Who knew that some simple synth lines with cowbell could be so dangerous? Just a rough estimate, but I believe I've listened to this one song for about four hours since Saturday. Before I'm even over "Little Secrets," Passion Pit released a new song yesterday that will also see heavy rotation on my playlists. Opening with strums that are reminiscent of the Beatles' "Across the Universe," "Moth's Wings" sounds unlike any other Passion Pit song thus far, especially with Angelakos refraining from reaching his upper vocal register. "Moth's Wings" is still very much a pop song, but it hints at songwriting skills beyond fun dance hits like "Sleepyhead."

So much for managing expectations. I'm counting down to the release of Manners on May 19. Does anyone have extra tickets to any of the Bowery shows? Shouldn't have snoozed.

Little Secrets - Passion Pit

Moth's Wings - Passion Pit

"Deadbeat Summer" - Neon Indian

2009-04-21T22:33:00.002-04:00

via Robot Dance Music

While I was catching up on my Google Reader today, I came across an amazing track by Neon Indian via GorillavsBear. Neon Indian is a duo who is currently hiding their identities from the public. All we know is that they're making music long-distance, with the guy in Austin and girl in Brooklyn. GvB commenters are speculating that the guy is from VEGA, but who is the girl? No idea, but I can't stop listening to "Deadbeat Summer." The psychedelic, Ariel Pink/Gary War-esque intro gives way to a soft drum machine line that reminds me of Cut Copy, circa their Bright Like Neon Light days. Seemingly sprinkled on top, the male vocals perfectly complement and balance the instrumentals instead of monopolizing the listener's attention. Add a little synth line on top, and I am sold. Every note and progression seem to be so intriguingly organic, and I've found myself listening to this song on repeat. Can't wait to hear more. For now, you can listen to some other tracks here.

Deadbeat Summer - Neon Indian

Seriously, it's over - Neon Indian

"DC Comics and Chocolate Milkshake" - Art Brut

2009-04-21T21:45:00.003-04:00

via Photopass

People always chuckle at the name of my blog, but few actually know that both the lengthy URL and name are based on an Art Brut song called “Formed a Band.” When I first saw Art Brut at the Village Voice’s Siren Music Festival in the summer of ’06, I had to admit that I was confused. Eddie Argos more or less spoke his hilarious lines, albeit with lots of fervor and energy. Art Brut may not be a band for everyone, but I’m glad that there is another round of catchy guitar hooks and unforgettably entertaining lyrics with the latest album, Art Brut vs. Satan.

As Art Brut takes us through our more busted moments in life, I can’t help but think that Eddie Argos is once again telling a story that we all know too well. In “Alcoholics Unanimous,” Eddie wakes up with a hangover and preemptively apologizes to his friends, via the same group text, for whatever he may have done the previous night. Sound familiar? Moving on, he wisely remarks that while life may be hard, certain "Peter Pan syndrome" things will always be great, like DC comics and chocolate milkshakes. But, “Passenger,” a song about public transportation, must have been written with me in mind. Confession: I don’t have my driver’s license nor can I really drive. But, as Eddie says, "I love public transportation. Train or bus, they're both amazing." Okay, maybe not so much once I start paying $103 for a monthly MTA pass. Maybe I should invest in a folding bicycle.

Art Brut vs. Satan is currently available for purchase. Art Brut has a 5-night residency at Mercury Lounge this June, and I will be attending on Thursday night. My dream is that Eddie Argos has seen this blog and speak-sings, “Made a blog, I made a blog! Look at me, I made a blog!” I like to dream big.

DC Comics and Chocolate Milkshake - Art Brut

Formed a Band - Art Brut

Vampire Weekend - Columbia University 04.18.09

2009-04-21T08:25:00.001-04:00

You either like Vampire Weekend or deplore them. Not just dislike them, but absolutely despise them. And, I can see how people can be turned off by what the band supposedly represents: money and privilege. The VW backlash is pretty complicated, but one thing is clear to me. VW has some very enjoyable pop songs, and you’re probably lying if you say that you don’t like “Cape Cod Kwassa Kwassa” at all.

A year after VW’s debut album release show, I voluntarily trekked my way up to Morningside Heights for Columbia’s annual Bacchanal spring concert. Some of my favorite college memories (or lack thereof) are associated with the event, and my Avenue Q blues may have convinced me to take the 1 train up to 116th Street. Whatever the real reason may be, I found myself on Low Plaza on the first beautiful day of this spring. The steps of the library were already packed at 1:45 pm, over an hour before Vampire Weekend was scheduled to hit the stage. But before we knew it, the young alumns hit the stage, swigging water out of flask-like bottles.

VW opened with “White Sky,” and went on to play every song from their debut album. They’ve had a lot of time and practice to perfect the old tunes, and they’ve gotten really good at playing them. Their Paul Simon-inspired songs were most appropriate for dancing in the afternoon sun, and the band members surprisingly looked like they were having fun, even Rostam. All the guys seemed very gracious to play their alma mater again, and Ezra even gave a shout-out to Chromeo, who remixed “The Kids Don’t Stand a Chance.” While I think that VW is a fun outdoor listen, they seriously need some new songs. I’ve grown tired of listening to Ezra’s singing about a robot’s escape from Cape Cod to New Jersey and spilled kefir on keffiyehs. Ezra claimed that they’re currently working on a second album, but they weren’t ready to perform anything new. No pressure, Vampire Weekend. None at all.

In the past year or so, the VW hype has exploded to such ridiculous heights that it actually blows my mind. I couldn’t avoid them in magazines, on TV, or on the Internet, but the last place I expected to see or hear anything VW-related was during The Wrestler. But, there they were, staring me in the face. A poster for Vampire Weekend’s debut album was hanging in the living room of character Randy’s daughter. Yes, I was annoyed and sick of seeing them everywhere, but I can’t say that I hate their music. And for those of you who hate them without having heard any of their songs, you should probably try to form opinions of your own. While I have no qualms with people who objectively dislike VW’s music, it’s another thing to drink the communal haterade for the sake of riding the mainstream wave.

This leads me to two questions: Are we capable of liking music objectively? That is, can human beings evaluate bands purely based on the music and nothing else? SHOULD we judge music objectively? With the Vampire Weekend phenomenon, it seems like the answer to the former is that most of us do not blindly listen to music, especially when the band’s image is absolutely unavoidable. In the case of VW, I am simultaneously proud of VW’s success and embarrassed by their pretentiousness. They may represent a certain demographic at CU, but their world is one that my small-town Midwestern roots still do not understand, even after four years at that institution. Yet, I like their music. It's not life-changing, but it's more than listenable. Maybe I’m a VW fan because I started listening to them when they were on the cusp of MTV famedom. Whether or not I should judge them or anyone other band by their personalities and circumstances, I don’t know the answer to that one. But, let's try to focus on the music and not what they're wearing. And, yes, I do realize that I like a band that’s been on the Disney Channel.

Cape Cod Kwassa Kwassa - Vampire Weekend

Of Montreal- MHOW 04.17.09

2009-04-21T07:00:00.001-04:00

via Music for Moodies' flickr photostream

I did say that I would stop seeing Of Montreal indoors after the Roseland Ballroom show last fall. But, when I saw that they were putting a series of smaller shows at Music Hall of Williamsburg, I couldn't resist but to give them another go. I'm glad I did, because this show was closer to the first time I'd seen them (Pitchfork '07), which I still consider to be one of the most entertaining performances I've ever experienced.

Fourth time's the charm, and Of Montreal definitely got it right this time. The smaller venue made a huge difference, and it was comfortably filled to capacity. Another plus for an aging concertgoer like me, the crowd was significantly less aggressive but still danced around as one should at an Of Montreal show. This time, the show didn't feel like a bad high school production. With toned down theatrics that were more than sufficient and psychedelic visuals on three screens, Of Montreal had found a way to bombard the audience's senses without overloading them. Since the last show, Skeletal Lamping had grown on me a bit, but it will still never measure up to the tremendous Hissing Fauna. Although I will always find "Gallery Piece" to be annoying beyond belief, I did like the new song that they played on Friday night. "Like a Tourist" already makes me excited for the next crazy thing that Kevin Barnes will whip up with the next album. You can listen to the song via nyctaper here.

This guy brought his own mask. I dig that.

via Music for Moodies' flickr photostream

Ever since I saw Janelle Monae open for Jamie Lidell's Summerstage show, I've been mesmerized by her futuristic music and persona. She's got crazy dance moves, and she painted a canvas while singing a song. Random, but sort of awesome. At first, the hipsters around us were a little confused by Janelle. But, it wasn't long before everyone was dancing along. The Of Montreal crowd tends to be very open-minded when it comes to insane stage antics, so this was the perfect audience for Janelle. Years in the making, Janelle joined Of Montreal onstage during the encore for a cover of David Bowie's "Moonage Daydream."

Of Montreal continues on their U.S. tour. Catch Janelle this summer at Bonnaroo.

Requiem for O.M.M.2 - Of Montreal

First Time High (Reconstructionist Remix of "An Eluardian Instance") - Of Montreal (Jon Brion Remix)

Violet Stars Happy Hunting! - Janelle Monae

"Song for John in D" - Kurt Vile

2009-04-20T23:34:00.003-04:00

via L.A. Record

Kurt Vile of The War on Drugs has been getting a lot of attention from me ever since I started listening to "Freeway" off Constant Hitmaker. While I listen to Constant Hitmaker during the day, Vile's latest LP has been the last thing that I put on before going to bed. I almost didn't end up with a copy of God is Saying This To You... due to a mishap at Insound where they accepted more pre-orders than there were physical records. Tsk, someone needs to brush up on supply chain management. Luckily, I cancelled my order and picked up a copy at Other Music before it sold out. Currently, my favorite listen off the LP is "Song for John in D." With its pensive, yet soothing picking melodies and dabbles of electric instruments, it's a song that could haunt dreams. And, considering that it's one of the last things that I listen to at night, it's quite possible that it's already lurking around in mine. Enjoy.

Song for John in D - Kurt Vile

Freeway - Kurt Vile

Real Estate - Pianos 04.11.09

2009-04-14T00:28:00.001-04:00

Etienne totally pulls off the white Wayfarers

Escapism is the continuing theme here at Look at me, I made a blog, as I daydream of a different life, preferably one that includes a tropical vacation and an apartment with built-in closets. Another week has gone by, along with multiple failed attempts to find a new place to call home. As bummed as I may sound, I realized that I was making things worse by not making the time to see some bands. Maybe live music is an addiction for me, but it's one that I don't think I'll ever want to shake. So, for the sake of my well-being, I braved the LES on a Saturday night (aka Douchebag Central) to catch the beach-inspired Real Estate at Pianos with my friend Music for Moodies.

Highly recommended by Chocolate Bobka and featured by Stereogum and My Old Kentucky Blog, Real Estate has been on my list to check out. Hailing from the great New Jersey, Real Estate is a fairly new project of Martin Courtney, Alex Bleeker, Etienne Duguay (Predator Vision), and Matt Mondanile (Ducktails). According to them, they've only been playing together for about a year now, but they could have easily fooled me into thinking that they'd been a band for ages. Either I'd forgotten the potential of live performance, or the members of Real Estate are just really excellent musicians. They played a flawless set and completely blew me away. They breathed warmth and life into their lo-fi recordings, the same songs that didn't necessarily stick so much at first. Honestly, this is a band that is meant to be enjoyed live. While I felt myself getting lost in Real Estate's soothing vocals and infectious guitar riffs, I could almost smell the ocean and feel the cool salt-scented breeze. Like the line in "Beach Comber," vacation's all I want, but the sounds of Real Estate will do for now. Trust me, their transportive music makes up for their unGoogleable band name.

Real Estate plays Cake Shop this Friday and The Shank on Saturday. Be sure to grab their 7" which also comes with an endearingly homemade CD-R. You can order it here or pick it up at one of their shows. Can't wait for the full-length.

Beach Comber - Real Estate | Alternative Link

Old Folks - Real Estate | Alternative Link

"Taking the Farm" - The War on Drugs

2009-04-04T20:30:00.003-04:00

via The Poverty Jet Set

Things have been a little quiet here at Look at me, I made a blog but for a good (non-musical) reason. My life has been consumed by a search for a new place to live. Time that I would normally commit to listening to music, seeing bands, or blogging about ear candy is now being devoted to obsessively refreshing Craigslist, stalking building owners, and hopping on the train to see amazing units that are only available for viewing during the week from 9-5 PM (WTF??). And, this may come as a shock to you, but I have yet to purchase an appropriate MP3 player. After my iPod broke down two years ago, I've been using this cute but near useless iPod shuffle, endearingly labeled, "come on feel the illinoise."

Yes, it's been stressful, but the little things, like this song, are getting me through it. I've been listening to a lot of Kurt Vile lately, and I read somewhere that he also plays in a Philadelphia-based band called The War on Drugs. A quick iTunes search later, I found myself listening to "Taking the Farm." It's amazing to me that this song had just been sitting in my library, and it's clear that I need something to help me discover the music I already have. But the tune couldn't have resurfaced at a better time, a perfect song for a spring or summer day. From the psychedelic effects to the clever, catchy lyrics, "Taking the Farm" is a song that invokes dreams of warm weather, carefree days of lying out in the sun. This reminds me of a couple sentences in the Fleet Foxes LP liner notes that read, "Music activates a certain mental freedom in a way that nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than found in the day-to-day world." So screw reality, turn on this song, and dream away as you please. I will be dreaming of listening to The War on Drugs in my new, yet to be found apartment.

Taking the Farm - The War on Drugs | Alternative Link

Micachu & the Shapes - Pianos 03.25.09

2009-03-26T19:24:00.006-04:00

via Music Snobbery

It’s true that euphony cannot exist without dissonance, but sometimes noise, even when deliberate and carefully executed, is still just noise. I hadn’t completely bought into Micachu & the Shapes prior to seeing them at Pianos, but glowing reviews from the fathers of music blogging and my favorite person on Twitter convinced me to put aside my skepticism for a night. After last night, I think I’m in the camp of people who think Micachu is mostly hype, as much as I do enjoy some of their songs.

Perhaps I’m missing some glaring point, but I’m fairly confident that I “get” Micachu’s music. No note, yell, crash, or jangle is a mistake or slip; every piece is intentional. Seeing Micachu & the Shapes in person makes this meticulosity even more apparent. They confront chaos and embrace it fully, making for a one of a kind listen. In the end, my thoughts on Micachu come down to my personal preferences for musical styles and ideas. Last night at Pianos, I realized that about 80%+ of the music was rough discordance, which is not what I expected. Maybe because I’m drawn to the more melodic songs of Jewellery like “Golden Phone” and “Vulture,” I thought the set would be more along the lines of those songs. “Golden Phone” is an incredible song that is both fun to listen to and unlike anything I’ve heard before. It’s playful and like a musical riddle, as the song bounces around different degrees of consonance and dissonance. Most of the time, the lines between the two are blurred, which only makes the listener want to hit the back button in order to figure it out. But, when the melodic snippets were removed from Micachu’s music, I was left a little confused. It’s like a joke with no punchline. I needed more melody to balance out the noise. Judging by the faces around the room last night, I don’t think I was the only one who was a little puzzled.

So, I didn’t exactly like Micachu’s final show in NYC. But, don’t let this deter you from listening to Jewellery, since there are definitely some tracks worth checking out. I’m not ready to make abstract listening a regular activity, but kudos to those of you who do. For now, I will stick with my Grizzly Bears.

Jewellery will be officially released on April 7. Pre-order it here.

Golden Phone - Micachu & the Shapes | Alternative Link

Vulture - Micachu & the Shapes | Alternative Link

Grizzly Bear - Veckatimest

2009-03-19T20:37:00.000-04:00

via Grizzly Bear Blog

I’ve been really torn about whether or not I should be writing this post so far in advance of Veckatimest’s official release date of May 26. But, now that a high-quality “Cheerleader” is available for legally free download, I feel like I’ve been given the green light. That being said, if you don’t give this album a listen, then you are missing out on one of the best albums of the year. I don’t want to spark a debate on whether Veckatimest is better than Animal Collective’s Merriweather Post Pavillion (You can head over to the comments on Brooklynvegan or Stereogum for that entertainment), but this new Grizzly Bear album is particularly special to me because it’s made me reevaluate my thoughts on the way humans consume and pay for recorded music. Even if Veckatimest is not enlightening in that way for you, at the very least you will listen to some wonderful tunes.

Recently on Idolator, there was an article about how an initial reaction to music can be similar to the physical effects of love at first sight. I can’t think of a better way to describe my first reaction to Veckatimest than to say that I fell in love with it, as corny as that sounds. Even with the crappy quality of the leaked rip (that spurred a lot of douchebaggery on Twitter), I am confident in saying that I really really really like it. The album opens with “Southern Point,” such an explosive start that I could have repeatedly hit the back button for the next few days. Musically playful with interplay between the acoustic guitar and the other instruments, this song is just fun to listen to. Fun is a word that I don’t normally associate with Grizzly Bear. Beautiful, haunting, and heartbreaking are adjectives I would generally use to describe the band’s music. With the first song, Veckatimest is already changing everything that I thought I knew about the band. And, from there, the album continues to delight the senses, whether it’s with the soft harmonies of “Two Weeks” or Grizzly Bear’s signature hollow body guitar sounds in “While You Wait for the Others” and many other songs. And, thanks to this high-quality download of “Cheerleader,” legally available here, you can actually hear and appreciate the production on the album. If you’re a talented live band like Grizzly Bear, then the goal of production is to make recorded music sound as close to the real thing as possible. But, how do you capture the essence of a band in a recording?? ‘Tis a mystery that the talented Chris Taylor has solved, methinks.

Generally, Veckatimest is much sunnier and more poppy compared to previous Grizzly Bear albums. Compared to Yellow House, an album that I have grown to love, Veckatimest is much more of an immediate like. But, it has areas that take more time to appreciate, which makes for a rewarding listen. Basically, Veckatimest has the crisp first sips of Pepsi but the overall more satisfying drink of Coca-Cola. But, what makes this album and the band so good is their ability to invoke different images and emotions with their music. Maybe I’m alone in saying this, but I listened to Veckatimest with more than just my mind, all unintentionally. There is a certain musical je ne sais quoi to the album that just encourages me to let down my guard and get lost in the music. And, folks, this magical quality is the reason why I love music.

Yes, so you get that Veckatimest is a good album. But how has it changed the way I think about music consumption? Well, I first listened to this album in the same way that you probably did. I downloaded it and listened to it on my computer. While listening to the album, I talked to a couple friends online about the songs. Sound familiar? This is how I consume most new music, and you probably do too, whether you want to admit it or not. In the modern day, listening to and sharing recorded music has become too easy. What we've gained in convenience, we've lost in human interaction. When I was listening to Veckatimest for the first time, I wished that I could have shared that moment with someone in person. For me, a part of my music experience is the sharing of said experience. That's why I started this blog in the first place. But, writing things here is not the same as saying them in real-time. We still pack venues to see bands, so we can't all be lazy hermits. Still, I don't know anyone who still holds listening parties, besides the people who hosted them for the "unheard" Sufjan song. So, I have a proposition. Next time you plan on listening to an album in its entirety, invite some people over. Humanize sharing again. It doesn't even matter if you and the other people have all heard it before. I may even host a listening party in Brooklyn for Veckatimest if there's any interest...

Of course, everything I've said about the album up to here is all a premature evaluation since I haven't had a proper listen yet. I've decided to stop listening to the leaked rip, as much as I can help it, until I get the real thing on vinyl. That's right, I'm paying for music. And, I've decided to start buying vinyls of albums that I consider to be incredible so that I feel like I'm actually getting something of everlasting value when I pay for recorded music. Pre-order information for Veckatimest can be found here. It's worth it.

Post on Grizzly Bear's show at BAM with the Brooklyn Philharmonic here.

Grizzly Bear, see you at Pitchfork. Grizzly Bear play Town Hall on May 28 and May 29.

Cheerleader - Grizzly Bear

Two Weeks (Live @ Boston MFA 08.14.08) - Grizzly Bear | Alternative Link

While You Wait for the Others (Live on Morning Becomes Eclectic) - Grizzly Bear | Alternative Link

The Pains of Being Pure at Heart - The Bell House 03.13.09

2009-03-16T22:20:00.001-04:00

It took me awhile to correctly remember this band's name, so I surprised myself when I jumped on The Pains of Being Pure at Heart wagon last month. I didn't think that TPOBPAH was particularly amazing at first listen, but it turns out that they're more infectious than the This is Why You're Fat meme and way less gag-inducing.

For whatever reason, I really love starting and ending my weekend nights with TPOBPAH. I must be quite a sight, jamming on the street while walking home in the early hours of the morning, but I can't really stop myself. So, it only seemed appropriate that I kick off a weekend with a Pains show at one of my favorite venues, the Bell House. Riding the Pitchfork BNM wave, TPOBPAH packed the room with eager spectators, myself included. I expected a dancing-good time, and Pains absolutely delivered. Seriously, I don't understand how anyone could not have had fun at this show. Sure, the band wasn't always perfect on the technicals, but they make up for the lack of precision with irresistible songs like "The Tenure Itch" and "Everything With You." I really hadn't been giving TPOBPAH enough creative credit. Yes, some of their songs sound a little indistinguishable, but that's sort of the nature of their genre. After listening to the opening acts, I could see that shoegaze/dream pop is not as easy to execute as Pains make it sound. I only wish they had more songs because 30 minutes of TPOBPAH is not enough.

Like I said before, I can imagine listening to TPOBPAH during the middle of the day at an outdoors festival. Looks like we will be doing just that at Pitchfork Music Festival this July. And the July countdown begins...

The Tenure Itch - The Pains of Being Pure at Heart | Alternative Link

Everything With You - The Pains of Being Pure at Heart | Alternative Link

"Already Over" - Violens

2009-03-15T20:30:00.002-04:00

via Sonic-Exposed

When David asked me if I had heard Violens, I replied with an immediate, "Of course." But, when I searched through my library, I realized that I actually had none of their music. Then, how the hell did I know the name Violens? It slowly dawned on me that I may have seen them perform before. Don't think that my lack of memory implies that they are not worth knowing, because I'm currently very addicted to a couple of Violens songs. One of these songs, "Already Over" is pretty much on permanent repeat because I can't get enough of it. Simple components like a moving bass line, reverby vocals, and light snare drum all come together in the most delightful way in the first verse. Less than a minute in, and I'm already completely won over.

Violens' self-titled EP is currently available for download on iTunes with a physical release on March 17. I tried to see them again last night, but a long door line deterred me. Epic fail.

Thanks to David for the reintroduction.

Already Over - Violens | Alternative Link

Handsome Furs - Mercury Lounge 03.06.09

2009-03-07T19:30:00.001-05:00

via Modage's Flickr

A remedy for any case of the blues, Handsome Furs' forthcoming Face Control is an album that I've cranked up while walking around the city, especially very late at night. With his wife Alexei Perry, Dan Boeckner (of Wolf Parade) has created an irresistibly fun dance-rock album. I was pretty bummed about being thirty minutes too late in buying tickets to the sold-out show, but I managed to grab a pair via the miracle that is Mercury Lounge's Twitter. I'm so addicted to Twitter, for all the right reasons.

Sometimes after a long week, all you want to do on a Friday night is grab a few drinks and let your body move to the grooves. After standing through two opening acts, surprisingly good/appropriate (The Hundred in the Hands) and not-so-much (Iran sans Kyp Malone), Handsome Furs finally took the stage to start a much-needed dance party. For whatever reason, I had expected some sort of elaborate stage set-up with lots of gear. Because they really pack the punch on record, I just assumed that they performed with traveling back-up members. Instead, Handsome Furs is truly a duo both on and offstage. It was just Dan with his guitar and Alexei on synth/drum machine, and that was all I needed to hear.

Unsurprisingly, with the release of Face Control in just a few days, Handsome Furs played most of their new record, which four lucky winners of an impromptu trivia challenge received last night. Not only was the music perfect for dancing, the shoe-less Alexei was so energetic and fun to watch. I may have a new idol (Sorry, Karen O). And how does Dan make the guitar look so easy to play? Seriously, he makes it look completely effortless.

Although I've been living in New York for nearly five years now, I can never get over how much the crowd can suck sometimes. While I was dancing and having a good time, not many people within my (limited) range of vision were moving more than just their heads. Tragic, since the Handsome Furs show was one of the most fun ones I've been to in awhile. They definitely deserve a warm reception.

Face Control is officially available on March 10. Pre-order via Sub Pop here. It's great for personal dancing in your underwear...not that I would know.

Talking Hotel Arbat Blues - Handsome Furs | Alternative Link

All We Want, Baby, Is Everything - Handsome Furs | Alternative Link

"Spirited" - Laura Gibson

2009-03-07T13:16:00.004-05:00

via Hush Records

If you're in New York, then you were lucky enough to awake to a beautiful spring morning today. Unfortunately, the sun is playing a game of hide and seek, but it's still warm enough to abandon your jackets and scarves. I was taking a leisurely stroll to the library earlier today when Laura Gibson's "Spirited" starting playing on my iPod. The gentle vocals, soft drums, and sparse guitar picking of the song seemed to perfectly complement the spring weather preview we're experiencing at the moment. On a day like this, I just want to slow down and appreciate the uncomplicated joys that life offers us. So, the minimalist song of Gibson immediately caught my ear. From Portland, Laura Gibson is a name that I've come across several times in the last month or so, but I had yet to listen to any of her music until this cosmic day. I haven't listened to her latest album Beasts of Seasons, but I hope the rest picks up from where "Spirited" ends.

Showers are in the forecast for tomorrow, so take advantage of this perfect Saturday before the spring forward.

Spirited - Laura Gibson | Alternative Link

Final Fantasy, Grizzly Bear - BAM 02.28.09

2009-03-01T03:45:00.014-05:00

via willshu

Grizzly Bear and Final Fantasy with the Brooklyn Philharmonic. Enough said, I had to go to the show that seemed like years in the making. I'd seen both Final Fantasy and Grizzly Bear before, but not with an orchestra! I am not one to pass up on a once-in-a-lifetime opportunity, especially when it's related to music.

As I arrived a little late, the first song that I heard was "Horsetail Feathers," a song off Final Fantasy's Plays to Please that was originally recorded with an orchestra (Listen here). To my surprise (and dismay), Final Fantasy aka Owen Pallett was without his usual main instrument. Trading in his violin, he was behind an upright piano and an electric piano for this performance. Maybe because he was accompanied by fifteen violinists, there wasn't really a need for another one. Perhaps I missed him on violin for an earlier song. Can someone fill me in on what happened before "Horsetail Feathers?" Either way, Final Fantasy sounded fantastic with the Brooklyn Philharmonic, as was expected by the nature of his music, and he even previewed some of his new material. Surprise guests Aaron Dessner and Bryan Devendorf of The National also joined Owen onstage on bass and drums, respectively. Bootlegs from the set, including two new songs, are available here via One For The Good Days.

Although listening to Final Fantasy with an orchestra was an incredible experience, I couldn't help but think that I preferred seeing Owen perform with Matt Smith a few weeks earlier at the Kitchen. If you missed out on that, imagine seeing just Owen play the violin but hearing the fullness of a much larger ensemble. It's an illusion, not a trick, that fools your eyes and ears. You can read about that show here. So, if you were somehow not very impressed by Final Fantasy, I strongly suggest that you see one of his solo shows and listen to his entire discography in the meantime. He is a brilliant artist and his music never fails to move me in some way.

While I had a clear idea of what Final Fantasy would sound like with the Brooklyn Philharmonic, I didn't really know what to expect from Grizzly Bear's set. They played a show with the LA Philharmonic last year, but it seems like they played a set separate from the orchestra. With arrangements by film score prodigy Nico Muhly, the show was guaranteed to be good. What an understatement. Nico did a phenomenal job of creating arrangements that enhanced Grizzly Bear's music without reinterpreting it to a point where its integrity was compromised. The guys also had some fun and dug out songs that they didn't normally perform, and Aaron and Bryce Dessner of the National made a couple appearances on the banjo and guitar throughout the night. One of the rare live songs, "Central and Remote," was one of my favorites of the night and one of the many songs that were complemented by the orchestra. For "Reprise," Daniel even brought out his banjo, which he said was a first for a Grizzly Bear show.

Whenever the orchestra rested for a song, I liked to watch the members watching the band. While most of the ensemble remained very composed, I caught one cellist tapping his bow to the beat (Hah!). Even when the orchestra did not play with Grizzly Bear, I never felt that there was a lacking depth of sound. Grizzly Bear didn't need an orchestra to put on a fantastic show, but it was a wonderful combination to experience, especially since we heard songs that they will unlikely play again unless they're with an orchestra. One thing to note was that they didn't perform "Knife," otherwise known as the perfect masochistic break-up song. Like Ed said in this interview with Pitchfork, Grizzly Bear seems to be tucking away the much-loved song, and tonight may have been the beginning of that end. But, that's okay with me, especially since they performed "Deep Blue Sea," my wish list song from last April.

Every time I see these guys, in whatever shape or form, I end up liking them even more. At this performance, I spent a lot of time watching the individual members of the band. Chris Bear never fails to entertain me, and I always enjoy watching him play the drums. He seems to play with restraint most of the time, until his hair goes flying around. But, even that is a bit restrained. Daniel Rossen always has the most serene look on his face when he sings, as if he were singing a lullaby. Chris Taylor has an essence that's been described as otherworldly. It's true, I sort of freeze whenever I see him. I once stood next to him during a Chairlift set, and I was distracted the entire time by the fact that I was standing next to Chris Taylor. The man plays so many instruments, he sings, and he has a list of production credits. Is there anything he doesn't do? And, there is Ed, the seemingly shy lead who never smiles at his own jokes. I'm pretty sure that Ed was wearing the same shirt from the last time I saw him. I'm not going to deny that he is my favorite person to follow on Twitter, and I love reading the Grizzly Bear blog. He's just so funny and witty!

The much-anticipated Veckatimest will be released on May 26. Of the set list below, "Ready, Able," "Two Weeks," "Dory," "While You Wait for the Others," and "Foreground" are all from the forthcoming album. I was obsessed with "While You Wait for the Others," but now "Ready, Able" may be my current favorite.

More on Final Fantasy here, Grizzly Bear here. Bootleg of the Grizzly Bear set posted on At Ease and can be found here (via You Ain't No Picasso). Great quality recordings of rare and new songs at One For The Good Days.

Pictures were prohibited and I managed to delete the one picture I had taken

Final Fantasy Setlist (via brooklynvegan comment)
None of You Will Ever See A Penny
Horsetail Feathers
Keep the Dog Quiet
Lewis Takes Action
Arctic Circle
He Poos Clouds
Midnight Directives/End of Time
Tryst with Mephistopheles
The CN Tower Belongs to the Dead (Many Ives Version)

Grizzly Bear Setlist
Easier
Central and Remote
Ready, Able
Two Weeks
Plans
Colorado
Reprise
Little Brother
Campfire
Dory
While You Wait for the Others
Foreground
-----------------------
Deep Blue Sea
He Hit Me (And It Felt Like a Kiss)

Grizzly Bear encore Deep Blue Sea at BAM from lofi.tv on Vimeo.
This guy was ballsy. I could clearly see him taping this song, yet none of the BAM vultures were on him to make him stop.

The Butcher - Final Fantasy | Alternative Link

This Lamb Sells Condos - Final Fantasy | Alternative Link

Two Weeks (Live @ Boston MFA 08.14.08) - Grizzly Bear | Alternative Link

Easier - Grizzly Bear | Alternative Link

Head over to One For The Good Days for great quality recordings.