Mumford And Sons - "The Cave" (Acoustic Bookshop Sessions)

Sigh no more! My much-anticipated Mumford and Sons show is this week and I am beyond excited to finally see these Brits get their banjo on, even if it's at the less-than-intimate NYC monstrosity otherwise known as Terminal 5 (a venue that seriously needs to accidentally burn down already, as I've requested many moons ago). QuickCrit is no stranger to loving Mumford hard this year, so where's the harm in gushing a little more? I serendipitously stumbled upon some baller acoustic versions of M&S playing their tracks at Treadwell's Bookshop in London. Oh please, please, please play similarly stripped-down versions at T5 and maybe I'll refrain from jig dancing. They even called this performance the "Bookshop Sessions." Flawless acoustic Mumford... in a bookshop? Blimey! I think I just had a tiny musical orgasm.



"Little Lion Man" sounds great too, no surprise there.

Atomic Tom - "Take Me Out"

I made a resolution this year to get back into researching NYC-based bands, so I'm happy to say I'm kinda staying true to it. Of course it helps that some of the best music to come out this year just so happens to hail from the greater NYC area. Enter one of the coolest things I have ever seen happen on a NYC subway train, let alone one on the way to the BK. So apparently, Atomic Tom had their instruments stolen recently. In the spirit of impromptu shit, they decided to hop on the B train en route to Brooklyn and film "Take Me Out" (album version) in one take using nothing but their iPhones as instruments much to the surprise of random commuters. I'm not an iPhoner, so I'm not entirely sure if what you're about to see is mind-boggling to the point of WTF, but I think the whole thing is pretty sick. "Take Me Out" is definitely one of my favorite "Top 'Getting Ready' Songs of 2010" already, so this video just makes this 100% live clip 100% more awesome. The only thing that's missing is the obligatory crazy homeless guy rocking out in the corner... or an Apple representative handing them a big fat check post-performance for the shameless iPhone plug and a half. (Oh, and to the band member on the farthest right... have you ever worked at Endless Summer Tacos in Williamsburg? I think you or your doppelganger gave me extra salsa verde once.)

Band Of Horses - Infinite Arms (2010)

I think the most laughable part of this post is how I eagerly emailed Awmercy and Nightrain weeks ago asking for dibs on this review... don't I feel every bit the fool now?

Let's call a spade a spade. Infinite Arms is a spectacular disappointment and errs on the side of caution. Perhaps they didn't want to disrespect their fans, but playing it this safe only insults my ears considering I finally saw BOH play last summer in San Diego and they managed a tight, exhilarating, and incredibly fantastic set. Then last month they performed a secret show at Grand Central Station in NYC where a flash mob of people went to hear their latest and greatest. My friend and I were refused at the barricades due to full capacity and douchebag AOL employees who didn't seem to care that I was going to "write a strongly worded letter to their publicist at Sub Pop" if he didn't let us in. Of course, it may have carried a little more weight had the guard heard of Sub Pop Records before, let alone Band of Horses. I blame the riots that occurred weeks prior due to a Drake and Hanson outdoor show (yes, you read right) at South Street Seaport for their unnecessarily rigid security measures, but now I feel they ended up doing us a favor denying us entrance. Thanks, Deputy Douchebag!

Apart from beard rock anthem "Laredo" and the unabashedly cutesy "Dilly," I can't quite say I've got my finger on the pulse of what these otherwise stellar musicians were setting out to accomplish. Plus, the title track sucks. Isn't that supposed to be "the best" track on the album to begin with!? This album is nowhere as exciting as their debut Everything All The Time (2006) with the country leanings, or the respectable sophomore release Cease To Begin (2007). Arms just falls... flat. Especially the vocals, which are nowhere as haunting, resonant, or nearly as spirited as in previous efforts. This record overall isn't even a lateral move for these guys; if anything, it seems like they've regressed a tad in their song-writing capability. I haven't lost complete faith that they cannot come back with something all kinds of awesome, I just hope they get their act together before they become musical castaways banished to Has-Been Island. Nothing really stands out, nothing grabs my attention or elicits any kind of visceral reaction that I've come to expect, plus there are songs that seem to end abruptly before anything really happens which only confuses and irritates me. Sigh... has Band of Horses sold the farm? Are they riding off into the sunset of oblivion for good? Should we take them out to pasture and... well, you know the rest. Cover your eyes folks, this ain't gon' be pretty.

Here's "Laredo," perhaps the standout track on an otherwise nondescript follow-up:

Gogol Bordello - "We Comin' Rougher (Immigraniada)" [single]

What the freak-folk-gypsy-punk amalgam? Let me preface this post by saying I'm rather surprised not one QC-er seems to have ever written a post about the gypsy punk intrigue that is otherwise known as Gogol Bordello. It's hard not to like a NYC-based outfit whose name alone is a nod to Russian literature and gentlemen's clubs, let alone a band that actually has a song called "Think Locally, Fuck Globally." Yeah, I'm sad to say there's a shortage of such creative genius in this world.

GB has a new album out, Trans-Continental Hustle, which exudes maniacal instrumentation and boasts a lot of obvious Brazilian musical influence due to the lead singer making it his new home the past few years. I heard "We Comin' Rougher (Immigraniada)" recently and kinda fell in love with its infectious punk energy that reminds me of a throwback to when Rancid used to sing a fraction of their catalog in Spanglish. I never knew why they did that, I just knew that it somehow... worked. If you like this off-the-cuff version of the song, check out the rest of Gogol Bordello's latest and greatest. It's slightly difficult to pin down the essence of their music, but if The Clash and Manu Chao had a tryst behind The Kremlin which later resulted in an illegitimate love child who dropped out of high school to busk around the world, I'm willing to bet his name would be Gogol Bordello. Or more specifically, something that rhymes with Eugene Hütz.

Oh, and here's another, albeit slightly tighter, live performance that truly showcases the accordion if you're looking for something a bit more "polished" ... relatively speaking, of course.

Friday Night Beer Pairing: Yuengling & Hamburg Ramönes

What was once a Ramones cover band broke off from the cliché copy-the-legends riff to write their own songs which emulate those classic New York and Brit rooted punk rock sounds, but with German accents. Can you get more punk rock (rhetorical question)? The Hamburg Ramönes track “Go Yuengling Go” slates the indispensable power-chords with a catchy, football (Euro) stadium chant that repeats the title which essentially roots for the almost exclusively east coast brewery and/or beer. I think there is something in there about the beer and perfect days and making one's life complete, but it don't matter... it's all awesome. It is what you would expect from a former Ramones cover band, yet it has a contemporary and original feel. If you branch off from this recommendation, their 2008 release Long Black Hair sounds straight out of 1978 with Ramones and Clash-like numbers that are wrapped up in tight packages and hit hard and fast. It is fair to say that tracks like “Rock’ N Roller Coaster” and “Long Black Hair” do the bands namesake justice, but also in their own right would stand up to what many would consider unmeasurable expectations.

As for the beverage, I remember the first time I had Yuengling beer. Spring break, Washington D.C., two thousand and somethin'-something. Many Yuenglings later I can honestly say that I am still a fan of the company that is recognized as America's Oldest Brewery and family owned for over 180 years, and look for it whenever I am east of the Mississippi, for nostalgia purposes. I was once at a Manhattan bar, on the upper east side and the bar featured a large Yuengling mirror which had all their beers on tap listed on it. Knowing what I already wanted I ordered what I expected to be a delicious Yuengling, to which the bar maid replied, "Sorry, we don't actually carry Yuengling." The joke was obviously on me. So, tonight, if you can get it, it's all Yuengling and Hamburg Ramönes. Hit it!

The xx - "Heart Skipped A Beat" (live)

I've been asking myself these past few months "Hmm, I wonder how The xx would be live?" and this video pretty much answers it for me: flawless. And now I'm giving myself the silent treatment because I'm angry for missing their NYC show last month due to an ill-timed outbreak of the flu. And the worst part of it all? They played at my favorite [and arguably the best] venue in the city to catch indie's latest and greatest (The Bowery Ballroom). Based on some amateur show footage I caught on YouTube, yeah, they're fantastic live and I'm feeling that drum machine. As expected, they use that dim lighting I love that gives the Bowery an even more intimate feel than it already has for a band whose super-sultry debut oozes with sonic sensuality. I'm pretty sure any dude who brought his girlfriend to this show woke up the next morning feeling lucky, extremely grateful and had some extra pep in his step from all the inevitable post-show "discussion" that went on well into the night. Smart move, gentlemen.

Below is a stellar example of their live capabilities for your listening pleasure. I really hope they come back to NYC again after their string of European dates because I'm so there... and, hopefully, with some very scruffy, bed-head faux-hawky, plaid shirt-wearing, Red Stripe-swigging company.

And for those who prefer in-studio performances, this one's pretty baller.

Vampire Weekend - "Cousins" (Video)

Vampire Weekend recently leaked "Cousins," a.k.a. the first single off their upcoming January 2010 release Contra. Due to the overwhelmingly positive critical acclaim they achieved with their self-titled debut, I was definitely curious to see what these quirky New Yorkers would come up with next. Think they are headed for the huge hurdle that is otherwise known as the curse of the sophomore slump? Or do they have it in them to come back bigger and better than before? I shall let the listeners decide for themselves.

The Bravery - Slow Poison [single] (2009)

I've never been the hugest fan of The Bravery, but they've got a new album coming out next month called Slow Poison. Who cares, right? Well, I was reeling after I heard the title track and now I actually want to give it a listen. I don't know what it is about NY-based indie bands, but they really know how to take 80s downer revival, throw in some post-punk, and shell out something danceable as all hell. I don't know if I want to cry myself to sleep, go out and get trashed, dance around in my undies in my room at night, or blast this song in my car on one of my aimless night drives around Pensive Town. Maybe all four? "Slow Poison" kinda/sorta makes me want to spin around the room in a depressive, almost frenzied dance until the fog clears. It's okay if you have no idea what the hell I'm talking about, 'cuz I sure as hell don't.

Phoenix @ Terminal 5 - NYC

A good music friend of mine and uber-fan of Phoenix bought us tickets to make up for some self-proclaimed dickness of late and I happily jumped at the chance to catch them in support of Wolfgang Amadeus Phoenix, one of the better indie releases of 2009 thus far. I especially looked forward to the inevitable argument that ensues over NYC venue Terminal 5 - (I detest it, so do most of my friends, yet he loves it?). Was it worth the risk of getting elbowed in the boobs by the indie-loving frat boys who seem to live there? Oui!

Since we're both perpetually running "10 minutes" late, much to my dismay we missed psych-rock openers Amazing Baby who I'm sure were awesome. On the way, my cabbie informed me that his previous customer was Courtney Love and I was sitting in her seat. Speechless, I tried not to let my fear of possibly contracting chlamydia spoil my evening. Of course he mentioned her generous $20 tip, which I said I'd happily match whenever I, too, marry a former member of Nirvana (Dave Grohl specifically, if he's reading this). Until then, my brokeass was only shelling out 15%. He laughed.

The show. I hate the impersonal nature of T5 and feared it would detract from the Phoenix-ness but their music definitely holds up even if you can't quite see the stage. They were straight-up the business of music and they sounded just as great live as they do on CD. Not better, not worse, just the same smooth, dulcet tones I've come to appreciate. There was a shortage of playful obnoxiousness, stage banter, comments about NYC crowds, or witty anecdotes about touring, but their fans didn't seem to mind. They played most of W.A.P., a bunch of old favorites, and closed with a killer encore that fully satiated the crowd. My friend claimed it was the best show he'd been to all year and watching his enjoyment was enough to spark some of my own. Indie rock enthusiasm is delightful and certainly contagious.

The show's highlight was a bit of a personal triumph over drunken idiot female concert go-ers who attend shows of bands they probably wouldn't even know about if it weren't for their boyfriends. This girl sashays in front of me, blocks the view I spent most of the evening staking out, and acts like it ain't no thing. She then tries to wave her tall boyfriend in unsuccessfully, as he refused to do so due to good manners and instead watched from the side. She then turns around, asks me if I'd mind if they stand right in front of us, while bumping into me and spilling my drink without an apology. After I leaned down to pick up my cup (yes, me), I gave her my signature, non-threatening "do whatever you want, you annoy me" look as she reached for her dude. Clearly irked, my friend then gave her this "You did not just spill my friend's drink and your boyfriend is so not standing in front of us. Are you fucking kidding me?" look that proved to be much more effective. Then, her awesome boyfriend stepped in, apologized for her retardedness and took her away so we could enjoy our highly coveted, unobstructed railing view. Perhaps bringing tall boys to shows who are much more capable of dirty looks is the key to the good live experience? Either way, it was a small step for mankind, but a huge victory for short show go-ers everywhere.

Mona's Summer Short List(lessness)

5) Danceable Hip Hop Songs and Summer Jammy Jams
I always inexplicably get more into hip hop in the summer and love the remixes of these already awesome tracks: Kanye West's "Love Lockdown" and Kid Cudi's "Day 'N' Nite." Unbelievably great danceable hotness that makes me car-dance with myself whenever they come on (looks more embarrassing than it sounds). But my summer anthem is Jamie Foxx's (feat. T-Pain) - "Blame It," especially that infectious chorus I know by heart. Not only does this track provide the impure thoughts, but it actually makes me wanna put them into action.. with or without the Goose ("gotcha feelin' loose"), the 'Tron ("gotcha in the zone"), or the Henny ("gotcha feelin' dizzy"). It's all good, just "blame it on the ah-ah-ah-ah-ah-alcohol."


4) Rediscovering Rogue Wave
Ever the huge fan, I've recently fallen back in love with their sonic beauty- namely, Descended Like Vultures and Asleep At Heaven's Gate. Tender, gorgeous, lush, melodic, layered, can't even begin to describe their arrangements. I've been known to fall asleep to "Missed" and actually lounged on my couch all pensive and shit last weekend listening to "Eyes" on loop (I do this quite often to their records, in general). Enjoy this favs. sampler: older (1, 2, 3, 4), newer (1, 2, 3, 4).


3) Going To Shows I Actually Care About vs. Being A Show-whore
I've been too tired for shows for shows-sake and these days only hit up "must-sees" or else I'll get in a fight with myself and brood for days type-shows. Stellar nights that have made my half-year: Phoenix, Harlem Shakes record release party, Duncan Sheik, Blind Pilot, and the GUK reunion show. All uber-worth it and kept me in a good mood for at least two weeks afterwards.


2) [Indie] Rock In Advertisements...?
TV-watching feels like less of a waste with all the goodass music in commercials of late. I don't even hit the mute button anymore just in case I may hear The Dodos hawk Miller Chill, The Moody Blues add to the wondrous nature of this Visa ad, Matt and Kim invite me out 'til "Daylight," Mazzy Star makes me rethink my cellular service (effin love this song!), The Submarines sell their souls to Apple, and/or watch Her Space Holiday soundtrack this confusing one.



1) Meeting Musical Peoples
Surreality mixed with WTF, with a dash of "I must call everyone I know/someone who'd care!?" I've discussed Dan Auerbach with Matt Pinfield as he exited his cab, jumped into another and learned my driver had just dropped off Courtney Love as I sat in her warm seat (do I have an STD now?), got snubbed by Kimya Dawson, asked Michael Stipe the meaning of "Sidewinder Sleeps Tonite," discussed alternate endings to Once with Glan Hansard, stared at Ingrid Michaelson's incredible rack while jokingly trying to hook her up with Rhett Miller (within earshot), asked Hootie himself where the Blowfish were, laughed with Guster about their pot-smoking "star-fucker moment" with Willie Nelson, and unwittingly asked Jeff Mangum of Neutral Milk Hotel if "the lasagna is vegetarian," only to realize 5 seconds later when he walked away that I'm an idiot who just asked Jeff Mangum from Neutral Milk Hotel if the lasagna was vegetarian. Yeah, that last one was very Baby "I, uhh, carried a watermelon" from Dirty Dancing.

The Shins @ Terminal 5 - NYC

Don't get excited, guys. This was the most boring live experience I've attended in some time, especially for a final tour stop? Yikes. There's been a shift in lineup, ushering in not just a new keyboardist but a drummer who took the place of Jesse Sandoval who seems to have now found his calling serving up indie tacos in Portland. After last night's unmoving set, I'm quick to say Upgrade.

Whatever is left of The Shins played to a packed house and there were some genuine cheers from a crowd that demonstrated the confusingly wide range of their fan base. There were the older-looking hip VH1 kind of people, the very young and barely legal, and then these two inebriated Lady Gaga look-alike chicks next to us who insisted on posing in pictures with each other, complete with tousled hair and exaggerated pouts perhaps intended for potential future Facebook profile photos. Much of my malaise may have been due to my looming bad mood but also the fact that I hate Terminal 5, a venue that a Brooklyn Vegan reader recently opined "needs to accidentally burn down." It's too big for any kind of intimacy, the sound quality isn't that great, and it's not designed for shorter indie rock fans. I can never see anything so I end up watching the show from the monitors while trying hard to avoid the inevitable elbowing to the boob, or boobs if the show gods are really hating me that evening.

There was no on-stage banter, no tomfoolery, vulgarity, anecdotes, nothing. They did share a "new song" that was upbeat and promising, but they didn't even play any of my favorite songs off Chutes Too Narrow ("Kissing The Lipless" or "Pink Bullets"). Perhaps one point of interest was when they played "Saint Simon" and I recognized the violinist who appeared as being Rebecca Zeller from Ra Ra Riot, only to think "That's cool, whatever." They're a solid band and their music sounds great live, it was just... boring. All of this mystifies me considering I saw them my one and only other time in 2004 at Webster Hall and left feeling invigorated and excited as well as satisfied and relaxed. Que paso? They closed their two-song encore with "New Slang" and instead of getting excited, we left mid-song to avoid the rush. This humors me considering I saw Wolf Parade here last summer and refused to move several minutes after their last song because I was still reeling. At one point I actually whispered into my friend's ear, "I think I could have stayed home lounging on my bed blasting their records and had a better time." The feeling was mutual.

The Get Up Kids @ Blender Theatre

The Get Up Kids, one of my favorite indie rock meets second wave emo bands, killed it at a reunion show at the Blender Theatre to a crowd that seemed quick to forgive the fact that they broke up in 2005, leaving us all broken-hearted, confused, and unwilling to accept the reality. Having been at their farewell show, I found my eyes welling up with some tears during the beautiful "Long Goodnight" (while a fan ran across stage with a white sign that said "Say Goodnight, Mean Goodbye") because the show was fantastic, it was a bittersweet moment in my personal musical history, and it's hard to say goodbye to a band in their prime that single-handedly soundtracked your college career. And any true G.U.K. fan will agree. They were there for everything: the moment you got into their music ("I'm A Loner Dottie, A Rebel"), helped get you ready ("Ten Minutes"), came on road-trips with you and your pals ("Holiday"), witnessed you realizing you're "in love" ("Mass Pike"), and didn't even laugh at you when you were crying on the drive home when you found out the "love of your life" is a total asshole ("Valentine"). For every moment, there was a song.

There was an "unconfirmed opener" that the secretive venue people claimed was some band called "Matzah Balls," and even the PR rep at Vagrant Records refused to tell me who it would be. We sensed the phony band name only hid an inevitably great surprise. Rumors swirled about it being Face to Face (or any comparable punk band in town for the next day's Bamboozle Festival), but it ended up being Brand New! Everyone went nuts for them, as we grew hungry for The Get Up Kids to take the stage. They were greeted with the loudest screams I've heard in a while.

Playing a mix of old and new (see set list below), they were admittedly rusty but no one seemed to care or notice. You could tell their hardcore fans were in the house since not only did everyone know every word to every song, but they insisted on singing along almost as loudly as the band. In fact, Matt Pryor stopped every now and then to let the audience finish a song or belt out a chorus. There was crowd surfing and a pseudo pit to my right that slightly irritated me (either because it truly was annoying or I was annoyed with myself and the pending fact that I may be "getting too old for this." I'm embarrassed to admit the latter is probably more likely.) Honestly, none of that even mattered because I was so happy to be there. It was an incredible night and lead to lots of post-show gushing about the G.U.K. with equally obsessed friends.

I have no idea if their few shows of late have been "reunion shows" or hint at a formal reunion slash tour, slash recording new material. Beats me. All I do know is their set rekindled my love for their entire discography and I've been listening to Something To Write Home About non-stop ever since. Oh, and I'm proud to say that I'll never outgrow or be too old for The Get Up Kids.

The Harlem Shakes @ Music Hall of Williamsburg

I'm sitting in a coffee shop in Williamsburg, Brooklyn on my laptop waiting for their 11pm set tonight for their album release party for Technicolor Health (my favorite release of 2009 thus far). I decided why not write the review now since I already know it will contain any if not all of the following words and phrases: awesome, rad, ridiculous, amazing, incredible, best show of the year, there's nothing like NYC indie rock, and future father of my children.

I will report back post-show to let you know if they were as good as I already know they will be. Yay!

-----

The recap: As I was packing up to head over to the MHOW, Kyp Malone from TV on the Radio strolled into the joint and I was the only one who seemed to care, oddly. I went up to him and we chatted over tea about Coachella, life in general, and what the heck he was doing at an ordinary coffee shop and why he's not at some glamorous industry party somewhere. He's chill as hell and considering they've collaborated with David Bowie, I imagine it's the closest I'll ever get to Bowie.

The Harlem Shakes set was every bit exciting and aurally pleasing as I'd predicted. A high-energy, fun, upbeat, toe-tappin' good time. If I may, a total musical anti-depressant since it's impossible to hear this music and feel sad (ubiquitous scruffy Williamsburg indie rock-type boys seem to also have this effect). They had a touring brass section, a syrupy sweet lead singer who was so grateful that fans came out, and a super-animated bassist who at one point was plugging away at his bass, hitting a bongo and shaking a maraca, all in one song. Even though this dorky lot of boys seem to have the same stylist as Vampire Weekend (minus the boat shoes), the evening felt like a sort of homecoming and they infused extra love in their set for their local East Coast/Brooklyn fans.

Per their sound, I quote myself to a once curious friend: "They sound like Clap Your Hands Say Yeah banged Vampire Weekend, but then realized that Born Ruffians is 'the one.'" I'm going to have to go ahead and add "had a brief thing on the side with The Strokes" right before the Born Ruffians part (even though HS > The Strokes in the talent department) and it's entirely accurate. They played every track off Technicolor Health and a few off their EP. My favorite performances of the night were "Strictly Game" (I love that drum beat sound at the :28 mark) and the breakdown during "Radio Orlando" with those tiny shards of guitar. Great on album, but even better live.

I highly recommend this show to all, particularly awmercy!

Lissy Trullie - Self-Taught Learner (2009)

I'll admit that the album art caught my attention first, but her music kept me interested. Similar to the Strokes, Lissy Trullie possesses a cool world weary demeanor and mines and updates the pop in 1970's NYC punk rock. The songs are mostly just her attitude over a strummed guitar, some minimal riffs, and the coo's of backup singers, but it works, striking a balance between reserved and urgent. "Boy Boy" and "Forget About It" are probably the catchiest, but the whole EP is pretty solid. Oh, and it includes her take on Hot Chip's "Ready For The Floor". Cool.

Arms - Kids Aflame (2008)

After hearing and loving Technicolor Health, I decided I need to go back and listen to the Arms' album Kids Aflame. I could no longer hold it against Todd Goldstein, the guitarist from Harlem Shakes, that his side project band released an album first. It no longer had to sound like the Harlem Shakes, and it doesn't. It sounds more like M. Ward. It's still indie rock, just more laid back and diverse. Songs mix in the occasional country guitar, island ukulele, and old-timey vocal. His warm croon, like on the title track, reminds me a bit of Leon Redbone. The album may not immediately knock you out, but "Whirring", with its cool guitar riff, and "Shitty Little Disco", with its New Order beat and lazy vocals, are definitely worth a spin or two.

Fires Of Rome - You Kingdom You (2009)

You Kingdom You is a rock and roll combo platter of an album—touching on influences ranging from glam, heavy metal, punk, Bowie (just listen to “Monkey In A Cage”), a little dance rock, and of course, the classic rock... the list goes on. The tone and swagger reminds me of Diamond Nights’ 2005 release Popsicle, which still gets my inner glam-rocker all excited with each re-listen. Coincidentally, the two bands both hail from that little east coast music Mecca known as New York City. From the hard charging guitar riffs of “I'll Take You Down” and “Love Is A Burning Thing,” to The Rapture-esque dance beats and vocal squeals of “Bronx Bombardier,” (which is anchored by the chant, and all too factual threat, “Don’t fuck with me when I’m not sober...”), to the finely orchestrated and layered structure of “Dawn Lament” and T.Rex styled “But You're Such A Cherry,” Fires Of Rome do a little bit of everything, and they do it all really well. If you're seeking a solid party rock album, look no further.

Also, if the track “Set In Stone” tickles your fancy, and you like club versions of rock songs, have a listen to the Set In Stone Remixes collection. Pretty rad, if you ask me.

Harlem Shakes - Technicolor Health (2009)

I loved the Harlem Shakes' 2007 Burning Birthdays EP. After over a year passed and instead of a debut, we got a decent side project album by the Arms, I was worried that might be all. But it appears the wait has been worth it. On Technicolor Health the Harlem Shakes bring the sunshine and good times to New York City indie rock. The album infuses some of the Little Ones' pop sensibilities into the cool and angular sounds of the Walkmen, French Kicks, and the Joggers. It's a mix of bright and swirling keyboards, stuttering drum beats, and propulsive strumming all fused together with a handful of hooks and catchy choruses. This may be my favorite type of indie rock. The song "Strickly Game" captures the album's tempered optimism in the repeated refrain "This will be a better year." On the eve of a historic presidential inauguration, the mixture of hope and wariness seems particularly relevant. "TFO", "Sunlight" and "Natural Man" are my favorites.

Secret Machines @ Webster Hall

Openers TK Webb & The Visions put on a great set perfect for guitar junkies and general rock enthusiasts alike. Their sound is all over the musical map and they totally put on a stellar performance that showcased not only their debut album Ancestors, but just how unique their musical vision can be. And seeing them live transformed my casual interest into actual intrigue.

Currently on tour in support of their eponymous third studio release, Secret Machines got their space rock on for a crowd chock full of longtime devotees. They played a healthy mix off their previous two releases Now Here Is Nowhere and Ten Silver Drops as well, including my favorite track “Nowhere Again,” which is an erotically charged number that grows in intensity and always gets the audience’s collective pulse racing. The music just swells and throbs in all the right places.

Secret Machines are, at best, a three-prong rock outfit that really electrified the place with larger-than-life drumming, heavy guitar riffs, atmospheric keyboards, and the kind of vocals that grab you by the lapels and don’t take NO for an answer. Even their stage set-up was eery and dark as they performed in this cage that resembled some sort of steel cable cobweb. I kinda dug it.

Fleet Foxes @ Webster Hall - NYC

Pogonophilia was alive and well last night! Fleet Foxes folked things up hardcore at their second NYC show, much to the delight of some pretty enthusiastic fans. The Seattle quintet describes their music as "baroque harmonic pop jams." Yeah, I just call it "awesome." Playing tracks off the Sun Giant EP as well as their eponymous debut, lead singer Robin Pecknold and company entertained with some of the most gorgeous vocal harmony I've heard in a while. Their records are undeniably good, but seeing it live is a whole 'nother level of musical genius. After their set, I seriously wanted to gallop off into the Seattle sunset on a horse (with no name).

The music was flawless as the vocals were impeccable. Even the stage lighting was elegant-- they had a backdrop that resembled a starry night sky, joking that "New Yorkers deserve one night of actually being able to see them" (hey!). Pecknold ripped on The Big Apple a few times, but then made it up by telling us how much they love stopping here on tour. Hilarity ensued when a loud fan inquired how he spent his day; he regaled us with stories about exploring Williamsburg, Brooklyn (everyone smiled/giggled, of course) and the fancy coffee he sipped there. He then rhetorically asked questions about the who's/what's that invented complicated coffee flavors and why it was so damn hard to find simple java. This is NYC, so of course rhetorical questions never go unanswered. A smartass fan in the audience shouted "Blame Seattle for that!" and we all busted out laughing, as Pecknold smiled and said "touche."

The witty banter amongst the band and with the audience only enhanced their great live performance. They even showed off an awesome new track, "Silver City," and Pecknold sweetly begged, "Don't put it up on YouTube, it's not finished yet." They played for about an hour and a half (to make up for no encore...what?!) and informed the crowd they're heading back to Seattle to record their new album. They won't be touring again for some time, so I highly recommend catching them while you still can. Until then...

The Kills - Midnight Boom (2008)

The first song I heard by the Kills was "Wait" on their first album "Keep on Your Mean Side". They were very bluesy, sort of down and dirty sounding, like they recorded in the Mississippi Delta somewhere. Their new album Midnight Boom however, is drastically different. It sounds like the Mississippi garage band got signed, moved to the bright lights of New York City, changed their sound to pop, then starting writing about new fashions, clubs and designer drugs, most of which I do not understand, and 99% of the time I would write this band off, call their new shit lame and move on. Not so with Midnight Boom. This album rips. The first song "U.R.A Fever" completely draws you in and demands your attention which is followed by "Cheap and Cheerful", one of the best pump up the party, dance your face off jams I have heard in years. "M.E.X.I.C.O.C.U" and "Alphabet Pony" offer some very creative riffs, as well as song writing, which come together to make a delightful gumbo of craziness. The album does have some weak spots though. A few times I found myself skipping songs, and "Sour Cherry" sounded too much like the Breeders, I hate the fucking Breeders. Over all, I would definitely recommend this album not only because Jamie Hince on guitar completely rocks, but Alison Mosshart sounds like one of those super hot punker chicks you meet at a local dive bar on a Wednesday, beats you soundly at pool, and almost gets you beat up three times before the nights over, a bad idea but sooo much fun.