19 posts tagged “brooklyn”

For years, my Scandinavian Holy Trinity has been set in stone: Jens Lekman, Sondre Lerche, and Erlend Øye. These three men embody everything I love about Nordic pop: catchy melodies, depressing lyrics, and above all, debonair looks (in a lanky, pale, probably-got-beat-up-after-school kind of way). But after last night, I may have to add another Swede to that equation: Emil Svanängen, a.k.a. Loney, Dear.

I had previously seen Loney, Dear (Yes, it’s “Loney,” not “Lonely.” Sorry, Spellcheck.) at Soundfix Lounge, a far more smaller, intimate venue. It was a lovely show, but I wondered if it would translate well into the much bigger Music Hall of Williamsburg.

Lia Ices at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura

Things started off slowly with opener, Lia Ices. Her gradual but fierce, piano-centric ballads reminded me of slightly more subdued Frida Hyvönen. In a way, her sparse instrumentation and morose lyrics set the mood for the rest of the night. The audience remained politely quiet through most of her set, as Ices maintained an enchanting, often hypnotic stage presence. The whole girl-with-a-keyboard outfit has been done several times before, but there’s something strangely haunting about Ices that sets her apart from other singer-songwriters.

The solemn mood was somewhat lifted when Loney Dear took the stage, opening with the steady-building track, “I Was Only Going Out,” from his latest release, Dear John. Several other songs followed a similar format, and in the larger setting with his full band, the tracks were able to flourish into lush, sweeping mini-symphonies.

Svanängen’s band (which included a keyboardist who eerily resembled a somber Andy Samberg) contributed greatly to the “bigger” sound not usually associated with Loney Dear’s brand of thoughtful pop. Whether it was the more electronic tracks from Dear John or the earlier, orchestral tracks from Loney Noir and Sologne, the band added an exciting, almost urgent edge to Svanängen’s confessional lyrics.

Loney Dear - Airport Surroundings Loney Dear 1 comment Tour Dates 05/08/09 Rivoli Toronto, ON 05/09/09 Schuba’s Tavern Chicago, IL 05/10/09 Cedar Cultural Minneapolis, MN 05/13/09 Crocodile Café Seattle, WA 05/14/09 Doug Fir Lounge Portland, OR 05/15/09 Bottom of the Hill SF, CA 05/16/09 Spaceland Los Angeles, CA 05/17/09 UCSD San Diego, CA See Also Jens Lekman http://weheartmus... I'm not gonna claim to have the most macho music collection in the world---nay, my playlists are ...

My initial concern of Loney Dear’s quiet demeanor clashing with a larger venue was quickly put to rest. Svanängen has a knack for endearing and warmly funny stage banter, and within moments, the audience was smitten. He even managed to pull of the impossible: an audience sing-along that was not completely awful. Choosing the simple na-na-na-na chorus from “The Meter Marks OK,” Svanängen led the audience like a junior high choir teacher. Considering that the crowd that night mostly consisted of PBR-slinging, hipper-than-thou Brooklynites – it was quite a feat.

Of course, none of it would have been possible without Svanängen’s unassuming and shyly charismatic personality. Whether it was through his heartfelt lyrics or random witticisms, he gave off an immediate sense of likability. It is somewhat telling that the two grown men (both in vaguely corporate attire) behind me had the following conversation midway through the set:

Guy #1: I haven’t been this happy since I was a kid.
Guy #2: This is just beautiful. Beautiful.
Guy #1: I know. I just want to… touch him.

I know how you feel, Guy #1. And just when Svanängen couldn’t get any sweeter, he ended the show with the fitting track, “Dear John.” With just him and his guitar on stage, he sang, “Sleep well, tonight. Sleep while you can.” It was a beautiful ending to an intimate and charming show. So charming, in fact, that Jens, Sondre, and Erlend may have to watch their backs.

Two bands, two synonymous songs. First up, there was Chairlift with their “iPod Nano song” opening for Peter Bjorn & John, the band that brought you the “whistling song.” Were it not for these two songs, I doubt this show would have been a sold-out Ticketmaster event. Despite this, PB&J proved their chops – and in pastel-colored shorts, no less.

Chairlift - Bruises 2 comments

Chairlift ♥ photo by Jason

PB&J ♥ photo by Jason

PB&J ♥ photo by Jason

Chairlift played to a half-filled venue, and for the most part, the audience seemed half there mentally as well. Perhaps it was the dreary weather or the slow playlist, but there was very little movement among the crowd, save for the occasional headbob or tipsy-girl-in-heels faceplant. Naturally, the audience got excited during their bubbly hit, “Bruises,” but from then on, the band stuck to their mellow, 80’s-revival pop. Lead singer, Caroline Polachek, showed off clear, hypnotizing vocals, but coupled with droning synths and sparse drums, it got lost somewhere in the muddle.

Excitement for PB&J was buzzing even before they took the stage, as the crew unveiled their straightforward, neon-lit backdrop (complete with word, “backdrop” repeated several times). They opened with the slow-burning “Just the Past,” from their latest album, Living Thing, which had just the right amount of energy to slowly awaken the crowd from their reverie.

The popularity of their breakthrough album, Writer’s Block, was palpable, as favorites like “Amsterdam” and “Objects of My Affection” were greeted with instant cheers and dancing. The audience didn’t seem too familiar with songs from Living Thing, but quickly warmed up to catchier tracks like “The Feeling” and “Nothing to Worry About.”

Much of this was attributed to the band’s infectious, sometimes corny enthusiasm. In his powder blue suit, Peter Morén, flaunted Bowie-inspired dance moves while guitarist Björn Yttling had no problem assuming cheesy rock god poses. Amid the flurry of blog-induced hysteria surrounding the band, such unassuming eagerness was endearing. Besides, how can you hate a band with a drummer who hula hoops?

When they left the stage, an encore was obvious – they hadn’t even played “Young Folks” yet. Unlike the last time I saw them, they didn’t rely on a pre-recorded whistle. I suppose it wasn’t even necessary, as the whole audience took it upon themselves to whistle the all-too familiar melody. After the group whistle, PB&J ended the show with their obligatory make out/break up song, “Up Against the Wall.” Despite the somber nature of the song, the band seemed entirely joyful, jumping around, dancing, and inviting audience members to hula hoop on stage (and failing miserably).

Such enthusiasm made it easy to overlook all the online hype and Twitter-testimonials, claiming Peter was an asshole. Instead, they were just a band glad to have made it this far. And if they wanted to celebrate such success by playing the bongos in tiny pastel shorts, why stop them?

The Wooden Birds, Andrew Kenny’s latest project, is a reflection of his move from Brooklyn, New York back to his hometown of Austin, Texas. The two cities have quite a bit in common (laid back atmospheres, blogworthy music scenes, skinny jeans galore), but the differences are palpable on the Wooden Birds’ mellow debut, Magnolia.

Kenny subtracted the signature synths and electronic beats from his former band, American Analog Set, and added rhythmic percussions, an acoustic guitar, and backing female vocals provided by Ola Podrida. Like Kenny’s hometown, the songs on Magnolia are laid-back and tranquil – but with a steady energy that pulses like a heartbeat.

With the simple instrumentation, focus is drawn to Kenny’s quivery vocals and intricate lyrics. The Ben Gibbard comparisons are obvious (they once split an EP together), but Kenny sets himself apart by eschewing pop hooks for intense, prose-like verses that provide quiet, melancholy insight. On the slightly more upbeat track, “The Other One,” Kenny seamlessly tells the tale of a brother with a “journal with the saddest words / that you ever heard,” weaving a thoughtful character study of a detached family.

Kenny’s attention to detail stands out on several character-centered tracks, such “Seven Seventeen,” where he continually laments over the fact that “she was seven when I was seventeen.” Small but specific details scattered throughout Magnolia such as “kissing bike tires,” “makeshift rafts,” and “mom’s Indian rug” emphasize Kenny’s return to Austin. On “Hometown Fantasy,” the simply maracas and acoustic guitar are an ideal soundtrack to any idyllic front porch conversation.

With such a peaceful ambiance, it’s inevitable that some of the slower songs suffer from the “sameness” stigma. It can sound condescending writing off certain albums as “background music,” but in The Wooden Birds’ case, it’s hardly an insult. The album would certainly compliment a drive down South Congress or a lazy afternoon at Barton Springs. But even if you’re miles away from Texas, Magnolia will leave you nostalgic for somewhere warmer, somewhere quiet.

About halfway through the opening set of the Love Language, I couldn’t help but notice something odd: where was the flannel? Perhaps it was the slightly warmer weather or the fact that neither bands were from Brooklyn, but it’s a strange sight these days, going to a show with no trace of the hipster staple. The lack of flannel continued onto Headlights’ set, and it was somewhat telling, as both bands offered up refreshing doses of unpretentious, enthusiastic pop.

The Love Language, a six-member troop hailing from Raleigh, North Carolina, proved to be ideal openers for the somewhat more polished Headlights. Stuart McLamb, lead singer and wearer of dilapidated wife-beaters, charmed the stoic audience with his off-beat lyrics and undeniably catchy melodies. There seemed to be an endless supply of tambourines, an occasional accordion, and when Missy the keyboardist started dancing around barefoot, it seemed wholly appropriate. Their entire set gave off the vibe of an indie pop country hoedown.

The Love Language ♥ photo by laura
Headlights ♥ photo by laura Headlights ♥ photo by laura
Headlights ♥ photo by laura

TLL ended with their fan-favorite, “Lalita,” McLamb’s viciously sweet ode to an ex-girlfriend, and a somewhat creepy, somewhat endearing (but ultimately catchy) cover of Ricky Nelson’s “Hello, Mary Lou.” When their set ended, they left a palpable energy in a crowd, which is always a noteworthy accomplishment for a relatively unknown opening act.

With only four members, Headlights initially had a more subdued presence than TLL, but they immediately proved their pop prowess with gems like “Market Girl” and “Your Old Street.” Keyboardist Erin Fein provided her signature crystal clear vocals, while guitarist Tristan Wright took the lead on some songs, offering a nice contrast with his rougher but equally sweet vocals.

Midway through their set, they called up TLL up to the stage to join them for the stand-out hit from their second album, “Cherry Tulips.” It was obvious the two bands enjoyed touring together, and since this was their final show together, there were several “I love you, man!” moments – punctuated with tambourines and more barefoot hijinks. When they ended the night with “TV,” the two-minute favorite from their debut album, the audience was completely mesmerized. They had just put on a glam-free, wonderfully sincere show in the heart of Brooklyn. Quite a feat for this flannel-free band.

There are only so many alternatives the Merriam-Webster thesaurus can offer for “precious” and “cute,” but Headlights literally exemplified the two when Fein called attention to bassist Nick Sanborn’s sweat-soaked t-shirt. Apparently his chest hair has the awesome habit of forming a sweat stain in the shape of a perfect heart. Seriously, how twee can you get?

As you were probably busy watching history being made with our new President being sworn in - these two albums were quietly released that Tuesday.

Willie Breeding-Cheap Vodka Rain Willie Breeding WILLIE BREEDING myspace.com/williebreedingmusic Willie Breeding is a folk/country singer and songwriter from Brooklyn, New York. He just released his debut LP, Cheap Vodka Rain last said Tuesday, his only previous recording was for the EP called Grey Skies last December 2006. Cheap Vodka Rain has a very Western/Country sound to it. Perhaps it's Breeding's songwriting style (they all tell some sort of story) or the steel-sounding guitar, but the album should belong to Country pop radio. If you don't like any Country, you may want to avoid this one, but I suspect there's enough good songwriting on the album that people with open minds wouldn't mind checking out. Anyway, the story behind the debut album was that it was recorded live over a two-day session (Oct 24-25, 2007) at the Excello Recordings, with backup band of friends and two members from Marah (whom he toured with for the promotion of his EP), which may have influenced his sound a little. And although I mentioned it only took two days, the recording did not sound rushed or rough at all. The final mix sounds like Breeding took his time to plan and let his band time to learn to play his songs. Some of the highlights from the album includes: "Bruises": backup vocals by his sister, Erin Breeding. Includes the wonderful line: "Would it have killed to come down to kiss me? I was crying over you last night.". "Be Right Here": The tone may sound a little sad, but this song sends out his message that he'll still be right here waiting for you. I think this song could also be paired with his other song, "As Long", which tells you that he'll stay as long as she'll have him. "Cheap Vodka Rain": I think this song would be summarize Breeding's style of music. It's pretty uplifting, but with just a tiny bit of sadness if you read too much into it. Check him out on tour: 01/26/09 Rockwood Music Hall Manhattan, NY 02/02/09 Iota Club & Cafe Arlington, Virginia 02/03/09 The M Room  Philadelphia, PA 02/04/09 Nightlight Chapel Hill 02/05/09 Soapbox Lounge Wilmington, NC 02/06/09 Wherehouse Winston-Salem, NC 02/11/09 Exit In Nashville, Tennessee 02/13/09 Derby City Espresso Louisville, KY 02/22/09 The Living Room Manhattan, NY Cheap Vodka Rain can be purchased via iTunes and amazon.

Modern Skirts - Soft Pedals Modern Skirts MODERN SKIRTS modernskirts.com ♥ myspace.com Since Modern Skirts' debut album, Catalogue of Generous Men in 2005, the band's won numerous praises (Athens Music Awards, Paste Magazine, National Public Radio, etc) - so ultimately the difficult sophomore album had to happen..... So it's been three years, but the official release date for All Of Us In Our Night was last Tuesday (Jan 20th). The band's been kept busy the last year, especially because of their R.E.M. connection (the band went on a two weeks European tour, supporting Athen's most famous band. While most of the album is pretty standard indie pop/rock, there are a good mix of moments of Beach Boys-esque backup singing ("Yugo") and pianos & some faint brass instruments ("Radio Breaks"). I think most people will be drawn to the Mike Mills (of R.E.M.) song, "Motorcade". The song starts off acoustically, before the percussions and backup singing (also by Mills and music producer Geoff Melkonian). The song sounds like it could have been an REM song by the way of Pavement. Although it's an excellent song, that's actually not my song pick - they have an even better one called "Soft Pedals". Maybe it's the loungey background music or the lyrics "give me a knife and a merry-go-round", but there's something really nice about this song that made me replay it again and again. They are currently on tour! 01/29/09 Local 506 Chapel Hill, North Carolina 01/30/09 The Earl Atlanta, Georgia 01/31/09 40 Watt Club Athens, Georgia 02/06/09 Georgia Music Hall of Fame presents Modern Skirts at the Cox Capitol Theatre Macon, Georgia 02/17/09 Circle Bar New Orleans, Louisiana 03/05/09 Odgen Museum New Orleans, LA 03/18/09 SXSW Austin, Texas 03/19/09 SXSW Austin, Texas 03/20/09 SXSW  Austin, Texas 03/21/09 SXSW Austin, Texas 05/16/09 WMNF’s Festival Tampa, Florida Those interested in picking up All of Us in Our Night, you can find it on Athensmusic.net. You can also get their music digitally - notably eMusic.

 01/04/2009 01:10:06  ♥ written by vu ()

School of Seven Bells-Chain School of Seven Bells 3 comments Tour Dates 01/16/09 PR (Self Titled Party w/Free Blood, Juan Maclean (live acid set), & Justin Miller (DFA)) New York, New York 02/06/09 Wellesley College Wellesley, Massachusetts 02/07/09 Terrace F. Club Princeton, New Jersey 02/11/09 7th Street Entry (w/Fujiya & Miyagi) Minneapolis, Minnesota 02/12/09 Bottom Lounge (w/Fujiya & Miyagi) Chicago, Illinois 02/13/09 Magic Stick (w/Fujiya & Miyagi) Detroit 02/14/09 Alfred University Knight Club (w/Fujiya & Miyagi) Alfred 02/15/09 Paradise (w/Fujiya & Miyagi) Boston, Massachusetts 02/18/09 The Trocadero (w/Fujiya & Miyagi) Philadelphia, Pennsylvania 02/19/09 9:30 Club (w/Fujiya & Miyagi) Washington DC, Washington DC 02/23/09 Whelans Dublin, Ireland 02/24/09 Captain’s Rest Glasgow, Scotland 02/25/09 Cockpit Leeds, UK 02/26/09 Cargo London, UK 02/27/09 Night & Day Manchester, UK 02/28/09 Start The Bus Bristol, UK 03/01/09 Audio Brighton, UK 03/04/09 AB Club Brussels, Belgium 03/05/09 Le Point Ephemere Paris, Ile-de-France 03/07/09 Gleis 22 Münster, Germany 03/08/09 Bang Bang Club Berlin, Germany 03/09/09 Molotow Hamburg, Germany 03/10/09 Studio 672 Cologne, Germany 03/12/09 Flex Vienna, Austria 03/13/09 Atomic Cafe Munich, Germany 03/14/09 La Casa Milan, Italy 04/07/09 The Ritz (w/Bat for Lashes) Manchester 04/08/09 Queen Margaret Union (w/Bat for Lashes) Glasgow, Scotland 04/09/09 Stage 2-Northumbria University (w/Bat for Lashes) Newcastle 04/11/09 Metropolitan University (w/Bat for Lashes) Leeds 04/12/09 Birmingham Town Hall (w/Bat for Lashes) Birmingham 04/13/09 The Regal (w/Bat for Lashes) Oxford 04/15/09 Anson Rooms (w/Bat for Lashes) Bristol 04/16/09 Brighton Corn Exchange (w/Bat for Lashes) Brighton 04/17/09 Sheperds Bush Empire (w/Bat for Lashes) London See Also Bat For Lashes http://weheartmus... A friend of mine asked me to check out this errie music video for "What's a Girl To Do" by Bat fo... 1 comment

 11/14/2008 09:43:18  ♥ written by vu ()

I got a note that Crystal Stilts were extending their tour with Swedish indie darlings Love is All, so I thought I'd mention it here before I forget. Crystal Stilts is on Slumberland Records, a label responsible for bringing over Stereolab and Velocity Girl - so deeply rooted in indie and much respected here with most of the W♥M writers.

Their much-anticipated debut album, Alight of Night, came out late October, and I'll have to say if you're a fan of Joy Division and early Jesus and Mary Chain, you'll absolutely LOVE these guys. They also seem to have a lo-fi indie quality to their recording too, and the singer, JB Townsend (?), kind of have a bit of a dark tone to him.

My favorite songs on the album is actually the more energetic jangy guitar numbers like "Departure", because they sound like the song was written in the 60s. Actually, most of their songs seems to be in that 60s vein, but they are not quite as poppy... again, probably to do with the dark brooding singing and lyrics. The free song they are offering is "Crystal Stilts", which they evidentially wear their influences like a badge of honor.

Here are those tour dates:

Nov. 21 New York, NY Less Artists, More Condos
Dec. 07 New York, NY Bowery Ballroom #
Dec. 08 Boston, MA Great Scott #
Dec. 10 Montreal, QC La Sala Rossa #
Dec. 11 Toronto, ON Horseshoe Tavern #
Dec. 12 Detroit, MI Magic Stick #
Dec. 14 Chicago, IL Empty Bottle #
Dec. 17 New York, NY Le Poisson Rouge %

# = w/ Love is All
% = w/ Vetiver

The album is available in vinyl and compact disc for an inexpensive $10 at Slumberland, and if you're still not convince, you can preview the album on that page. I am going to recommend getting the 12" as for a limited time only they come in a silk-screened jacket.

If you want to get their debut EP, you can get it for $10 on Woodsist Records (amazon is selling it used for a ridiculous amount of $50, so I do not recommend that).

 10/23/2008 09:59:52  ♥ written by vu ()

Katy Mae is an alt-rock band from Brooklyn, New York. Their latest EP is called You May Already Be A Winner and it was released last Tuesday, October 21st (although it should be noted that they just recently played a CD release party on the 18th). What caught my attention about this band is that they describe themselves as sounding like The Replacements and Hüsker Dü (both Minneapolis bands). I don't know, clearly the band has that 70's rock/pop feel to it, but I wouldn't compare them to the 'Mats or the Dü. Perhaps it's the singer's country-ish/manly sound that is throwing me off? Normally on these EPs, I go with the lead song; in this case would've been "Two Dollars Late" but that song starts off a little slow. It does build up a bit with layers and sudden stop/start timing... but I thought "Let Me Bring You Down" sounds a little more muscular with its constant guitar chords and drums. You May Already Be A Winner is out now on Maggadee Records, where you can find their older releases, The Sweetheart Deal and The Lightning and the Sun

Katy Mae - Let Me Bring You Down 3 comments

 10/06/2008 20:13:20  ♥ written by lara ()

Team Genius still sound like big fat dorks (minus the ‘fat.’  They are probably very svelte).  Only now they sound like grown-up dorks, with fancypants studio polish and cool thumbprint-made-from-cassette-tape-tape album artwork.  Where the Hooray EP lacked in vocal brawn, Team G’s self-titled release has plenty of chub in its gut.  It’s possible that Drew Hermiller’s a man now (often puberty is late); it’s also possible that Team Genius is actually a team of geniuses (possible but not probable).  Genius or not, they certainly are—prepare yourself for a music pun—hitting the right notes with the boy-girl harmonies and the toe-tappin’ jangle pop.  Let’s delve further, shall we?

Upon further observation, the cool thumbprint-made-from-cassette-tape-tape is actually a cool thumbprint-made-from-mixtape-tape, which is obviously a reference to season 2, episode 6 of the popular Nickelodeon show “Salute Your Shorts,” when Budnick develops a sad crush on Dina and (presumably) makes her many Slayer mixtapes; unfortunately she is unable to return his love because he has long hair.  Eventually Budnick tries to change himself for Dina, who is a rich bitch and incapable of feelings; the pinnacle of this transformation is his decision to cut his hair.  I think Team Genius is at a similar crossroad as Budnick, trying to find that balance between silly and serious, spontaneity and control, fun and work, long hair and Super Cuts crew cuts.  The fellas (and ladies) may have one foot in the sticky mess of youth, but it’s clear that they’re making a genuine effort to explore broader avenues beyond the nerd-core limits.

“Take Me Home” is absolutely tits:  snappy electro-funk-meets-downtown dance dive, as realized by a hip suburban jazz choir.  Interestingly, the song is not about gettin’ bizay in da club and going home with lots of shorties; the lyrics, in fact, are “reflective” and serious (but still fun).  Although they maintain some of the low-tech unfussiness that made Hooray enjoyable, the Team’s lyrical psyche has definitely evolved (“Let’s All Sleep Together” and “I’m Just an Idiot” have been replaced with “The Wise Ones All Give Up” and “Meanderings and Musings”).  Even “Sing Song,” a cheeky little ditty-bop about singing and being loud but not sorry sounds better post-studio magic (and this was one of the standout tracks of Hooray).

Team Genius is still a Brooklyn band (but not the sucky one).  They buy things at stores (just like us!), have Myspace pages (just like us!), and play live shows (not like us).  They’re debut full-length album will be available tomorrow (Oct. 7).  You can get it somewhere (the ‘where’ is TBD; check their website for more info).

 08/21/2008 00:02:46  ♥ written by vu ()

August 21 - Dallas, TX @ The Cavern
August 22 - Oklahoma City, OK @ The Conservatory
August 26 - Des Moines, IA @ Vaudeville Mews
August 27 - Minneapolis, MN @ Triple Rock Social Club
August 29 - Chicago, IL @ Town Hall Pub
September 01 - St. Louis, MO @ Off Broadway
September 03 - Bloomington, IN @ Cinemat
September 04 - Louisville, KY @ Skull Alley
September 06 - Dayton, OH @ Canal Street Tavern
September 07 - Columbus, OH @ Bernie's
September 10 - Pittsburgh, PA @ Smiling Moose
September 11 - New York, NY @ Union Hall
September 12 - State College, PA @ Chronic Town
September 14 - Washington, DC @ DC9
September 16 - Asheville, NC @ Emerald Lounge
September 17 - Chapel Hill, NC @ Local 506
September 18 - Philadelphia, PA @ M-Room
September 20 - Little Rock, AR @ Sticky Fingerz