Ted Leo Releases ‘Brutalist Bricks’, Announces U.S. Tour (MP3)
Photo credit: Matias Corral
Ted Leo’s The Brutalist Bricks — released last week on Matador — differs substantially from its predecessor, 2007’s Living With the Living, and that’s a good thing. Continue reading.
Review: Appleseed Cast with Dreamend; March 3, 2010; Casbah, San Diego
When you watch Appleseed Cast’s trippy post-rock, time slows down, twists apart, and becomes nonlinear. The long, vocally sparse shoegaze jams force periods of intense introspection and send your brain floating on a sea of disjointed, personal thoughts. They make you forget you’re still around other human beings, that you’re not sitting, stoned, on a beanbag in a blacklit velvet room, wearing thick over-ear headphones. To say that this is not a good first-date show would be a monumental understatement. Continue reading.
Review: Tegan and Sara; March 3, 2010 at Copley Symphony Hall; San Diego
Photo credit: Jeff Gentner
When musicians play San Diego’s distinguished Copley Symphony Hall, they usually don’t get bras thrown at them. It’s hard to imagine, say, Yo-Yo Ma getting pelted with ladies’ foundation garments during a set. But that’s exactly what happened when Canadian super twins Tegan and Sara played Copley on Wednesday night. (more…)
Review: Chain and the Gang with Strange Boys; February 25, 2010; Casbah, San Diego
Have no doubt about it: Ian Svenonius is one hell of a showman. (more…)
Review: Scout Niblett with Manuok; February 28th, 2010; Bar Pink, San Diego
Scout Niblett
With a name like a doggy treat and wearing an awesome pair of clogs, Scout Niblett took the stage at Bar Pink on Sunday in front of a few dozen people. To me it was satisfying to see that the singer, mousy and demure, actually does look and act like a “Scout Niblett,” if anyone ever could. (more…)
Review: Ray Manzarek; February 28, 2010; Anthology, San Diego
Photo credit: Matthew Peyton
It’s been almost forty years since The Doors lit anybody’s fire, but keyboardist Ray Manzarek has devoted most of his time since then to keeping the flames burning.
Following Jim Morrison’s death in 1971, Manzarek and the other surviving members put out two studio albums under the Doors moniker before finally disbanding. Over the years, Manzarek and guitarist Robbie Krieger have reunited under a variety of names, including The Doors of the 21st Century and Riders on the Storm. And, when Manzarek isn’t performing alongside his longtime band mate, he plays gigs with blues guitarist Roy Rogers. (more…)
Video: St. Vincent; February 21, 2010; Diesel Club, Pittsburgh, PA
St. Vincent, a.k.a. Annie Clark, takes her stage name from Dylan Thomas, a Welsh Romantic poet. In 1953, he died at New York’s St. Vincent’s Catholic Medical Center.
There are a few theories about why he died: was it alcohol, diabetes, or heart attack? Or something else, or all of the above? There has never been a consensus. When asked about why she chose that specific moniker, Ms. Clark replied, “Because that is where poets go to die.”
I recently had the pleasure of seeing her perform and I found her live show to be charming, whimsical, and yes, poetic. So much so that I decided to film the encore and share it with all of you. I also thought a piece by Mr. Thomas entitled “The Map of Love” would serve as a nice artistic accompaniment to St. Vincent’s musical poetry. Read, watch and listen below. (more…)
Can You Say Styletones?
http://www.myspace.com/thestyletones
Late on Monday nights a few years back, I would always get an increasingly agitated series of texts from a friend:
you coming to tower?
you said you would come this time
if you don’t come to tower one of these times I will pluck out your eyeballs with a toothpick and garnish my martini with them
Review: Tortoise; February 17th, 2010; Mr. Smalls Theater, Pittsburgh, PA
Chicago post-rockers Tortoise are just like the animal that their moniker invokes. Well, not exactly like it; I’ve never seen a tortoise perform a killer instrumental post-rock song, though I wouldn’t mind seeing one try. Rather, it is the band’s unbelievable staying power that makes them so much like the long-lived reptile.
I’d be willing to bet that most fans of indie rock today were just discovering the wonders of puberty when Tortoise’s 1994 debut laid the groundwork for a career that would see the band become one of the most important post-rock acts ever.
Fast-forward sixteen years to Mr. Smalls Theater in Pittsburgh, PA. Considering that the show was on a Wednesday night, the turnout was decent. I really can’t think of a better place to see Tortoise, besides maybe the moon or inside a spaceship. Mr. Smalls is an old cathedral church retrofitted into an amazing music venue. The acoustics are amazing—every plucked string, tapped hi-hat, and stroked key fills the space with beauty. (more…)
Photos: St. Vincent; February 10, 2010; Belly Up Tavern, San Diego
Photos of St. Vincent at the Belly Up Tavern on February 10, 2010. (more…)
Review: Langhorne Slim with April Smith and the Great Picture Show; February 8, 2010; Casbah
I’ve never understood the significance of The Casbah’s “Anti-Monday League,” except that the bands are better than average and that it seems to draw the scene. I’ve found that it does not mean drink specials, but scenesters don’t need specials anyway when PBR tall boys are cheaper than water. Looking around, I assumed the bands would be an afterthought for this crowd and that I would be one of the only true Langhorne Slim fans — but then he came on and everyone started shouting the words! I’ve been too judgmental, scene kids. Your taste is exquisite. I’m sorry. Hold me. (more…)
Photos: Langhorne Slim with April Smith and the Great Picture Show; February 8, 2010; Casbah
Photos of Langhorne Slim with April Smith and the Great Picture Show at the Casbah. (more…)
Review: The Silent Comedy; January 17, 2010; Bar Pink, San Diego
Few bands in San Diego inspire the kind of rabid devotion that the Silent Comedy enjoy. From their Prohibition-era wardrobes and Old West mustaches to lead singer/bassist J. John’s manic ramblings, the band have struck upon a winning combination of musical chops and good-natured theatricality that has earned them a passionate following. Celebrating their return to San Diego at Bar Pink after a brief but hectic West Coast tour, the Silent Comedy were greeted by a characteristically packed house. And, from the raucous opening song “Poison” onward, the band had the crowd exactly where they wanted them. (more…)
Review: Bear In Heaven; January 16th, 2010; Brillobox, Pittsburgh
The Bear In Heaven show at Brillobox sold out far in advance.
Granted, Brillobox isn’t exactly Madison Square Garden, but selling out the show was an undeniable feat for this Brooklyn band whose fan base has only slowly grown for the past few years.
Earning Pitchfork’s coveted Best New Music tag didn’t hurt, and Bear In Heaven certainly deserve the award. Their newest album, Beast Rest Forth Mouth, pulsates from song to song, and when it veers into ambient electronic territory, it can sound quite brooding. Going into the show, I felt a sense of great promise, and their brand of electro-psychedelic kraut rock is music to my ears.
At the Brillobox, I soon discovered the full breadth of their ability: Bear In Heaven—in addition to sounding great on record—can also create a sonic landscape that totally surrounds the show-goer. (more…)
Owl and Bear’s Best Albums of 2009
Owl and Bear writers’ favorite albums of 2009. (more…)
Photos: Harper Simon & The Chapin Sisters; December 7, 2009; Casbah, San Diego
Harper Simon, with a backing band that included the Chapin Sisters and members of Cat Power, The Elected, and the Beastie Boys, played San Diego’s Casbah on a cold, wet December night to an extraordinarily small crowd. (more…)
Real Estate – Real Estate (Review)
New Jersey has produced some terrific music in years past. I mean, come on: Frank Sinatra, George Clinton, The Boss, Yo La Tengo, Bon Jovi… Alright, maybe not the Bon Jovi part, though I do freely admit to feeling the urge to sing along whenever “It’s My Life” comes across the airwaves. Don’t judge. But out of all those bands, Yo La Tengo is probably the most similar to Real Estate, and even that comparison is a stretch.
“Beach Comber”, the opening track on Real Estate’s self-titled debut, serves as a perfect introduction to the band’s surprising restraint and easy-go-lucky rhythm. Their music uses a feeling of youthful carelessness not just as a sonic template, but as a common theme that runs throughout the album. Front man Martin Courtney exhibits a thoughtful, sincere singing style, his voice humbly meshing with the hushed, playful tones. (more…)
Review: Screaming Females; December 7th, 2009; Mr. Smalls Theater, Pittsburgh
8:31 p.m. on a Monday night. The three members of Screaming Females appeared on stage: Marissa Paternoster on guitar and vocals, Mike Rickenbacker on bass, and Jarrett Dougherty behind the kit. Though it was a sold out show, so far only about half of the attendees had shown up. As I scanned the room I noticed that the crowd was very young looking, mostly in the 15 to 18-year-old range, and all clamoring toward the stage to stake out a good position for the headlining Arctic Monkeys. (more…)
The Paddle Boat – I Wonder if the Water Ever Tires of the Sea? (Review)
When The Paddle Boat first began to play shows in San Diego, no one knew quite what to make of them. Their hushed aesthetic tended to be too quiet for bars and their century-spanning influences too diverse for easy categorization, but the band nevertheless built a reputation as one of the city’s finest live acts. Seasoned performers though they might be, the band’s recorded output has until now been sparse, consisting of only the four songs from the self-titled EP they released earlier this year.
In its eleven brief minutes, the EP demonstrated that The Paddle Boat were able to flourish within the recorded idiom, utilizing savvy production to add dimension to their already rich sound. But it remained to be seen how the band would fare over the course of an entire album. Now, the group has released I Wonder if the Water Ever Tires of the Sea?, their full-length debut and the true test of whether The Paddle Boat can be as enthralling a recorded band as they are a live one. (more…)
Review: Metric; November 24, 2009; Mr. Smalls Theater, Pittsburgh
Speaking from experience, mid-week concerts are usually not most bands’ best outings. The crowd is usually thin and attendees worry about how much sleep they’ll get before work. (more…)
Review: Edward Sharpe and the Magnetic Zeros; November 3, 2009; Belly Up Tavern, San Diego
Alex Ebert sure does like to reinvent himself. First a rapper, then the flamboyant front man for the goofy post-glam Ima Robot, Ebert has reformed himself once again—this time as the messianic mastermind behind Edward Sharpe and the Magnetic Zeros. In the persona of Edward Sharpe, he presides over a dedicated troupe of musicians/followers who create alternately sentimental and moody rock reminiscent of 60s hippie-folk and Ennio Morricone film scores. (more…)
Review: Califone; October 10 & 11, 2009; Museum of Contemporary Art, Chicago
An album and a film, ghostly and eternally tied together: this was the premiere of Califone’s All My Friends Are Funeral Singers.
After a month of listening to Funeral Singers and being totally, completely geared up for their two performances at Chicago’s Museum of Contemporary Art, I was ready for anything—and everything. Both were delivered in a weekend I will always remember. (more…)
Review: Noah and the Whale; October 21, 2009; Casbah, San Diego
The first thing you notice about Charlie Fink is how young he looks. With his curly, tussled hair resting atop an angular but cherubic face, Fink hardly seems like the person responsible for the world-weary outlook and deep, creaky vocals that have come to characterize Noah and the Whale’s sound. Of course, the band’s music wasn’t always grim—it used to be as youthful and fresh as Fink’s appearance. (more…)
Review: The Avett Brothers – I and Love and You
The Avett Brothers are all about feeling. On Emotionalism, their last proper full length, the Avetts certainly didn’t shy away from feeling; they celebrated it. The songs from Emotionalism were mostly led by banjo, upright bass, occasional strings and the just-twangy-enough vocals of one or both brothers. Everything about that setup said these guys were playing bluegrass music, but what came out of the speakers felt different.
That element, that unique style of bluegrass that sounded more like an alt-country-influenced indie band, clearly set the Avetts apart from anything I’d ever heard before. But there was more to them than that. There were also those straightforward and heartfelt lyrics, melodies that felt nostalgic and comforting, and an overall sense that these guys grew up loving American music and wanted to make it their own, to take it somewhere new while keeping everything that was great about it intact. (more…)
