Concert Review
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Denmark’s Under Byen brought back their pensive tunes to New York, this time at the all-age Knitting Factory’s Main Stage. The two drummers fitted themselves at the back of the small space, and cello, saw, violin, pedals, piano, guitar, bass were all in place to twirl around singer Henriette Sennenvaldt’s breathy indulgence. The only thing embarrassing when it comes to music as solemn as this, and performed with no shortcomings at that, is all the chattering you can hear from the audience, especially at a venue so small. There was undivided attention at the end of each song, however, when it came time to applaud and hoot. The band members don’t say a word, of course, and when someone yelled, “You have a beautiful voice!”, Henriette simply lowered her head slowly and rolled it back up.
The set was mostly filled with songs from the latest, Samme Stof Som Stof, though I think their older albums Det Er Mig Der Holder Traeerne Sammen and Kyst are the ones filled with indispensable showcase pieces. “Den Her Sang Handler Om At FÃ¥ Det Bedste Ud Af Det” from the new one, however, is a real winner played live.
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A lot of love came Dan Deacon’s way at McCarren Pool. People offered him hugs, someone his sunglasses and another a bag of ice to keep cool (the first he warmly accepted, the last two politely declined). Most impressively, fans offered the kind of devotion that comes from being well-versed in all Deaconian traditions involving sing-alongs, chants and co-ordinated finger waves with stretched arms (whatever is the technical term for this particular move). I’m guessing it’s official: Dan Deacon is a movement!
While I was taking photos, Borchers was down in the pit:
As a 3rd tier opener for Octopus Project, Dan Deacon’s set was a fraction of what it usually is. But at about 5 feet from his signature, crowd-level table (equipped with his colorful gadgets), Deacon might as well have been a headlining act. The set was filled out by opener OCDJ, friend and fellow Baltimorite.
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Even after The Books started touring as a duo, they’ve always been good at delivering their experimental songs live. Nick has an understated, calm voice faithful to the recordings while Paul’s cello serves to add improvisational fluidity. Ever since their collection of found-video collages began to take shape, however, the structure of their recent shows has been somewhat standardized. It was a great delight, then, to be surprised during the encore with a rarely performed “Getting the Job Done” from 2002’s Thought for Food. Perhaps it was the addition of opener Todd Reynolds on the violin that allowed it to happen. They referred to the shortened version as a “half” song, an amazing one at that, and Nick can really sing that fast.
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If you’re at South Street Seaport for the music, you’ve really got to move upfront. From afar it may have seemed like British trio Fujiya & Miyagi was vaguely happening, but closer to the stage they had their seductive groove on. At the receiving end of matching moves, rolling R’s, guitar scratches and stiff faces was an enthusiastic audience. Next week is Menomena with Beat the Devil, and the free festival has just added Suicide for a July 27 show.
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Download “Skvavars” (from Kajak)
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Benni Hemm Hemm’s music might be a wistful exploration of the understated, but it requires quite a bit of horn players. At Mercury Lounge there were five of them (switching between at least two trumpets, two trombones, a French horn and a sousaphone). As they waited by the steps leading to the tiny stage, they felt no less than men readying for war. Except, there was no war: as Benni explained some of his Icelandic songs to an English-speaking audience, they were mostly about snow, hills and things they intend to never do, such as (1) make a promise and (2) betray. This the American audience found funny, and Benni smiled along.
Download “Graceland” (from Graceland EP)
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Playing before them were Casiotone for the Painfully Alone. When I got there, singer Owen Ashworth was huddled over his electronics, singing heartbreaking tunes by himself. His four-piece band (drums, bass, guitar, keyboards) joined for the rest, though they were barely able to pollute the melancholy in Owen’s raspy voice. His personality (translated superbly into a band name) leads to the kind of songwriting that feels quintessentially American. To top it off, there was an excellent cover of Paul Simon’s Graceland.
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Download “Van Helsing Boombox” (from Six Demon Bag)
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My favorite is the kind of music I imagine to have been created by hooligans. This includes an imagery, heavily influenced by the movie Underground, of irreparable, drunken devotion to music through an otherwise quiet night. Here the musicians boast of decent talent, but it’s gushing passion that boldens them. Led by roaming spirits to drink their money (and homes) away, of course, their heads and hearts simply can’t be rooted. It encompasses what Zach Condon called a “ramshackle orchestra” he first witnessed in Paris (and later re-created in Brooklyn). Man Man are such gypsies at heart, and that’s why I love them. Their show at McCarren Pool was the best I’ve seen all this summer. From the way they were physically set up on stage to the way the songs are written, arranged and performed, the group is very organic, and each member a gift. Albums are a bonus, but Man Man must simply be seen live. Besides, they’re how a “rock and roll” band should be: at once, talented and clumsy, serious and unserious, intellectual and anti-intellectual; but rebellious at all times by simply being all they care to be.
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Three bands from Montreal – Malajube, Sam Roberts Band and The Stills – played Prospect Park’s Celebrate Brooklyn series on the occassion of Canada Day. Out of all outdoor venues this summer, Prospect Park’s Bandhsell is perhaps the classiest (as reflected by the bill, which includes fine orchestras and jazz acts). Enclosed by lush trees, there’s plenty of shade, but most worth noting is the superior quality of sound. Rows and rows of chairs, however, (and a half-empty “members only” area in front of the stage) can seem awkward when a band like Malajube is playing- sitting and Malajube just don’t go together. But the patch of cool grass at the back is quite spacious, and by the time the Stills came on and evening turned into night, there was more getting up and dancing.
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Following a brief break after the untimely death of 23-year-old drummer John Pike, Ra Ra Riot hoisted their spirits up for an outdoor summer show at South Street Seaport. Sam Champion played before them, as did the one-man Bikini Carwash Company, who generally sounded unimpressive but was enthusiastically joined by members of Ra Ra Riot for a goofy, sleep-over song. Everyone played short sets, and Ra Ra Riot’s swelled with sincere energy they’ve come to be known for (on their myspace they posted a message saying they’d been jogging and playing in the pool to counter some “band fluffiness”). They unveiled some new songs, and though there was no other mention of John, they introduced “St. Peter’s Day Festival” by saying, “This song was written by our dear friend John Pike.” Unlike John’s heartwarming solo version online, this one was given a full band treatment. Both versions are some of Ra Ra Riot’s best (it’s a great tune!). Check out the schedule for more free shows at Pier 17 this summer.
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The afternoon was sizzling on Saturday, and most people didn’t dare get up from their blankets spread over the green carpet of Central Park’s Summerstage. But Apostle of Hustle’s charming frontman Andrew Whitman didn’t appear alarmed. He began by saying “Happy Pride Day,” and went on to play “My Sword’s Anger” and the title track from their newest, National Anthem of Nowhere. His pool of random behavior – like displaying a scarf before blindfolding himself for no reason – was good for morale throughout.
The opening band was Winnipeg’s The Duhks, glittering with the spark of a Grammy nomination for Best Country Vocal Performance by a Group or Duo. Charged with a fiddle and a style inspired by genres all over the world (folk, samba, country, soul), there was no denying their on-stage talent. Posted below is “Death Came a Knockin,” which earned some sing-along cred, taken from a radio performance on KGNU Radio Boulder.
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Photo by Chris Mou
Visit Guardian Unlimited Music for updates. Sample below:
The lead singer of the Cribs addresses the crowd at the Other Stage: “People go on about global warming and the environment,” he says in the middle of a downpour. “But the real threat to civilisation is shit indie bands.”
