Download “Rapture (Sweet Rapture)” by AA Bondy | Download “Vice Rag” by AA Bondy | It was an easy-listening night at Bowery Ballroom on Tuesday, and how wonderful AA Bondy must’ve been with that dreamy, rustic voice of his. I wasn’t there, but Kashish was, and he tells me the performance was mesmerizing. I believe him. A pure crystal of human experience is sheltered in the lyrics, “I don’t want to talk about Jesus / I just want to see his face / The trees are swinging like hanging men / and I just want to see his face”. When a song opens quietly with those words and sweeps you up into the endlessly sweet chorus of “Rapture (Sweet Rapture)”, you can be sure there will be goose bumps. View full post to see all pictures and learn who was suffering from a cold.

All pictures by Kashish.

Kashish says Bondy was humble on stage, taking requests and saying “Thank You” between songs. But he suspects that whenever half-smiles surfaced to the performer’s face, he must’ve thought “Yeah, I know I rock.”

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Long Island’s folksy popstress Jaymay was the headliner. Playing her last New York show till fall arrives this year, she spoke of the time when she used to come to Bowery Ballroom as part of the audience and wondered how the artists on stage did what she was doing that night. She managed it quite alright despite some technical glitches, with one dedicated group of girls singing along to each song.

John of Deer Tick was energetic and funny while performing solo. Suffering from a cold, he asked if anyone had any tissue paper. One girl from the audience gave him some, and he promised to reward her with his non-existent album. He performed some great covers as well and remembered the pioneering Bo Diddly, who passed away last week on June 2.

June 10, 2008
Bowery Ballroom

Annie Clark’s weapon is her intent. Her grace is a swift punch packed with pointed articulation, and for this she has found the appropriate musical expression (aided by an assortment of gadgets at her feet, including an expressive kick drum, and the coupling of a regular microphone with a distorted one). Her angry, unrestrained outbursts on the electric guitar show off her control over the instrument, but her playing can hardly be classified as flamboyant or subtle. Instead, the power comes from the emotion she keeps sharpened, which results in clarity without being overbearing. Her singing takes on the same quality- it is the intention that provides shape to her voice that otherwise escapes easy categorization, and it’s this skill of Annie’s that makes her shows powerful, with or without a full band.

More after the jump.

Annie Clark played Bowery Ballroom with the four-piece version of St. Vincent, featuring bass, drums and violin. The singer’s dark humor was on full display as she paused with a ghastly, wide-eyed face during a break of silence in the song about murdering her lover. She had played a few love ballads, it was explained, and what was the other thing as interesting as love, but death. The arm of a mannequin, with a pointed forefinger, stood next to her. It was wired to function as an electronic drum kit, and this too she demonstrated without cracking a smile. After knocking it down during one of the songs, however, she broke into a beam and shrugged innocently as someone came to erect it back in place. Later she expressed confusion and disbelief over having her album sold at actual stores instead of just her mother’s house, and offered to deface her portrait on the album cover if we came down to the merchandise booth. Inspired by her mention of the word “gnarly”, when stumbling through her amazement that people would gather to watch her play, the audience also participated to produce a string of cheesy slangs such as “cawobanga” and “bodacious”.

Previously:

• Favorite song of the week: “Paris Is Burningâ€? by St. Vincent
• St. Vincent at Union Hall – pics
• St. Vincent at Mercury Lounge – pics

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.

More after the jump.

Nick’s younger brother Mike has traditionally appeared to play bass on the song he wrote, “The Classy Penguin”. Since his absence at the Wordless show, his fun personality was a refreshing return. The song itself is a blast, with a matching video that includes hilarious bits of home video footage of the band members as kids. This features one clip of “Smells Like a Teen Spirit”, over which young Nick’s head slowly floats from the bottom of the screen.

For the first song in the encore, “Be Good To Them Always”, the combination of Todd Reynolds’ violin and Paul de Jong’s violent cello had a chilling effect. Reynolds, however, also got an addition of an elaborate, twangy solo that came close to clashing. It might’ve flown anywhere else, but I wasn’t too enthusiastic about in the context of The Books, mainly because subtlety has always been key in their music. As for Todd’s own set, he’s gifted with a grip over the violin, for sure, and he played many songs that showed off this incontestable fact. But perhaps it was too self-evident, and I almost longed for humbleness in the music itself (Todd himself seemed humbled enough).

The first “opening act” was fitting, though not musical. Rich Remsberg presented his impressive collection of found photographs, and concluded that it was the mystery that appealed to him, not the fact.

Bowery Ballroom
July 7, 2007

The video montage projected behind Animal Collective’s Panda Bear (Noah Lennox) made his solo show all the more arresting. Though with little to say and a strange sort of serenity (despite all the bristling moods his songs convey), his solitary presence was already captivating to begin with. But there was something the visual display conveyed- via flashes of naked bodies, bearded men, a roller-coaster make-out scene, amongst others- that made the connection between his music and the audience more instinctive. Noah went from song to song without a pause, playing plenty of material from Person Pitch. He finally spoke in the end to thank others who played and those in attendance. There was no encore, but the set was not short. Animal Collective band member Avey Tare watched almost the entire show from the side of the stage.

More photos and other bands after the jump.

The more exciting moments from Rusty Santos were those that featured impressive drumming, the feel of it comparable to Animal Collective. At other times Rusty was wailing, convulsing, on the floor, getting right into it.

Kria Brekken, formerly Kristin Anna of the icelandic band Mum, sat at the piano to accompany her childlike voice. It feels like it twinkles, and with the warm, prancing sound of the piano, she might’ve been a music box herself. Her playing was not about extravagance, but rooted in classical influences, it featured fun murmurings. The audience was respectfully silent throughout the show, but more noticably during her quiet set.

Scott Mou was playing by the time I got there. His video montage, featuring bizarre animations at times, was even stranger.

Bowery Ballroom
June 18, 2007

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After spending gruelling hours at work all weekend, running through the rain to catch Lavender Diamond at Bowery Ballroom was a fantastic decision. The Chapin Sisters, who make an appearance on Lavender Diamond’s latest Imagine Our Love, were almost through their set when I got there (Entrance opened before them). At first I worried over the thin crowd that looked like a ladies night out (we might as well have been given picnic baskets). But as soon as they left the stage, the crowd closed in, and the space filled up nicely, though not completely, by the time Becky Stark and friends came on.

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Becky Stark is a charm, and her energy’s contagious. She uses the words “love” and “peace” unapologetically, has an immensely trained voice that is big without being loud, and is truly happy to be on stage. She made an entrace frolicking and waving. After each song, she jumped in excitement, reiterating how awesome it was going to be as we got “deeper into the night,” wishing that they had a song titled “Deeper Into the Night.” After playing “Open Your Heart,” which the band has nicknamed “the practical song,” she asked if she was allowed to say, “I love that song!” She wondered if that would be inappropriate or uncool.

More Becky Stark obssession after the jump.

To understand Becky Stark, and hence her band, you must simply read their album’s title: Imagine Our Love. They have imagined it nicely, and are probably hooked to it. Plenty of clues were freely given on stage too: in spite of saying “who cares about narratives anyway?” and “we’re going to play a bunch of songs, in a row,” Becky could not stop talking, though she warned, “I have to remember to not talk too much”. She got into how sorrow is integral to happiness, said love is an antidote to war, isn’t it?, that the world is the best it has ever been (don’t forget, these are the best times), and so forth. She shared a recent story of having danced with an infant in Hoboken, thanked electricity and wondered out loud where it comes from- the rivers? She has an entirely bubbly personality, however, without a trace of anything that may cause offense, or feel overbearing, no matter what she says.

Lavender Diamond masterfully played a refined set as a four-piece, with digital piano, a minimalistic drum set-up, an acoustic guitar and singing. Guitarist Jeff Rosenburg is no longer with the band, so the goofy Devon Williams filled in. He suggested that they sing “Happy Birthday” to Scott in the sound booth, which they did. But keyboardist Steven Gregoropoulos picked a strange key for it, which caused Devon to get a little lost. When Becky Stark asked Devon to hold the microphone, twice, he commented that she never uses the stand. She responded by saying, it’s so that she has a chance to look him in the eyes. Later Devon said something was stuck in his shirt and pulled out a diamond ring, shrugging and putting it aside. Becky cheered for romance, as she cheered for practical people at another point. It was also somewhat of a Los Angeles night at Bowery- all three bands are from there.

Devon Williams

Steven Gregoropoulos

Ron Rege, Jr.

June 3, 2007
Bowery Ballroom

Previously:

• Miranda July, Becky Stark, David Byrne at NYPL – review + photos

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Bowerbirds was a treat to watch at Bowery Ballroom, when they opened for Ladybug Transistor and The Rosebuds last night. The sound that is captured in their recordings is even more elegant live, and the performance reaffirmed the fine quality of Phil Moore’s and Beth Tacular’s voices. It was a soothing set faithful to the recordings, rarely interrupted by any talking. “In Our Talons,” with its energetic chorus, was beautifully rendered. Friend Mark Paulson was also present, switching between bass drum and violin (Beth switched between bass drum and accordian). For the last song they played “Dark Horse,” and two members of the Rosebuds came out to sing the exiting refrain. Almost half the space had filled up through their early set, but it shouldn’t be long till Bowerbirds plays to a devoted audience.

“Took You Two Years To Win My Heart”

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Previously

• Beirut at Bowery May 8th – videos + review
• Beirut at Bowery – photos + review
• Final Fantasy at Bowery – photos + review

“Siki Siki Baba” (encore w/ the Gulag Orkestar)

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Beirut’s last show at its three-day Bowery Ballroom residency was an absolute blast. It’s rare to like a show considerably more the second time, but tonight’s celebratory spirit and awesome crowd were exceptional. Perhaps it’s the familiarity built in two prior nights and the festive mood of jovial goodbyes. The band members were in top shape, as they were on Sunday, but everyone seemed more laid back and cheerier. There was even an adequate supply of confetti, and Owen Pallett’s animator-friend took on the job of shooting strips of ribbons from the stage. Zach might’ve been a little more drunk, too, and whatever the reason, he was a spirited frontman tonight (he said that Owen Pallett commented he made the best drunk frontman). Cafe Eclectica Music has reported that he is relocating from Brooklyn to Paris after a quick break in Montreal after these NYC shows. Tonight he was insistent that France won the World Cup, even integrating the sentiment into the lyrics at one point. He explained, “Sorry, I love France.”

(More videos after the jump)

“Gulag Orkestar”

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“Postcards from Italy”

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The audience was notably a fun bunch tonight. Some girls from the Sunday night show had returned with the scarf Jeremy Barnes left at a venue in Portland (Jeremy is not currently touring with Beirut). Zach wore it to sing the Jacques Brel cover “Le Moribound.” Two girls in the front took Polaroid pictures and handed them to Zach. When the band started playing “Siki Siki Baba,” the person behind me yelled, “Fuck yeah! Fuck yeah!” For a change, most conversations between the audience and the band were pleasantly organic and enjoyable. My favorite might’ve been the recurring “Jon Natcez rules” chant (Jon Natcez does rule- and he also plays several things for the band, including ukulele and some horns). One person said “Natcez is God” and Zach responded, “Jon Natcez does not exist.” Natcez, on the other hand, blushed and sent chuckle-muffled requests to stop.

Zach Condon sings w/ Final Fantasy

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I also enjoyed the Final Fantasy set more the second time around, though the first one itself was super. Owen Pallet has mastered the art of loop-pedalling and plays such a precisely lush show for a one-man act. The setlist was similar to Sunday night’s, with some differences, including one new song Zach came out to sing the chorus for. For the last tune Owen couldn’t decide whether or not to play a “downer.” He chose to play it (“Took You Two Years to Win My Heart”), reasoning: “You guys are so happy you need a downer.”

Arcade Fire’s Kelly Pratt, who made a brief appearance last night as well, rushed from the Arcade show at United Palace to make it just in time for the first encore, “Postcards from Italy.” Maybe tomorrow Beirut will come to Arcade’s show. Maybe?

Check back for the remaining videos.

Previously

• Beirut at Bowery – photos + review
• Final Fantasy at Bowery – photos + review

The magical experience of Beirut is under the threat of annoying Zach-Condon-worshipping female fans- not all female fans, of course not, but there is a lot willing to shamelessly steal other people’s front row spots and openly offer themselves to Zach. The latter is excusable, though irritating (depending on the delivery/person), but pushing and shoving, trampling over each other even, as they did towards the end, to simply grab the set list from Zach was disturbing. Needless to say, I am also not a fan of continuous yelling of messages at the band, though half of these are usually fun. But people get carried away sometimes. One girl actually yelled, “You cancelled last year” (a band member responded by joking, “Security!”). New York is the only US city getting a Beirut treat at this time of the year when all other dates are non-US. Two fans next to me had driven all the way from Balitmore, and there seemed to be other out-of-towners, too, and I, for one, am thankful that these three dates were rescheduled. That they went to the trouble of bringing Gulag Okestar out, that they have Final Fantasy with them this time, that the performance was worth all the trouble fans have to go through and so on.

(Photos and review continue after the jump)

Beirut, in any case, was stunning. Everyone delivered. Owen Pallett joined them for what seemed like more than half the set. One new song in collaboration with him was revealed. Someone pressed Zach to share when the album might be coming out, and he said September, around which time they’re also scheduled to play Wordless Music Series.

A smaller line-up consisting of core members played first, then a larger group that included Owen and others, and finally, for the first encore, the amazing Gular Orkestar*, which included members of Arcade Fire, all out with barely enough space on the Bowery stage.

*I saw Richard Reed Parry, and I thought I saw Will Butler, the younger brother, plus one of the violinists. I could be wrong. UPDATE: I did see Will Butler (and Tim Kingsbury).

Related:

• Final Fantasy at Bowery – photos + review

Night one of three NYC shows with Beirut at Bowery Ballroom, and Owen Pallett / Final Fantasy did not disappoint. He spins a colorful world by weaving layer after layer on his violin and then some on keys. His voice is crisp, sounding exactly like in recording (woo-hoo), though he did not hesitate to drop a line he’d started to try it again. In the meantime, he shared his admiration of Zach Condon’s projection, calling himself a “pussy behind the microphone.” On stage, Owen is easily humble, charming and funny. In addition to old favorites like “Adventure.exe” and “It Took You Two Years to Win My Heart,” he played some new tunes, one of them being “Flare Gun.”

(Photos and review continue after the jump)

Owen was accompanied by Stephanie [?] who had the most interesting task of animating the visual projection live on stage. She, too, showcased her mastery of layering, creating glittering lights, kingdoms, forests and other scenes of a wholly grasping world from transperencies and cut-outs lit on a projector. It was a puppet show on lights, and what a fine idea to use it as live accompaniment to Final Fantasy’s music (only makes perfect sense). Owen announced that he doesn’t always bring along Stephanie because she’s expensive, but what a treat it is when he does.

There was a grand finale for “That’s When The Audience Died.” Beirut’s horn section, Zach Condon also present, came out to close the Final Fantasy set. As Beirut’s set would reaffirm later, the collaboration between the two is to be excited about.

Related:

• Beirut at Bowery – photos + review