I Am Insane: Or, How One Devoted DJ Will Fly Cross-Country to Hear Merriweather Post Pavilion Three Months Early

Let me preface everything I am about write by briefly defending myself and my character: 1. I am, by no means, an impulsive person. I fervently calculate, analyze, examine, and quantify every aspect of my life before making a decision. Shit, it just takes me thirty minutes of my lunch break to decide if I want a salad or a sandwich from Trader Joe's. 2. I love music, but I am not a fangirl. (And that year-and-a-half period when I was in middle school and loved N'Sync should not count against me.) I do not have pictures of Ralf and Florian from Kraftwerk plastered on my wall, nor do I have printouts of a late-1970s Elvis Costello surrounded by hearts hanging above my bed. (I do have a Joy Division poster, but it is rather hard to fall in love with all that dark, English brooding.) Taking all that into consideration, it seems highly out-of-line for yours truly to do what she's about to do this upcoming Tuesday. But first, a history lesson. Notably weird and ingenious experimental indie group Animal Collective has, through a series of cryptic videos and website updates, recently revealed the status of their upcoming ninth (NINTH??) studio album. Titled Merriweather Post Pavilion, the album---rumored to be their most ambitious and epic album yet---is set to be released on January 20th. Most Animal Collective fans find themselves forced to sit on their haunches with a heavily-revised tracklisting and a triptastic album cover until the albums drops (or leaks.) But not me. (No, seriously.) Enter another cryptic blogosphere-type message from the boys of AC---an album listening party on October 28th in Harlem. Upon hearing this, my mind turned into a jumble of the following: "WHAT? MERRIWEATHER POST PAVILION BEFORE ANYONE ELSE HEARS IT?" "ZOMG NO WAI!" "AHHHHH!" (Repeat ad nauseum.) After consulting a Los Angeles friend currently visiting family on the Eastern seaboard, my bank account, and my week's schedule, I decided such an opportunity would be too hard to pass up. So, I purchased a deliciously cheap ticket to New York City, made plans to stay with an old high school friend, and nabbed a press spot for the evening. (Yes, I really am this crazy.) Now, I wait. (And sometimes, question my sanity. Why on earth am I flying several thousand miles to hear an ALBUM? It's not a live show, the band probably will not show up...So why?) And now, is where I get cheesy. The amazing thing about music---and especially the music of Animal Collective---is that it possesses such a haunting resonance, such an affective nature, that it forcibly permeates your skin, pushes through your muscles and tendons to slink into your bones for the rest of your mortal existence. It clings to you desperately, opening your eyes wider, letting down your self-made barriers, reminding you of the wonderful, the beautiful, and the altogether magical things residing within the universe. Some people cling to other vices to experience such revelations, but to me, my gateway into this quasi-nirvanic state is music---pure, simple, inspired. Maybe I am a little crazy---or maybe you are just a little bit jealous---but a little spontaneity never hurt anyone, did it? Full review, report, and other related tidbits when I return the following evening.

Click to read more ...

CMJ Day 3: Lost In Williamsburg

The best CMJ shows are the unofficial ones in the daytime at tiny venues. It's actually fun finding the bathroom in the basement, the stage on the second floor, and with the ground and mezzanine it makes a total of four floors begging to be explored. The bands usually float around too for a short, friendly chat. Case in point, Brooklyn Vegan threw another show at Piano's (old legitimate Piano sign still decorates facade) and the line-up was difficult to pass up: The Muslims, Japanese Motors, Pretty and Nice, Friendly Fires, Crystal Antlers, etc. I was able to squeeze in an interview with The Muslims, recent L.A. transplants from San Diego, who I had seen at the Echo unexpectedly in the summer. Their sound is garage rock-ish, reminiscent of several key rock acts of past decades, but refreshing and new. We tried hard to make my tiny travel recorder work among weekday street noise, and hopefully the quality is good enough for me to post when I return. The band has been super busy at CMJ, but the too-short interview is hopefully the precursor to a real, grueling, hot-seat style interview in the studio. For playing so early in the day, Boston boy band Pretty and Nice really got me in the dancey mood. They have extraordinary energy, joking about their malfunctioning equipment, soliciting a snare drum from the crowd, and playing really edgy punky pop (not pop punk). They toed the line between rebellious and out of tune, but luckily stayed on the first side. I had no interest in Eagle Seagull at all. Don't get me wrong, the keyboards were great and so were the violin solos, but I really saw nothing special with their music or performance. Six musicians produced a really full sound with great coordination, but somehow the creativity was lost. The band utilized repetitive hooks and relied on the talent of the vocalist, who could not produce enough variety to perpetuate interest. In the evening, I went to Webster Hall to finally catch one of Fujiya and Miyagi's performances at CMJ. I didn't know until I saw the massive line of teenz that Crystal Castles was actually the headliner. The earlier comment about enjoying small venues is directly related to the fact that this place was pretty darn big and packed (with annoying, illicitly drunk teens). Lymbyc System opened the night, and man, I have been so lucky catching worthwhile openers. I doubt this is P.C., but the band is two unassuming-looking guys with Jew-fros playing shoegazey, experimental electronic. They reminded me a whole lot of Tortoise, only less Jazzy. While at times they sounded like a tiny music box lullaby, L.S. definitely brought the volume and the beat in, and the show peaked in several climaxes. The scrawnier guy played keyboards, and was obviously trained on piano, while the slightly less scrawny fella played both drums and bells. They're on tour with Crystal Castles. Whomadewho was hilarious, wacky, and totally lovable. I will scan my drawings of them later, but for now, just look at their myspace. The dude played guitar with a Heineken bottle. Need I say more? Now, I have never seen a live video of Fujiya and Miyagi or, well, even a photo. I had no clue what to expect. The best part of the show was seeing how the sounds were made and who was making them. Surprises: 1) The guitarist is the main vocalist, but the keyboardist and bass player contribute as well. It's pretty subtle on the album, and I couldn't tell if the singer just layered his own vocals. 2) The guitarist is amazing. It's subtle on the album, but F&M really let those solos shine. 3) The album sounds so cohesive that you could believe one person was recording everything, but really it's just almost-perfect coordination. Every day has been discovery, disappointment, and pure satisfaction. My ears are aching, even after wearing earplugs, and probably from the HUGE speakers at Webster. I left before Crystal Castles not just because I've seen them before, but because I was going to strangle the kids in the crowd. Whatever I.D. check lady gave these young babies liquor should get the boot. They yelled "Crystal Castles!!!" during Fujiya and Miyagi's set and kept talking about how much they sucked. FAIL. (Pictures and stuff soon. Sorry I write so much. Sorry this is unedited. More tomorrow!)

Click to read more ...

Day Two: OMFG ARTOBSCUREEXPLODE

CMJ Day Two: The KSCR folk were able to wake a little earlier, a sign that we are adjusting to the time difference. I trekked on over to Cake Shop in the lower east side, which is a two-floored bar that also serves vegan pastries. Terrorbird's showcase included Frontier Ruckus, Rainbow Arabia, Starfucker, Shugo Tokumaru, Faunts, Tobacco, Women, Takka Takka, Marine Stern, and School of Seven Bells. Cake Shop is sort of a cruddy place to see bands. The visibility is horrible, such that if you are 8 rows back you can't see anything. I pushed and slid my way through the crowd, only to catch a slight glimpse of someone in the band. Shugo Tokumaru was a highlight of the show AND of the day for me. Their music would make an excellent soundtrack to just about any foreign film. The combination of Japanese vocals, French-pop-ish accordions and elements of folk/bluegrass was really something striking. Shugo Tokumaru's vocals weren't dominating, nor detracting from the music. I'm sure the parallel has been drawn with Beirut, although the two are quite different (no horns, for one). The pacing was really compelling: he and his band made beautiful, nostalgic music go fast! Tobacco was exactly what I expected, and a little more. Musically, the set was not much different from the album. Perhaps aware that watching people do a little ditty on the keyboard ain't the most exciting thing to watch, the band set up a corresponding video show with grandmas eating ice cream, a montage of women in pornos (without nudity), vintage exercise videos, and girls blowing bubbles. The two members were hilarious to watch, sporting black hoodies and serious faces (which broke later with a sound gaffe). All in all, I was totally satisfied with the Terrorbird event (yeah, free Sparks) and took a little break before the Carpark/Paw Tracks showcase at Le Poisson Rouge (I think it means red fish). I am still recovering from the event, and deciphering my notes which indicate that I had very strong (negative) feelings about the bands. Rings was the worst thing I have ever put myself through. To say something broad, and keep in mind I left after four acts, the show was filled with experimental bands who couldn't quite justify the use of cacophany and painful pitches OR were simple because they were unskilled. Tickley Feather was a disappointment, and I was underwhelmed. Annie's vocals were the highlight: delicate, ultra-feminine, and very bird-like. She channeled a very eerie and whimsical mood, and it was hard to imagine those sounds coming out of a person and not a keyboard. Overall, though, the product was pretty and not beautiful, and the show was unique but not special. Of course, it was enjoyable but very much lacking depth and variety; I could not imagine where else they could go with this. So, I couldn't wait for Beach House, but I'm sure I'll see them around. Pictures and interviews soon, when I'm not blogging from an Internet Cafe.  

Click to read more ...

I'm Trying To Help

Okay so this is a year old but as I write this I am laughing hysterically at something I just discovered last night. So last year, underground rapper Aesop Rock had his own cable access show on mtv.com called "I'm Trying to Help," in which he and some friends (producer Blockhead & rapper Rob Sonic) hosted a talk show featuring Irish dancing, a monkey trainer, live performances, and advice on love. One could compare these episodes to The Tim & Eric Awesome Show except these guys seem like they're serious about what they're doing, which makes it all the more hilarious. The awkwardness is not forced, it just exists due to circumstance and also to the fact that it's a cable access show. Plus, the punch lines are fantastic ("I'm not a player but I do blog a lot") and at one point this Russian guy calls them saying that he has information from the KGB that "salt and pepper, they may be here, and in effect and may want you to push it. Is this correct?"  Amazing. With that, I leave you with the whole show in hopes that you may find it as hilarious as I did.

Click to read more ...