Frances Cone Celebrates EP Release at Rough Trade NYC

After months of delays, Rough Trade NYC has opened the doors to its music venue.  I stopped by to check it out during Frances Cone's self-titled EP release concert.  (Hopefully my signed copy from PledgeMusic arrives soon in the mail.)  The room continues the shipping container theme established in the record store, with the stage at the N. 8th wall and a bar along the left side.  Unfortunately, when it gets crowded, the narrow area between the bar and the soundboard creates a bottleneck situation.  Although it appeared to be off-limits during the show, there is also a balcony on three sides, creating a space reminiscent of the 8x10 in Baltimore.

Lou Reed playing over the PA was an easy transition into the Majorleans, who kicked things off with "Go Down All the Time."  The house sound was definitely bass-heavy, almost drowning out Chris Buckle's and Nicky Francis' guitars.  Sean McCann, who was subbing for Christian Bongers, handled the bass parts nicely, so thankfully we didn't have to only hear wrong notes.  The mix improved by "Imaginary Plane," which sizzled more than its studio version.  Their stage presence was a tad subdued, but they loosened up towards the end, pumping their firsts and shouting out the "hey"s and "ahh"s of "Under Ma Wheels."  Download three free tunes from their upcoming Black Belt below.

I realized five minutes before Doe Paoro took the stage that I could've been in the store looking at records during set break.  I made a mental note to do that before Frances Cone, though I quickly attained I probably should've shopped straight through Doe's set.  Doe Paoro is music for hipsters, by hipsters.  She's a less-danceable Lady Gaga that makes R&B-influenced pop, but hey, there's a cello onstage, so it must be cool, right?  It wasn't horrible; I just didn't get the hype, unlike the girls with bad haircuts bouncing in the first four rows.

Frances Cone couldn't hide the grin on her face during "Better Man," so she shook her head from side to side on each "the best couldn't be this way."  She took to acting out her lyrics again in "Come Back," though this time it wasn't intentional.  "Your arms are shaking" could've been applied to Cone, her right arm flailing about as if she were a marionette controlled by a giant in the rafters.  This wasn't the chilled-out version from their debut; it had a spring in its step, no doubt from the evident elation of the band members.  This pure joy pervaded the set, including "June," which showcased the sublime harmonies of the band's three core members, Cone, Jeff Malinowski, and Andrew Doherty.  Sadly, someone behind me screamed right in the middle of the final "I forgotttt."  "Alex is gonna go now because it's his birthday," announced Cone, bidding adieu to drummer Alex Baron.  The trio took on "Rene & Georgette Magritte with Their Dog After the War" as Baron watched from above.  The crowd got pretty chatty during the gentle Paul Simon song, which worked better as an encore during their soft-release party in March.  They recaptured the room's attention with the final number, a cover of the Walkmen's "We Can't Beat Beat" with Doe Paoro on lead vocals.

THE MAJORLEANS - 05.02.14 - ROUGH TRADE NYC (33 minutes)

SET -
Go Down All the Time / Mr. Magic / Coal Mine/Cold Mind / Imaginary Plane / Never Had Enough / Real Bad / See the Seams / Under Ma Wheels

DOE PAORO - 05.02.14 - ROUGH TRADE NYC (35 minutes)

SET -
Intro > New Lows / Nobody / Born Whole / Can't Leave You / Walking Backwards / I'll Go Blind / Body Games / Hypotheticals / Nostalgia

FRANCES CONE - 05.02.14 - ROUGH TRADE NYC (42 minutes)

SET -
Better Man / Come Back / Wiser / June > Soon / Rene & Georgette Magritte with Their Dog After the War / Rattles Your Heart / These Days / 85 / We Can't Be Beat (feat. Doe Paoro)

Gordon Voidwell Gets Comfortably Funky at Brooklyn Night Bazaar

"We're gonna start this soon.  There's already a couple of attractive ladies in the front.  We've got at least one cool-lookin' dude," announced Gordon Voidwell.  Patrons meandered slowly away from the taco stand and arrowhead necklace displays towards the stage in the corner of the Brooklyn Night Bazaar.  "I'm just waiting to feel slightly more comfortable," he admitted.  Once the crowd had thickened to his liking, Gordon and his band drifted into the dreamy "Amnesia" from his one-month-young Bad Études mixtape.  It seemed like a strange introduction, but I understood completely when they barreled into the forceful funk of "Homemade VHS" and sent shockwaves through the crowd.  After the modern R&B flavor of "First Time," Gordon stripped down to a sleeveless Gucci shirt and bathing suit for the '80s pop of "Bad Way."  A ring of guys to the right started a dance-off during "1 Trap Mind," which concluded with Voidwell looping and layering his vocals into a fizzling drone.  They followed with the spaced-out interlude "Fixed," with Gordon joking, "We all just peaked on LSD."  Voidwell often gets compared to Prince, and songs like "GF Jeans" are why.  From the slinky bass of the verses to the refrain's pleading sensuality of "Daaamn, if I was your man," it could've been written by the Purple One himself.  But to Voidwell's credit, as anyone who saw that episode of The New Girl can attest, even Prince isn't exactly turning out Prince-calibre material right now.  Despite yells of "White Friends" from the back of the audience, Gordon ended the show there, leaving everyone wanting more (and "GF Jeans" stuck in my head for the rest of the night).  Fortunately, if you want to fill your Voidwell void, he'll be DJing at Brooklyn Bowl tomorrow night (RSVP here).

GORDON VOIDWELL - 03.07.14 - BROOKLYN NIGHT BAZAAR (35 minutes)

SET -

Amnesia > Homemade VHS / First Time > Bad Wave > Pure (Hollywood Colt) / 1 Trap Mind / Fixed / GF Jeans

The Next Round - Episode 6: Beat Radio

Sorry for the podcast break, but I'm back with a long two-beer chat with Brian Sendrowitz of Beat Radio.  Brian and I met for happy hour drinks because like most of us, he has a day job.  But that suits him just fine, as it provides him the financial stability to make the kind of music he wants to make when he wants to make it.  It's an interesting listen, especially to hear the volume escalate as the bar gets increasingly busier.  Also I was getting over a cold when we taped it, so excuse the sniffles.

Subscribe on iTunes, download directly, or stream below.  If you dig, please leave a comment on iTunes.


If you'd like to check out Beat Radio's latest two singles, go to their Bandcamp.  They're also playing Saturday at Spike Hill in Williamsburg at 8pm sharp (Facebook invite here).

Due to a booking error, I won't be at Flannery's tonight as stated, but I will be hosting at Magooby's Joke House on Friday and Saturday.  Paul Virzi headlines.  LivingSocial deal available too!

Top 15 Most Anticipated Albums of 2014

15. The John Butler Trio - Flesh & Blood
Release Date: February 4
Why I'm Excited: It's been four years since April Uprising.  Even the undead are excited!


14. Robert Ellis - The Lights of the Chemical Plant
Release Date: February 11
Why I'm Excited: Ellis shared in a Rolling Stone interview that the new record would move beyond his country/folk roots... into R&B, bossa nova, and free jazz.

13. Chris Mills & the Distant Stars - Alexandria 
Release Date: January 21
Why I'm Excited: Mills played most of the tunes when he opened for Ken Stringfellow last February.  I've been waiting a year to hear them again!

12. Peter Salett - Suite for the Summer Rain
Release Date: TBA
Why I'm Excited: Peter's back in New York, and he's convinced this is his best work yet.

11. Splashh - TBA
Release Date: TBA
Why I'm Excited: Comfort was good, but it was really a compilation of singles recorded in a bedroom.  This time they're gonna stop using socks for mic windscreens, and record a  proper album in a professional studio. 

10. The Notwist - Close to the Glass
Release Date: February 25
Why I'm Excited: It's the 25th year as a band for the German electro-rockers.  Check out the title track below.


9. Mad Caddies - TBA
Release Date: TBA
Why I'm Excited: My favorite third-wave ska band is finally back in the studio.

8. Sharon Jones & the Dap-Kings - Give the People What They Want
Release Date: January 14
Why I'm Excited: The record was supposed to come out last year, but Sharon was diagnosed with cancer.  She's since kicked cancer's ass, and I'm ready to shake mine.

7. The Majorleans - Black Belt
Release Date: February
Why I'm Excited: I've heard early mixes of a few of the songs, and they rock.  Nicky Francis' talkin' blues voice makes the passing of Lou Reed easier to cope with.

6. Jack White - TBA
Release Date: TBA
Why I'm Excited: Blunderbuss turned me over to the White side.  I'm hoping he follows through.  Also, I'm a Third Man Vault member, so I'll probably end up with some super-cool edition.

5. Rx Bandits - TBA
Release Date: TBA
Why I'm Excited: They'd been on hiatus since 2011 until the 10th anniversary of The Resignation got them touring again.  Matt Embree's announcement that they were recording demos in late December was quite the Christmas present.

4. I Am the Avalanche - Wolverines
Release Date: March 18
Why I'm Excited: It's the last album with all the founding members, as Mike and Kellen are saying goodbye.  Their previous, Avalanche United, was scarily good.

3. Kishi Bashi - TBA
Release Date: Spring
Why I'm Excited: When I saw him perform at Irving Plaza in September, K admitted he'd already re-recorded lead-off single "Philosophize in It! Chemicalize with It!"  There's also a song on it about a dancing steak.

2. The Belle Brigade - Just Because
Release Date: February 11
Why I'm Excited: John Williams' grandkids team up again for their first LP since their eponymous debut, which was my favorite of 2011.  Download "Ashes" below.

1. Penguin Prison - TBA

Release Date: TBA

Why I'm Excited: You never know exactly what you're gonna get from Chris Glover, but you always know it's gonna be good.  If the new number he played at the Wall is any indication of what's to come, buy some new dancing shoes this year too.

The Majorleans & Sundelles Play Real Indie Rock at Mercury Lounge

Over the years, the definition of "indie rock" has morphed from a business term into a genre.  Originally a way to categorize rock bands who were independent from the major record labels, it has become more a descriptor of a sound.  This is semi-logical, as many of these "indie" artists are now on thriving smaller labels.  And while they may not possess the coffers of the industry giants, they still have enough clout to garner airplay and sell tickets.  The fundamental flaw in using "indie" to describe what you're actually hearing is that the gamut is stylistically too diverse.  Does a grunge revival band count as indie even though they're paying tribute to a major label genre?  How atmospheric must a song be before it's considered indie?  At what point does the singer's voice become too tonally developed that the moniker no longer applies?  Last night, I went to the late show at Mercury Lounge to catch two Brooklyn indie bands, Sundelles and the Majorleans.  They're unsigned, so they are truly independent, but they don't sound anything alike.  And they shouldn't.

First up was the hirsute honcho of Sundelles, Sam Sundos, who exemplified the jangly lo-fi found on Teenbeat Records in the early '90s.  After opening with a medley of three of his oldest ditties, Sundos shifted the tides towards his latest release, No Milk, released a few weeks ago for free via Mediafire (download here).  Entirely backlit, Sam was hard to see, save for a shimmering crucifix dangling from his left earlobe.  "Are you guys taking me seriously?" he questioned halfway through the set.  "I wore this earring for Christmas, and no one's taking me seriously!" he shouted, feigning a temper tantrum.  The poppier No Milk numbers were definitely the crowd favorites, along with an unexpected cover of Big Star's "Thirteen."  "I didn't write that song, and I didn't sing it right," Sundos remarked before bringing his set to a close with the Beach Boys-flavored "Blue Sky."  I was a little let down that he didn't play my favorite song from the album, "Why (Make Up Your Mind)," but I guess that means I'll just have to see him again.

The Majorleans seemed looser than when I first saw them in April.  Perhaps it's because their long-overdue debut, Black Belt, is looming just around the corner.  Perhaps it was the inherent confidence that comes with headlining.  Perhaps they just felt at home in a room thick with friends.  No doubt it was a combination of all these things, and it resulted in a relaxed hangout vibe.  The feel of the show could be summed up by the enthusiastic yell of "One more!" from a crowdmember after the rocking opening cut "Go Down All the Time."  Nicky Francis laughed, and the band continued with nine additional tunes, including two I'd never seen live: "Mercy" and "Real Bad."  For the latter, dancers in the front row took to reenacting their roles from the music video (below).  Sound issues with the acoustic forced Francis to forfeit his guitar before the second verse, but that didn't stop him from miming a jam with his bandmates.  It was also nice to hear the song minus the harmonica that at times overpowers the studio version.  The Majorleans then moved the party to the roadhouse with the country-stomp of "Under Ma Wheels," another highlight.  And while they may have kept the mood casual, they still put the music first, as evidenced by Chris Buckle's searing classic rock solo on "Coal Mine/Cold Mind" and the tight pocket stitched by Hurricane Bells' rhythm boys on "Mr. Magic."


The plan is to spend next week pumping out the backlog of podcasts, which includes an interview with the Majorleans and Black Belt co-producer "Bassy" Bob Brockmann, so get your ears ready.

SUNDELLES - 12.18.13 - MERCURY LOUNGE (29 minutes)

SET -

Gold > Dead Youth > Waiting / Can't Win / Fight for My Time / Taking All the Fun / I'm Trouble / Thirteen / Blue Sky

THE MAJORLEANS - 12.18.13 - MERCURY LOUNGE (44 minutes)

SET -
Go Down All the Time / Coal Mine/Cold Mind / Imaginary Plane / Baby, Where Have All Your Lights Gone? / Real Bad / Under Ma Wheels / Never See the Seams / Mercy / Mr. Magic / Never Had Enough

Edelweiss Gets Hazy on "Honduras"

The five members of Edelweiss are all under 21.  Three of them are still in high school.  The only reason worth mentioning their ages is that they have an even longer future ahead of them.  Having already released the proggy Pre-Columbians EP in 2011, this Tuesday, 8/6, they release their second EP, Honduras.  The opening track, "Grand," finds them expanding their math rock sound into shoegaze territory before they pick up the pace and the power with "Withering Heights."  Comparisons to Minus the Bear are warranted, but the main difference you'll hear is in the vocals.  While MTB's Jake Snider's are mixed on top of the tracks like most pop/rock songs, Edelweiss buries Tony Vitale's and Niko Porlier's a little deeper to create mood pieces instead of singalongs.  They still share that jittery energy though.  There might actually be too much going on by the middle of "March," what with the glockenspiel and all, but it chills out nicely in the end to almost an independent film score.  "Midas" wraps things up with a darkwave bow, but make sure to skip past 1:30 of silence at its end to hear a surprise acoustic gift from the band.

Stream/download "Withering Heights" below:

Hey Anna Celebrate New EP at Rockwood Music Hall

I discovered Hey Anna back in March at Muchmore's in Williamsburg, and I said I'd be keeping them on my radar.  Well, they played a gig at Rockwood Music Hall last night, so I decided to head on down.  Hey Anna is fronted by the three Rauch-Sasseen sisters (Erin, Katie, and the band's namesake, Anna), and rounded out by Andrew Smolin on guitar and Matthew Langner on drums.  They recently released their second EP, Pompette, which you can download for free at their Bandcamp.  "Or for some money if you're feeling generous," said Erin.  "$3000?" offered Katie optimistically.  "You never know," replied Erin hopefully.  They played all four songs from the EP, starting the set with the sweet love song "Superglue."  Erin reminded me of a mid-1990s songstress on this one, but make no mistake, they are not a revival band.  Smolin's staccato stringwork is the superglue that holds Hey Anna together, and sets them firmly into today's indie pop scene.  On the EP's best song, "Pia," Erin matched him on the verses with her jerky vocals as Anna tried her best to contact aliens with her keyboard.  Unfortunately, the room was quite talkative for the first half of the set until Anna and Erin harmonized a cappella on "Rollercoaster," which silenced the chatterboxes.

More stage time should allow them to command a crowd better, but they're so new that right now they seem to mostly just be playing the songs as they would when jamming in the studio.  Smolin was the exception, looking up from his guitar to clap and sing along (He doesn't have a mic.).  I suggest starting a set with Katie's spunky "Love Love Baby," which got the crowd dancing and the band smiling.  The shift was noticeable, with Smolin and Langner laughingly displaying their wingspans as they pretended to coast like birds at the beginning of "Cloud Bird."  When the band announced they had one more song, there was a collective "aww" from the audience (Awwdience?), followed promptly by a request for "Blackout" from their self-titled EP.  Erin retuned her guitar and they honored it, Smolin leading the crowd on the shout of "Woo!" towards the song's end.  If you were disappointed by Vampire Weekend's new album this week, give Hey Anna a try.  It could be the best $3000 you ever spend.

HEY ANNA - 05.16.13 - ROCKWOOD MUSIC HALL (38 minutes, 28 seconds)

SET -

Superglue / I Don't Care About Your Money* / Tim McQue / If You're Wondering How I'm Doing* / Pia / Rollercoaster* / Dance Until Three / Love Love Baby / Cloud Bird* / Blackout

Top 15 Most Anticipated Albums of 2013

2013 is shaping up to be a stellar year for new releases, so I put together a list of 15 albums I'm jonesing for.  Hopefully they're all released on vinyl...

15. Charles Bradley - Victim of Love
Release Date: April 2
Why I'm Excited: I saw the "Screaming Eagle of Soul" open up the second day of the Great GoogaMooga Festival, and he was a treasure to behold.  Bradley will be backed by Menahan Street Band again, but this time delving into Temptations psychedelic soul territory.

14. Hellogoodbye - TBA

Release Date: TBA

Why I'm Excited: HGB have started playing some of the new songs live and at Daytrotter, and they're just as catchy as anything they've done before.

13. The Black Keys - TBA

Release Date: TBA

Why I'm Excited: The Keys rushed to get El Camino out into the world, and while it didn't live up to Brothers, it was a pretty good album.  They're taking the same approach here, so not sure what to expect, but I'd be lying if I said I wasn't looking forward to it.

12. Bill Baird - Spring Break of the Soul

Release Date: February

Why I'm Excited: His previous LP made my top ten list last year.  Originally conceived as a musical, Spring Break is a sprawling 17-song double album influenced by Captain Beefheart.  Watch Baird in a dolphin costume in the weird promo video below.

11. Matt Costa - Matt Costa

Release Date: February 12

Why I'm Excited: Matt originally wanted to record a folk album akin to his debut, but if the horn-filled "Good Times" and the T. Rex-inspired "Loving You" from last year's Sacred Hills EP are any indication, there's no telling what it's actually gonna sound like.

10. Ben Harper & Charlie Musselwhite - Get Up!

Release Date: January 29

Why I'm Excited: No stranger to recording whole projects with different bands and artists, this time Harper teamed up with renowned harmonica bluesman Charlie Musselwhite.  Here's a little taste.

9. The Postelles - ...And It Shook Me

Release Date: April 23

Why I'm Excited: The bouncy pop-rockers introduced a handful of new songs at Cameo Gallery back in September, and they've still got it!

8. Frank Turner - Tape Deck Heart

Release Date: April 23

Why I'm Excited: Turner recorded the album with his touring band, the Sleeping Souls, and he's apparently "pleased as punch" with it.  While "Wherefore Art Thou Gene Simmons" sadly only made it to the deluxe version, those who were awarded the title of Dance Champions of the United States of America will be delighted to know that "Four Simple Words" is track 7.

7. Cookies - TBA

Release Date: TBA

Why I'm Excited: I got an email in December saying Cookies were working on their first album, which was "great but taking forever."  Let's hope forever isn't literal.  Until then, download a bunch of free songs here.

6. Streetlight Manifesto - The Hands That Thieve

Release Date: TBA

Why I'm Excited: Now that the release date has been delayed twice, I'm seriously hoping this record will see the light of day and doesn't go the way of the oft-rumored Bandits of the Acoustic Revolution full-length.

5. Phoenix - Bankrupt!

Release Date: April

Why I'm Excited: Phoenix broke into the mainstream with Wolfgang Amadeus Phoenix in 2009, winning the Best New Alternative Music Album Grammy and serving as the soundtrack to several commercials.  But we haven't heard a peep from them since.  Now it's time.

4. Phish - TBA

Release Date: TBA

Why I'm Excited: As the band celebrates its thirtieth year after a spirited 2012 tour and New Year's run, they're planning on heading back to the studio for the third album in their third era.  (I'm counting Party Time, so spare me the arguments.)

3. Jim James - Regions of Light & Sound of God

Release Date: February 5

Why I'm Excited: After fifteen years of fronting My Morning Jacket, James is going solo for more than just a few George Harrison covers.  I've already got my ticket for Music Hall of Williamsburg.

2. David Bowie - The Next Day

Release Date: March 12

Why I'm Excited: I think a lot of people were shocked the other day when Bowie revealed that he'd be unleashing his first album in a decade.  Although leadoff single "Where Are We Now?" is a ballad, producer Tony Visconti claims the album is a rocker.  Visconti produced some of Bowie's most acclaimed works, including The Man Who Sold the World and the Berlin Trilogy, so expect a solid LP.  Even if it's not, Bowie is already prophesying another album starting with four tracks that didn't fit on this one.

1. Broken Anchor - TBA

Release Date: TBA

Why I'm Excited: Who the hell are Broken Anchor, and why are they at the top of this list?  Two days ago, their sampler appeared on NoiseTrade as a free download.  I decided to give it a whirl.  Though they're based out of L.A., the only things Californian about their sound are the Pet Sounds-inspired reverb and vocal harmonies.  The rest owes more to the Northwest, with Austin Hartley-Leonard's vocals recalling Kurt Cobain and lyrics reminiscent of Death Cab for Cutie.  And I can't stop listening.  Download the sampler below.

What releases are you looking forward to?  Share in the comments.

Deer Tick Begin Brooklyn Bowl Residency

Deer Tick began their 3-part residency at Brooklyn Bowl last night by playing Born on Flag Day and More Fuel for the Fire EP in their entireties, along with six tracks from War Elephant for an encore. The venue was packed with Tickheads, so buy your tickets for 12/12 and 12/19 now if you're interested.

Ian O'Neil, Deer Tick's guitarist and occasional singer, opened the show, taking the stage a few minutes before the 9:00 start time. "Welcome to the first night of me opening for my band every night," he acknowledged. O'Neil played a short set of the Deer Tick songs he sings and a couple covers, including "Lookin' for a Love" by Neil Young. It was neat to hear his solo takes on the DT songs, but it makes me wonder what his set on 12/19 will be like, considering all but one of the songs are on the album and EP they are scheduled to play that evening. I didn't notice any bowling noises during his set, but it was confusing to hear the crowd talking over a guy from the band they came to see actually playing the band's songs.

Hollis Brown, a band in the similar folk-rock realm, took the middle spot. They looked like total hipsters except for the fact that they were physically into their music. Mike Montali has a good voice, and at times, the band recalled a tamer Crazy Horse. They also put their spin on a Neil Young song, the Charles Manson-inspired "Revolution Blues." They're not breaking any new ground, but they're not trying to. Their album drops in 2013, and you can download their EP here for free.

The five members of Deer Tick walked onto the stage in blazers and ties, and after a quick final soundcheck, they proceeded with "Easy," the opening track of Born on Flag Day. "It's gonna be a fun few weeks," suggested John McCauley with a gold-toothed grin. "Little White Lies," the second track on the album, came next. When "Smith Hill" followed, it was apparent that the album would be performed in order, unlike Snoop Dogg's Doggystyle concerts or Dave Matthews Band's recent Away from the World show. "I'm really looking forward to next week because we get to play 'Holy Shit, It's Christmas!' Who's gonna be there for that shit show?" McCauley admitted a little too prematurely to be thinking about the other shows. He remained onstage while the other members left, Chris Ryan returning with a double bass and a fiddler in tow for "Song About a Man." The band rejoined them for "Houston, TX," Ryan keeping the upright handy to rotate between tunes.

Before playing "Friday XIII," McCauley annouced, "We've got some bad news. Liz Isenberg is sick, and couldn't make it tonight. Is there a lady here that knows all the words?" A cute girl named Caroline was chosen, and although her voice was a little nasal, she hit all the lyrics, minus a few once it struck her that she was actually onstage doing a duet with John.  "I was really doubtful, but it worked out," McCauley revealed with a laugh as she climbed off the stage. "It's because it's so close to Christmas. Miracles do happen." False starts happened for both "The Ghost" and "Hell on Earth," the latter with John flubbing the opening guitar part on his new sky blue Mustang with ruby slipper pickguard. The heartbreaking "Stung" was completed in one take, however, finishing the album in about forty minutes time.

"We have a few more ideas," offered McCauley, and they honky-tonked into "La La La" from More Fuel for the Fire. Former guitarist Andy Tobiassen left the band in 2010, but not before penning "Dance of Love." Would they play it? "It's on the EP that we said we're gonna play, so...," John obliged, and they nailed the jumpy little number that happens to be one of my favorite Deer Tick songs. "Axe is Forever" finished off the EP, and the boys slowed things down with set-closing folk standard "Goodnight, Irene," the hidden track at the end of Born on Flag Day.

The house music came back on, which seemed strange. At this point, they hadn't even played for an hour, and there was no mention of their debut LP War Elephant being played at the three shows. A minute and a half later, they returned to rock out "Standing at the Threshold." The War Elephant tracks that followed reinvigorated a crowd that didn't know what tunes to expect. Which turned out to be exactly the downfall of an album-structured Deer Tick show. Deer Tick is a party band. They defy curfews. They play as many as fifteen covers in a set. John McCauley has even been known to light his pubic hair on fire onstage. Tethered to an album's running order, that edge-of-your-seat spontaneity is absent, replaced with a formality reflected in the band's attire. (I saw McCauley's band Diamond Rugs perform their eponymous album this summer, but that loose vibe remained intact, likely because that group of musicians don't regularly play together.)  The most exciting moments were when things nearly fell apart halfway through "Straight Into a Storm," the duet with a stranger, attempting a song a past member wasn't there to sing, and one odd piece of headgear. You see, right after "Art Isn't Real," a bra was thrown onstage. Strapping the brassiere around his head, McCauley boasted, "I've got a cool, new hat for the winter," and kept it on for the rest of the encore. "What Kind of Fool Am I?" was a sweet solo affair, and the whole band, plus the fiddler, a harmonica player, and a very participatory crowd yelled along to "Ashamed." "Here's some top secret notes," McCauley joked, tossing out the setlist pages into the audience. I purchased the three-night pass, so here's hoping the encores get progressively longer and wilder. Either way, I'm going to see Deer Tick play all their songs, and that's pretty fucking cool.

IAN O’NEIL – 12.05.12 – BROOKLYN BOWL (21 minutes)

SET –

Passing Through > Now It’s Your Turn / Lookin’ for a Love / She’s Not Spanish / Walkin Out the Door / Hope is Big

HOLLIS BROWN – 12.05.12 – BROOKLYN BOWL (35 minutes)

SET –

Gypsy Black Cat / Ride on the Train / Faith & Love & Everything* / When the Weather’s Warm / Down on Your Luck / Walk on Water / Nightfall / Revolution Blues

DEER TICK – 12.05.12 – BROOKLYN BOWL (1 hour, 16 minutes)

SET –

Easy / Little White Lies / Smith Hill / Song About a Man / Houston, TX / Straight into a Storm / Friday XIII / The Ghost (false start) / The Ghost / Hell on Earth (false start) / Hell on Earth / Stung / La La La / Dance of Love / Axe is Forever / Goodnight, Irene

ENCORE –

Standing at the Threshold / Art Isn’t Real (City of Sin) / These Old Shoes / Spend the Night / What Kind of Fool Am I? / Ashamed

Sea Wolf: Middle Distance Runner in the CMJ Music Marathon

I decided to limit myself to only one CMJ show this year because the three- and four-concert weeks have been a little taxing.  I went with Sea Wolf headlining Le Poisson Rouge last night.  The last time I'd seen Sea Wolf was in 2009 when I was driving cross-country, and planned a day's mileage based on getting to their free show at St. Louis University.  Having not slept much the previous night, and driven all day, I was exhausted, nodding off occasionally during the songs.  It was sad because it was such a great show.  I bought their new album (at the time) White Water, White Bloom, and it became my soundtrack for the rest of the trip west.  I was overdue for a reprise.

Entering the club, the most noticeable difference from my last visit was that the tables and chairs had been removed.  This show was standing room only.  While that meant more chatter from the crowd, it also meant I was able to secure a great spot in the center of the room.  An album by the Decemberists played over the PA, priming us (or perhaps ruining us) for opener Hey Marseilles.  The Seattle seven-piece share much musically with their Portlandian neighbors, with their folky tales of the sea backed by accordion and bowed instruments.  Lead singer Matt Bishop sounds more like Ben Gibbard than he does Colin Meloy, but unfortunately his lyrical prowess is not up to par with either.  They played mostly new songs from an album to be released in February, "Heartbeats," with its chugging drums being the standout.  Closing with a duo of "Rio" and "From a Terrace" from their debut album, they had the crowd cheering, but I wasn't sold. While all talented musicians, I wish they'd do more to distinguish themselves from their forebears of the Northwest.  If you're still intrigued, however, here's a free fall sampler of theirs to download, which includes the single "Elegy."

Jim White opened with the melodica-spiced "If Jesus Drove a Motor Home," backed by guitar, bass, and a drum machine supplying the beat.  "Just imagine if your dad was up here on stage, slightly stoned, singing songs for you," White suggested to the young crowd.  At 55, White is no spring chicken, though you'd never know he was that old by appearance.  Aside from a touch of grey at his temples, he is a very Hollywood-looking 55.  His years have imbued his alt-country songs with a level of depth not always found in the recently fashionable genre.  He shared stories with the audience about his time as a NY cabbie ("For every year you drive a cab here, that's seven human years.") and his thoughts on the 6% that will determine the upcoming election ("You know why they don't vote?  'Cause they're drunk.  So on Election Day, take a drunk off the street, make him vote for Obama, and give him a six-pack.").  In an age where it seems like everyone has a harmonica holder hanging from his neck, White is the real deal, casually slipping a blues harp from his chest pocket during "Jailbird."  Though it was disappointing to witness a crowd that had remained silent for the derivative Hey Marseilles talking during White's songs, the audience was taken by the hilarious "Newspaper," the story of an inebriate attempting to buy a newspaper to get his life together only to find out that they are sold out, and settles for a beer.  I even noticed They Might Be Giants' bassist Danny Weinkauf cracking up in the crowd.

Sea Wolf took the stage a little before 9pm, starting things off with "Miracle Cure" from their recently released Old World Romance.  Alex Brown Church played all the instruments on the album, from the sparklingly clean guitars to synthesized drums, but there are not as many standout songs as on his previous effort.  The band I saw last night wasn't the band I saw in 2009 either.  Even though I was half-asleep, I remember really enjoying the orchestral feel brought by the cello, now having to settle for the keyboards of Lisa Fendelander.  It wasn't a bad show; just not what I wanted.  And I'm glad I chose this night to as opposed to Thursday's at the Bowery Electric.  Church remarked, "Last night was a weird show.  This is much better.  CMJ's always kind of a clusterfuck, you know?"  Some crackly farting sounds from the speakers marred most of "Middle Distance Runner," when Church wasn't forgetting the words.  He couldn't remember the lines at the start of "I Made a Resolution" either, relying on the audience for support.  The highlight of the night for me was the one-two punch of "Turn the Dirt Over" going directly into the Marxophone intro of "Wicked Blood."  The encore came down to an audience vote, and while "Black Leaf Falls" was the clear victor, ABC vetoed and chose "Saint Catherine St."  "If you wanna hear 'Black Leaf Falls,' come see us in the spring," he offered.  If you bring the cello, I'm there.

HEY MARSEILLES – 10.19.12 – LE POISSON ROUGE (30 minutes)

SET –

Hold Your Head / Elegy / Summer Skies, Winter Cold* / Dead of Night / Heartbeats / Rio / From a Terrace

JIM WHITE – 10.19.12 – LE POISSON ROUGE (38 minutes)

SET –

If Jesus Drove a Motor Home / State of Grace / Keep It Meaningful You All / Chase the Dark Away / Jailbird / Sunday’s Refrain / Newspaper

SEA WOLF – 10.19.12 – LE POISSON ROUGE (1 hour, 3 minutes)

SET –

Miracle Cure / Winter Windows / The Traitor / Old Friend / Dew in the Grass / Priscilla / Middle Distance Runner / I Made a Resolution / Turn the Dirt Over > Wicked Blood / Kasper / Black Dirt / You’re a Wolf

ENCORE –

Saint Catherine St.

Matt Embree's Tour Ends with a Drunken Tell-All on 9/11

Matt Embree and Vinnie Caruana finished up their acoustic tour last night at the Acheron in Bushwick.  While Vinnie had been the talkative one at Mercury Lounge, a slew of shots loosened up Matt thoroughly, resulting in a very fun, very interesting show in a super-small venue.

A duo called Sad & French opened the show.  One guy sang, played guitar, and occasionally kicked a kickdrum, while the other played upright bass and occasionally sang backup.  Under the lights, the singer looked like Nicolas Cage in Con Air, and he had a good punk growl.  Unfortunately, the accompanying music was too simplistic to add much, so most of the songs felt incomplete.

Vinnie's I Am the Avalanche bandmate, Mike Ireland, also known as Spirit Houses, came next.  I am a fan of the tracks on his album, I Don't Do Drugs Anymore Again, but in the studio, he kept his vocals in check.  Live, he had trouble with restraint, singing and screaming his words at top volume, making the songs seem "emo," which is never a good direction.  If he can hone his live performance to be as nuanced as his record, he'll go a lot further.

Vinnie Caruana began his set with the same trio he started with at Mercury Lounge: "Symphony," "This One's on Me," and "To Be Dead & in Love."  His throaty bellow on full display, he launched into "The Gravedigger's Argument" from Avalanche United.  "It's important that you write songs about killing your ex-wife.  It's important so you don't do that," he said, extolling the medicinal properties of music.  He followed it with "Clean Up" from IATA's first album.  "Brooklyn Dodgers" ended with a singalong from a crowd that sounded much better than those at Mercury Lounge.

At 10:45, Matt Embree climbed onto a stool on the stage, drink in hand.  He began by thanking everyone for coming to the show because it was essentially unpublicized (Well, aside from yours truly.).  He also described Vinnie's flat-faced cat as looking like it had been hit in the head with a spatula made of concrete.  "I don't have to worry about my nose getting in my water anymore; just my whiskers," he imitated.  "Overcome (the Recapitulation)," which had ended the show on Friday, moved up to the front of the set.  After revving up the crowd with the Rx tune, Embree shared, "I feel so very blessed to have so many good friends in New York City, and it's a wonderful place.  I have to have at least a $600 hangover or that's how much I lose if I miss my flight tomorrow."  "Bring Our Children Home" followed, with "oh-oh-oh" chants supplied in full force by the crowd.  After a reprise of Friday's "The King of Carrot Flowers," Matt jumped into the first medley of the night, which included "Scarlet Begonias," "54-46 That's My Number," and "I Second That Emotion."  "Just so you know, none of those songs are Sublime songs.  They ripped all those songs off," he clarified, despite having sung lyrics from the Sublime versions.

Shots piled up stageside to assist in the hangover.  "I look so ungrateful with all these shots sitting up here.  How 'bout I finish some of 'dem and I won't look so damn ungrateful?" he suggested in a sing-sing tone.  As the evening progressed, Matt became more and more inebriated.  Out of nowhere, he questioned, "You guys ever seen Big Momma's House?" which led to a tangent about playing acoustic in a South American jungle, to going to Montreal with a Canada-hating Vinnie, to the advice: "If you're so pissed off that you need to kill someone, just kill yourself."  A little later in the show, he went on a riff about California's Prop 8, and divulged how he had once made out with his gay friend to see what it was like.  "I think everyone should go home tonight and make out with one of their gay friends and see what happens," he suggested. (Check out video of the banter below.)

"You are all very lovely and attractive people," he complimented the audience.  "So are you!" called someone. "You should see me in the morning without my makeup... I look great!" he joked.  The banter became downright ridiculous, Embree claiming he knew half the people in the room, even their "drunken-ass aliases, like when you get so drunk you're another person."  While he may have seemed like another person between songs, his drunkenness had no effect on his musicianship.  His guitar solo in "Taking Chase as the Serpent Slithers" was absolutely ferocious, and he proved his vocal prowess on a soulful cover of Hendrix's "Castles Made of Sand."  After fulfilling a request for Manu Chao's "Clandestino," Matt snuck in a cover of "I Heard It Through the Grapevine" before segueing into "Apparition."  He announced what would be his last song, and started playing "March of the Caterpillar."  When he reached the jam, he declared, "Are you ready for it to get weird?" and transitioned into "S.T.P." by Sublime.  But it didn't stop there.  He seamlessly delved into "Only for the Night," which had the entire crowd throwing their heads back to shout to the sky.  With the amount of alcohol consumed and the probability of additional security at the airport, hopefully Matt is able to make his flight on time tomorrow.  And if he doesn't, he's certainly welcome to stay in Brooklyn.

SPIRIT HOUSES – 09.11.12 – THE ACHERON (19 minutes)

SET –

That Ship Has Sailed / Seasick / Holy Eraser / January Wedding / Piles of Dirt / Just Don’t See*

VINNIE CARUANA – 09.11.12 – THE ACHERON (28 minutes)

SET –

Symphony / This One’s on Me / To Be Dead & in Love / The Gravedigger’s Argument / Clean Up / Hey / Brooklyn Dodgers

MATT EMBREE – 09.11.12 – THE ACHERON (1 hour, 27 minutes)

SET –

Overcome (the Recapitulation) / Bring Our Children Home or Everything is Nothing / The King of Carrot flowers (pt. I) / Scarlet Begonias > 54-46 That’s My Number > I Second That Emotion / Taking Chase as the Serpent Slithers / David’s Birthday / Master of Puppets (tease) / Castles Made of Sand / White Lies / Clandestino / I Heard It Through the Grapevine > Apparition / March of the Caterpillar > S.T.P. > Only for the Night