I was excited to see what The Generationals had to offer live as I have really enjoyed the material of theirs that I have heard. However, their set started limp and, with the exception of a few glimmers of assertive intriguing rhythms, remained rather lackluster. The group didn’t exude much personality with the exception of Ted Joyner who was the only member who seemed to be really enjoying himself. The groups has gathered a charmed reputation for their southern influenced retro pop, their single “When They Fight, They Fight” is probably their best known song. So, I was expecting further depth in their harmonies and added character to their jangley quirk. The group never rose to their potential, instead they seemed they had run out of steam. At times the drummer sounded as though she was a little off her game, even if you were accounting for their occasionally loose percussive sound. And the vocals all sounded as if they were globed together, all nuance eaten by over done effects, without much emotion propelling the lyrics. It is difficult to get into a pop act that hasn’t much pep in their step.
Admittedly, a great deal of their weakness that night could be chalked up to some poor sound engineering and I will give them the benefit of the doubt, as everyone has an off night. My bit of confidence is bolstered by the fact that toward the end of their set – and after a round of instrument exchanges – they eventually did start pulling their act together. Pulling off some nice slide guitar licks and incorporating a touch of Paul Simon, by the last song they finally sounded a little more like the resplendently delightful band I hoped they’d be.
After a long-ish set change interlude powerpop poobahs Apples In Stereo beamed themselves to stage in the most bodaciously futuristic uniforms. As frontman Robert Schneider explained they had traveled back from the future to celebrate the release of their new album again. The time travel ruse was maintained for the first few songs, mostly while introducing the more adventurous new vibe captured on Travelers In Space And Time. Jumping directly into material off said album they filled the room with delicious synths and spacey vocals. All six of the members contributed a layer to the symphony of sounds and effects Apples In Stereo are known for only this time it is a far funkier symphony.
The group, while never shy about laying on rich bass lines and crazy electronic details in the past, takes their catchy riffs and feel good nerd-tastic lyrics to a whole new sonic galaxy. One where disco is the standard groove and harmoniums are more common than floor toms. It is a fantastic place and I suggest you visit often. The new material was delivered with the usual skill and air of cheekiness which made the blend into their cult favs seamless.
Ever the consumate entertainers Apples In Stereo were sure to give the audience what they hungered for, the pop standards that has rightfully earned them their place in the powerpop record books. Dropping “Energy” and “Same Old Drag” with the same enthusiasm as they did the new material like “Dance Floor.” Hearing them pay from such a wide selection of their repertoire you can help but recognize the talent they have for writing solid classic rock guitar lines to ground their more experimental inclusions. While Schneider and bassist Eric Allen pump out their succulent riffs the band’s four other noise makers pile on the bells and whistles, sometimes literally. Bill Doss has a notable affinity for cow bell; watching him wail away was one of the highlights of the night. The group’s skill and familiarity with the material allows them to careen through their complex arrangements all while having a great deal of fun on stage.
The authentic desire to put on a memorable show was evident in every touch from the zany costumes to the well rehearsed set pace even the unconscious tapping of their grey Vans clad toes. Apples In Stereo provided the ultimate soundtrack for a night of space travel. Get the album. Get a ticket to their show. You won’t regret either.
Two of Philly’s largest music festivals announced their line-ups this week.
Xponential Music Festival which will be July 16-18 At Wiggins Park on the Camden Waterfront initial roster is most excellent.
Blood Feathers • Dawes • Edward Sharpe & the Magnetic Zeros • Free Energy • Grace Potter & the Nocturnals • Harper Blynn • Nicole Atkins • Rosanne Cash • The Walkmen • Ben Vaughn • Birdie Busch • Bobby Long • Earl Greyhound • Joshua James • The Holmes Brothers • These United States
There’s lots of locals to love – Blood Feathers, Free Energy Birdie Busch – as well as, some perfect summer festival additions – Edward Sharpe & The Magnetic Zeros, Dawes, These United States – to ensure this will be the place to mark summer’s midpoint. There are plenty of acts that haven’t even been announced yet but I suggest you get your tickets now as you can only expect accumulating greatness from the festival’s organizers WXPN.
[MP3] Home – Edward Sharpe & The Magnetic Zeros
[MP3] Pain In My Heart (Otic Redding)
Philadelphia Folk Festival dropped their line-up early this morning and have some wonderful acts coming to Old Pool Farm August 20-22. The event, sponsored by Philadelphia Folksong Society, gives you an excuse to escape the city, set up camp and enjoy a weekend of stellar music.
A.A. Bondy • Amelia Curran • Annie & The Beekeepers • Beats Walkin’ • Blame Sally • Bonnie “Prince” Billy & the Cairo GangButch Ross • Chris Smither & the Motivators • Erin McKeown • Gandalph Murphy & The Slambovian Circus of Dreams • Give and Take • Giving Tree Band • Groove Band • Iain Matthews • Jeff Tweedy • Justin Rutledge • Lee Harvey Osmond • Malinky • Marc Silver & the Stonethrowers • Mickey Clark & the Blue Northern • Mike Cross • Natalia Zukerman • Nudie & The Turks • Richard Thompson • Shannon Whitworth • Sonos • Spinning Leaves • Subdudes • Susan Werner with Trina Hamlin and Natalia Zukerman • Sweetback Sisters • Taj Mahal • Treasa LeVasseur • Trina Hamlin • Vienna Teng
They’ll also be announcing more acts in the weeks to come. They have an Early Bird Special for tickets right now. So, if ya dig click here
[MP3] I Am Trying To Break Your Heart (Private Living Room Show) – Jeff Tweedy
It has been rough going when it comes to remixes worth posting. While there are some well covered ones floating around out there, there haven’t been a whole lot that really grab me. Until I got this laid back spin on White Hinterland’s “No Logic.” Wilkis is one of the most consistent artists out there. Perhaps it’s his ear for a beat or his ability to tweak and twist just right; whatever it is I always get a grin on my face when he drops me a tune. This one was no different. A nice soundtrack for transitioning into a relaxing weekend.
No Logic (Alan Wilkis Remix)- White Hinterland
Miss Sheena Beaston tossed this one out for the hearing this week. It is a mash up of Michael Jackson + Tag Team + Mahala Rai Banda, of course. It took me back to middle school when I listened to Whomp There It Is obsessively. It also reminded me how pumping a good remix can be. As she points out Passporte Royale is a rather enigmatic beat producer, why? I can’t imagine they’re doing better stuff than a lot of folks who do put their name on their work.
Whomp Shake Tu Romnie (Passporte Royale Mash)
Telephoned, the brain child of Sammy Bananas and Maggie Horn, has really picked up steam as of late. They are out touring in support of Off The Hook their rocking newly released mixtape, well worth checking out. This mixup of the Kid Sister track Daydreamin is the perfect bit to kick your weekend off right. If you’re lucky enough to be within reach of one of their shows do it. They are more fun than your average band.
Mynabird’s Laura Burhenn is channeling some brassy retro folk rock vibes on her new album What We Lose In The Fire, We Gain In The Flood. Recorded in the boonies of Oregon the record reflects influence from such greats as James Brown, Dandy Livingstone and Buffy Saint-Marie and an ample dose of whiskey all of which were present during the recording precess. The loose percussions, subtle backing female vocals and occasional horn section all contribute to the nostalgic aura. Burhenn’s voice takes on a demure seductive quality on the slow trotting “Ways Of Looking,” with only a simple guitar and tambourine accompanying gives just enough to draw you in. Then on tracks like “Wash It Out” and “Let The Record Show” she gets a little sassier and assertive but never fully drops her chanteuse ways. The strongest pieces are the ones that the ache of old Dusty Springfield tracks and the soul of gospel are allowed to permeate the lush arrangements. “Good Heart” is a prime example, slow and plaintive it brings the LP to a hazy close.
The list of collaborators on the album’s liner notes is an impressive one; Orenda Fink (Azure Ray, O+S) and AJ Mogis (Criteria, Monsters of Folk, Tilly and the Wall) lent vocals; Tom Hnatow (These United States) provided some of his steel guitar magic and Nate Walcott (Bright Eyes) contributed some horn arranging. With all this talent in the wings it is easy to see how Mynabirds was able to create such a deliciously evocative album. I have a feeling this one we see a reprise on my year end list. The album hits stores next Tuesday be sure to pick up a copy.
Tubular, from Brooklyn’s The Senors Of Marseille successfully represent’s the group’s self defined faux-baroque/folk/powerpop genrefication. Resounding group harmonies and jangly pianos give a number of the tracks a feel good folk vibe. “Grace” kicks the LP off in high rollicking style with a great playful piano intro to aforementioned group sing along. The experimental lightheartedness is found in the majority of Tubular’s songs each with a slightly different inspiration from doo wop to surf rock and even a bit of synth pop; the album is a great adventure of sonic curiosity.
Recorded at Marcata studios in up state New York the album’s with the mixing touch of Kevin McMcMahon the album’s varied nature is the product of Senor’s Matt Swope & Graham Bishop’s years of playing together. That they manage to keep the music, despite the individuality of each track, whimsical and cohesive is testament to their shared vision. There a few more abstract moments that seem a little too obviously “indie pop” bandish they more than right the ship with their high marks like the superb ode to companionship “Here In New York.” You can download the entire album on their bandcamp site but for a taste click below.
The Low Hanging Fruit is The Wailing Wall’s follow up to the wildly popular Hospital Blooms and true evolution in both sound and influence. The album served as a form of catharsis for it’s central figure Jesse Rifikin who, during a particularly trying time in his personal life, leaned on his musical expression to channel some of his energy. Rifkin is the product of a richly mystical upbringing, having received an Orthodox education tempered by meditation and chanting sessions at home. His sensitivity to the nuance of spiritual sound – from Sufi Qawwali music to Hindu Kirtan chanting with touches of Renaissance and Baroque church music – is clear throughout The Low Hanging Fruit.
The arrangements found on the LP are profound in and of themselves but when paired with the speculative and witty poetry that are Rifkin’s lyrics the songs become transformative. Songs like “Fear No Apple, Fear No Flood” suggest spiritual introspection and are delivered with a subtle certainty that is countered by the hollow accordion and lone horn accompanying him. “Song” wanders into love song territory with tender wooing lyrics measured out in folkier doses. Rifkin even explores sillier matters on “Pineapple/Clarinet/Buffalo” which delightfully paces the dense album. I’m on my third listen to this album in full and I feel like I’m only scratching its surface. It is out June 8th and I can’t recommend it more highly. He will be in Philly at Kungfu Necktie on May 28th.
Just a week after having the brilliance that is Kate Miller-Heidke introduced to my ears for the first time I had the luck of catching her headlining gig at World Cafe. Currently on tour with Ben Folds she dropped into town for one of the few solo shows she has booked for her North American visit.
Miller-Heidke travels light – she was joined on stage by her husband Keir Nutall (on guitar) and a keyboard – but this woman really needs nothing other than her absolutely stunning voice to take your breath away. Stripped bare of drums, effects, background vocals and other elements present on her album her classically trained voice provided all the quirk, charm and emotion she is known for, and then some. At times her voice was flawlessly delicate, skipping lightly up and down through an astonishingly wide vocal range. I teared up during her silvery rendition of “Our Song,” the spare arrangement was perfect for the sweet piece. At other moments she grabbed hold of a song and really sunk her teeth in; adding bits of vocal percussion with operatic dexterity to achieve the necessary richness.
Miller-Heidke’s has a very casually theatrical stage presence and a comfortable wit that tied the set together. Talking her way into her pausingly sad song “The Last Day On Earth” she noted it gained her a lot of attention because it was featured on a tragic episode of the Australian show Neighbours during which a teen mom died. So, she suggested, to feel the song’s full effect just imagine a young mother dying. It was a humble decoy though, no disclaimer was required to recognize the song’s beauty. Even while singing she gave playful visual flourishes, at one point she held a note for an very long time all the while making faces.
Humor is also a key element in Miller-Heidke’s music. She did a fabulously jazz/scat cover of Britney Spear’s “Toxic” that I wish I could have recorded and ended the set with the other song she is well known for “Are You F#*king Kidding Me,” an ode to Facebook. Now, having seen Kate Miller-Heidke live I hope she recognizes the benefit of less-is-more and records an album it the same style she performed that night. It was amazing.
And so we come to the end of another week. Hopefully everyone got their taxes off and census forms filled in a whoosh of civic service. Now you and I can both sit back and enjoy our weekends. Of course, I have grand plans of posting some brilliant missives and observations on what I’ve been listening to for the last hot second but for now I’m simply run down some of the better bit that took a dip in my stream of consciousness this week.
The tireless team behind Buffetlibre have proudly released the finished project they’ve been curating to raise funds for Amnesty International. Peace is a compilation of 180 tracks from artists all over the world (50 countries in all); by far the largest assortment of musicians united for a cause I have ever encountered. Artists like Patrick Wolf, Mogwai, Mundy, Vieux Farke Toure and 176 others have contributed remixes, covers, live versions and new material to incentivize you to donate some dollars to Amnesty’s cause. The variety of genre’s and influences are astounding. Clearly Buffetlibre has put in a great deal of effort to provide you this incredible opportunity to help an honorable institution while also gaining access to a rich library of music. Click HERE to make your donation.
[MP3] Army Dreamers (Kate Bush cover) – Patrick Wolf
Continuing on the theme of tremendously inspiring endeavors I need you bring your attention to The Voice Project. The non-profit is raising funds to support the women of Northern Uganda who have banded together to care for their communities, in particular the numerous orphans left in the wake of Africa’s longest continual war. Using the power of song – broadcast on radio and by word of mouth – to let soliders know they are forgiven they hope to bring an end to the atrocities and start rebuilding their communities. In an effort to build awareness of their cause and raise funds for the women the Voice Project was launched. Starting with Edward Sharpe & The Magnetic Zeros, whose song “Home” was covered by the Gulu Choir a cover chain was begun. The episodes have featured artist like Dawes, Brett Denan, The Submarines and Andrew Bird and are posted on The Voice Project site. Watching Dawes cover Edward Sharpe’s “Carries On” left me in tears. The lyrics capture the spirit of the project and Dawes’ rendition is simply beautiful. Click on through HERE and donate because no matter how bad your day seems nothing compares to the reality faced every moment by the women and orphans of Northern Uganda.
Dawes » Edward Sharpe and the Magnetic Zeros from The Voice Project on Vimeo.
“Home” in Gulu from The Voice Project on Vimeo.
Finally, here is your reminder that tomorrow is …
Philly the fine people of Philebrity commissioned this hand drawn map of where the haps are at around town tomorrow. I know AKA has Meg Baird, Beautiful World Syndicate in South Philly will have Kurt Vile plus some noms and Main Street Music in Manayunk has rounded up Blood Feathers for a set. Get up, get out, get records.
[MP3] I Don’t Want To Talk About It (Rod Stewart Cover) – Meg Baird
Last Friday found me up at North Star Bar, again, to see The Canon Logic and Plushgun. They were the middle of an interesting line up also featuring opener Pants Velour, whose excellent cover of the Jay Z/ Alicia Key’s “New York” was all I caught, and the geektastic synth band Freezepop.
Hitting town in support of their fantastic new release FM Arcade The Canon Logic were the main focus of my night. On their album the group’s sound is very polished; lead Tim Kiely’s voice is smooth, the guitars, bass and piano are all well balanced and spot on. All of which make FM Arcade a deliriously catchy pop album but I was curious how they would present it on stage. A few short minutes into their set it was clear we were going to see an unfiltered side of the five guys from Brooklyn.
At first I was a little worried they would simply stand their and play the music just as you hear it one the record. Their stage presence was a little timid and although they brought on some powerhouse sound there wasn’t anything fresh. About 2/3 of the way through their first song though they started getting loose and tearing into the meat of their arrangements.
As Kiely’s energy level started to rise his voice stretched and flexed some major sonic muscle. By the third song they were all moving around the stage, not only rotating instruments but simply getting into their music. For a bunch of fellas in plaid the real glam pop nature of their songs was on full parade. Particular lines carried more wight in their live form; like the manic guitars on Villain In America, when interplayed with Kiel’s wail and the interspersed harmonies they become the heart beat of the song. The piano and percussion lines also contributed more audibly to the richness of The Canon Logic’s sound.
All the members filled out the harmonies throughout the set and, especially once they reached maximum comfort levels, their solid vocals pushed the entire show to unexpected heights. I can confidently say there are few new groups out there right now that can hit their harmonies as absolutely as they can. Listening to their record now that I know the fullness that really lies within their arrangements I am left wanting more. More of the energy and passion that they all have for this project. Buying the album is a good intro but do whatever you can to get a dose of The Canon Logic live.
Next to take the stage was Plushgun in all their studded skinny jeaned glory. Further amplifying The Canon Logic’s glam pop cred was the awesomely dancey electro pop that Plushgun has mastered. If you don’t already own some Plushgun get on it. They could pump even the squarest of squares up and out of their chair with their relentlessly up tempo beats and live it gets that much more fun.
Trio keep their stage set up simple because lead singer Daniel Ingala needs a lot of room to dance around. The energy their putting into their music is multiplied 10 fold when run through their synthy percussion driven treatment. At one point they took advantage of the crazy lighting scenario at the North Star trying out the red lazer disco ball effect. Ingala never slowed down always having a total blast while singing his heart out.
Honestly I wasn’t sure what more they could add to their music to make it even better live. I walked away realizing they didn’t need to add anything. Recorded or live Plushgun are able to rip you out of the deepest of funks and get you dancing around like a crazy person. The crowd was totally feeling it and I openly admit I joined in the frenzy. It was a perfect pick me up set to end a long week.
[MP3] Avenue Of Criminals – The Canon Logic
[MP3] A Crush To Pass The Time (Don Diablo Remix) – Plushgun
The Thermals + Past Lives April 15th First Unitarian Church
I caught the Thermals last summer at Monolith Festival in Colorado; they were one of the highlights of the weekend. They’re bringing their addictive punk rock to the Church next week and dragging Seattle’s Past Lives along for the ride. Get a ticket, get rowdy.
Owen Pallett April 25th Sanctuary of FirstUnitarian Church
Otherwise know as Final Fantasy, Pallet is a wonder with a violin; bringing the instrument into an electro realm like no other. His most recent album Heartland is a beautiful exploration of strings and synths. As if oozing talent weren’t enough, Pallett is a consumate performer. I promise you whatever he puts out there on the 25th will astound you.
Frightened Rabbit + Bad Veins April 30th First Unitarian Church
If you visit The World In A Paper Cup on a regular basis you’d know of my total swoonage for the boys of Frightened Rabbit. They’re coming back to Philly in support of their fantastic new album Winter Of Mixed Drinks. The Glasgow natives know how to put on a show you’d be foolish to miss out on this opportunity. PLUS another TWIAPC fav, Bad Veins are the opener making this a bill I’m beyond bummed to be missing myself.
Mumford & Sons + The Middle East May 16th TLA
The set I saw Mumford & Sons do last fall during CMJ will go down in my personal record books as one of the most skin tingling events I have witnessed. Hearing their harmonies live and watching as they put their hearts out there for the captivated audience’s complete pleasure solidified Mumford & Son’s place in my heart.
They have lined up Aussie group The Middle East who’se nuanced echoey folk music will make for the perfect amuse bouche for your ears. I saw them in Austin during WXPN’s SXSW showcase and despite the chilly temps on the outdoor stage the troop that is The Middle East gamely soldiered on. Putting on a set that gave their music a whole new character. Buy tickets and be prepared for greatness.
If none of these shows ring your bell then check out the TWIAPC Show page for other shows that grabbed my attention or share other upcoming shows you think I should toss up there.
[Mp3] Lonely – The Middle East
[MP3] Lewis Takes Off His Shirt (Dan Deacon Remix) – Owen Pallett
John Hughes had a gigantic influence on my awareness of the effect music can have on a movie. Films like Pretty & Pink, Breakfast Club and Ferris Bueller’s Day off are just a few of his movies where music plays such a large role it is almost a character. He had an knack for pairing the perfect pop song with the emotional impact of what you were seeing on screen. The boombox scene from Say Anything (above), probably the most iconic Hughes moment. Hughes passed away this year and there have been all sorts of tributes; from the Brat Pack reunion at the Oscars to a slew of montages posted on Youtube. Last week I got a musical montage of hughes lines & music from Matt Foley & Genevan Heathen which weaves together commentary, film bites and soundtrack moments from some of Hughes’ best movies. It is a solid 33+ minutes of sonic nostalgia. The DL link is below as well as two covers of ’80′s gems by The Arcade Fire & Angie Hart . Enjoy the tunes then go and rent yourself some Hughes flicks.
[MP3] The Music Of John Hughes
[MP3] This Must Be The Place (Talking Heads) – Arcade Fire (via You Ain’t No Picasso)
For some reason, recently I have been into exploring groups garnering praise their harder rock and roll ways. Chalk it up to the taste left by Megaphonic Thrift or simple pursuit of my musical curiosity. Whatever it is, it lead me to North Star Bar for the third week in a row to get a dose of some tenacious rock and roll care of Band Of Skulls & The Whigs.
Britain’s Band Of Skulls started the night off properly with a mighty charge straight into the beginning of their set. Band Of Skulls’ music is layered and plays like a slow burn. You don’t immediately realize its potency until you’re already caught up in the intensity of the galloping drums and wafting guitar riffs. The trio has a much calmer stage presense than what I was expecting. They put all their energy into their playing to the great benefit of their sound and live show.
Technically, Band Of Skulls aren’t terribly intricate. The bass lines constructed to counter weight the more nuanced guitar and drum solos. The vocals bassist Emma Richardson contributes however give the group a smokier flavor, a bit of soul you might say, than are typical of a rock group.
They held the audience’s attention for the entire set. At times raising them to the fist pump synchronized head nodding level. When playing from their album Baby Darling Doll Face Honey they let themselves stray away from the refined sound you hear on the recordings. When allowed to get a little dirty on the familiar “Blood,” as well as, “Death By Diamonds & Pearls” BoS reveal the true depth of their talent. The group even strutted out some new material which suggested they’re looking to dabble in both punk and pop waters. It will be a welcome evolution for the group who clearly have a grip on how to interpret classic genre’s in their own voice.
Following Band Of Skulls sonic wallop was Athens psych rockers The Whigs. On record you’d expect a delivery similar to Band Of Skulls. Instead there was a display of much greater musical dexterity. This trio has built some carefully constructed musical compositions. It isn’t conveyed well in their recordings but when you watch as Julian Dorio militantly pumps his percussions and Tim Deaux races adroitly through his bass lines you recognize just how excellent The Whigs are.
Lead singer Parker Gispert’s soaring spacey voice gave the intense instrumentals a southern rock sheen. This meant songs like “Half A World Away” came off as softer anthems while, on the other end of The Whigs’ spectrum, songs like “Like A Vibaration” got a gritty agressive pulse. The trio’s stage presence was equally focused and authentic. All three seemed to trance out while they played without sacrificing a sense of the whole sounds. It was a testament to their skill that despite their slightly autonomous playing style the set rocked out seamlessly.
The Whigs, commonly associated with a psych rock sound, surprised me during their set when they pushed into glam pop territory. While playing “Kill Me Carolyn” the bass and drums hit whirring pace and Gispert’s voice hit 11 there was an undeniable pop vibe. It made their live show that much more alluring. They’re touring all over the place until May so if you want the perfect live soundtrack for your spring get yourself a ticket. The Whigs are well worth your dollars.
[MP3] The Kids Are Alright (The Who) – The Whigs
[MP3] Death By Diamonds & Pearls (Daytrotter Session) – Band Of Skulls