The Ruby Suns and The Dodos brought a refreshing dose of intelligent indie pop to The Church this week. I have been a fan of New Zealand’s Ruby Suns for a while but hadn’t had the chance to see them live until now. They have a really unique sound; piecing together sonic collages taken from numerous and varied sources. Recorded it translates beautifully. Live, however, it took a few songs for the group to really hit their stride. I’d like to think the slow to build set was due in part to two large factors: the sound system at The Church isn’t super fantastic and they played mostly new material, which means the experimental trio could still be working out the kinks. At the outset the loops and warbles of their drum machine stood out in front of the live instrumentation which threw off the balance of their overall sound. In addition, it seemed at time as though the prerecorded elements were so automated it was rushing them through their setlist.
After a few song though the incredible talent of Ryan McPhun, Amy Robinson and Bevan Smith began to overwhelm the presence of the drum machine and balance was not only achieved it was mastered. Fully embracing the African influence present on their album Sea Lion, as well as, the more tribal vibe of the newer material the live drumming pushed beats into the air you couldn’t help but rock out to. They mentioned they drew a lot from the native culture to create their new stuff and once in full jam mode it got rather bombastic. By the end of their 45 minute roll I was more than excited to see where The Dodos would pick things up. I look forward to seeing Ruby Suns again, perhaps when they’ve had a chance to really refine the new work.
What the Dodos followed up with was nothing short of astounding. I had caught the beginning of their set at Northside this summer, where I got my first taste of the Time To Die tracks and after listening to, and fully enjoying, the full album I was anticipating a typical indie pop show. They started with Time To Die and immediately I knew they had something wholly more intense in store. Everything was pushed a little further, a little louder.
When the moment relied more on the vocals lead Meric delivered on pitch musical flow, and when joined by the others the harmonies were completely delicious.
On the many occasions when guitars and percussion got complex the group blew me away with their intensity. There is really no other way to say it than, THEY ROCKED OUT. The addition of the third member really filled out their sound. Even when they played tracks from Visiter it was much more lush. They also seem to have perfected their stage presence during their extensive touring. They impressed with the nonstop run though songs almost up until the end. The high energy set was thoroughly impressive and really sealed the deal as far as drawing the whole audience into the moment. The Dodo’s have really grown into a band that I can now say securely has the potential to achieve greatness.
There was a UK invasion of the most enjoyable sorts last weekend up at the North Star. Scottish bands We Were Promised Jetpacks & The Twilight Sad were joined by England’s BrakesBrakesBrakes for musical antics. Full disclosure, since I saw The Twilight Sat at Monolith and had social obligations that evening I did not stay for their set.
Having missed WWPJ’s set at Monolith I was eager to see what these boys had to offer on stage. If you haven’t made it a priority to check out their records get on it. Pronto. What you will not experience while listening to those records though is a well phrased live show supplied by a young band well aware of what it takes to sound good live.
They began with a tease of a start on It’s Thunder It’s Lighting and built it up to a, well,
thunderous break of energy at the end of the song. The quartet’s stage presence is for the most part stoic when noodling their way through their tight and alluring riffs. Focusing themselves on factors such as the nontraditional bass/drum interplay in songs like Conductor. However, on songs like Short Bursts and Quite Little Voices, when the band hits its lyrical apexes they explode with true rock out physicality. Railing on their guitars and almost howling as times into the mic. Lead singer Adam Thompson is incredibly comfortable on stage and knows very well how to manipulate the mic to project his voice perfectly for each song. There were a few off moments with his amp that he was able to quickly adapt. So much so, that had he not mentioned it, most of the mesmerized audience wouldn’t have noticed the difference. They closed it out with Ships With Holes Will Sink and a drum solo that destroyed me. As this group’s repertoire grows and they have more material to craft intelligent sets like they did on Saturday I have no doubt the audiences (not to mention venues) will expand as well.
The Breaks (or as they are known in the states BreaksBreaksBreaks) took the stage next with a much more seasoned and assorted set. Drawing from the talents and experiences of a group consisting of members (or past members) of British Sea Power, Tenderfoot and Electric Soft Parade the band has a lot of internal influences and it was evident in their live set. They got off to a bit of rough start, later credited to a nasty blister on the drummers hand. It seemed as though the members were just a little bit out of sync with each other. However, lead singer Eamon Hamilton managed to pull them all together within two songs of their start. Employing a little humor and some excellent vocals.
The Brakes, compared to WWPJ, have a much more weathered and varied sound. They wavered between a raucous an
d snarky punk side and a more traditional alternative delivery. Songs like HeyHey are infused with energy and performed accordingly while simpler romantic pop songs like Leaving England/First Dance were given a low key and tender treatment. Eamon broke any predictable pattern by dropping off beat tunes like Porcupine Or Pineapple and a cover of Johnny Cash’s Jackson into line up. As they got further into their show their quality and ease became much more apparent. Had they not been dealing with extraneous annoyances like blisters and started off without a hitch I’m sure the entire set would have been just as entertaining.
The gang of three have a few more dates together stateside and if those are in your general area I’d get yourselves out there. But at the very least get down to your local independent record store and buy their records.
It’s Thunder & It’s Lightening – We Were Promised Jetpacks
Why Tell The Truth When Its Easier To Lie – The Brakes
Last night’s show with Au & WHY? was one of those cases when the venue was an integral part of the overall experience. Both bands elicit such raw experiences it is entirely fitting to see them in the informal setting The Church provides. Au took the stage in the basement of The First Unitarian Church [and yes it is the prototypical "church basement," wood paneling and all] and immediately tore into their undefinable psych-folk-rock set. They led with a bass heavy version of Ida Walked Away that pulsated and built to epic proportions then tipped right into Boute a ditty which leans towards the lighter side of their repertoire . The thought that went into the set list was evident as their show unfurled.
Playing songs old and new Dana (drums) and Luke (every other instrument you can imagine) took turns displaying their astounding musical ability. Dana is an athletic percussionist often standing to work over his expanded kit. When listening to their record you don’t fully realized the numerous roles he is taking on with his drums, often picking up the bass line or supporting Luke’s rhythms. When you see them live however, you recognize the true brilliance of Au’s approach to music.
Luke’s arrangements, despite their intricate layers, are incredibly fluid. Lending them a true sense of experimentalism. Regardless of which instrument he is wielding you have a sense he is perpetually exploring its full potential. Always pushing for a distinct sound to add to the mix. The two new songs they played suggest their next album will be a tad more dramatic and I cannot wait to see the scenery it paints.
Why?’s set melded seamlessly with the vibe Au established. They are smooth, real smooth and immediately chilled out the audience with their genre defying set. Beginning with their mellow rap on The Hallows and rolling into a set that selected heavily from Eskimo Snow (their most recent album) as well a Fugazi cover. The crowd, and this girl, loved it all.
The stage presence of the entire crew was incredible easy. They have the energy of an electronic act with the rootsy grooves of some of the finest jam bands. The bass lines were deliciously juicy. One of the characteristics of Why? I enjoy the most is their ability to use bass and hooky electro riffs to soothe people into really listening to their fantastic lyrics. There was something for everyone to enjoy in last night’s performance. They absorbed the appreciation of the crowd and, in return, provided an musical experience I would solidly categorize as addictive. The two song encore was a most perfect conclusion to the evening. I consider it a privilege to have been part of such a divine show.
Mark Mallman is an amazing entertainer. This is a truth I’ve known for years but was driven home last week during his show at the M Room. Despite some factors that would have frustrated any other performer [horrid openers who did very little to build the audience, a work night show and incredibly weak attendance] Mark put on a show as if he were performing in front of a mass of adoring fans who were rocking out to his addictive beats.
This time around Mallman brought a drummer, his sturdy keys, his own light show and some snappy white jackets. Taking the stage late he launched immediately into a mix old and new material. His stage presence is as dynamic as his music, throughout his set he mounted his keyboard now fewer than 10 times. While doing his most recent single You’re Never Alone In New York he took this position to sing down high his ode to the city that never sleep.
When listening to his music it is undeniably high energy but when you experience the live delivery the energy is visceral. This is entirely intentional. Mallman has mastered the elements that pull all of his strengths together; the feisty conquering of the stage, lights that accentuate his mania and the incredibly taut drum accompaniment. To top it off he played Knockout On 22nd at my request. The his set could have only been better if he hadn’t kept it short to please the tired sound guy. He mentioned he will be back this way before the end of the year and, seriously people, do NOT miss it.