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.
For the second installment of Music Makers Thread I asked the Dodos which lesser known groups they have been digging on lately. In return they gave me a lengthy list of bands to check out which led me on a fantastic musical scavenger hunt. So many, in fact, that I couldn’t pick just one…
Withered Hand immediately hooked my favor. Hailing from Scotland (yeah yeah I know another Scot) Withered Hand is the name Dan Willson tosses on the assorted and ever changing gang of musicians who join him on stage. His lyrical ability falls in that delicious intersection of witty turn of phrase & incredibly relate-able. Give any track on his debut album Good News (which you should buy immediately) a spin and I think you’ll fully agree. And as fate would have it Dan was able to point me towards Charles Latham, a Philly singer who I will definitely be returning to in a future post.
No Cigarettes 
Thee Oh Sees were another act on The Dodo’s list. This psych pop groups possesses a crisply hollow sound that, when paired with the a hint of southern twang on songs like I Was Denied show the potential for slightly modified rockabilly to find its place amongst current indie rock. They are on the road now so check out their tour stops and try to partake upon their live show.
Meat Step Lively
Next up on the Dodo’s suggestion thread is Night Control. Self described as “serene noise pop” I’d say Christopher Curtis Smith’s music is a hai more intentional than that implies. It is carefully crafted ambient electro music that hasn’t abandoned the romance of a classic pop tune. Another fine find courtesy of The Dodos who, I must remind you are playing tomorrow Monday the 12th at First Unitarian Church.
Philly fav Flufftronix dropped this nibblet last week. Its a trippy fuzzed out take on Major Lazer’s Pon De Floor. Do yourself a favor and listen to this on a proper system so you can enjoy all it has to offer.
Pon De Floor (Major Lazer) – Flufftronix Remix
Sheenabeaston 
shared this mash up featuring the seminal musical track Video Killed The Radio Star. Only, given 4Watt‘s treatment, its a lot less sweet and much much grittier. The sticky hook is still there and but with an added smacking bass line to make it even more addictive.
Video Killed The Radio Star (The Buggles vs Yeah Yeah Yeah) – 4Watts Head Will Roll Baby Remix
Every once in a while I will receive a witty, well witten, quirky, intriguing piece of PR. Most of the time though, once I listen to the music I realize the writing is compensating for the atrociousness of the music. This kid Boonie though scored a one-two punch. Claiming an affinity for funk and keeping an insatiable audience moving it he has created a track with a funky bass touch that proved excellent for getting me in a dancing mood. Considering this Aussie is still very young I’m sure he will only get better.
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
Beth Orton is one of many artists contributing to the Judee Sill tribute album Crayon Angel. And, if her rendition of Reach For The Sky is any indication it will be a perfect cozy into fall album. It is out now on American Dust.
Lake is another band with a rotating cast of characters but the ever present Eli Moore & Ashley Eriksson have a true talent for crafting a retro tune. With a hint of 70′s folk pop they are about to hit the road to support their recent release Let’s Build A Roof. Check out their single Don’t Give Up and see if its the kind of thing you might dig. I have a feeling they do quite the live show.
There are a few things that tend to get me really quick and Mumford & Sons possess quite a few in the highest of quality: breath taking harmonies, British accents, a stand up bass player and banjos. I came upon the new video for White Blank Page over at the superb Song By Toad and was excited to see they are finally releasing a full album. Sigh No More comes out on Tuesday and they will be doing a few shows in the States in the next few months. Here is another excellent video for the song Little Lion Man
The Eels released an album, El Hombre, earlier this year that was front man Mark Oliver Everett’s take on love in all its forms. True to their straightforward style the album is a very honest depiction of what, good and bad, love can bring. When this video was released I felt it was most appropriate. And, despite the fact that I am not the biggest Lakshmi fan I still feel compelled to share.
That Look You Gave That Guy
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.
After putting together some of the finest music projects to date the Buffetlibre DJs are reaching for new heights. Pairing up with Amnesty International to present exclusive tracks from artists all over the world to raise funds for AI’s humanitarian efforts in areas of conflict. The list of participants is astounding…
The Veils • Micachu & The Shapes • Fanfarlo • Frankmusik • The Antlers • Port O’Brien • I’m From Barcelona • Apostle Of Hustle • Bonde Do Role • Vieux Farka Touré • Ra Ra Riot
The list seriously goes on around the world. The album will be available via digital download in January 2010 for a minimum donation of 2 EUROS. I, for one, am terribly anxious to hear the entire thing; however, these few samples should help in whetting your appetite.
The Spinto Band- Mr Blue Sky (ELO cover)
Darren Hayman – If You Were Here (Thompson Twins cover)
Jump Club
The gentlemen of Jump Clubb hail from LA but that’s about all they are willing to divulge about themselves. They will, however, share their “no dance” music freely. Intended to inspire you to think before you leap on to that dance floor. When I read their interestingly cerebral approach to the usually carnal world of good dance music I couldn’t resist. And upon hearing A Frozen Hug I think they’re dead on with their description. It certainly makes you want to move but the reasons why are up to you to figure it out.
Frederick Carlsonn 
Continuing on with the dance theme I give you the “Swedish dance D’artagnan” Frederick Carlsson. Mando Diao’s hit gets a fabulous treatment and makes you want to groove out even more. To speak from personal experience, this track is ideal for taking a break from your work or stress and dancing around like you’re starring in your own iPod commercial. Get it.
BorrachoTo send you off right I thought I would share with you this fantastic 45 minute set orchestrated by Borracho at a gig in Argentina. I’m sure you’re with me when I say I would’ve loved to be there for it live but the next best thing is to savor it be it while you’re at your desk, in your car, at the gym or wherever. Its all good.
The Grand Archives
This album is so very many things calming, curious and beautiful. The group initially intended it to be a rock album but what their organic recording process shaped was something entirely more evolved. The lyrics, tender and intelligent, are delivered with crisp harmonies. The instrumentals, created by the usual as well as the unusual (a giant glass harp), surpass the “experimental indie band” cliche with such grace you almost miss its brilliance. But the patina Keep In Mind Frankenstein wears gets richer with every listen. Get it now! They will be in Philly at Johnny Brenda’s on October 7th
Oslo Novelist
Pet Ghost Project
This trio has been on my radar for a long while bliping a little louder with every new recommendation. I finally got to catch a live set at the Danger!Danger! Gallery a few weeks ago. They were set up in the spaces basement and it was the perfect setting for their gritty aggressive rock. It is a group lead sonically by the bass and drums rather than by a guitar and vocals. Its a dynamic befitting their raw visceral sound. The drummer and the bassist exchange roles and can do so seamlessly because they both posses the level of dexterity and skill necessary to make those instruments step out front and shine. I really look forward to their next Philly foray, hopefully with a better sound set up next time.
Power Symbol
Serengeti & Polyphonic
Serengeti, the rapper, and Polyphonic, the producer, both bring a lot to their collaboration. Clearly there is an abundance of talent but, beyond that, there is a wealth of music knowledge (both have studied/nerded out on everything from classical to hip-hop) as well as actual life experience. The samples and instruments used to construct Terradactyl stretch the norms of each component. It would seem Serengti & Polyphonic have, together, realized the potential evolution for inter-genre hip-hop. Now it is up to us as the audience to generate the demand.
My Patriotism