Venues and Volume

jaymay, bowery ballroom, 06.10.2008

2008-06-11T11:40:00.000-07:00

last night was the first time i went out to a concert in months, but i made sure that it was a good one: jaymay at bowery ballroom. it was to be her last "real" concert (she's opening for fink for a few dates this summer) until the autumn, and she was so very happy to be playing it in new york. i was happy, too.

she began right away with "song for paul," which no longer played as a sad, haunting lullaby for her lost friend, was quite aggressive and raw. i'd have to say that the switch from the fragile airiness to the more full-on, forward sound of "song for paul" paralleled nicely with the change jaymay has made to her presence as well. one thing i noticed immediately was that she was considerably more comfortable on stage, and much more relaxed, than when i had last seen her. i chalk it up to recording an album and touring in several countries that has helped her find her place on stage. she was silly, playful, interacted with audience, and asked us to interact with her, as we doo-doo-doo'd and sang a few choruses. she played the the well-known songs, sprinkling in a few unknowns from her new ep, 10 under 2, which are 10 songs, all under 2 minutes. they were short, sweet, and lovely.

near the end of the concert, after she finished up a song, i heard her holler to the back of the stage, "mr kevin devine!" my heart stopped, could it be? the pairing i had always put in my head but could never foresee in real life? and then it happened, it was true! -- kevin devine* came out on stage, and duetted with her on "you are the only one i love." a true experience that i am so glad i was able to take in.

finally, after over an hour of jaymay's best, she stepped away from the mic, stood at the edge of stage, and demanded that everyone learn the chorus to "tragedy," as it was our final performance of the night as well. after 4 tries to get everyone in sync, she noted that the press in the audience might write down in their reviews that she wasn't taking her "job" seriously enough. she shrugged an "oh well," stuck out her tongue, and swung into the first verse of the song. tired and wiped out after giving it her all, she exited the stage with a demure bow, and the lights went up. no encore this time, but after such an intense and endearing hour, i held no qualms about it. it was a magical night for one and all.

*for those not in the know, kevin devine is another brooklyn-based singer/songwriter, who happens to have close ties with jesse lacey of brand new (they will even be touring together this summer). i have a huge music crush on him. for proof, see here.

peter gabriel is no n00b to teh interwubz

2008-06-02T13:17:00.000-07:00

http://www.iht.com/articles/ap/2008/06/02/arts/Music-Peter-Gabriel.php

granted, thefilter.com isn't especially heavy-hitting, but it's a nifty, if not completely original, idea (i mean, i do this kind of thing on netflix and last.fm all the time). i'm sure it will get plenty of traffic if marketed correctly, which it will be because of the name behind it.

my biggest suggestion/criticism is that they spread out the genres a little more. select rock/pop and they offer me a sliding scale of greenday, u2, and blink182? no thank you. does rock/pop even really exist anymore, other than in the top 40? it seems like all the cool music, or at least the geeks that drool over it, tend to have slightly more obscure labels these days, if any -- and in essence, aren't these the people that pg wants to lure to his site for recommendations? people who don't listen to u2? who needs to be prescribed blink182 to flesh out their itunes? and besides, "rock/pop" is sooooo 90's-columbia-house-susbcription. i would expect better of a site associated with mr. gabriel, who is weird and esoteric in his own right. somehow not even his music seems to fit within the confines of his site's categorization.

i know, i know, pg also co-founded od2, so i suppose once they get the kinks worked out, thefilter.com could become a much better, more specified site, but i still think it has awhile to go before anything crucial comes of it. i'll just sign up now and hope for the best later.

austin in a nutshull

2007-03-19T19:45:00.000-07:00

11 days in austin for sxsw was a little of this:

a little of this:

...and a little of this:

\m/ rawk \m/

*more details at a later date*

/jen/

i never got to finish this

2006-11-26T15:30:00.000-08:00

i wrote this around two weeks ago:

title: we sleep inside this machine: brand new's the devil and god are raging inside me

i can dish it out, but can i take it?
i received the above-noted album a week ago and have been listening nonstop since then, but i've been hesitant to put anything down because i'm not quite sure what to make of it. there is no doubt that this album is something that i'm positive i've never heard before in my short lifespan--there is no doubt i'm obsessed-- but i'm not clear on the direction of my approach. do i break it down according to technicalities: songs, lyrics, occasional emotional phrase thrown in? try to sell the album even though anyone who would be remotely interested in hearing it already has it? or do i instead take it from a personal perspective, try to read into the themes i see apparent throughout? do i make this a review or a thesis? does it really matter?

thematically so
at first glance, it all seems a little surreal. guitars swirl, screams penetrate the orchestral waves from track to track, melodies haunt, and there is practically no explanation behind it all; the album artwork is hazy, the notes are stream of consciousness, and there are no lyrics provided. but despite the initial ambiguity, it somehow all ties together. the devil and god is ridiculously cohesive, with fundamental motifs running throughout, not only musically, but lyrically and atmospherically. it's not that the songs sound the same, because each is its own unique existence, but they all sound right together-- as though they are chapters in a novel, or marks on timeline. they follow the same path, and i'm not sure i have experienced a concept so subtle on an album before.

it's an understatement to call the devil and god "dark." brand new have outdone themselves on making sure that their third work is groundbreakingly, palpably dripping with teh heavy. disregard the basic sentiment that comes with the religious thematics present in the blood black landscape mr. lacey and his crew have put forth: this shit is catholic with guilt. i'm not talking new age contemporary catholicism, i'm not even talking inquisition in 15th century spain-- this is pre-augustine, this is primal. the two images that have been racing through my mind everytime i put my headphones on are "the fall" and "the rise."

that's as far as i got, even though i had a lot more to say. the album was too overwhelming to dig into for long periods of time. i found myself burying six feet under. it's a fucking fantastic piece of work, and everyone should listen to it at least once, even if it's not their thing.

but it was too much. it was just too fucking much.

"the rise" and "the fall"
tonight i saw brand new at madison sq garden. i was warned that seeing a band i loved and had grown up with at such a venue would only ruin it for me, but msg didn't earn the right to that particular title. i'm not sure if there even was anything to ruin, but something was definitely lost this evening, and it was probably my trust.

in july, brand new had all the potential to take over the world, or at least make it a little better for some people. when i heard their new stuff back then, i thought it would be a second coming. i new that they were nurturing, developing, and polishing their talent to the point of complete and utter harmony, even within dis- and a-harmony, and i had hoped that this would grow and mature to the point of absolute awesome. then i heard the album and was so wrapped up in the complexity and delicate structure within the heavily laden, dark atmospheric sound that i failed to pinpoint what was actually going on.

something went terribly wrong tonight. i'm not sure what it was, nor am i going to make assumptions on here about the physical, emotional, or mental state of those i put the responsibility on, but this was not what i was expecting. maybe the devil and god was a little too much for everyone.

i know i can get a little creepy with the whole uber-fan personality, but first and foremost, i have always respected this group as musicians, artists, and intelligent people. they have god-given talent, otherwise i wouldn't bother. but it was off tonight, off in a big way. and looking back on what i've been listening to these past few weeks, it makes me rethink everything. yes, the record is beautifully crafted. yes, it's nothing like anything i've heard. but there is something very, very dark underlying it all. terribly so. and i think a little bit of that came out tonight. it bared its ugly teeth and it let a few people down, myself included.

maybe i was a fool to pay 35-odd bucks to see a band who had mainly played small spaces open at a landmark spot, but i didn't care about the price-- i was hoping for a little more maturity, since the recorded music suggested it. i guess we still have more growing up to do.

anyway, due to tonight's event, i need to do a lot of thinking and figure a few things out. this blog will probably go on hiatus until i know what it is i really want to do, because as of right now, i don't even know why i bother at all. lately, people in this field are really starting to leave me disillusioned, even if i may love what it produces. i hope they can prove me wrong.

with that, i salute. goodnight and godspeed.

/jen/

generals & majors, sin-e, 11.10.06

2006-11-12T06:13:00.000-08:00

who says rock n roll is dead?
after having a few brewskies with a pal down on ludlow friday night, i made my way to attorney to check out a benefit for the ulman fund at sin-e. when i came in, the spies were about to make their way up on stage. they were a lot of fun, and definitely had the "bop to pop rock" skillz that we all love to see. but was i there to see the spies?

au contraire, mes petits enfants. i was here for nothing other than dirty, sweaty, crunchy grit. rock out with your (non-existant) cock out? yes please. well, generals & majors serve it all up for you, with testosterone-laden, smack-you-sassy savoir faire. want to sample? check out "every night's a bust in new york city" and "a little lit." do you know how long it's been since i was able to participate in something like that? i'm so encrusted in emo, indie, and synth rock that it's a breath of fresh air to see a lead singer take off his shirt off and flail about on the stage. my emo boys are too waifish and self-conscious for such exhibitionism.

was i that girl in the front totally freaking out next to a head-banging companion? did i wink at a few of the band members? yes, yes, and yes to me pumping my fist in the air. afterwards we all went to 151 rivington and got silly.

if you're wondering, it was a really fucking good night.

/jen/

street to nowhere: endearingly maladroit

2006-11-04T11:06:00.000-08:00

as mentioned a few posts back, i went to see the format at irving plaza. they had quite a queue of artists playing before them, two of which were anathallo and rainer maria. i was lucky enough to get there early to catch the very first act that night, a band by le nom de notre temps existentiel, street to nowhere, from oakland, ca. i was instantly won over; despite being a starter, they had the audience by the throat-- myself included. considerably intrigued by their overtly honest lyrics mixed with a great acoustic quality and a nervously angsty voice ringing it all true through the speakers, i vowed that i would get to know this band.

granted, it took me awhile. everyone ended up at shades of green, and i shared a few compliments and some eye contact with the band members. yet, i never really bothered to get more of an impression on them, even though i thought they were pretty cool guys. it wasn't until i bought a ticket to an upcoming kevin devine show that i recalled them. as they were playing on this bill as well, i decided to take up my past initiative and buy their album.

best.decision.ever.

charmingly awkward has been playing non-stop since i received it last week. the songs are simple enough to catch the minimalist in me, but occasionally it will break into ecstatic ballad vocals and rock-out riffs that get me soaring at the same time. ranging from self-loathing to humourously self-deprecating to political, the songs broach quite a few topics, although it mainly centers around booze, sex (or the lack-thereof), and, of course, being charmingly awkward.

yeah, i definitely know what that's like.

if you feel the need to see what's up, check out "boxcars boxcars boxcars," on their myspace page, as it gives a pretty good idea of what this group is about. while each song is my favourite in its own little way, the tracks i have had on repeat consistently are "waste my life for you" for its cheeky chasing amy potential, and "you can't go to sleep" which is bordering on 20-something-emotionless-revulsion... but that's how we do. however, you'll have to shell out some dough and support these guys to here those. so go do that. right now.

they'll be back in nyc come december, playing with matt pond pa, kevin devine, and straylight run at bowery. buy a ticket. support a band (or four). hang out with me. i'll buy you a beer and probably sing some lyrics in your face. sounds good, right?

mayhaps i'll see you there.

/jen/

virginfest, 09.23.06, baltimore, md

2006-10-17T17:10:00.000-07:00

"remember when we covered this song in camp and made a few six year-olds cry?"
i believe they were referring to either rage against the machine or korn.

virginfest was one of those experiences that encompasses all societal behaviours with interactions between small groups of people, very big groups of people, and most of all, with yourself. i've always had a love-hate relationship with festivals of any kind. the nostalgic part of me knows that these bigger-than-life parties are chock full of things you don't want to miss: great artists, great songs, great stories at the end of the day. the other part of me, the antisocial side, hates the masses of (insert scornful term here) people who inevitably manage to piss me off at least a few times. let's not even mention the choice of food and sustenance festivals tend to have in addition to scorching sun and the trash floating around everywhere. but all-in-all, the love-side wins, and i'm always happy i took the risk and managed to get myself off my haunches to head on out. this wasn't an exception.

we all woke up and packed ourselves into the saab. it was a long drive down, with a pitstop at upenn to pick up some mic stands. when we finally arrived in baltimore, the festival had taken over the city: there was heavy traffic, nowhere to park, and streams of people walking everywhere. we managed to find a house that was charging $5 for parking not too far from the racetracks, so we set the saab next to a vicious, foaming pitbull (the caretaker told us he was "nothing to worry about." right.) and lugged approximately 8 water bottles, one digital camera, and four pairs of cramped legs down to the arena.

a method to the madness?
when we arrived, i was hit over the head with the reasoning behind my hatred of large gatherings: people. people everywhere. people milling, people drinking, people hanging out by the port-a-potties, people smoking, people lying on the ground so awkwardly that i had walk on my toes for fear of crunching someone's body parts under my shoes. on top of it, i had a heavy backpack, an intense reaction to the humidity, and had a random girl make me hold her soda for her while she climbed on some guys back "to look for her friend" for ten minutes.

but then i was also given the chance to revel in why these particular events are awesome: the music. gnarls barkley was the first show we saw, and keeping up to his reputation of having a bizarre "theme" for every performance, was dressed up as a gladiator with a roman populus backing him up, complete with his own choreographed string section. following his final song of "crazy," we trekked over to the second stage where the brazilian girls were playing. i really enjoy the brazilian girls, but there was something about their performance that wasn't flowing right with me. granted, they tend to be a very abstract kind of group, but all i really felt i was getting out of them was house music, which was boring, and sabina sciubba was wearing one of her infamous face masks on stage and it began to freak me out a little (i can't explain it, maybe a little too much surrealism for the day). we then decided to head back over to the first stage in order to get good spots for the killers.

when the killers finally came on, they played a great set. brandon flowers was relatively quiet in regards to the audience, but gracious. playing most of their hits, such as their new single "when you were young," "somebody told me," "mr. brightside," "jenny was a friend of mine," and ending with "all these things that i've done," the band managed to keep up their energy and charisma. people crowd surfed as attractive girls from the crowd were shown overhead on the virgin megascreen (i was not one of them). basically, it was kick ass.

then the who came on. the m.f'in who. pete townshend and roger daltry... there can be no words. despite the fact that these guys would be in retirement if they had any other career, they totally rocked the shit out of the joint. townshend still windmilled and roger still had a stunningly strong voice and countenance in his performance. "teenage wasteland," "my generation," and "you better you bet" all came out loud and clear as films with an acidic twist projected behind them. unfortunately, i was standing next to the vip area and was harassed by some old, flabby probable concert reviewer for rolling stone who thought my finger tapping to the beat was "cute." whatever, roger totally made up for it.

after that, we made our rounds to the scissor sisters. although initially amusing, i realized that it was just like watching a couple of nyu students prance about onstage. while i believe that the scissor sisters have talent and a definite hook, i wasn't feeling it so much in their performance. it seemed like normal disco-alterna-pop and not the completely trashy balls-out kind. and believe you me, this should be a band that's all balls out when it comes to their music. if sir elton john is going to recommend you, i want to see, hear, and know why-- and then i want to be blinded by the glitz of it all.

we then meandered over to the final act of the evening, the red hot chili peppers. i had never seen them live before, but had heard several varying reactions to previous concerts. they came out with tons of energy, anthony kiedis jumping and flipping around on stage, but its apparent that they're not as tight and fit as they used to be. along with the parental warning flea gave about "not making any little girls cry as they're pulled out on a stretcher because you're crowd surfing" speech (which as a little girl, i agreed with), kiedis was completely out of breath and barely hitting any notes on key after three songs. the energy dropped considerably for the next few songs, and then it began to take speed again. it was a rollercoaster (of love) ride throughout the evening. mostly playing songs from their last three albums, i was a little disappointed that "under the bridge" didn't even get encore status, but you can't win them all.

the real stars of the show, however, were john frusciante and flea, whose apparent musicianship has transcended most mortals' capabilities. throughout the evening, we were treated to a few songs sung by frusciante, who, by the way, has an amazing voice. clear, beautiful, and with a great range-- let's not even get into his guitar work because its even more miraculous. flea also started out a song on his bass with a solo in baroque style; it could have been a minuet written by bach, but it was played as easily and simply as though he were working off of a six string. you don't normally hear bass parts like that. then, frusciante came in and they held a veritable dialogue between their instruments. this in itself was probably the best part of the evening.

the set, and the festival, ended with "give it away," which made everyone happy. unfortunately, one of the brothers mims got his face knocked by someone's boot, and we had to beat the rush and find him. he handled the situation well (even getting the guy's name!) and we headed out. when we returned to the car, the snarling pitbull was housed up inside, asleep in his bed, and we were able to get out without any major issues, except maybe some crankiness.

a long drive it was, but i managed to stay awake and enjoy the ride through maryland and new jersey. we finally arrived back around 3 AM, so quite the adventure it was. i'm glad i managed to make it down, and more importantly, overcome my intense need to be antisocial within a crowd long enough to enjoy and take complete advantage of what was going on around me. barring the really gross $9.00 "sausage on bun" i had (the $9.00 falafel line was too long), it was a really great experience, and one i hope to repeat next year. you should too.

/jen/

i, fanatic

2006-10-17T07:14:00.000-07:00

so, if you're the type of person who's going to care about this, then you probably already know because you check their website obsessively everyday for just a few more words of information on the greatest mystery of our generation.

that would be brand new's brand new album.

well, it's arrived (sort of). it's available for pre-order on their website, here.

it's called the devil and god are raging inside me, and the track list is as follows:

1. sowing season (yeah)
2. millstone
3. jesus christ
4. degausser
5. limousine
6. you won't know
7. welcome to bangkok
8. not the sun
9. luca
10. untitled
11. archers
12. handcuffs

i've been one of the few, very lucky people to have heard it already (thanks!), and believe you me, if you're not peeing your pants in an excited loss of control by now, you should be.

lord knows i am.

/jen/

the end of an era

2006-10-09T07:08:00.000-07:00

consider it done

by this time next sunday, a vital piece of rock 'n' roll history will be gone, with not even a punk band's bumper sticker to peel away. cbgb's final show will be occurring next saturday, october 14th, with deborah harry and chris stein a la blondie packing it up and putting it away. bad brains will also headline several shows this week in a formidable ode to what was and never shall be again, much like the hardcore music scene the band once led from their early days in d.c.

it was to be expected. people questioned how long it was before an anti-institution becomes an institution and loses its relevancy. but had cbgb's really lost its touch? was its style now only a ghost, a facade of what it once represented? having been there recently, i can say that i appreciate it for its willingness to still host small, relatively unknown bands. i enjoyed the carved and hole-ridden tables, the stickers and the grit still smoothed over the bar, the lack of real standing space that forced you to get in touch with the crowd-- the ambiance that whispered amidst the dust flickering through the spotlight that you knew a secret, and you were in it, you were there.

granted, i was not there when it began, i only have photos, films, and recounted memories to establish an idea of what cbgb's started almost 30 years ago. but i am nonetheless a little sobered, and more than little heartbroken, to see my omfug be dispersed to some other place. my gormandizing will have to be fulfilled elsewhere, my dreams of one more night of sweat, beer, and vibrating bar stools with a brooklyn lager will have to end this week.

time to move on
although the club might have a rebirth in las vegas, i don't believe i can take heart in that. it will become a place where, as legs mcneil says, "girls with augmented breasts [will be] playing joey ramone slot machines." i'm sure all the dark rough and tumble grime will be wiped up to take on a whole new identity of glitz, sheen, and shine in the brazenly chintzy sin city. that's not what i'd go there for, and that's not what i'd want to see.

i'll try to make it to a show this week to say my goodbyes. if not, then i shall open a beer and make a toast in one last huzzah to the dissonant epoch that was.

/jen/

so much to speak of, so little time...

2006-10-06T07:24:00.000-07:00

i swear, i'm going to update this soon. these past couple of weeks have been crazy, but i have so much to talk about!

it's been a good run of things lately. i'm exhausted, but fulfilled. life is good.

something should be up by tonight.

<3

/jen/

a lovely day for a music fest

2006-09-23T05:27:00.000-07:00

i have a long rant coming up about everyone's favourite band of late, but i actually have to head down to baltimore today for virginfest with my friends, the Brothers Mims, in their small, compact saab.

the ride is going to be cramped, loud, political, and probably a little stinky. i am totally psyched.

see ya on the flipside.

/jen/

you are neither a sin nor a tragedy.

2006-09-23T05:14:00.000-07:00

first of all, i wrote this like, a month ago. while i don't necessarily agree 100% with everything i said in a fit of passion, i think it's a good dialogue piece. yeah? if you want to kick my ass, i understand.

there are few things that get me riled up these days. the state of existence for native americans, bad hipster art, asshole pushy people in the crowd, and my job were, for the most part, the only things that would get me blustering, flustering and cursing as though i were seized by tourette's. now i have another to add to the list: panic! at the disco and what they've done to emo, or rather, what the essence of emo has done to them.

this could potentially make me lose some friends. but chill outz, i have reasons behind it.

i have nothing against panic (i refused to use the exclamation point) existing and doing their thing. their music, despite it all, doesn't totally suck. admittedly, last night, after having received my spin with them on the cover, and my blender with a huge-ass spread, i said they sucked a big one to a group of people-- but it was in relation to a few other things for comparison. they're okay, i will give them that. their sound is pop-driven and catchy, and i can see why tons of small, screaming girls lust after their music as well as their hot bods.

but something bothers me, and it's been building for quite some time. how did their synthy, carnivalesque, over-the-top baroquian thing get defined as emo? is it because they're whiny? is it because they're dark and "alterna" by wearing eye makeup? is this supposed to be my generation's cure?

i look back to rites of spring and fugazi and weep inside.

i've fallen for it too. everything i do is "emo." everything is melancholy and misty and i wear dark eyeliner and dye my hair black to show my pain from living in this shadowy, horrible world. not really (but sort of). yet, i still can't find within myself the acceptance that bands like panic et al. can be described as this, as "totally beyond emo." it all hits me as shallow and considerably unpoetic.

emo has become a box to check off. don't believe me? go to livejournal, make a profile, and then when it comes time for you to put in your interests, you can find a short-cut box entitled "emo," right along with writing, reading, and cooking. wtf. well well well, isn't this the paradox. people were emo because they didn't fit in (there was always that antisocial element). now in order to fit in they are emo.

and while i saw this coming a mile away, because when you start describing a music genre as "emotional," which as a definition can cover pretty much anything, and people start making parody websites about how to dress emo because it's that ridiculous, it's beyond my comprehension. emo is the norm, and the world is clearly going to end because of it. but i have hope. i have hope that this over-bloated style will eventually lose speed and either implode completely or it will transform into something even greater, something we've never heard, something that's musical, for god's sake.

maybe i'm just growing tired of it all. maybe i'm just bitter and jaded by the scene because that's all that really ever comes out of it these days. or maybe i need to get off my high horse, suck it up, and admit that i'm running out of excuses to be so angstily adolescent.

you say you want a revolution? so go begin one, then.

/jen/

digitality

2006-09-19T13:22:00.000-07:00

i was finally able to charge my ipod last night, and when i put it on shuffle this morning, i had one of the greatest music runs i've ever gotten before:

1. the raconteurs -- "steady as she goes"
2. death cab for cutie -- "tiny vessels"
3. tori amos -- "time"
4. third eye blind -- "wounded" (dude, i forgot how much i <3 this song)
5. johnossi -- "man must dance"
6. glassjaw -- "pink roses and the graveyard"
7. beastie boys -- "song for the man"
8. the smiths -- "paint a vulgar picture"
9. great expectations score-- "paradiso perduto revisited"
10. the shins -- "a call to apathy"
11. portishead -- "it's a fire"
12. dorothy dandridge -- "taking a chance on love"
13. rem -- "what's the frequency kenneth"
14. third eye blind -- "semi-charmed life"
15. muse -- "hysteria"
16. sparta -- "lines in sand"
17. emery -- "fractions"

in case you're wondering, yes, it was a ridiculously long commute today thanks to something making my train stop for 10 minutes between every station. but it doesn't matter because i got to listen to some spectacularly rad tunes in the meantime. huzzah.

/jen/

bored

2006-09-14T18:23:00.000-07:00

nothing really new to report here. i've been considerably lazy regarding music lately. however, my roommate blasted "hook" by blues traveler tonight, and i still know every word. even the crazy-ass bridge that i memorized when i was like, ten (am i dating myself?). now i can't get enough of it, even though blues traveler is sooooo 1990's.

she also played "never let you go" by 3eb. killer.

me ---> dork.

/jen/

anyone can play guitar-- and most of my friends do.

2006-09-10T08:28:00.000-07:00

remember how a few posts down i told everyone about this guy mikey mcclenathan and his new record that he just recently finished? and how he was giving it away for free and everything? and i told you that you really needed to go to his website and download they're more afraid of you than you are of them toute suite because the songs are hott and you need to support indie music because most of the shit on mtv/the radio sucks?

well, if you haven't, here's a handy-dandy link that does it all for you soooo easily it hurts:

http://watchedpots.com/audio/tmaoytyaot.zip

also:

my friend bill and his band, actiondale, have just compiled an album and it is busy in production, but will be out shortly. however, you can listen via purevolume here.

so do it. for the love of god and future rockstars, just do it.

/jen/

exodus 23

2006-09-09T21:37:00.000-07:00

tonight i sat down to watch magnolia on ifc. i haven't seen that movie since high school, even though i liked it a lot and would have wanted to see it again, even own it. something always kept me from doing so sooner.

but tonight, there it was, on my family's television in connecticut, and i couldn't say no. many parts were clear in my mind, although i had forgotten an entire subplot. i was even able to pick up on some symbolism i missed the first time thanks to five more years of schooling and an intense class on analyzing film and literature. it was more enjoyable this time around.

so why am i writing about this on here? i am not a one-blog kinda gal, this could have had a space reserved elsewhere.

well, there's that scene, where everything stops, and every main character sits and sings to aimee mann's "wise up." and i remember how the first time i saw it, i stopped breathing. i couldn't even place the name of the song, and the lyrics were in a foggy haze as well, but throughout most of the movie tonight, i was in anticipation for that one moment. not only is it an absolutely beautiful song, but it fits that aspect of the movie so well. somehow i knew i'd be moved again.

and i was. maybe it hits too close to home now, maybe everything in that song describes something about where i am personally at this time in my life, maybe it just fits so well with a group of characters that i'm relating to so strongly at that exact moment that it just breaks me apart. even if i don't know the reason, it keeps me at my father's computer listening to "wise up" on repeat in the dark with my sister's headphones over my ears.

i don't know.

it's not

what you thought

when you first began it

you got

what you want

now you can hardly stand it though,

by now you know

it's not going to stop

'til you wise up

you're sure

there's a cure

and you have finally found it

you think

one drink

will shrink you 'til you're underground

and living down

but it's not going to stop

it's not going to stop

'til you wise up

prepare a list of what you need

before you sign away the deed

'cause it's not going to stop

it's not going to stop

'til you wise up

no, it's not going to stop

'til you wise up

no, it's not going to stop

so just...give up

/jen/

bad.ass

2006-09-08T09:08:00.000-07:00

so i just bought tickets to see lily allen @ hiro ballroom on october 10th. i'm absolutely psyched about this.

radical.

they're on sale now via ticketmaster. get 'em while you can!

ps: hiro ballroom is a totally hott venue. so excited!!!!

/jen/

cute, but with the 'e'

2006-09-08T06:22:00.000-07:00

that title was a bad taking back sunday reference (lame)
ohhhh man.... matt and kim are playing this weekend and i'm not going to be in the city for it. bummer.

they are, undeniably, the cutest band out there. there has never been more chuckle-factor in reference to a pair of people , one on keyboard, one on drums, before. it's the kind of energy that makes you smile and bop around at the same time. i saw this duo down at sxsw when i was invited into the i heart comix party. they had played a short set, and i was hoping i would get to see some more this time around. i guess not.

but you can! you can go see them! they're playing this saturday, september 9th at 339 scholes street (that would be williamsburg) with: growing, comets on fire, ex models, dirty projectors, excepter, high places, BIG A little a, stars like fleas, vaz, and some more. so if you have a few hours to kill, head on over and see them. and then tell me about how ridiculously adorable they are when i get back.

/jen/

johnossi, 09.06.06, pianos

2006-09-07T06:53:00.000-07:00

it's nice not having your boss in. it gives you time to use the computer for other means. sweet.
last night my mate jamie invited me to join his crew at pianos to hear a performance by johnossi. hailing from sweden, this two-man band's name is a conglomeration of their own: john and ossi-- it flows together nicely, i must admit. but this ain't no scandinavian techno pop-- this is great indie acoustic rock, and i'm really glad i was able to experience their artistic endeavors firsthand.

jamie had mentioned them to me at an earlier date with a positive spin, so my ears piqued when i found out they would be in the LES. needless to say, after a long day of work, a free concert (yeah guest list!) was just what i needed. after watching a less-than-groovy band upstairs (it was comparable to bad creedence joined with worse fleetwood mac) and leaving to scarf down falafel at bereket for about 20 minutes, we were finally let in to the listening room to prepare ourselves for the sensational swedes.

i was impressed. when they began, my foot immediately started tapping, and i was into it from the get-go. considering one plays the acoustic electric and the other plays the drums, they had a really full sound. john's guitar was both ambient but with rhythm and rock, and ossi's drums were full of hardcore energy (even though john teased him on stage for being "wimpy.") they stopped between songs to tell a few anecdotes, one about santa monica bay, and the other about new york. word. let's not mention that their english is probably better than mine (but considering my writing skillz, it shouldn't be that much of a surprise). some of my favourite songs were "the lottery" and "man must dance." quite a few from the set can be found on their website and myspace.

they're playing again tomorrow (9.8.06) at mercury lounge. i really suggest you go and try them out. they're great guys who make great music and have a great sense of humour. apparently many other people agree, because, and i quote, "after only 3 shows in demo clubs and a gay boat in stockholm, we [johnossi] signed our first deal." bang-a-rang.

up next... no clue. it's a surprise! for all of us!

/jen/

ps: i know this post was full of links, but i like being uber informative.

f and a half

2006-09-06T08:24:00.000-07:00

so my computer has officially died. there's about 30 minutes worth of battery life even while it's plugged in. i'm not really surprised, as it's been everywhere with me and it's kind of old and i have been known to not update it often enough because i'm a stingy bastard. but you did well, nym. rip.

this means that i might not update this for awhile, because now i only have my work computer, and i rarely have time to eat lunch, nevermind write about stuff i did a few days (/weeks/months) earlier.

however, there will be a day, a glorious day, when i will finally have enough money to purchase a macbook pro. this will mean many things, but mostly awesome photos, interactive exchange with last.fm, and most importantly, podcasts-- wonderful, intriguing, foot-tapping podcasts. it will be a good day.

so until the next time i have more than 3 minutes to myself and computer access-- godspeed.

/jen/

ballin' with the rock'n'rollers

2006-09-05T12:19:00.000-07:00

so, i seriously doubt i'm going to end up giving you guys those previous reviews. it's well past the point of anyone caring, and i'm just too crazy these days to finish them up. maybe someday i'll post them and be like "here ya go" but until then, you'll have to settle for a simple breakdown:

*muse was great. i was up in the second mezzanine, thanks to not having real computer access for a few weeks. that sucked because usually people who sit there are lame. they were no exception this time around, and i was majorly jealous not to be part of the swirling crowd beneath. matthew bellamy kept to his reputation of being wicked shy by barely saying anything to the crowd, but boy, can that tiny man shred the fuck out of a guitar and piano. some people got pissed off by them using a computer to do some of the work, but if you're playing in hammerstein ballroom with a sold-out crowd on a huge stage, why not make your life a little easier and bring it up a notch? besides, i saw muse at curiosa when they didn't have crazy screens and gadgets and it was just them and bellamy literally switching in a second from guitar to keyboard to guitar and it was still perfect. they've earned their right to use a freaking computer. i rarely leave a concert as buzzed as i did that night, even by being up in the nosebleeds. in essence, i love muse and will continue to do so.

*the format/rainer maria/anathallo/street to nowhere was a really great concert too. i'm really mad at myself for not getting this one out in a timely manner because it was an interesting night, to say the least. if any, this one will probably be posted in full. but just to abridge, street to nowhere started off the night with some great energy. usually openers don't get a crowd as revved as these guys did. look them up, they're from oakland and really cool guys. anathallo was whacked out. i liked rainer maria, even though their stage presence is blah. get a little more into it, girl. the format was ridiculous. seriously. considering they sold out the show without having a label, and with the help of nettwerk (who i mentioned a few posts down), i'd have to say that they're pretty kick ass. and they were. i was up there bouncing along and watching everyone else have a good time too. i even converted a few people over to like them. afterwords, thanks to sonia inviting me along, i got to hang out with all of the bands and nettwerk people at shades of green, my formerly preferred underage watering hole, and now just my preferred watering hole. the manager of brand new bought me a round. i crushed slightly on members of the format, and best of all, had someone take a ridiculously awkward picture of me with a digital camera (i might be in teh intarspacez somewhere now). it was a good time, and sonia and her brother, who were the people i hung out most with, were nice. hopefully i'll be bumping into them again soon.

*spill canvas: good. not totally pants-wetting, but decent. didn't stick around for mae. i don't like them, really. sorry. i was also really emo that night, so a good review is probably never going to happen.

--------------------------------------------------------------------------------------------

as for recent news, i got to attend the blender vma after party with m'boy jamie and all of his friends, etc. i got all jazzed up and then waited in line for like 2 hours, but we made it in! and there was free booze! i drank waaaaay too much free grey goose with tonic and then proceeded to run up and down stairs following the various vip dudes because we had badges. i almost fell down a landing, but thanks to my cat-like reflexes, made it through without losing myself. while i can't say i really hung with anyone of fame-magnitude (just because you have the badge, doesn't mean they'll talk to you), i can say that the people i was with were awesome, and i also had the best cabdriver after the event, so all-in-all, i'd say it was worth it.

this picture describes it well:

yes, there were a few douchey people hanging around, but that's the industry for you! i'm willing to take the good with the bad as long as i have a good time.

and that's it for now. keep it real, boos.

/jen/

away, we're bound away...

2006-08-25T14:09:00.000-07:00

there are moments when you find yourself sitting on the subway, and a song comes up on your ipod and catches you completely off guard, either because you hadn't thought about that song in quite some time, the way a certain introduction seeps its way into your bones, the history you have with it, or because it's just so right.

while rumbling over the manhattan bridge the other night, chanticleer's "shenandoah" popped up amidst my shuffle of outkast, head automatica, fiona apple, and radiohead. the solitary baritone not only snapped me out of my usual subway daze and into the reality of my present status as a passenger looking out onto the new york skyline passing by, but also evoked a deep melancholy far down within me, like i was the one singing to a river, and a love, so far away it's symbolic of everything you've ever left behind.

i do have a history with this song. i've sang it in several choral settings and my mother has declared a fascist state with a box of tissues over the tv whenever the movie is on tcm or amc. but it's not creating harmonies on a stage with my high school chamber choir in front of a crowd of 1000 or more parents, nor patting my tear-stained mother on the back as she lamented over the fate of james stewart's family, that cuts me to the quick. it is what isn't there; it's the shenandoah.

it's knowing that some day, i'm going to look back and i'm going to have my own symbolic river to sing about. i don't really have one now. i'm not too far away from where i was a few years ago, everything is still relatively within my grasp. i'd even have to say that my childhood isn't so far off-- i still have a lot of growing to do even with rent and bills and a full-time job. but in a few years, it might, and probably will, change. i will be removed from this, from where i am at this very moment, and that is when my heart will break from something that's so far away it might've never even existed. it's inevitable. i'm bound away. and possibly "seven long years" may mean exactly "seven long years." it's all too close to how i've been feeling lately.

music is a funny thing. it can take you to places you've been, to places you haven't, and places where only you know the location. it can make a 22 year old who hasn't lost much in her life feel like she's lost a piece that can't be retrieved. at the same time, music has the capability to make anyone, even sad bastards like myself, feel on top of the world for two minutes 46 seconds. it lulls babies to sleep, and incites anger beyond bound. it tells stories, it is aural emotion, it is blood through the veins. that is why it is so important. that is why i care so much about it. that is why i am here. that is why i will be there.

that is why.

/jen/

zero a zero você venceu

2006-08-24T17:48:00.000-07:00

so, i just finished reading this month's wired magazine (i get it for free at work, along with many other subscriptions. ahhh the perks of advertising), and while last month's cover featured the infamous mr. r. murdoch, with an emphasis on his space (and i guess myspace, too), this one was even more applicable to the world of music. the september 2006 issue is all about the revolution in the music industry-- predominantly with labels-- and how online, digital, and free music is making economics, fanbases, even the existence of albums as we know it go up in smoke and rain back down into something familiar but different... i suggest taking a look.

right now, wired.com only has the interview with the cover model, beck, up along with a few little fyi pieces. but check it out tomorrow for the heavy, life-altering stuff. terry mcbride, the founder of nettwerk, is the current bmoc as far as mutiny against the traditional business way is concerned. the format is a client of his company (which is a band i owe you a review for), and it was through the help of mcbride they have managed to sell their album despite being dropped by their label. i hung out with some of the nettwerk dude(ette)s at the aforementioned band's concert, and i have to say, they're some pretty cool people.

anyway, go here for the beck interview, and look back in a day or two for a peek into how you might be making your own mashup in a few months.

now back to seu jorge singing "rebel rebel" in central park via pbs. americans are such awkward dancers.

/jen/

cotton crush indeed

2006-08-23T19:53:00.000-07:00

i just got back from seeing kevin devine at webster. i've already wrote a bit about him previously, so i'll spare the innocuous details, but i've got to say, for a white red-headed angsty acoustic boy to be playing for a smooth, soul-loving older r&b crowd, and do it balls-to-the wall? well, colour me impressed.

this time it was a solo performance with carey brandenburg singing backup vocals occasionally. he was admittedly nervous because it was a much bigger crowd than he was used to playing for (they were all there to see corinne bailey rae. except me), but he still was able to rock it out. he got so into it at one point that he ripped his guitar away from its plug, continued to play while asking the audience to pretend we could hear it, and managed to plug it back in all in one swoop. huzzah!

he played predominantly from his new, soon-to-be-released album, and as for show highlights, "just stay" and of course "cotton crush" were able to get the crowd going.

another nice part about the concert: bumped into victoria, an acquintance i met through jamie, and hung out with her and her co-worker john. it's always nice when you go to see a show alone and end up bumping into neat-o people inside. it makes you feel loved.

with that being said, i'm tired after a long day of work and music, and i seriously promise i'll have those earlier reviews up in no time.

/jen/

better days

2006-08-23T11:09:00.000-07:00

it's days like these, when i have boyz II men stuck in my head (don't ask), no comments on my page other than spam, and am four concert reviews in the red (they'll be coming soon), that i wonder what i'm doing. music is a funny kind of existence. i can't write it really, but i can play it and openly appreciate it. as much as i appreciate it, however, it's a thankless business, and i'm sure my admiration for it and all things pertaining is considered worthless because i doubt i'm cool enough to count. even by the little guys. bummer.

in other news, thesaurus.com's new colour scheme layout is now potty-themed. grotesque.

/jen/

give indie emo a chance!

2006-08-19T08:30:00.000-07:00

so there's this guy i know, his name is mikey mcclenathan, and he's been working on this album for a really long time (like, a couple of years) and now it's finally done. it's called they're more afraid of you than you are of them. give it a shot. my personal favourites are "triple deke" and "new york city." "viking's funeral" rocks a whole lot, too.

seriously guys (all three of you who read this other than jamie and myself), if you have any love for music, then help it grow. give the underdog a shot. this guy has done pretty much everything by himself, and that's commendable.

you can go here for the .zip file, individual mp3's, and the liner notes. it's all free. visit his site and leave lots of comments. be a music lover and spread the word.

/jen/

midlake/coldwar kids, 07.29.06, mercury lounge

2006-08-15T08:53:00.000-07:00

i know, i've been bad at updating this thing. you can thank the advertising gods for that.

short one
i don't have too much to say on this concert, other than it was kind of awesome while i wasn't schmoozing. midlake had this really nifty projector thing up which allowed us to watch homemade music videos and slightly fantastical photos within the realm of van occupanther. the place was pretty packed thanks to atlantic records buying every ticket from mercury lounge that wasn't already sold (man, i'm glad i thought ahead for that one). midlake have a dreamy quality surrounding them with a darkside. i think forests and unicorns and evil gnomes (maybe comparable to radiohead's "there there (the boney king of nowhere)" from httt). my point was proven when they showed a short film depicting a 19th century time machine traveler and the future friend he makes. fantasy indeed. describing their music, i'd have to say that they definitely have an indie folk vibe, but with their own magic twist (remember, wood gnomes and fairies and panther hunters, oh my).

coldwar kids then came on, and because i didn't know of them beforehand (my bad), i can't tell you the titles of any of the music that i heard, but i can tell you that they're freaking groovy. i was totally getting down to their songs, despite the fact that i didn't know any of the lyrics. i had a really great time listening to them, and i hope i get to see them again soon with a little more knowledge under my belt. their merch guy was also exceedingly nice, so kudos.

during the whole shebang, i was fortunate to meet a young publicist by the name of sonia. she handles bands such as brand new (peed my pants) and the like. she's also very friendly. more on her in later posts. after, i also had some delicious turkish food from bereket. it's the place to be, and there's nothing better than some shepherd's salad with hummus and pita after much citrusy beer and music.

so, see midlake and definitely check out the coldwar kids.

/jen/

up next... muse

brand new/colour revolt/born ruffians, 07.28.06, irving plaza

2006-07-31T13:32:00.000-07:00

fame is fleeting... or not.
i'd have to say the latter for brand new. becoming more and more reclusive as the months pass has only made them considerably more glorified. we haven't heard anything from this band for over two years-- that is, until their tour. even then, it's just a small sampling of what's to come; but from what i've heard, it's going to be something great. not just thumbs-up great, but formal english great. according to thesaurus.com: eminent, exalted, colossal, august, celebrated, outstanding, paramount. their new, as-of-yet untitled album promises to be all of these things. great.

there is something different about brand new. their quiet and modest demeanor is absent of any of the over-the-top tomfoolery expected of other young bands. sure, they're willing to hurl instruments during a performance-- but it's different, i swear. it's solitude. it's individual. and it adds an air of mystery that i don't think many bands have managed to accomplish quite like this one. i envision monks who have learned how to rock within their zen-like state. there is something otherworldly. it's the quiet things that no one ever knows.

i think they just like playing their music. i think that is a good thing.

for this reason, jesse lacey has managed to start a new curiosity in the 18-25 set. i would like to term it the jesse lacey boycrush phenomenon (JLBCP). many people may call me crazy, but i know what's what. for some reason, jesse lacey seems to compel the same reaction in young adult males that drake bell or jake gyllenhal tend to illicit in tweeny girls. almost any guy i know who knows brand new gets giggly, flushed, and does this little jump-dance-two-step whenever he comes up into conversation. i've heard a few very menly men exclaim that they want jesse's babies. srsly. i mean, i do too, but it just doesn't hold the same weight because i'm a girl, even if i am retardedly obsessed with the band. it's a man-love thing, and i can't compete.

but now on to the show.

ruff ryders and revolters
the born ruffians began the set, and they were formidably awesome. a stringy, skinny, simple trio, they had a snappy, bass vibe sound that grooved pretty nicely. at the time i compared them to a cracked-out bob dylan, but i have no idea why i came up with that comparison. they describe themselves as "pre-punk new-wave dance-folk love-making...without a condom." ...and i kind of have to agree with them. it's edgy folk with a spit-in-your-face kind of twist. nice.

now, on to colour revolt from m-i-s-s-i-s-s-i-p-p-i. beautiful crazy stuff. definitely a mogwai influence in their ethereal instrumental collaborations, along with harsh edginess and a little bit of chris martin/trail of dead vocals added here and there. while i can only remember one of their song titles (check out "a new family" on their myspace), i can for certainty say that they made sweet, sweet love to my ears, and it was a good kind of love. i am one for pretty sounds mixed with some hardcore, and colour revolt hit the spot. they also spell colour with a 'u', which is something i do as well, and that's a definite indicator that these guys are badass.

callin' you a safe bet.
there's not much that can be said that hasn't already. i'm writing this pretty late in the game, and most of my friends AND enemies have already had their say. to avoid the risk of copycatting and/or being annoying, i'll try to keep this as simple and un-gushy as possible.

the band came on quietly and ready to go. as i explained above, they have a mentality behind their performance that could be taken as pretentious. but they weren't. they were real and they were there. "guernica" turned into a free-for-all and it was at the point when the mosh pit formed directly behind me that i was glad that i had already asked one young gentleman named chris to be my bodyguard for the evening (he did his job well. thanks dude). the heat only added to the frenzy that continually grew as "sic transit gloria," "seventy times seven" and "the quiet things that no one ever knows" came up.

they also played my personal favourite, "the boy who blocked his own shot." we even got an anecdote beforehand, about how mr. lacey's friend nicknamed him thus because he had this weird way of shootin' hoops. to be honest, the vibe i was expecting from the song wasn't there, although that may have been more of the crowd's fault than the band's. while i was hoping for something more contemplative and sad, it was just another song to groove to. maybe i'm just biased. nevertheless, i got soaked with water during the song, which was kind of nice considering the heat on the floor was over 100 degrees.

the real deal, however, was the acoustic moments. at one point, jesse started off with ziggy stardust and did a verse and a chorus before realizing there were probably five people in the audience (me included) who appreciated it. i got your back, man. you get a high five for that one. the 16 year olds next to me whined. anyway, they performed some great acoustic sets, such as "soco amaretto lime," "jude law and a semester abroad," and "play crack the sky" as the finale. jude law was the result of the audience begging, simply begging, for him to bust it out. he replied "seriously guys, i would play it for you if i could remember it." of course everyone called bullshit, and while trying to figure out the chords he asked us to be quiet because he was nervous enough as it was. it came out pretty mellow considering it was acoustic, but i actually liked it a lot. i guess he remembered it after all.

"soco amaretto lime" was done beautifully, as jesse changed the perspective at the end, singing slowly "i'm just jealous 'cause you're young... and in love." it really hit a note with me, because i know what he means. we won't delve into the emo void too far, but let's just say at that concert, it became abundantly clear that i'm hearing that song, and this band, with different ears now. the concert finished with "play crack the sky." it was lovely. there were some people who didn't know how to take a quietly vulnerable moment, but overall, it was an amazing rendition-- very sad, very fitting. i left the concert glowing, knowing that what's going to be coming is going to be better than it was before.

this is the end
so, i suppose this wasn't so short afterall. but it was pretty sweet. brand new is quite an experience as long as you know what they're about. if i ever have another chance, i'll definitely see them again.* expect my thesis on the JLBCP within the year.

/jen/

*insider note: expect a chance kind of soon. shhhh.

up next: midlake/muse

rookie of the year, 07.17.06, northsix

2006-07-26T13:07:00.000-07:00

i'm going to keep this short and sweet because that's exactly what my show experience was. at northsix, rookie of the year was one of the openers, and seeing as how i had to take an hour and a half subway ride back (and pick up a cake pan... don't ask) i didn't stick around long after their set was finished. i'm sure blackpool lights were fabulous, but i'll have to catch them another time.

awk-WARD
night kills the day were the first openers. i don't know what happened there. it was a mix of too much influence and too little good originality. the attempt at dirty rawk wasn't working with me. it was like axl rose with alice in chains with bad, bad, BAD joy division. when the lead singer would do his own epileptic version of the davy jones crab shimmy, it just made me really confused. anyway, there were two awkward people in the front totally getting down to their music, so i suppose someone out there appreciates them, but i personally had to hold back giggles because it was so ridiculous. i think most people in the audience were doing the same. the moral: don't spend ticket money on night kills the day. they need to get their act together as far as being their own band goes before they're worth seeing.

the sweetness
and that's what rookie of the year are. sweet. a slightly more wholesome, slightly less bitter answer to a young chris carrabba. this isn't to say that there isn't angst-- there is plenty of it. but for some reason, it takes on a far less condescending, throat-choking-up semblance than dashboard confessional; instead, it's more of a melancholy, bittersweet, one-tear-falling kind of angst. far more subtle and forgiving. the guys are young, all around the age of twenty, and still have a fresh-eyed look regarding the world, love, heartache, and life. everyone in the band is also pretty cute, in that boy-next-door kind of way. it just adds to the whole sweetie pie factor.

their music, however, is also good. they're a tight band, and they're just as good on stage as they are on the album, which is pretty well produced considering the small crowd at northsix. songs such as "poison like your own" and "blue roses" were well-played with a bevy of emotion. the mix of acoustic and electric, plus the tenored voice of ryan, the lead singer, was enough to keep the crowd excited, yet cool ( i would compare it a little to emery's sound, but with less throatiness). i was happy i could show my support.

my final thoughts: rookie of the year are doing pretty okay for themselves. right now, their music is good when i'm in a lighter mood for emo. and that's fine. however, what i'm really looking forward to is the band maturing as time progresses and they begin to tour more. maybe they'll always be kind of sweet, but i want their influences to grow and change and see something from a different perspective. i'm willing to wait for it.

/jen/

next up: brand new

People In Planes

2006-07-19T10:49:00.000-07:00

I had an unusual evening last night, for reasons I won't go into. Anyhow, I got to check out People In Planes at Bowery Ballroom. The band sounded heavier live than on record, despite the sound not being as crisp as it could've been. Their main man looked like Roddy Woomble crossed with Justin Hawkins, their guitarist like Munky of Korn, dreadlocks and interesting taste in clothing present. When speaking with them after the show, they appeared to look somehow different, I'm not sure why or how this came to be, but the comparison faded. I think their guitarist has a similar stage presence to that of Munky, the way in which he thrashes and squirms.

They played the strongest tracks from their debut record, opening with 'Barracuda' and throwing a new tune into the mix of the evening. It'll be interesting to see how their next record sounds, and if they'll add elements to their live show or not. If you like System of a Down during their mellow moments and if you're a fan of Tool, download a track or two by this band and see what you think. Just don't expect any fireworks when you see them live.

kevin devine and the goddamn band, 06.30.06, tonic

2006-07-18T12:13:00.000-07:00

cupcake groupie
my friends always tease me. i can walk past parker posey or johnny knoxville or whoever is big on e! at the moment, and casually recount my glance at glamour, but when it comes to interacting with musicians-- well-known or not, and most likely not glamourous-- i become bandy-legged and furiously blush while my mouth seems to lose all tersenss and i start giggling like an idiot. people who play things mesmerize me, but for all the dorky reasons. i am not your particular pamela des barres or penny lane, i'm not here to do tricks. i just want to talk about music, man... have an intellectual conversation; i want to know what goes on in the mind of artists, because sadly, i can only hope to listen and write about it all.

so it's no surprise while i'm waiting in the line outside of tonic, i practically passed out when i learned kevin devine's friends were behind me and he came by to chit chat for a bit while the other bands soundchecked. i turned red, and i was too afraid to turn around and make eye contact, which was hard considering his head full of titian hair is naturally eye-catching. i eavesdropped instead and tried to to breathe normally and attempted to not do something stupid.

pink christmas lights
in the end it was all okay. we were finally let in, and he and his band hung out with their friends around the bar and then retreated backstage to get ready to open the show. the crowd was very excited. people were looking forward to hear kevin, more so than any of the other groups, and he was opening. "why are you starting this gig?" one fan screamed from the audience. that's a good question. when he and the g.d. band were on, everyone flooded to the stage. it was a young group of fans, but they were completely enamoured. everyone knew every word, everyone cheered whenever he started a song.

his band was wonderfully together, and very at ease on stage. kevin devine managed to make a few quips and giggly moments. his voice brash and emotional, he was able to conjure up songs as he wore them on his sleeve, in front of all of us. "cotton crush" was, of course, considerably well received and he even threw out a few new ones which were pretty awesome as well.

the only downer in the evening was when the sound guy accidentally cut them off before they were finished. thinking that the band walking off the stage was a signal that this was it, instead of kevin doing a lone, acoustic, final song, he put up the lights and started the house music. the audience, who remembered kevin promising them at least one more song, started booing and pleading for the show to continue. kevin talked to the powers-that-be while packing up his guitar, and it was decided that the next act needed to go on. this choice resulted in a potential mini riot, with boos, jeers, and catcalls as the emcee proceeded to the stage. the people were there for kevin, they weren't around to see the next act (a pretty pretentious attempt at reggae-scat-ambience which i left 30 seconds after hearing), so it's no suprise the place literally emptied out onto the street as the next group set up.

all in all, a very excellent show sans the space cadet sound guy, but we all make mistakes. getting the chance to hear that final song be played is a good enough reason to spend twenty bucks to k.d & the g.d. band play at webster in august. looking forward to resting my eyes on that shock of coppery hair once more.

ps: don't think i was too cool to tell him he did a great job. i totally did. cupcake groupie 4 life.

/jen/

up next: rookie of the year/night kills the day

Mika says relax!

2006-07-14T11:22:00.000-07:00

So, I just listened to some songs by Mika. He's signed to Island and he'll probably do rather well later this year as well as next year. Imagine The Scissor Sisters taking on Bolan and then Rufus Wainwright and Beck get in the ring and join in on the fight. He's not bad, check it out:

http://www.myspace.com/mikamyspace

hooray for earth/unbusted, 06.28.06, pianos

2006-07-06T07:39:00.000-07:00

i'm not gonna lie. i'm going to be honest and upfront and claim right here and now that i'm biased about these guys. i'll try my best to keep an objective view while talking about their show, but it's going to be hard because they are all so freaking cool. i was the girl in the front taking pictures after all (groupie 101: become the [hand-held digi] photographer. then if you take a few good ones, they owe you a beer).

austin, tx is so f'in weird.
i met hooray for earth this past march in a completely different part of the country. that completely different part was austin, texas, which is the wierdest capital city for a state ever, but only because it's too awesome for people like me, a northern, 20-something music snob. it is nothing else like the rest of texas, yet it is texan in most of its elements. go there some time and shop for some vintage but don't have the italian food, even if random strangers on the street tell you they know of a good place for pasta. they don't know what they're talking about.

anyway, i was invited to attend the blender party by the lovely jamie, and it was while i was standing at the foot of the stage during spoon that i bumped into a few of the members of hfe. when we realized that we were to be foot-of-the-stage buddies, the bassman and quintessential pr guy gave my cousin shaina and me their demo. key moment, right there. when i got back from sxsw 5 days later, i popped it into my computer and was hooked. we'll get into the reasons why in a bit.

while at sxsw, they also toured with unbusted, and i have something to say about them too, which is nice.

can i have some pianos with my beer?
it's a wednesday night at the end of june on the lower east side. we all know pianos. it's kind of scrubby but since it has shows it's where a lot of people go to be hip and cool and have some booze. we like it. i also like how when i run to a random atm i see mike myers on the street and totally act cool like the typical new yorker i am even though i am peeing my pants on the inside.

unbusted
speaking of unbusted, they rock. they're up there with the alterna-indie guys that we know you know i know and love. you can tap your foot to it in my favourite style, which is the back-heel method (you know, where your whole leg moves and the other stands straight and you look like you fucking know what you're tapping about. hells.yeah.). essentially, i've really got to start researching them a little more. while i wouldn't say they blew my mind, i would stress that they just might have the potential to in a bit, and that excites me. come august 19th, they're back in the city at r&r. i'll have to make sure i'm around for that one, and then i'll have more to say on all of them.

hooray for earth
alright, let's get ready to rumble.

considering these are boys from boston, i'm impressed by the amount of people that were there. granted, they were part of a whole showcase of bands that the bassist, chris principe, helped organize, but nonetheless, the crowd knew the words, knew the songs, and were having a great time.  i was foot-tapping and dancing.

hooray for earth is an interesting band. their sound is a mix of crunch rock guitars and poppy synths. while i'm not so sure i would go as far as they go with their description (blur, nirvana, and.. enya?) i will concur that it's something a little different from the everyday. if i personally had to describe what their sound was, i'd liken it to blur (i'll give them that) and a laptop-induced schmear of depeche mode and the cure (the irony in the lyrics helps out, too). i'd also say it's a little like head automatica, what with a lot of the characteristics of shoegaze, but they'd kill me. so i won't.

as far as the technical portion, they have their stuff together. noel heroux, the vocalist, and chris principe, the bassist, had been playing in raymond, before it was reincarnated into hooray for earth, since the late 90's. all members are comfortable with their respective instruments and i have to say, watching the drummer, seth kasper, is pretty fun.

there were some minor technical difficulties during "so happy," but they quickly adjusted and everything went smoothly from there on out. they played my favourite song, "simple plan" second, and it was like buttah.

i've heard their shows in boston, where their following is considerably more noticeable, are even more entertaining. taking into account that their venue was pianos this time around, i'm not going to take points off for showmanship. they got me raring to go even with out the usual stage antics, and the crowd seemed to go right along with me. hopefully someday i'll be able to go into boston and see them on their own turf. that will be a fun day.

i've been told they'll be back in nyc come august. keep your eyes peeled, and visit their myspace if you have a minute or 16 to spare. and don't forget unbusted. they're just as wickedly awesome.

/jen/

up next... kevin devine and the goddamn band

afi/dillinger escape plan/nightmare of you, 06.22.06, roseland ballroom

2006-06-28T07:05:00.000-07:00

the story of me and a.fire.inside.
i have never really been a big fan of afi. it wasn't that i didn't like them or appreciate their artistic merit, because i certainly respected them and knew what their draw was. their music is intelligent (if emo), they are intelligent (and oh-so-emo), and from what i've experienced, their fanbase is rabid for them. they have to be good, right?

but davey's whiney voice always got in the way. i couldn't keep myself from imagining gnodes the size of apples habituating his vocal chords in 20 years*. he sounded too much like some pop-influenced, snotty kid trying out for chamber choir (you got a nice vibrato, but breath from your gut). for some reason, this kept me from ever fully diving into their music, so whenever someone would mention them, all i could do was offer up a shrug and say that "it's admirable they're vegetarian?"

then i heard from many a source that their new album, decemberunderground, released on 060606 (yep), was phenomenal. soon after, i received my live*nation update that said tickets were still on sale for roseland AND they were playing with dillinger escape plan (i love those guys). i purchased my admission and hoped i would be impressed rather than disappointed.

*for some reason this same visualization doesn't occur with all of the hardcore singers i listen to. whatev.

the killing lights
nightmare of you
i arrived at roseland around 6:25. i waited in line with all of the other emotastic/goth/scenester people (i was dressed inappropriately, you could say). when things finally got moving, people flooded in and literally ran to the front of the stage. i hung out by the balustrade (and thus, the bar)and took in some human interaction.

as always happens at roseland, the opening band began promptly. nightmare of you, why must you start off every freaking show i go to, why? all that ever happens is me standing there, taking out my earplugs, utterly disappointed, wishing you could have proven me wrong this time, just this time.

to be fair, album-wise, i like nightmare of you. i listen to them on my iTunes. they're poppy and kind of retro and we enjoy the catchiness factor. one time, i went to a show specifically to see them. but i have learned the truth now: they are an awful live band.

never really exactly on pitch, their energy never really up to ::rawk:: status, and the likely event that someone is going to mess up due to the lead singer's possibly cracked-out status, makes me less than enthused to know that i'm going to have to listen to them for 30 minutes. jamie (my partner in this neverending ear torture) has hypothesized that something shady is going down, because there is no logical reason as to why these guys get to open for all of these hot bands.

they weren't any different for the afi show. all of the catcalls from the dillinger fans didn't make the situation any better, either.

i do have to give them some potty-humour credit though. when announcing dillinger would be on after them, and then analyzing the ripping cheers throughout the crowd, frontman brandon reilly announced that what he'd heard was total testosterone. "it's not even just a lot of manly shouting. it was pure balls." ahahahahaha brandon. too bad your singing isn't as good as your wit. you're fired.

i always go into these shows praying that they do well. i really, really want them to put on an amazing performance, for i see the potential in their skinny pants and tie schtick. unfortunately, the potential i see doesn't come through, and i always leave with a bitter taste in my mouth and an awful sense of dejected failure.

dillinger. motha-f'in. escape. plan.
after the disappointing and somewhat embarrassing run of n.o.y., dillinger made their way onto the stage, and "pure balls" it was. nothing gets this girl pumped up like some good 'core. that and the body of greg puciato (ben weiman has a piece of my heart too). what can i say? having gauged the crowd earlier, it was definitely littered throughout with big guys covered in tattoos, and wishing to make it through to afi, i stayed off to the side.

their show was ridiculously heavy, with strobed lights beating to their funky mix of mathcore rhythms. i'm surprised i didn't have an epileptic fit it was so wonderful. "43%" raged and their cover of nine inch nails' "wish" was by far one of the highlights of my evening. unfortunately, it seems i was surrounded by a relatively clueless and thus, alienated, group of people waiting to see afi. i don't think they knew what was coming, and the look of confusion and slight distaste played on their faces while dillinger shredded. punks maybe, but hardcore they were not. whatever, the scene is an acquired taste and tall platform boots and corsets don't always work well in a mosh pit.

they were so wonderful, i'm not really sure there's much more to say other than i can't wait to see them again on august 2nd at bowery for a diabetes benefit. sweet.

a fire in my loins
creatively speaking, afi has their showmanship down pat. very comfortable with the audience, very comfortable with themselves, afi knows how to dress to impress. with the crazy hair-wha?'s and the makeup and the colorful schematic lighting, afi knows how make people insane for them. it was only a thursday night, but it could've been a friday night for all i knew (though i hear their friday show was even more over-the-top). fists pumped into the air, people chanting, screaming as davey havok jumps into the audience.

their music is also really freaking good. davey's voice doesn't bother me when it's live, and i couldn't get over the excellent guitar work as done by jade puget. i was happy to be there. granted, i didn't know many words, but i recognized at least 75% of the songs, which means that they have managed to waft themselves into my world anyway, even without me trying.

the audience had its share of potty guys (one of whom kept screaming lyrics into pretty jailbait faces as his girlfriend stood there ready to rip his head off), but for the most part, people were respectful and pretty excited to be hearing their favorite band in person. hey, i was excited. i'm really glad i ended up heading to the ladies room and rock-do'ed my hair up, because goddamnit, they deserved the effort. and now i kind of have a crush on jade puget, even if he did shout out his girlfriend before one of their songs.

the moral of the story
don't judge a book by its cover. or at least a band by the voice of its singer. dillinger will always rock your socks. nightmare of you has a really, really long way to go, but i'm still holding out hope that they'll surprise me one day. oh, and give peace (and emo) a chance.

/jen/

up next... unbusted/hooray for earth

jaymay/zox 06.06.06, apple soho/cbgb's

2006-06-27T18:25:00.000-07:00

on 06.06.06, i had the pleasure of seeing two very different shows in two very different venues. it was the perfect mix of audio waves for an evening after a long day at work.

jaymay, apple store, soho
the mac store in soho was showcasing jaymay, #1 on the iTunes folk list at the time, for a small, acoustic performance. i have had an interesting relationship with this particular artist for a while, to say the least. i first heard about her when a friend saw her in concert at the living room in brooklyn in spring 2005. he was pretty excited to tell the world about her, and for a good reason. i promptly forgot about his raving endearments of her shortly thereafter due to being half-homeless in new york at the time, but after one especially miserable holiday celebratory evening, riding home in my other friend greg's car at 4 a.m., jaymay popped up on his mixed cd, and i instantly recognized her. she's the kind of singer-songwriter you instantly recognize, even if you haven't heard about her in six months. i was a big fan from there on.

i promptly showed up at mac hq in soho, and went up to their little sound stage where a picture of jaymay was projected onto the back wall. five rows of chairs were set up, a considerably intimate setting, where her family and friends were intermixed with the rest of the audience. unfortunately, there was no jaymay. during sound check, one of her strings snapped while going through "song for paul," a beautiful, melancholy, and haunting elegy to her friend who died from an overdose last winter. it's also the only song during which her string has broken before (creepy). while we were waiting for her to arrive with a guitar newly stringed, people wandered in, curious as to who it could be playing at the mac store during this hour, and who i assume were pleasantly surprised after her performance. by the time she began, there was standing room only.

when she did appear again, a little harried, nervous, and slightly embarrassed, she quickly finished her sound check and began. although not as serene as in previous concerts, she nonetheless accomplished her playing beautifully. it still was just as fragile, honest, and crystal clear as it always is.

the audience received a small treat when she decided to play "grey or blue," a catchy yet frank approach about pining for someone who, although in her group of friends, will not look her way. explaining that she had come up with the song while babysitting a young child, and had written it on his toy xylophone, she was going to play it for us as it originally was produced, with pencils for mallets. and it worked. it worked really, really well.

so my observations: unfortunately, the mac theater is not the best place to listen to soft indie acoustic guitar. while jaymay's performance in itself was fantastic, its environment was less than ideal. the background noise in the echoing space is slightly overwhelming, and one of my largest complaints was that they kept the store muzak on during the performance. this was a huge distraction during the quieter parts of her concert, and ruined the energy for me a little.

jaymay is great, always. she has never failed to enchant me, and now we know she can also handle various obstacles and still come out shining like the mellow yellow star she is. she is a true artist, talent, and necessary voice on the music scene. hopefully she will continue to rise to extraordinary heights.

look forward to more of these on jaymay as time goes on.

zox, cbgb's, east village
because jaymay's concert ran over a little, and i still had to eat dinner, i was unable to really catch the two opening bands during zox's concert at cbgb's. however, i can say with certainty that this was a completely different concert than the one i had been at previously. cbgb's is about as far as one can get from the mac store in the "small venues" category. the decaled, dug up, dirty, potmarked, punk hideout is the antithesis of the smooth, simple, minimalist lines of the mac store theater. it also has better acoustics. but i digress.

despite the timing, i was still able to run in, grab my brooklyn lager, grab my free cd, bump into spencer swain, the electric violinist from zox (although considering the crowd, everybody was bumping into everybody), and settle. zox is another band that i have managed to catch a few times before, once at the knitting factory, and then at bamboozle in the meadowlands parking lot.

though i was now completely overdressed in my work clothes, and surrounded by many people who were younger than me, i was still able to relax and react as zox caught the place on fire. having had their cd release party earlier that day in providence, r.i., and about to embark on the warped tour, everyone was ecstatic and totally feeling the groove of the reggae-n-rock influenced beats and riffs. "carolyn," "anything but fine," and "a little more time" were some of the highlights.

zox is a great band. they deserve all of the recognition they're getting, and they're friendly to boot. when i saw them at bamboozle, i had a nice little conversation at their booth with eli miller, their lead singer/songwriter. they've got a great energy, and you can see that they really enjoy playing their music. the crowd is there for them as well. even though they may be from tiny rhode island, their following is overwhelming, and i've got to say, i'm eagerly looking to get my hands in on it.

-jen-

up next.... nightmare of you/dillinger escape plan/afi

let's get this party started

2006-06-27T14:59:00.000-07:00

hello everyone.

welcome to venues and volume. this shall be a joint thing, between jamie and i. we really like music. so much so, in fact, that we're going to write about what we see live. maybe we'll learn something, maybe we won't. maybe our grammar and spelling skills will get worse while our auditory sense becomes greater (too much rock'n'roll rots the brain).

who knows?

feel free to post comments about how much you love what we have to say or how much you hate everything we put down on this bloody thing. we're up for all sorts of attention.

this isn't really my first post. i wrote a whole one on jaymay and zox before i realized i hadn't given this thing a proper introduction. so here it is. welcome!

<3jen