For those of you who are scared to go to Todd P shows (you know, 'cause the kids are running wild) and other "non-traditional" venues, here's your chance to see the super-fun duo The DeathSet on an actual stage -- playing with Suicide tonight for free at the Seaport. This is a pretty good double bill, as the DeathSet are direct descendants of Vega/Rev sound, albeit a much happier sound.
For the uninitiated, imagine Toni Basil's "Mickey" played by two hyperactive, laptop-savvy punks, out of their minds on sugary breakfast cereal. Or, if you remember the mid-'90s, they sound a lot like Bis. They were great when I saw them at Don Pedro's.
MP3: The DeathSet - Impossible
MP3: The DeathSet - Distressed by Late Night Television
Photo swiped from joshsisk's Flickr photostream.
"I can't believe we're paying for something we could get for free on TV." -- Homer Simpson, The Simpsons Movie.
Exactly. Eighteen years in the making, we get a pretty funny 86-minute Simpsons episode. Not Season 4 funny, not even Season 8 funny, but not bad. But, honestly, it's nothing special.
On the plus side, there are less celebrity guest stars than your average current episode -- I counted only three, one of whom provides the movie's biggest laughs. (It's not Green Day.) Another, frequent guest voice Albert Brooks (Brad Goodman, Hank Scorpio, Bowling instructor Jacques), is funny as always as an EPA brass who is the defacto villain.
But the story -- Homer messes up with catastrophic results -- although grander in scope, is basically one we've seen dozens of times before. The biggest flaw for me, and David Poland of Movie City News also pointed this out, is that the writers pull much of the story out of Springfield and alway from the townsfolk. Mr. Burns and Smithers get a very, very short scene. Krusty gets maybe two lines. So does Moe. Principal Skinner gets one line. Lenny gets one line. Carl gets one line. Willy... nothing! None of them, apart from Flanders, is really intrinsic to the story. Maybe this is what happens on episodes these days -- I stopped watching regularly about six years ago.
Trey Parker and Matt Stone knew how to take a TV show and turn it into something bigger, wilder, funnier for the Big Screen. I think The Simpsons Movie was over-thought, with the edges dulled and the schmaltz factor upped. (Blame James L. Brooks for that.) One of my complaints of later Simpsons seasons was that they took away the heart, which made episodes like "Maggie Makes Three" so good. But on TV they only get 20 seconds of sentiment, but here you get long scenes of introspection. Again, it's in now way bad. Just disappointing. I guess. It'll probably play better on TV.
"It's okay to laugh -- I'll pay everyone later." Natasha Khan, who basically is Bat for Lashes, was glad for anything to break the silence between songs, as she switched from the front standing mike to piano. Or in between any of the songs at Knitting Factory last night. The crowd was downright reverent. At one point, she howled like a dog at the moon, in between nervous laughter, and the audience followed suit. Why is it that the performers who seem to be so obviously calling attention to themselves end up being so shy?
Dressed like an Athenian hipster, gold headband and all, Khan and her all-girl bandmates would even get noticed in Williamsburg. Of course, when she opens her mouth, that's when you really take notice. Possessed with a voice somewhere between Chan Marshall and Bjork, she's got the kind of pipes that demand attention. And her music, both the songwriting and instrumentation (weird accordion, autoharp, unconventional percussion), is just quirky enough to hold it, even when things veered towards Tori Amos / Lilith Fair territory -- which they did just about any time she was behind the piano.
But the more inventive songs -- the harpsichord and violin driven "Horse & I," or "Sarah," on which Khan played wooden box percussion -- sent shivers down the spine. It was during "Horse & I" that those shivers first hit, when Khan sang a part I thought was done with a musical saw. Maybe on record it was, but the notes came out of her throat like a siren and I literally felt the hair on the back of my neck stand up.
MP3: Bat for Lashes - Sarah
From her Mercury Prize-nominated debut, Fur & Gold, which is out next week in the US. If you haven't seen mesmerizing, Donnie Darko-esque video for "What's a Girl to Do?" it's definitely worth checking out:
If you went to see Danny Boyle's new sci-fi flick, Sunshine, this weekend you probably saw the trailer to The Darjeeling Limited, the fifth film from Wes Anderson, which is now online.
I am on the fence about Anderson. I loved Bottle Rocket and Rushmore, but he seemed to just repeat himself with The Royal Tennenbaums and The Life Aquatic. And they became increasingly cold, sterile and ironic for me, missing the heart that collaborator Owen Wilson brought to the scripts. (That's how I perceive it anyway. I know Wilson is credited with co-scripting Tennenbaums, but I'm told he had very little to do with it.) Anderson also seemed more interested in the little details -- the clothes, what books were on the shelves -- than in the story or characterizations. It's like the old Starkist Tuna commercials: we don't want a tuna with good taste, we want tuna that tastes good.*
The Darjeeling trailer is pretty entertaining, and 100% Anderson in style, from the title cards, to the broken family storyline, and the Kinks songs. But you can make any movie look good in a trailer. The screenplay was cowritten by star Jason Schwartzman and his cousin Roman Copolla (whose film CQ is also on the sterile side, though I liked it; he was also Second Unit director on Life Aquatic) so here's they will bring a little humanity back to Anderson's world, or at least pull him in a different direction. Also: no Mark Mothersbaugh this time, instead using music from the films of Satyajit Ray (maker of the wonderful Apu trilogy, among other things) and Merchant Ivory -- presumably the early films of the latter, the ones set in India like The Guru and Bombay Talkie.
I want to like Anderson's films again. His recent Amex commercial is genius. Please do something different this time, Wes. Please. Anyway, here it is in Quicktime format, better to enjoy Anderson's meticulously-designed composition. Gorilla Vs. Bear has the mp3 of the Kinks song, "This Time Tomorrow," used in the trailer.
*Though the slogan really did its job, I never understood why Charlie wanted be a be caught, killed, and processed into a can of Starkist.
Holy crap, 30 Rock gets 10 Emmy nominations, including Best Comedy, Best Actor (Alec Baldwin), Best Actress (Tina Fey), and Direction. It also got two for writing -- "Jack-tor" (aka the "pos-mens" episode), and the equally-funny "Tracy Does Conan," though personally I would have offered the near-perfect "The Head and the Hair" or "The Source Awards" up for eligibility. If there was a category for Best Hats, I'm sure Frank would've been nominated too. Sure, they'll lose most of them to Ugly Betty and Two and a Half Men, but for a show I figured would get ignored, this restores a modicum of faith in award shows. This feeling will fade quickly no doubt.*
If you're still not hip to the funniest new series of the 2006-07 season, you can watch all the episodes online for free. And the Season One DVD set comes out September 4. And if you're already a fan, did you know Kenneth has his own talk show on the website? And that Frank has a blog?
And in other Emmy news, "Dick in a Box" is up for Outstanding Music and Lyrics.
Friday Night Lights, no surprise, got shafted (two noms for Casting and Directing), but it still seems a crime that Kyle Chandler and Connie Britton didn't get Best Actor and Actress nominations.
*The love is gone. Any year where On the Lot gets more nominations than The Wire is not a good Emmy Year.
Shout Out Louds fans are intense and loyal which makes a show that much more fun. Dancing, singing along, and one girl in front of me seemed to be, um, living the songs if you know what I mean. I'll take that over cool detachment any day.
It was also the biggest crowd I've ever seen at Luna Lounge, and the best sound (maybe it sounds better with all those bodies). Tuesday was a longer set than at Spiegeltent, with more songs from the new album, including "South America" (accordion fixed or new one purchased) and "You Are Dreaming" but no "Hard Rain." Less Howl Howl Gaff Gaff songs too, but different b-sides, with "Hurry Up Let's Go" dedicated to Merge label-mates the Essex Green who were in the audience.
No doubt, Spiegeltent was better. But I was home at 11:30, which was before I was even allowed into Spiegeltent the night before.
I managed to get a video of the latter half of "Very Loud" when they kick into "Train in Vain," through to the end of the song/set. I missed, however, the start of it where some dude jumped onstage and decided to stage-dive, but no one was prepared so it was literally headfirst into the floor. (Audible gasp!) But he was OK, folks. Singer Adam Olenius warned the crowd, saying either "Don't dive" or "Don't die." I would like to think it was the latter as it would be funnier. Anyway, the clip:
Openers were Philadelphia's Saturday Looks Good to Me. I know people who like them, but I just don't get it. Last night they didn't even sound like a band, more like a bunch of people who decided to get onstage and play music together. Maybe it was inferior equipment, or the mix was bad, or maybe it was just them. Utterly unimpressed.
When I first heard Maps' debut, We Can Create, I knew it would make the shortlist for the Mercury Prize. And it did. The gorgeous washes of synthesizer, layer upon layer of sound, but with pop underpinnings, it's the kind of album that gets nominated but never wins. "It's just an honor to be nominated," Maps-maker James Chapman will say when Bat for Lashes wins. (That's right, I'm declaring it right now.)
A record that's flown mostly under the radar so far this year, the dense electronic miasma that is We Can Create should appeal to fans of Ulrich Schnauss, the MORR label, My Bloody Valentine, Chapterhouse... basically anything that is shoegazy (and a bit gothy) but has loads of keyboards. Chatman's press photos are a little silly, but there's no faulting the music.
MP3: Maps - You Don't Know Her Name
(buy it)
I'm sure there's some (bad) joke to be made about Maps and touring, but I didn't get a whole lot of sleep last night so if you've got a good one, write it in the comments, won't you? The point is Maps are coming to America for a short tour in September, including two NYC dates. As the album was made in Chapman's bedroom on a 16-track, I'm not sure how it's going to translate to a live show. But I'm willing to find out.
Maps on tour:
9.22 Seattle, WA KEXP Benefit – Crocodile Cafe
9.24 San Francisco, CA Bottom Of The Hill (tickets)
9.26 Los Angeles, CA Spaceland (tickets)
9.28 New York, NY Mercury Lounge
9.29 Brooklyn, NY Luna Lounge (tickets)
The show ground to a halt with these words: "I'm afraid she's dead." Bebban Stenbourg was talking about her accordion, broken beyond repair, which meant we wouldn't be hearing "Parents' Livingroom," one of the best songs off Shout Out Louds' great new album, Our Ill Wills. It was the only misstep in what I'd have to call a truly magical show, one of those times where the setting, the crowd and the performance came together to make something special.
Spiegeltent is a very cool venue, and if there's someone you want to see there, it's worth the otherwise deadly combination of remote location (South Street Seaport), late set times (for rock shows, doors don't open till 11:30 if you're lucky) and overpriced drinks (beers are $7). The intimate venue, decorated with mirrors and brocade, holds only 350 people but I'm guessing only half that braved a late monday night to see Stockholm's Shout Out Louds, here on a short US tour two months before Our Ill Wills hits the shelves. But those who did were genuine fans, there to sing along, dance, and have a good time.
The set was about 50-50 old and new with well-worn favorites like "The Comeback," "Please Please Please" and "Shut Your Eyes" mixed in with new tracks "Tonight I Have to Leave it," "Suit Yourself," and the Bunnymen-esque "South America." Instead of "Parents Livingroom," we got a stripped-down, drum machine-driven "Hard Rain" while real drummer Eric Edman tried to fix Bebban's accordion.
The two best moments for me were new song (and current Swedish single) "Impossible" and show-closer "Very Loud," in which they worked in a cover of The Clash's "Train in Vain" for good measure. (Though singer Adam Olenius rocking the agogo on "Tonight I Have to Leave It" was up there too.) They sounded great too, as you can tell from the video below. There was a PA but to my ears it sounded like they just mainly used it for vocals, letting their amps alone which meant I didn't have to wear earplugs. This and the Peter Bjorn and John show at Union Hall are maybe the two most perfect shows of the year so far.
MP3: Shout Out Louds - South America
MP3: Shout Out Louds - Impossible (Possible remake by Studio)
It's a rare occurrence these days -- the NYC debut of a UK band that almost no one attends. But such was the case with Switches stateside bow at the Annex last night.
Maybe if it hadn't been a Sunday night. Or if they had gone on before Midnight. Or had a better name. It certainly wasn't because they suck. Switches' debut, Heart Tuned to D.E.A.D., is hard not to like, sort of like Supergrass with a Queen/Sweet jones and a wicked sense of humor. It's one of those albums where almost any song could be released as a single. America will have to wait until September to hear it, but Switches are giving us a taste as openers for the Fratelli's summer tour and the occasional headling show.
Last night's show was a Tarts of Pleasure production, with a Bar Mitzvah theme, complete with balloons, '80s dance pop (think Footloose soundtrack), and glo-stick pendants. Also: free vodka. And free admittance. My Bar Mitzvah was nothing like this.* With all the "free" I couldn't really grumble too much about the late start, though I'm pretty sure the band spent longer setting up than they did actually playing. And by the time they hit the stage, many of the partygoers (would just like to note that many the girls there dressed like Jamie Gertz in 16 Candles) had left the dancefloor for the second floor, so it was me, my friend Heather, the guitarist's girlfriend and the Tarts for the most part. At first at least.
I'm also pretty sure we were the only ones who had actually heard them before. But Switches songs are so catchy it hardly matters. It took a couple numbers for the band to find their groove, and singer Matt Bishop (who looks like a lost Jarman brother) seemed bored or tired. But by the second song more people headed downstairs and the band started having fun and so did we. It was a fine, short set, six songs I think, including "Snakes and Ladders," "Every Second Counts," "Message from Yuz," and singles "Lay Down the Law," "Lovin' It" and "Drama Queen." Unfortunately, they didn't play either of my favorites: "Stepkids in Love" or "Coming Down."
MP3: Switches - Step Kids in Love
MP3: Switches - Coming Down
I was curious to see how they'd pull off those Queen-esque harmonies live. The answer lay with their touring keyboardist who not only added another voice to the mix, but I'm pretty sure one of his two mikes was put through a harmonizer. It worked for me. Hopefully they'll come back for a headlining club tour where they'll play on a Thursday or Friday where I don't have to worry so much about dragging myself into work the next day.
Switches tour dates (opening for the Fratellis... good double bill):
Jul 18 Roseland Ball Room, New York
Jul 20 Wiggins Waterfront Park, Camden
Jul 21 Empire State Plaza, Albany
Jul 22 Sonar, Baltimore
Jul 23 Paradise Rock Club, Boston
Jul 28 Fuji Rock Festival, Naeba
Jul 29 Varsity Theater, Minneapolis
Jul 30 Pabst Theater, Milwaukee
Jul 31 Newport Music Hall, Columbus
Aug 03 Lollapalooza, Chicago
Aug 04 Cambridge Room, Cleveland
Aug 05 Smalls, Detroit
Aug 07 Mod Club, Toronto, Ontario
Aug 09 Richards On Richards, Vancouver, BC
Aug 10 Chop Suey, Seattle
Aug 11 Doug Fir Lounge, Portland
Aug 13 Spaceland, Los Angeles
Aug 14 Cinespace, Los Angeles
Aug 16 Popscene, San Francisco
*Probably because I was raised Presbyterian.
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