Miike Snow, the Maccabees @ Mercury Lounge w/ pics

June 22, 2009


Miike Snow is not an individual but a pseudo-supergroup of behind-the-scenes producers and songwriters, Bloodshy & Avant and Downtown Records in-house guru Andrew Wyatt. Though each is best known for pulling the strings on Madonna or Britney records, under Wyatt’s effects-laden vocals they coalesce into affable melodies and synthesizer shaped beats. At the Mercury Lounge’s intimate brick confines the group (backed by three additional musicians playing various samplers and synthesizers) still managed to eschew the spotlight, practically playing in the dark much of the time. Unfortunately the dance party intentions of their record weren’t promulgated clearly enough, so much of the brief 45 minute set was devoid of any stimulus that could match their catchy jams—or the Maccabees’ opening set. They opened with “Burial” and cruised through other hummable tracks, like their single “Animal,” “Silvia,” and “Plastic Jungle.” Canceling an earlier performance at Studio B, the group seemed to still be working out their stage dynamics and roles as performers. Not performing an encore made sense. The energy never quite evolved and the group still needs to perfect the art of working a live crowd. Hopefully Miike Snow’s hooky debut record won’t be their last.

the Maccabees


Miike Snow...

Dan Deacon & Ensemble, Future Islands @ Bowery Ballroom (late show) w/ pics

May 16, 2009

Dan Deacon's seminal solo tours became the stuff of indie legend: one Humpty Dumpty man clad in Sally Jessy Raphael frames; a DIY table covered in lo-fi electronic equipment and electrical tape set up in the middle of the dance floor; and raucous dance parties with Deacon's idiosyncrasies as the epicenter. Much has changed since his breakthrough electronic album Spiderman of the Ring's and its accompanying tours, however. Deacon, musically and financially liberated, composed an epic album, Bromst, of sweeping instrumentals and densely rewarding layers with the help of a 14-piece ensemble--his very own Baltimore Gamelan if you will. Naturally, the size of his new arrangements invite new constraints into his live show and so Deacon was resigned to performing onstage Saturday night at the Bowery Ballroom.

Going to the late show of a double header was also dubious. Given the energy of his shows, it was unsurprising that his entire ensemble couldn't keep up and some were performing on fumes, despite Devo-inspired jumpsuits. Deacon himself--repeatedly comparing the later show to previously successful gigs in Brooklyn and the night's first show--was easily frustrated by the late crowd's inability to follow his instructions for crowd participation and interactivity, lashing out, "Did I eat show poison before this?" Though the crowd gave their best efforts, Deacon was irked by the crowd's ineptness (inebriation?) and his frequent substitute teacher-like berating cast an awkward shadow on the show at times.

Regardless, Deacon seems incapable of committing any wrong towards his fans. They danced, soliloquized, and jumped on command all night long, revelling in the throbbing mass of sound coming from onstage. But the late set took its toll. Exhausted from dancing to the ironic Enya and Lisa Loeb house music before the show, the crowd seemed drained by 3am. From Deacon's questioning it sounded like many had been to all three of his shows over the weekend. The others must have been more coherent. Songs like "Of The Mountains" and "Woof Woof" lacked the dynamic punches and gradations that so greatly enhance their recorded counterparts. Next time, I'll have to make sure and catch him earlier in the night.

Future Islands...



Dan Deacon & Ensemble...

Peter Bjorn and John @ "Wonderlust" Live W Hotel w/ pics

March 17, 2009

After an awkwardly scripted, but hilariously oblivious, introduction by the night’s host Bryan Michael Cox, Peter Bjorn and John took the stage at their “Wonderlust” W Hotel gig. They’re physical and musical presence was highly anticipated, not having performed in the US for a year and their fifth album, Living Thing, arriving March 31.

Playing mostly new songs from Living Thing, their sound adhered to the stripped-down minimalist indie pop of past albums—namely the excellent Writer’s Block. But now, in their sparse arrangements synthetic sounds dominated. Peter Moren hammered away at a keyboard while John Eriksson eschewed a drum throne and kit, instead standing in front of a shelf of sampling pads, drums and cymbals while kicking a bass drum to his right.

Compared to their listless photo op upon entering the venue, the trio was animated and energetic, excited to be performing new music. In a bit of role reversal Björn Yttling played keyboard while Moren slashed away on bass for “I Want You!”

PB and J joined the Catchy-Kids-Chorus-Club with “Nothing To Worry About.” Gorgeous minor-soaked melodies scratched against Eastern flute samples and a heavy beat before Moren’s voice took over. It was the first point in the set at which everyone in the crowd was dancing and seemed to have a clue as to what the Swedes were up to.

On “It Don’t Move Me”, Yttling echoed the same piano sounds he created as producer on Lykke Li’s “I’m Good, I’m Gone.” Also the intro on title track “Living Thing” had hints of Moren’s Swedish rockabilly roots.

A few of the band’s songs were a departure from the irrepressibly catchy, but intriguing, melodies PB and J have accustomed themselves to. At some points they seemed to be veering towards the current post punk trend, one that dishevels their tight sound. Ending with “Object Of My Affection”, however, they played with precisely the type of above punk ethos their music—and facial hair—emanates.

Forty minutes later they finished with a single encore, “Young Folks.” I thought it was a bit 2007, and would have definitely preferred the “Me And Julio Down By The Schoolyard” Moren flaunted at a Mercury Lounge show a year ago.