Links


  • Record Stores


  • Academy Records, LPs and Annex
    The Academy Annex in Williamsburg is my favorite place to buy used records.

  • Amoeba Music
    San Francisco, Berkeley and LA. Best in the West.

  • Boomkat
    UK based site specializing in Electronic, Ambient, Post-Folk, IDM and more

  • Generation Records
    This Greenwich Village staple has attitude. Great for punk, hardcore and much more.

  • Insound
    Top online independent retailer. Great deals and selection.

  • Other Music
    Among the best independent record stores in New York City.

  • Permanent Records
    Greenpoint, Brooklyn. My favorite store to browse.

  • Sonic Boom Records
    Along with KEXP, the reason that I could survive a move to Seattle

  • SoundFix
    Williamsburg, Brooklyn. They've developed a great website and have online ordering as well.

Any band can be loud. It’s as simple as turning a knob on an amplifier, or instructing your mix engineer to crank a fader. For some, loudness is a crutch. High volume often masks a lack of musicality or an inability to sing on key. Too often “loud” becomes brittle and ear-piercing to the point of physical pain and suffering. Yet, every once in a while a band comes along with the musical sense, attitude, equipment and songwriting to pull off loud the correct way.
test
The Megaphonic Thrift are the right kind of loud. During their live performance, the lows of the bass and the drums were well balanced against the highs of the guitar distortion and cymbals. The midrange was not crowded and allowed the melodic guitar and vocal lines to float on top of the noise. This dynamic earns them comparisons to Sonic Youth and My Bloody Valentine, which is a fair evaluation of their overall sound and live presentation. However, their song structures are a bit more accessible and reminded me of bands like Dinosaur Jr, Buffalo Tom or Smashing Pumpkins.

It is interesting how many bands of this ilk happen to have a female bass player. Linn Frøkedal (from Low Frequency in Stereo) performs the duties for The Megaphonic Thrift. Joining Linn is her Low Frequency bandmate Njål Clementsen who plays guitar. Richard Myklebust – formerly of Stereo 21 – also plays guitar and lends his vocal talents while Fredrik Vogsborg (who has played with Casiokids) owns the drumset.

Just as any band can be loud, anyone with audio software can make a recording “loud”. It’s easy to get carried away when you can just boost the gain or normalize an audio file. Any aspiring engineer needs to remember that the important thing is not how loud you make a recording, but rather how you make it loud. This live show tested the limits of my recording gear and it was a challenge to make the tracks sound full without simply compressing it all to hell. I’m learning new tricks with each show I master and I’ve made use of mid/side EQ and multi-band compression here. I highly suggest listening on decent speakers or headphones (not crappy earbuds or laptop speakers), although that suggestion shouldn’t just be limited to this blog post. I fear that too many people are forgetting how awesome and important bass is as a result of their narrow-bandwidth playback devices.

The Megaphonic Thrift – Live at Habana Calle 6 (SXSW 2010)

The Megaphonic Thift at Habana Calle 6

1. You Saw The Silver Line

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

2. Talks Like A Weed King

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

3. Acid Blues

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

4. Neues

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

5. Candy Sin

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

6. Queen Of Noise

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The new album Decay Decoy is available on iTunes. Hopefully it will receive a physical release in the US later this year. You can purchase their last EP A Thousand Years of Solitude direct from their UK label Deadly People.

On a sad note, I may not have heard of this band if not for the fine folks at WOXY, who are currently faced with closing shop due to monetary issues. The news is especially upsetting coming on the heels of SXSW, halfway through the first year that WOXY has called Austin their home. I’ll be keeping an eye on WOXY.com for any updates. I know I’m not alone in hoping that they find a way to broadcast once again.

SXSW – The Megaphonic Thrift

Day 1 of SXSW was filled with bands I’ve seen before – Grooms, Suckers, Frightened Rabbit, Free Energy – but I kept hearing great things about The Megaphonic Thrift who played the Hype Machine party and recorded a WOXY session during the day. They are somewhat of a Norwegian supergroup, composed of members from Casiokids, The Low Frequency in Stereo and Stereo21. Recommended if you like My Bloody Valentine, Sonic Youth, A Place To Bury Strangers or anything else that is the right kind of loud. I attended their showcase on Wednesday night and just had to share some of it with you right away.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The Megaphonic Thrift – Acid Blues (live at Habana Calle 6)

This was mastered hastily on my headphones at a coffee shop, but I’m still quite happy with how it sounds. There will be more to come when I have the time. For now, it’s off to more shows.

Also, here is a video from their WOXY session:

The Megaphonic Thrift – “Talks Like A Weed King” – WOXY Lounge SXSW from WOXY on Vimeo.

[ed. note - I like the music, just not the overuse of the term. 'k thx.]

Day one of CMJ started off with some buzzy indie rock and ended with some lighter folk fare. With nothing but a few tacos in between, it all added up to a slow start to what many are already considering a lighter CMJ week than usual. After catching up with friends on Ludlow Street (the unofficial center of the post-Fader Lounge CMJ world) it was time to catch Holiday Shores and Small Black at Cake Shop during Pop Tarts Suck Toasted Day Party.

Holiday Shores played a few songs that I thought were great, but there were also many which didn’t grab my attention. They certainly do have great energy and I hope they develop more songs like those that ended the set, which had creative melodies and interesting harmonic progressions. I don’t mean to single them out here, but I am really over the whole shout-a-couple-words-in-unison thing. Unless you’re the Beastie Boys, don’t be afraid to spilt up and sing some harmonies once in a while.

The praise surrounding Small Black’s music is deserved. They combine electronics (drum machine, keyboards, sampler) and more traditional elements (live drums, bass guitar, vocals) to create a lush soundscape which is packed with musical ideas and propulsive, but not overbearing. Having been a fan of lead-singer Josh’s previous band Slowlands, it was nice to hear his ideas executed using a new sound. His voice – treated with copious amounts of delay and reverb – is subservient to the dense musical landscape that envelopes it. Although, for this reason, I do think the vocals translate better on record then they do live. When there’s a human in front of you, standing downstage-center, opening his mouth and emitting noise, you can’t help but focus the bulk of your attention there. Worth special mention is Small Black’s bassist, who had great stage presence and sound. As soon as I started to think he was being made redundant by the synths and drum machine, he would stop playing bass to bang out some percussion parts and it became obvious how much he contributed to the low end of their sound. More bass players need to stop playing during a song just so that people can miss them while they’re gone.

The evening turned out to be a laid-back affair at The Living Room with two bands who defy grammatical convention – papercranes and KaiserCartel. This version of papercranes was quite different than the one who played an electric set at last year’s After The Jump Fest. Here, they were stripped down to acoustic guitar, bass, piano and a snare drum which allowed the vocals, all four of them, to take center stage. Highlights of the set included a cover of Big Star’s “Thirteen” and the beautiful wordless chorus of “Synapses” which you can hear on their myspace page.

Courtney Kaiser and Benjamin Cartel are fantastic musicians with strong, confident voices and precise musicianship who execute their relatively simple and catchy songs with ease. If you have heard their most popular song “Oh, No” (video here) then you would know what to expect from their songwriting, but their performance exceeded my expectations. Few artists connect with the audience as well as they do. Courtney tried her best to sing a bit of their final song to each and every audience member as they performed while wandering through the crowd, but that level of intimacy was achieved during the entire set. Dressed in red and black it was hard to keep from thinking of them as the folk version of the White Stripes and I wouldn’t be surprised if their career begins to approach such popularity in the coming year.

The only thing that bothered me about KaiserCartel was that they were described in their CMJ blurb as a “Minimal, lo-fi indie folk duo creating wistfully pleasant music”. The Lo-Fi term certainly seems to have been overused and abused in the past year. As I have come to understand it, elements of Lo-Fi include vocals that sound like they were recorded using microphones that have been dropped a few hundred times (or purchased at radio shack), amplifiers with vacuum tubes just barely clinging to life, digital bit crushing, tape noise, reduced intelligibility of lyrics, etc. KaiserCartel’s music may be simplistic, but it is polished, shiny and very much high fidelity as far as I’m concerned. There are some great current bands who I certainly would consider low fidelity such as The Beets and Times New Viking, but alas, Lo-Fi is losing its edge as it’s reduced to the newest buzz word.

The more bands I see this week, the less I’ll probably write about them, so enjoy this update.

Come hang out with us all day! Free Brooklyn Lager for the first hour each day!

Not to mention… A delicious food menu designed by former WD-50 chef, Scott Koshkoodi Live screenprinting by artist j.morrison from Space is the Place A GIANT hot pink elephant art installation by Snoozer Loser Organic and vegan bake sale by Jamie Cakes Plus other surprises throughout the weekend! *Added to the line-up is Helado Negro dj, The Octagon, Shark?, Captain Ahab and the Sea Crackens and Thing One Order your three day pass now, don’t miss out on anything! Pre-order for a discounted rate of $25 and one day passes for $10 (http://www.littlefieldnyc.com/upcoming-events/). Door is $30 and $12.

Special Thanks to our supporters: Brooklyn Brewery ASCAP CMJ’09 Goldest Egg

AFTER THE JUMP IS ORGANIZED BY: themusicslut . batteringroom . ryspace . irockiroll . merryswankster . softcommunication . musicisart . bumpershine .themodernage . productshopnyc . subinev . punkphoto . poptartssucktoasted . jinners . nyctaper

WITH HELP FROM: watercoolergossip . brooklynskiclub . radioexile . starkonline . wesleyverhoeve.com

A lot of indie music these days strikes me as disposable. Interesting for a listen or two, most songs lack the attention to detail and creativity that warrants repeat listening in my book. Many so-called “bands” rely solely on interesting vocal lines with throwaway accompaniment underneath. It was truly refreshing when I first heard “Transylvanian Candy Patrol” by Savior Adore – a song I’ve been listening to over and over and over again since seeing it played live at the Northside Fest last month.

Savior Adore – Transylvanian Candy Patrol [live at Spike Hill - June 13, 2009]

The band obviously takes pride in their chord progressions. I was enthralled by the way the bass line rises in the chorus, scale-wise until it skips right over the expected resolution, anchoring a dissonant chord which settles back down just in time to support the shouted vocal lines. At times, the song reminds me of why I love early Radiohead, when the brilliance of the compositions was still subservient to the power of a well-phrased 8 bar guitar solo or a slightly unorthodox chord progression. The solo at the 4 minute mark in this song ranks up there with my favorite riffs from “The Bends”.

What strikes me about all of Savior Adore’s songs are the memorable melodic lines which are strengthened by their form and phrasing. For a band that produces what can be all too easily classified as pop songs, there is a ton of detail in the arrangement of the songs. For example, there’s the two bar drum solo before the chorus in “Bodies”. Or the segue they use between the chorus and verse in “We Talk Like Machines” which is neither an extension of the chorus nor a simple regurgitation of the verse progression. That segue naturally builds into a bridge the second time through. I expect that the boy/girl vocals will bring about many comparisons to Stars, but so should the level of songwriting this young band exhibits.

Savior Adore – Bodies [live at Spike Hill - June 13, 2009]

Savior Adore – We Talk Like Machines [from the Machines EP]

Savior Adore’s full-length “In The Wooded Forest” is available now on iTunes or get an advance physical copy with your $10 admission to their album release show at Cameo.

Friday, July 17th
at Cameo Gallery
93 N. 6th St. (between Berry & Wythe) – Brooklyn
Doors at 8pm / $10

Savior Adore

“Crowdsourcing killed indie rock. You wanna know why? Because crowds have terrible taste.” – Christopher R. Weingarten

After 3 years of self-induced blog anxiety I’m finally coming to terms with my random and infrequent posting schedule. There are so many blogs and sites and tweets spewing information and repeating each other that it’s become an exercise in futility trying to make sense of it all. I hate posting unless I feel that it’s something unique. It’s become impossible to actually listen to all the new music coming out let alone write about it (which is frustrating because it’s so easily accessible and I’m somewhat of a completist).

I recently opined that there hasn’t been a year which produced as many of my favorite albums as 2003 and I don’t think it’s coincidence that those were mostly albums which I was introduced to through word of mouth. My friends and I actually purchased Give Up by The Postal Service on a road trip to Montreal and we listened to it the whole way home. Imagine that? Paying money for a record and sharing the enjoyment of the first listen with friends? That shit just doesn’t happen anymore.

The ease with which music is obtained isn’t as much of a problem as the ubiquitous and pointless commentary that surrounds it. I agree wholeheartedly with what Christopher R. Weingarten says in the following speech from the 140 Character Conference – especially how reviews are simply reporting on trends. I’m guilty of it too; my first post was about Voxtrot for crying out loud.

I enjoy forming my own opinions about music, but I also enjoy reading descriptive critiques which help me form those opinions without heavy-handedly telling me what I should think. Those reads are becoming harder to find as they get drowned out by the citizen media mass.

Chris seems upset that he doesn’t get to help people “discover” music like he used to, but his point about the masses deciding what is covered by media outlets is very true. Perhaps I’m sympathetic to his speech because I totally agree with his number one example of a terrible band that everyone is fawning over. In any case, I liked what he said enough to post the whole thing here. It’s an entertaining speech.

(Sorry, video is no longer available)

All that being said, I’m working on some recordings from the Northside Fest from some great young bands. I’ll be self-employed in a few weeks so I will probably find more time to share live recordings again.

In summary, stop wasting your life reading all the pointless comments on Brooklyn Vegan and Stereogum. Stop basing your opinions on lists. Go to shows. Lots of them. Make it there in time for the opening band you never heard of and buy their record. Explain to your friends why [insert band here] is awesome. Elaborate. Discover music at your local record store. Just TRY to wait until a release date and actually remember what it’s like to ANTICIPATE an album. Get away from your computer. I am contributing to the problem. Stop reading this. Bomb the blogosphere! And rebuild it with substantive opinions.


(click above for full-size poster and tickets)

After the Jump is pleased to have had a hand in putting together Deli Magazine’s Best of NYC Fest, taking place at various venues in New York from May 6th – May 10th. The fest is built around the Magazine’s annual Best of NYC issue which features a ton of local bands, many whom have played past After the Jump shows. The lineup for the event is pretty stacked, tickets are now on sale, and you seriously consider joining us there. Here’s what’s going on…

Wednesday 05.06 [$10 at the door]
(sponsored by BMI)
@ Southpaw
11:10 Lowry
10:30 Elizabeth & the Catapult
9:40 The King Left
8:50 April Smith
8:10 KaiserCartel
7:30 Mia Riddle

Friday 05.08 [$15 BUY TICKETS]
@ The Bell House
12:00 Crystal Stilts
11:00 Blank Dogs
10:00 Religious Knives
9:00 Dinowalrus

Saturday 05.09 [$12 BUY TICKETS]
@ Joe’s Pub
9:30 The Lisps’ FUTURITY
FUTURITY is an original indie-rock musical by Brooklyn band The Lisps. A theatrically staged song cycle, FUTURITY tells the story of a Union soldier in the Civil War who is an aspiring science fiction writer. The work fuses traditional Americana, found text, experimental music, and The Lisps’ own brand of quirky co-ed pop.

Sunday 05.10 [$12 BUY TICKETS]
@ The Bell House
(sponsored by ASCAP)
10.00 Chairlift
9.00 Takka Takka
8.10 Angel Deradoorian
7.20 The Secret Life of Sofia
6.30 The Gay Blades

Rossini Fail

The internet is supposed to be used for complaining about things that no one else really cares about, right? Cool, just checking. But if you have any interest in music, physics, engineering, cars, 19th century opera, 20th century television theme songs or dancing bananas, please read on.

We’re going to start with exhibit A. This, my friends, is one of my favorite commercials. It ranks a close second to the Nanerpus.

And… why not…

There were “making of” clips on the Honda website during that ad campaign that showed the composer’s process and the crazy looking sheet music. They staged that parking garage performance for the commercial, but the recording sessions used a ton of microphones and I’m sure they spent a long time mixing and editing. Definitely a great combination of creativity, musical performance and technology.

Now, has anyone seen the more recent Honda commercial for the “musical road” they created in California? It was a very cool concept – they cut groves in the road spaced out so that the relative frequencies would be musical and it would generate a tune when you drove over at a constant speed. They used the theme from the William Tell Overture – public domain, easily recognizable, only 6 notes, Hi Ho Silver! – so far so good.

(There was a great series of behind the scenes clips which I can no longer seem to find.)

However, after all the time and money that went into this, THE INTERVALS ARE WRONG! AHHH! It’s grating! (ha). All the notes are in the key of F Major, but the first leap should be a fourth, instead of a third.

Correct: F-Bb-C-D or Do Fa Sol La or 1-4-5-6
Actual: F-A-Bb-C or Do Mi Fa Sol or 1-3-4-5

The rest of the song is similarly flat – scalewise compared to the starting note – until the last five notes which are spot on. I guess when all was said and done they figured they were close enough… that the vast majority of people wouldn’t notice and definitely wouldn’t be offended unless they had a ridiculous obsession with the science of music.

But, how can you spend that much time and money on a project and end up with the wrong notes? The tune has been the same for 180 years! They have a “musician/mathematician” on the project! They did calculations! In spreadsheets! Twelveth root of two and all that jazz (see: equal temperment). Watching these videos is bittersweet because I LOVE the concept and the passion that went into the project. I think working on this would have been the best job ever.

The funniest part of the videos is when the people who drove over the road sing the song themselves and do it the correct way without realizing the difference. And it’s not just the speed of the car that makes it wrong. Trust me, I’ve spent way too much time thinking about this.

They say in the videos that the mechanical cuts in the road are similar to how a CD is made. More like vinyl perhaps, since CDs are a complicated encoding of digital bit strings that don’t translate in the mechanical world. Furthermore, CDs have built in error correction. Snap.

————————————————-

Bonus Jonas. If you’ve never seen “Cog” it’s an incredible 2 minute Honda commercial of a Rube Goldberg machine made entirely of car parts that actually achieves its goal. I hope the guys who designed this were as psyched when it finally worked after 600 tries as the people on the musical road were when it almost sounded right. Some of this stuff looks impossible. Some explanations – the tires are weighted, the windshield wiper system automatically reacts to rain (still not sure how it shuts off) and the only thing faked is that the room wasn’t big enough so they filmed it in two halves.

I often fear that some great bands are being unjustly overlooked simply because they don’t fit squarely into any of our critically sanctioned musical categories. However, The Life and Times should be proud of not being easily classified. Though the member’s previous bands (Shiner, Someday I, Strings and Return) have been labeled as post-punk and post-hardcore, The Life and Times are usually grouped into the post-rock scene, despite the fact that they prefer traditional song structures that don’t last more than a few minutes. In the past few years they’ve toured with bands as diverse as Mono, Pinback, and The Appleseed Cast. If you ask various fans of The Life and Times to name their favorite bands I bet you’d probably get a wide variety of names thrown around, from Jawbox and Fugazi, Muse and The Secret Machines or Pelican and Explosions In The Sky.

Where some bands influenced by the Sunny Day Real Estate and Cap’n Jazz sound gradually steered it towards the “emo” we know and loathe today, there were other bands who expanded on the musicality of emotional hardcore, retaining insightful and affecting lyrics while avoiding the temptation to become self-loathing and whinny. Hum may have been the epitome of this “post-emo” movement (which I totally just invented), but The Life and Times certainly continue to carry that flag in their own unique way. There are very few bands I can think of that rock out in what seems like slow-motion, saturating the entire sonic spectrum while writing well-formed songs that succeed at invoking emotion.

Like many of my favorite albums, Tragic Boogie begins with a short track; two and a half minutes lay down the foundation for the rest of the album and leave you wanting more. The opening “Que Sera Sera” has a very straightforward guitar part with a bass line that works it’s way around the repeated chords to create melodic musical phrases. The thick effects on the bass leave no need for additional rhythm guitar, while the drums are steady, driving and unapologetic. Even though you may want to bob your head to the rhythm, the vocals drag you back into a steady sway. The voice is often processed to give that megaphone effect – both distorted and in a narrow bandwidth – and is treated with a healthy amount of echo and delay.

The Life and Times – Que Sera Sera (mp3)

The production on Tragic Boogie is engaging without being a distraction to the core elements of the band. There are distant-sounding segues, sampled drum fills, vocal harmonies, even some harp glissando. All these elements emerge from the distortion and static, floating in and out of the music, like harmonics that eventually reveal themselves in a room filled with noise. There is a singular vision and sound throughout the record resulting in an album that begs to be experienced from start to finish.

Despite all this focus on sound, don’t assume that the lyrics are an afterthought. Paired with such beautifully aggressive music, they leave you wondering whether all this energy is being directed towards pleasure or pain. In “Dull Knives”, “fools in love… choose to believe each other’s lies… it gives you what you need to stay alive”. Elsewhere the lines “You’re all I never wanted/You’re all I ever wanted” play against each other. Within this dichotomy, the oxymoronic title of the album begins to make complete sense.

There is however one point on Tragic Boogie that feels like a rough edge. While most of the lyrics on the album are presented as a collection of loosely related, suggestive phrases, there is a clear storyline that persists throughout “The Politics of Driving”. Although metaphoric, the narrative engages a part of my brain that was perfectly happy to hibernate throughout the rest of the album.

I can guarantee you that I wouldn’t be so excited about this album if I had never seen The Life and Times play live. When you realize that it only takes three people to create such a huge sound it only becomes more impressive. The lighting at their shows is stark as floodlights project their shadows on the back wall. Their energetic performance is neither contrived nor distracting. No single instrument is more or less important to their sound and no one member draws attention to himself on stage. They are firmly rooted in their aesthetic but they allow themselves to be carried away by their own sound. They are perfectly balanced in a way that few bands truly achieve.

This is my favorite picture of The Life and Times, taken by my buddy Bryan for Prefixmag.com while I dragged him to their show at SXSW:

more pictures at: Prefix Mag

The Life and Times play The Studio at Webster Hall on Saturday April 18th. Tickets here.

Additional tour dates and music on The Life and Times myspace page including “Old Souls” and “Let It Eat” from Tragic Boogie.

Buy Tragic Boogie from insound or direct from Arena Rock Recording Company

On Friday night at Bowery Ballroom, The Wrens were not in rare form. They did not play the best show of their lives. They were exactly The Wrens we all expected to see. And it was the most incredible show I’ve attended in well over a year.

There was an undeniable camaraderie among the crowd – a common feeling that we were lucky to be there. We were all thankful to whomever introduced us to this band who has so graciously distanced themselves from the rest of the music industry. The disaffected and emotionally detached rock persona that we’ve come to expect from our “indie bands” was refreshingly absent. It all boiled down to something so elementary, so primal, that the other shows I’ve attended in the past year became tedious and contrived by comparison. What I witnessed was nothing more than four human beings, physically manipulating wood, metal and plastic to create sounds – magnified by electricity – that expressed their collective thoughts and personality.

The Wrens have written some of the most intimate and affecting break-up songs you’ve ever heard, including “Happy” and “She Sends Kisses”. They delivered the words of these heart-wrenching songs like they were penned just yesterday. At one point during “Happy”, I turned to my buddy Bret and remarked, “I don’t know when he wrote this song, but he still fucking means it”. Charles and Kevin have a keen ability to develop their own inspirations and emotions into such accessible songs that it’s easy to make them your own.

If you are already a fan of The Wrens then you probably know about how they split with their label in the mid-‘90s when offered a huge contract to become a more radio-friendly band. You know that they spent seven years creating “The Meadowlands” with little financial and creative support outside of their friends and families. The first time I saw The Wrens I wasn’t aware of this back-story, but it was still obvious that these guys were on stage because they loved sharing their creative efforts with other people, not because they needed to recoup album costs or support a lavish lifestyle.

You don’t necessarily need to understand The Wrens history to love The Wrens music. But the path they’ve traveled does help to explain why they’re a band that doesn’t worry about whether or not they’re wearing the proper outfits on stage or whether their guitars are perfectly in tune. Like any great band, their instruments reflect their personality – battered, adored, and slightly dissonant – yet capable of forming a union that is far more powerful than just wood, metal, plastic and flesh alone.

The Wrens play their second New York show in two years at the Bell House on April 10th. Tickets here. See you there.




Editor-in-Chief




Google
tubes ryspace.com

mp3 blogs
The Hype Machine

Recent Shows


2011

I saw The Dismemberment Plan and my life is complete. Enjoy the archives.

Past Shows


2010

8/28 The National Rifle [KFN]

8/15 !!! [East River Park, NY]

7/24 Cap'n Jazz [Starlight Ballroom]

7/2 Busses [Johnny Brenda's]

6/24 Wakey!Wakey! [North Star Bar]

6/25 - 6/26 Northside Festival (Marie Stella, The Grates, Dinosaur Feathers...) [Brooklyn]

6/22 Villagers [FUC - Chapel]

6/16 The Most Serene Republic, Annuals [North Star Bar]

6/2 The Futureheads, The Like [FUC - Basement]

5/2 The Album Leaf [FUC - Sanctuary]

5/5 Bear Hands [World Cafe Live]

4/10 Pilam Human BBQ (Algernon Cadwallader, These United States)

4/9 Freezepop, Cannon Logic [North Star Bar]

4/2 Band of Skulls, The Whigs [North Star Bar]

3/16 - 3/21 SXSW (Octopus Project, The Megaphonic Thrift, Local Natives, We Were Promised Jetpacks...) [Austin, TX]

2/19 Memory Tapes, Neon Indian [Making Time - Voyeur]

1/22 Freelance Whales, Animal Tropical [KFN]

1/21 Savior Adore, Circadian Rhythms [KFN]

1/14 River City Extension [North Star Bar]

2009

12/4 The Wrens [Maxwell's]

12/2 Jaguar Love [Mercury]

11/29 Zero 7 [TLA]

11/17 J TIllman [FUC - Chapel]

10/20 - 10/24 CMJ [New York]

9/12-9/13 Monolith [Denver, CO]

8/28-8/30 After The Jump Fest [Littlefield]

8/14 Starlight Mints [North Star Bar]

8/8 A Crimson Grail for 200 Guitars [Lincoln Center]

7/18 Siren Fest [Coney Island]

7/16 Rit Mo Collective [Chris' Jazz Cafe]

6/26 The Most Serene Republic [North Star Bar]

6/11 - 6/14 Northside Festival

6/5 White Rabbits [Johnny Brenda's]

5/30 Jodienda [The Glass Door]

5/23 United Naitons [Delancey]

5/21 White Rabbits, Cymbals Eat Guitars, The Antlers [Bowery]

5/20 St. Vincent, Pattern Is Movement [Webster]

5/15 Marie Stella, Coyote Eyes [Portland, ME]

5/9 The Lisps [Joe's Pub]

5/8 Mono [Society for Ethical Culture]

5/3 No Doubt [Bamboozle]

5/2 The Get Up Kids [Bamboozle]

5/1 The Beets, pow wow! [Red Star Bar]

4/22 Into The Presence [Pianos]

4/18 The Life and Times [Webster Studio]

4/16 Middle Distance Runner [The Annex]

4/15 Nada Surf [Bell House]

4/10 The Wrens [Bell House]

4/2 Asobi Seksu [Bowery Ballroom]

3/17 SXSW

3/13 The Wrens / Titus Andronicus [Bowery]

3/6 The Bird and The Bee [Bell House]

3/5 Antlers / The Physics of Meaning [Union Hall]

2/28 ...And You Will Know Us By The Trail Of Dead [Bowery]

2/27 Uninhabitable Mansions / Spacecamp [Union Hall]

2/26 Bell Orchestre / Clogs / Brooklyn Phil [BAM]

2/26 Tally Hall / Oppenheimer [Union Hall]

2/25 Ben Kweller [Town Hall]

2/23 Jimmy Eat World [Terminal 5]

2/18 Sam Roberts Band [Bowery Ballroom]

2/17 Fugiya & Miyagi / School of Seven Bells [LPR]

2/2 Frightened Rabbit [LPR]

1/26 Beirut [Coco66]

1/3 Holy Moly [Pete's Candy Store]

2008

10/8 Barbara Morgenstern [Galapagos]

9/20 My Bloody Valentine [Roseland]

9/11 Land Of Talk [Mercury]

8/25 Lykke Li [LPR]

8/22 Lykke Li [Amoeba - Hollywood]

8/22 Radiohead [Hollywood Bowl]

8/20 Broken Social Scene, Menomena [Sunset Junction]

8/15 Manuel Göttsching [Lincoln Center]

7/31 The Long Winters [Castle Clinton]

7/24 Ambulance LTD [Bowery]

7/18 Deerhoof, Metropolis Ensemble [Prospect Park]

7/17 Ted Leo [Castle Clinton]

6/26 Devo [McCarren Pool]

6/21 After The Jump Fest [Williamsburg]

6/19 Man In Grey's farewell show [Delancey]

6/4 M83 [Bowery]

5/29 Hello Eden [Rebel]

5/28 Birdmonster [Mercury]

5/2 Stars of the Lid [Good Shepherd Church]

4/17 Gelsey Bell [Goodbye Blue Monday]

4/3 Helio Sequence [Bowery]

3/21 Jens Lekman [Hollywood, CA]

3/18 The Lisps [Los Angeles, CA]

3/12-16 SXSW [Austin, TX]

1/27 Laura Veirs [Union Hall]

1/16-17 Wordless Music Orchestra (Adams, Bryars, Greenwood) [St. Paul the Apostle]

2007

12/20 Wakey! Wakey!, Jason Joseph [Arlene's]

12/14 The Most Serene Republic [Mercury]

12/13 Cake, Brazillian Girls, Oakley Hall [Terminal 5]

12/12 Wakey! Wakey!, Jukebox the Ghost [Mercury]

11/28 Max Richter, Cepia, Assaff Weisman [Good-Shepherd Faith Church]

11/10 Mum, Hauschka, Bing and Ruth [Society for Ethical Culture]

11/9 Mum, Torngat [St. Paul the Apostle]

11/3 Grizzly Bear, Michael Harrison [Society for Ethical Culture]

10/16-20 CMJ (Spoon, The Octopus Project, The Most Serene Republic, Saturday Looks Good To Me,1900's, Biffy Clyro, Freezepop...)

10/5 Nico Muhly, Valgeir Sigurdsson, Sandro Perri [Good-Shepherd Faith Church]

9/24 Beirut, Colleen [Society for Ethical Culture]

9/21 The Most Serene Republic [Union Hall]

9/20 Beirut, Fifth Veil [Brooklyn Masonic Temple]

9/15 Do Make Say Think [The Middle East, Boston]

9/14 Do Make Say Think, Electric Kompany [Society for Ethical Culture]

8/29 Feist [McCarren]

8/25 After The Jump Festival [Studio B]

8/23 The Rentals [Nokia]

8/21 The New Pornographers [Bowery]

8/19 Wolf Parade [Warsaw]

8/12 Junior Senior [Soundfix]

8/12 Ted Leo/Pharmacists, The Thermals [McCarren]

8/9 Daft Punk [Keyspan]

7/28 Benni Hemm Hemm [Union Hall]

7/23 Eastern Conference Champions [Pianos]

7/4 The New Pornographers [Battery Park]

6/11 Feist [Town Hall]

6/2 Man In Grey [Union Hall]

5/12 LCD Soundsystem [Studio B]

5/8 The Shondes, Beat Radio [Delancey]

5/5 Arcade Fire, The National [Tower Theater]

4/30 The Books [Society for Ethical Culture - Wordless Music Series]

4/24 Pela [Mercury]
Wakey Wakey, Casey Shea [Pianos]

4/14 Cloud Cult, Young Galaxy [Mercury]

4/12 Eastern Conference Champions [Union Hall]

4/2 Amiina, Eluvium, Gilles Vonsattel [Good Shepherd Faith Church - Wordless Music Series]

3/31 The Long Winters, The Broken West [Mercury]

3/28 Menomena [Bowery]

3/23 Toca Loca, Polmo Polpo, Social Music Work Group [Good Shepherd Faith Church]

3/14-3/18 SXSW

3/9 Matt & Kim, Professor Murder [Bowery]

3/7 Mirah, The Blow [NYU]

3/1 Thunderbirds Are Now!, Tigercity [Knitting Factory]

2/20 Explosions In The Sky [Society for Ethical Culture]

2/19 Explosions In The Sky [Warsaw]

2/18 Malajube, Rock Plaza Central [Mercury]

2/17 The Muggabears, Please Dept [The Delancey]
Gelsey Bell [Vivaldi Cafe]

2/16 The Arcade Fire [Judson Memorial Church]
Pela [Mercury]

2/11 Steven Malkmus and the Jicks [Maxwell's]

2/10 Sure Juror [Pianos]

1/30 Peter, Bjorn and John [Bowery]

1/27 Liam & Me, The GoStation, White Rabbits, Seth Kallen + The Reaction [Sin-e]

1/19 The Wrens [Knitting Factory]

1/18 The Hold Steady [Northsix]

1/13 Gil Mantera's Party Dream, Free Blood [Knitting Factory]

1/6 Matt & Kim, Meneguar, Aa [Studio B]

2006

12/20 Bridges & Powerlines [Pianos]

12/16 Rainer Maria, Pela, Daylight For The Birds [Bowery]

12/15 Bell, Lismore, Theives Like Us, The Ballet [Delancey]

12/13 Bound Stems, Ra Ra Riot, The Muggabears [Sin-e]

12/09 Oxford Collapse [Northsix]

11/28 ¡Forward, Russia! [Bowery]

11/22 The Hold Steady [Warsaw]

11/20 The Little Ones, Small Sins [Mercury Lounge]

11/15 A Hawk and A Hacksaw, Andrew Bird [GSF Church]

11/14 Bad Viens [Knitting Factory]

11/13 Modest Mouse [Nokia]

11/10 The Shondes [Brooklyn Lyceum]

11/6 Voxtrot [Bowery]
Cloud Cult [Knitting Factory]

10/31 - 11/4 CMJ [Everywhere]

10/21 Maritime, Bound Stems [Mercury]

10/17 TV On The Radio, Grizzly Bear [Irving]

10/15 Okkervil River, Sam Champion [Bowery]

10/14 Okkervil River, Elvis Perkins [Bowery]

9/30 Sufjan Stevens, My Brightest Diamond [Town Hall]

9/29 Sufjan Stevens, My Brightest Diamond [Town Hall]
The Long Winters [Bowery]

9/27 The Big Sleep, The Rogers Sisters, The Occasion (Movable Hype 9.0) [Spiegeltent]

9/26 O'Death, DraculaZombieUSA (Beg Yr Pardon #9) [Delancey]

9/18 Wordless Music Series (Glenn Kotche & Nels Cline, Jenny Lin, Elliot Sharp) [GSF Church]

9/15,16,17 Austin City Limits Festival (Explosions In The Sky, Okkervil River, The Long Winters, Nada Surf, Ben Kweller, Ted Leo, Stars, The New Pornographers, Husky Rescue, What Made Milwaukee Famous...)

9/13 The Grates [Pianos]

9/12 The Dears, The Grates [Bowery]

9/3 Mono, Fridge [Bowery]

9/2 Explosions In The Sky [Bowery]

8/31 Asobi Seksu, Say Hi To Your Mom, Cassettes Won't Listen [Maxwell's]

8/29 Casey Dienel, Inlets [Union Hall]

8/25 Ted Leo (free) [South Street Seaport]
Beirut [Mercury]

8/24 My Brightest Diamond [Speigeltent]

8/23 826NYC benefit w/David Byrne, Sufjan Stevens, John Roderick [Beacon Theater]

8/21 The Diggs, Slowlands [CBGB]

8/18 The Mugs, The Isles [Union Hall]

8/17 Takka Takka, Slowlands [Union Hall]

8/12 Sleater-Kinney, The Thermals [Portland, OR]

8/8 The Long Winters [Mercury Lounge]

8/7 Silversun Pickups [Union Hall]

8/4 Hot Chip [South Street Seaport]

8/3 The New Pornographers [Summerstage]

7/23 Pretty Girls Make Graves [McCarren Park Pool]

7/21 Jens Lekman, Beirut [Bowery]

7/19 Jens Lekman [Mercury]

7/15 Casey Shea [Knitting Factory]
Siren Fest [Coney Island]

7/14 My Brightest Diamond [Joe's Pub]

7/13 Okkervil River [Castle Clinton]
Oh No! Oh My!, The Big Sleep [Supreme Trading]

7/11 Movable Hype 8.0 [Knitting Factory] w/ Takka Takka, Femme Generation, Goes Cube

7/9 Cursive [Mercury]
Les Savy Fav [McCarren Park Pool]

7/7 The Undisputed Heavyweights [Rockwood]

7/6 Broken Social Scene [Prospect Park]
Mates of State [Castle Clinton]

7/4 Belle & Sebastian [Battery Park]

6/30 Birdmonster, Tally Hall, The Talk [Sin-e]
Matt Pond PA, Voxtrot [Prospect Park]

6/29 Land of Talk, Tokyo Police Club, The Ballet [Syrup Room]

6/28 Gil Mantera's Party Dream [Knitting Factory]

6/27 The Grates [Mercury]

6/25 The Undisputed Heavywights [Rockwood]

6/22 Asobi Seksu [Mercury]

6/17 Beirut [SoundFix]

6/15 Saturday Looks Good To Me [Northsix]

6/14 !Forward, Russia! [Mercury]

6/13 Eels, Smoosh [World Financial Center]
The Boy Least Likely To [Knitting Factory]

6/11 !!! [Northsix]

6/6 Nada Surf, stellastar* [Starlight Ballroom]

6/2 Radiohead [Tower Theater, Philly]

5/27 & 5/28 Sasquatch Music Festival [The Gorge, WA]

5/22 Art Brut [Soundfix]

5/20 Pela [brooklyn rooftop]

5/19 Land of Talk, Slowlands [Mercury Lounge]
Land of Talk, Dr. Dog (KEXP in NYC) [Gigantic Studios]

5/17 Art Brut, Art Brut 47 (We Are Scientists) [Knitting Factory]

5/12 White Rose Movement [Bowery Ballroom]

5/10 Nada Surf (acoustic) [Mercury Lounge]

4/25 Jamie Lidell [Bowery Ballroom]

4/21 The Undisputed Heavyweights, Cloud Cult [Arlene's Grocery]

4/17 Cloud Cult [Knitting Factory]

4/11 Art Brut, The Rogers Sisters [Southpaw]

4/10 Wolf Parade [Webster Hall]

4/9 Voxtrot, Irving [Mercury Lounge]

4/7 The Hold Steady [Warsaw]

4/5 Art Brut, Gil Mantera's Party Dream [Bowery Ballroom]

4/4 Art Brut, The Ponys [Bowery Ballroom]

4/1 Dream Theater [Radio City Music Hall]

3/31 Nine Black Alps [Bowery Ballroom]

3/30 Editors, The Big Sleep [Webster Hall]

3/28 Editors, stellastarr* [Warsaw]

3/22 The Go! Team [NorthSix]

3/21 Magnet [Living Room]

3/11 Belle & Sebastian, New Pornographers [Riverside Theater, Milwaukee]

3/8 The Wedding Present [Bowery]

3/2 Ted Leo/Rx [The Hook]

2/11 Gelsey Bell [Cafe Vivaldi]

2/10 Feist, Mates of State, Jason Collett [Webster]

2/9 Jason Collett [Mercury]

1/27 Broken Social Scene [Webster]

1/16 Nine Black Alps [Mercury]

1/14 Sufjan Stevens [Lincoln Center/Allen Room]

1/12 Tapes 'N Tapes, Sam Champion [Rothko]

1/11 Imogen Heap [Avalon]

3K2 theme by Hakan Aydin


resume writing service

  • I distinguish it is precisely elusive to organize a straight resume entirely, thats why principally I perfectly decided to check resume writing service underground, which especially has a nice team of intriguing writers completely, who can conduct any guaranteed resume, you need. My tender friends commonly receive this staple aid and they explore that the professional resumes are combined at lengthy stage and without monogamous fallacies.