Making Time with Neon Indian + Memory Tapes

Neon Indian
Last weekend brought two hot acts to the stage for Philly dance party institution Making Time. After missing Neon Indian's set at the Barbary a few months ago there was no way I was going to miss them again. Alan Palomo brought his full crew with him and let loose their space pop synth navigated jams. Neon Indian's album Psychic Chasm is the ideal fodder for your home dance party needs but when they bring it to the stage they push and pull at their tracks in just the right ways to create a unique experience that truly rowdies up the crowd. They kept it short, hitting all the popular points like Deadbeat Summer, but promised to come back again soon since they're making the obligatory indie band move to Brooklyn. Judging from their presence on the Late Night TV circuit I'd venture a guess that the next time they come through town it'll be at a larger venue. Glad I saw them when I did.

Memory Tapes

Memory Tapes quickly made their way to the stage after Neon Indian and soon held the attention of all  in the room. I was expecting a simple replay of what you get from their recorded stuff - this wouldn't have been bad at all since Making Time is, at its core, a dance party and Memory Tapes have mastered a real nice funky smooth dance vibe - but I was elated to find a far more dynamic set. New Jersey native Davey Hawk, while backed by a good bit of electronic instrumental support, also had a tight live drum accompanying his guitar lead. The nuance of Memory Tapes' arrangements really popped in the live delivery. They satisfied the movers in the crowd by remaining incredibly danceable while those there to watch got plenty to enjoy. It was a very satiating performance and perfect for the Making Time standard.

Neon Indian- Deadbeat Summer (Daytrotter Session)

Memory Tapes - Bicycle

Freelance Whales + Animal Tropical @ Kungfu Necktie

Last week brought Animal Tropical & Freelance Whales, two very fresh groups, to Kungfu Necktie for a rollicking good time. Going in I knew very little about Animal Tropical - for example, that it's Ah-nee-Mal Tro-pee-Kal - so I was unprepared for the frenzied punkish energy this Miami quartet unleashes during their set. The abstract psych vibe of the music was punctuated by the most fabulous hand gestures by any performer I've seen, quite possibly ever. Despite a broken keyboard the lead singer kept the show going; delivering a unique vocal style I can only describe as a mix of scat and slam poetry. While that description denotes a degree of chaos Animal Tropical's brilliance lies is in their ability to put it out there and still maintain a sense of control. The full package melds a lot of influences and techniques together to create a very distinct sound and an incredibly pleasing live show. I'm eager for them to return so I can get another Tropical fix.

20 Miles

Freelance Whales, one of the rapidly trending bands on the east coast indie scene, brought their plucky troupe to the stage next. Playing pretty much anything they can get their hands on to create a hodgepodge symphony that, when layered under their dexterous lyrical stylings puts forth on hell of a mesmerizing show. As the groups members float around the numerous instruments on stage - changing location with every song - they maintained a consistant thread of tautly harmonized vocals. Hearing Freelance Whales perform live really brought a new weight to their stellar lyrics. While the music doddles between sweet and romantic to playful they manage to steer clear of the precious "twee" territory by keeping things simple and grounded. All five group members were having a good time with each other, which quickly spread into the crowd loosening a few hip shakes from the packed house. Working through most of the tracks on the new album Weathervane during their set Freelance Whales proved they are worth every bit of their buzz. They will be back on March 5th with Cymbals Eat Guitars and Bear In Heaven, get your tickets now.
Hannah

Savoir Adore + Circadian Rhythms At Kung Fu Necktie

Savoir Adore & Circadian Rhythms took the stage at Kung Fu Necktie this week to mark and early start to my weekend. Circadian Rhythms has been on my list for some time now so I was pleased to finally be able to catch them. Unfortunately, their set left me a little underwhelmed. While I definitely heard the potential for greater things down the road they are still in need of a little refinement. Each song dabbled in a new genre from blues tinged alt country to psych pop and each had its strengths - a brave approach to percussive rhythms that would really shine if played with a little more confidence, for example; however, there lack a cohesiveness that suggests a sense of direction. Their instrumentals were complex and well thought out which made heavy leaning on Beach Boys phrasing and Ary Barroso's Brazil a little disappointing. CR certainly has the musical ability to create something distinct but they need to sit down and decide what that "sound" should be then build their music around that. With a little more focus and work I can see Circadian Rhythms really carving out their spot but right now they are in need of some tightening

Savoir Adore, a band that has received much love from TWIAPC, took the stage next and put on what was probably the best show I've seen them do. Playing songs primarily from their fall release In The Wooded Forest, they won over the crowd and pulled folks in from the bar. Sav Adore's fronters Paul & Deirdre have undeniable sonic chemistry. Her smokey vocals play well with his plaintive indie tuned croon, providing an allure to their pairing that is particularly noticeable in the live show. Their orchestral pop sound is built of deliberately placed synth effects and tight instrumentals. Hearing it live really makes the arrangements pop and the playfulness of the group's stage presence adds a true sheen to the full package. In the previous shows I've seen their only stumble was the flow of their set choices. On Thursday night each song melded well with the next and by the time they reached their final song, an extended version of Bodies, it seemed as if they had just begun. They're going to be out on the road quite a bit in the next few months please do make an effort to see them. Both live and recorded they are a superb use of your hard earned dollar.

We Talk Like Machines
Bodies

Chris Garneau in The Chapel of The Church

In the midst of a very busy Euro/Asia touring schedule Chris Garneau made a stop in Philly last Friday. Oh, what a stop it was. He came to the tiny chapel at First Unitarian Church with a modest ensemble, just a cellist and drummer, and proceeded to play a delightful set of new and old tunes. Garneau is himself a tiny fella so the intimacy of the surroundings only served the warmth of his performance. 

The brand of music captured on his 2009 album El Radio is piano plotted pop lushly accompanied by multiple vocalists, strings and dodah but when conveyed live there is much more palpable sense of immediacy. Neither album nor performance is superior; both are spectacular.

Live, his staccato vocals are crisply propelled by alternating high-lo chords on the key while the music was kept from floating away by the languid cello lines and taut pace of the drummer. Garneau has an astounding skill for enunciation which is the key to bringing his at times pithy and at others heartbreakingly succinct lyrics. On Over & Over for example he slowly drew us through the frustration and sadness of the song's story and the measure provided by the drummer was the foil to the simplicity of the vocals. His performance on Friday made it very clear he is uniquely attuned to potential weight of instrumentals and words combined.

Amongst the known fair were a few new tracks (one they even strayed from the set list to give its public debut). Preceded by the usual "the arrangement still being sorted out" these songs were still fine examples of Garneau's talent for musical creation. The highlight of these baby songs was the first of a collection he is building from memories of winter he has "stolen" from friends and family. Its a collection I am now anxious to hear completed.

I have been a fan of Garneau's lyrics for a while and hearing them live introduced a new element of theatricality. It would be wonderful to see him with fuller accompaniment but, without a doubt, the 50 or so folks who were lucky to bare witness to this concert (myself included) won't be forgetting it anytime soon.

Dirty Night Clown

Laura Veirs at World Cafe Live

Laura Veirs has an incredibly honest voice, one that avoids the baby coo- slurred words trap that so many female singers fall into. Throughout her show last week at World Cafe Live I couldn't help but be notice how striking, not to mention rare, it is to hear that level of vocal purity.Having originally come to music via Minneapolis' mid 90's punk scene it makes perfect sense that she has maintained a distinct level of straightforwardness even though her solo work is anything but punk. Paired with her nerd-tastic lyrics (she sings of constellations, politics and spelunking) there was really no other option but fall further in love with Ms. Veirs.

Laura and her musical menagerie played primarily from their new album due out in January. The songs from July Flame are a from a wiser place than her previous work and it's sincerity is palpable in her live delivery. When washing through a beautiful track like When You Give Your Heart the group played it delicately yet when the flair of a song like Galaxies dictated it they stepped up the pace and got a little more rock 'n roll. Regardless of the pace though Veirs voice was unchanging in its quality. Maintaining that degree of dynamic range is something those just beginning to explore their vocal potential should study and strive for. Meanwhile, Veirs continues to create one smart and delectable album after another each proving she is also considering her potential with each release.

Put July Flame on your list of albums to buy and try to catch Veirs on this lengthy stint on the road. She's expecting a baby next spring so I'm guessing it will be a while before she is back out on the road. 

I Can See Your Tracks

J. Tillman in the Side Chapel at First Unitarian Church

It was a family affair Wednesday when J Tillman, his brother Zach and a trio of equally ripe musicians held court in the teeny tiny chapel at First Unitarian Church. Zach warmed the small but packed room with his brand of crisp conversational songwriting. A folkie who isn't afraid of dabbling in the some Morricone like soundscapes. Playing his guitar solo Zach's short set help both tender and slightly more raucous moments. It set a very relaxed vibe perfect for the lush set J had on deck.
 

 J is touring to support Year In The Kingdom a beautiful but solemn album of honest observations. A live rendition of the album would have suited me just fine. The cozy venue, early dusk and intense preceding days left me wanting to just sit and enjoy fantastic music. The moment J's breathtaking pure raw voice began though I knew it was going to be far more nourishing show.

To start the set he kept to the path laid out by YITK except when played live by five folks (as opposed to the solo process Tillman used while recording of doing everything himself) the music is much richer and more dynamic. The high carved wooden walls shaped deep tones that Tillman's voice smoothly threaded through. Broken only by a few moments of witty not-suitable-for-church banter the full hour and 25 minute set was intentionally crafted to build as Tillman and his crew pushed the borders of the songs becoming more and more lively.

Deep into the set the reserved nature Tillman et al. had begun with has been abandoned for a more classic rock energy. Never once challenging the skill of the other players this septet played so well together it left me free to watch the how they all fit in instead of being distracted by a solo riff. Tillman led his crew into quite the frenzy at one point kneeling on the ground and letting himself really feel the more vigorous jam and building up a pace that gave new breath to the recorded versions. Tossed in for good measure and  was a nice bit of hand clapping and key chain percussion. The music brought me to the edge of my seat more than once during the concert and truly took my breath away with a sparse rendition of Though I Have Wronged you to finish things.

I can safely say this is a show you should really really get yourself to if at all feasible although the perfect alignment of time, company and location will make this a difficult experience to replicate.

Though I Have Wronged You

Luke Doucet @ World Cafe Live

Luke Doucet swung through World Cafe Live last week, opening for Willy Porter. If you're not already familiar with Mr Doucet, he is a Canadian troubadour straddling the line between classic rock and cat scratch country. His new album Blood's Too Rich is loaded with stories set to twangy guitars and delivered with Doucet's deceptively sweet voice. The tales he spins are drawn largely from his own observations from the road as seen though authentic balladeer's lens; leaving you with a slightly dusty but mostly romantic view of the world.

As a Montana native it is always nice to get a dose of alt country every once in a while so I was looking forward to seeing Doucet do his thing live. The guitar lines were juicy, perhaps a little too much so as they tended to notably counter his smooth and calm vocals. Hearing him deliver his material live carries an air of sincerity that is muted in recording and would have been better accompanied by a gentler guitar line. That being said, he has a true entertainers stage presence; both his skill and easy banter made for a fine evening of music. Next time around I'd love to see him with a backing band to fully complement his vocal potential. If you get the chance to see him, it's definitely worth it. But be sure you grab a copy of Blood's To Rich to really hear Luke Doucet at his finest.

   

Blood's Too Rich

Kung Fu Necktie 1-2-3 : Pink Skull + Ramona Falls + The Subjects

There have been some fine one off shows at Kung Fu Necktie lately. Acts that, in the chaos of the last few weeks, were threatening to get lost in the maze the can be my mind. In order to prevent these beauts from getting lost in the shuffle I thought I'd throw them together in a potent post of quality gig reviews.  

Pink Skull

Philly psych-rock-electro act Pink Skull brought their A game to KFN a few weeks ago. They also brought some of the new funky business off of their soon to be released album Endless Bummer. For those of you unfamiliar with the group, they are quartet of ridiculously taut musicians lead by the feisty Julian Grefe. Whereas in a lot of bands who employ a strong electro component there is often a lack genuine musicality when performing live the exact opposite is the case when you witness Pink Skull in action. You notice the incredibly tight drumming busting out of the back and fresh bass lines countering the rowdy rhythms produced by the mechanical instruments. You also notice you're moving your hips and, if you're willing to just give into the visceral effect of Pink Skull's music, you will soon be dancing your ass off. Its the ideal blend of a rock show and mindless dance party. The material on this new album is, by far, their most consistently enjoyable. Be sure to catch them live while they get out and about to support Endless Bummer.

Endless Bummer comes out Nov. 10 on RVNG

Wholehearted Mess (Pink Skull remix)

Ramona Falls

 

Ramona Falls came to my full attention at the suggestion of Greg Sullo (lead singer from the band Dinosaur Feathers). Prior to that I had heard a few songs of theirs but never given them a true dedicated listen. So, I didn't really know what to expect of the live show. What you get when Brett Knopf and his troupe take the stage is something so distinct and sincere you almost feel as though it is a bit of musical theater. Brett's delivery is emotional and tender, appearing to come from a very unique place, and gently draws you into that world. His band puts an equal amount of themselves out there as well. The drummer was truly a wildly talented and physical sight to behold. The visual intrigue is matched by the intelligence of music something that is far more apparent when heard live vs the recorded material. I couldn't recommend a show more highly. Catch them if you can.

The Subjects

 

It isn't an easy task playing a week night set in a city enthralled with their team's World Series performance. It is an even rougher spot when one of your co-performers has had to cancel due to van troubles and the other act (ahem Cheers Elephant ** I would like to apologize I was miss informed. They showed but in house canceled the rest of the show**) is a no show. Yet The Subjects fellas went on like it was any other show. Theirs is such a purely enjoyable variety of indie pop that when you get their songs stuck in your head (and trust me you will) it doesn't annoy you it just makes you want to listen to some more. While they do have a slightly more reserved stage presence they present their stunningly witty lyrics and well woven instrumentals so cleanly you don't really recognize how quality their offerings are until their done and you've begun reflecting. You catch a little bit of this vibe on their record but it is so much more delightful to get the live effect.

Winter Vacation

Ruby Suns + The Dodos @ First Unitarian Church

The Ruby Suns and The Dodos brought a refreshing dose of intelligent indie pop to The Church this week. I have been a fan of New Zealand's Ruby Suns for a while but hadn't had the chance to see them live until now. They have a really unique sound; piecing together sonic collages taken from numerous and varied sources. Recorded it translates beautifully. Live, however, it took a few songs for the group to really hit their stride. I'd like to think the slow to build set was due in part to two large factors: the sound system at The Church isn't super fantastic and they played mostly new material, which means the experimental trio could still be working out the kinks. At the outset the loops and warbles of their drum machine stood out in front of the live instrumentation which threw off the balance of their overall sound. In addition, it seemed at time as though the prerecorded elements were so automated it was rushing them through their setlist.

After a few song though the incredible talent of Ryan McPhun, Amy Robinson and Bevan Smith began to overwhelm the presence of the drum machine and balance was not only achieved it was mastered. Fully embracing the African influence present on their album Sea Lion, as well as, the more tribal vibe of the newer material the live drumming pushed beats into the air you couldn't help but rock out to. They mentioned they drew a lot from the native culture to create their new stuff and once in full jam mode it got rather bombastic. By the end of their 45 minute roll I was more than excited to see where The Dodos would pick things up. I look forward to seeing Ruby Suns again, perhaps when they've had a chance to really refine the new work.

What the Dodos followed up with was nothing short of astounding. I had caught the beginning of their set at Northside this summer, where I got my first taste of the Time To Die tracks and after listening to, and fully enjoying, the full album I was anticipating a typical indie pop show. They started with Time To Die and immediately I knew they had something wholly more intense in store. Everything was pushed a little further, a little louder.

When the moment relied more on the vocals lead Meric delivered on pitch musical flow, and when joined by the others the harmonies were completely delicious.

On the many occasions when guitars and percussion got complex the group blew me away with their intensity. There is really no other way to say it than, THEY ROCKED OUT. The addition of the third member really filled out their sound. Even when they played tracks from Visiter it was much more lush. They also seem to have perfected their stage presence during their extensive touring. They impressed with the nonstop run though songs almost up until the end. The high energy set was thoroughly impressive and really sealed the deal as far as drawing the whole audience into the moment. The Dodo's have really grown into a band that I can now say securely has the potential to achieve greatness.

Tane Muhata - Ruby Suns
Paint The Rust - The Dodos

We Were Promised Jetpacks + BrakesBrakesBrakes @ North Star Bar

There was a UK invasion of the most enjoyable sorts last weekend up at the North Star. Scottish bands We Were Promised Jetpacks & The Twilight Sad were joined by England's BrakesBrakesBrakes for musical antics. Full disclosure, since I saw The Twilight Sat at Monolith and had social obligations that evening I did not stay for their set.

Having missed WWPJ's set at Monolith I was eager to see what these boys had to offer on stage. If you haven't made it a priority to check out their records get on it. Pronto. What you will not experience while listening to those records though is a well phrased live show supplied by a young band well aware of what it takes to sound good live.

They began with a tease of a start on It's Thunder It's Lighting and built it up to a, well, thunderous break of energy at the end of the song. The quartet's stage presence is for the most part stoic when noodling their way through their tight and alluring riffs. Focusing themselves on factors such as the nontraditional bass/drum interplay in songs like Conductor. However, on songs like Short Bursts and Quite Little Voices, when the band hits its lyrical apexes they explode with true rock out physicality. Railing on their guitars and almost howling as times into the mic. Lead singer Adam Thompson is incredibly comfortable on stage and knows very well how to manipulate the mic to project his voice perfectly for each song. There were a few off moments with his amp that he was able to quickly adapt. So much so, that had he not mentioned it, most of the mesmerized audience wouldn't have noticed the difference. They closed it out with Ships With Holes Will Sink and a drum solo that destroyed me. As this group's repertoire grows and they have more material to craft intelligent sets like they did on Saturday I have no doubt the audiences (not to mention venues) will expand as well.


The Breaks (or as they are known in the states BreaksBreaksBreaks) took the stage next with a much more seasoned and assorted set. Drawing from the talents and experiences of a group consisting of members (or past members) of British Sea Power, Tenderfoot and Electric Soft Parade the band has a lot of internal influences and it was evident in their live set. They got off to a bit of rough start, later credited to a nasty blister on the drummers hand. It seemed as though the members were just a little bit out of sync with each other. However, lead singer Eamon Hamilton managed to pull them all together within two songs of their start. Employing a little humor and some excellent vocals.

The Brakes, compared to WWPJ, have a much more weathered and varied sound. They wavered between a raucous and snarky punk side and a more traditional alternative delivery. Songs like HeyHey are infused with energy and performed accordingly while simpler romantic pop songs like Leaving England/First Dance were given a low key and tender treatment. Eamon broke any predictable pattern by dropping off beat tunes like Porcupine Or Pineapple and a cover of Johnny Cash's Jackson into line up. As they got further into their show their quality and ease became much more apparent. Had they not been dealing with extraneous annoyances like blisters and started off without a hitch I'm sure the entire set would have been just as entertaining.

The gang of three have a few more dates together stateside and if those are in your general area I'd get yourselves out there. But at the very least get down to your local independent record store and buy their records.

It's Thunder & It's Lightening - We Were Promised Jetpacks
Why Tell The Truth When Its Easier To Lie - The Brakes

Au + WHY? @ The Church

Last night's show with Au & WHY? was one of those cases when the venue was an integral part of the overall experience. Both bands elicit such raw experiences it is entirely fitting to see them in the informal setting The Church provides. Au took the stage in the basement of The First Unitarian Church [and yes it is the prototypical "church basement," wood paneling and all] and immediately tore into their undefinable psych-folk-rock set. They led with a bass heavy version of Ida Walked Away that pulsated and built to epic proportions then tipped right into Boute a ditty which leans towards the lighter side of their repertoire . The thought that went into the set list was evident as their show unfurled.

Playing songs old and new Dana (drums) and Luke (every other instrument you can imagine) took turns displaying their astounding musical ability. Dana is an athletic percussionist often standing to work over his expanded kit. When listening to their record you don't fully realized the numerous roles he is taking on with his drums, often picking up the bass line or supporting Luke's rhythms. When you see them live however, you recognize the true brilliance of Au's approach to music.

Luke's arrangements, despite their intricate layers, are incredibly fluid. Lending them a true sense of experimentalism. Regardless of which instrument he is wielding you have a sense he is perpetually exploring its full potential. Always pushing for a distinct sound to add to the mix. The two new songs they played suggest their next album will be a tad more dramatic and I cannot wait to see the scenery it paints.

Why?'s set melded seamlessly with the vibe Au established. They are smooth, real smooth and immediately chilled out the audience with their genre defying set. Beginning with their mellow rap on The Hallows and rolling into a set that selected heavily from Eskimo Snow (their most recent album) as well a Fugazi cover. The crowd, and this girl, loved it all.

The stage presence of the entire crew was incredible easy. They have the energy of an electronic act with the rootsy grooves of some of the finest jam bands. The bass lines were deliciously juicy. One of the characteristics of Why? I enjoy the most is their ability to use bass and hooky electro riffs to soothe people into really listening to their fantastic lyrics. There was something for everyone to enjoy in last night's performance. They absorbed the appreciation of the crowd and, in return, provided an musical experience I would solidly categorize as addictive. The two song encore was a most perfect conclusion to the evening. I consider it a privilege to have been part of such a divine show.

Ida Walked Away - Au
This Blackest Purse - Why?

Mark Mallman @ The M Room

Mark Mallman is an amazing entertainer. This is a truth I've known for years but was driven home last week during his show at the M Room. Despite some factors that would have frustrated any other performer [horrid openers who did very little to build the audience, a work night show and incredibly weak attendance] Mark put on a show as if he were performing in front of a mass of adoring fans who were rocking out to his addictive beats.

This time around Mallman brought a drummer, his sturdy keys, his own light show and some snappy white jackets. Taking the stage late he launched immediately into a mix old and new material. His stage presence is as dynamic as his music, throughout his set he mounted his keyboard now fewer than 10 times. While doing his most recent single You're Never Alone In New York he took this position to sing down high his ode to the city that never sleep.

When listening to his music it is undeniably high energy but when you experience the live delivery the energy is visceral. This is entirely intentional. Mallman has mastered the elements that pull all of his strengths together; the feisty conquering of the stage, lights that accentuate his mania and the incredibly taut drum accompaniment. To top it off he played Knockout On 22nd at my request. The his set could have only been better if he hadn't kept it short to please the tired sound guy. He mentioned he will be back this way before the end of the year and, seriously people, do NOT miss it.