Chicago's 1900s plays Bowery Ballroom
Somebody forgot to tell the 1900s it was international night at the Bowery Ballroom. Or maybe they were representing America. The seven players in the Chicago group (not to be confused with the Scottish band the 1990s) played a gorgeously lush brand of indie pop, inflected here and there with a little psych, a little country, and of course a little bit of rock 'n' roll. The two female singers in pretty printed dresses and matching red manes provided both eye and ear candy, harmonizing beautifully as a violin wove in and out of the tunes.
Next up was Sahara Hotnights, about as far from the heartland as you can get. From Sweden, actually. You may recall them from 2001, when they broke on these shores with their hard 'n' fast rock and roll. But yes, they're still kicking, in shiny black leggings and scary stilettos. The four ladies have been rocking since they were teens, and it shows. They may not be quite as punk-rock as they once were—their music is just as glossed-up as their lips and legwear—but they bring it just as fiercely. After some yummy Vietnamese food to fortify our souls, we returned for a set by the Maccabees, representing merry old England. The Brighton quintet's pathologically upbeat tunes with occasionally mournful vocals recalls the Futureheads crossed with Antony and the Johnsons—but mostly the Futureheads and other bands of that yelpy, melodic ilk. That was A-okay by the crowd, who bopped around like they weren't from New York, which they probably weren't. New Yorkers would never dance like that. —Catherine Hopkinson
Definitive Jux showcase: Activator, Cool Calm Pete, Junk Science, Despot, Yak Ballz, Hangar 18, El-P / Music Hall of Williamsburg
To make up for skipping Del tha Funkee Homosapien at BB King’s (Midtown remains, inconveniently, in Midtown), I headed straight to the Definitive Jux shindig in Williamsburg. The Def Jux folks sure know how to put on a showcase: bring out the all-star team, minimize changeover time, keep the energy high, raffle off a Korg before midnight. There was a lot of love in the room, from friendly guest appearances to label employees grooving on the sidelines; it felt like being at a family party, if my family served beats instead of cheese dip.
There were few low points, but standouts included Cool Calm Pete’s laid-back flow (“I’m gonna bring things down,” he explained, “way down”). Ever unflappable, Pete decided the packed Music Hall was a good place to try out a song he’d written hours earlier: this is one MC who’s not afraid to pull a crib sheet from his pocket. Hey, it all works out. Cool but un-calm Junk Science dialed the room back to 11 with style and swagger to spare. An a capella break is tricky to pull off in the midst of such a danceworthy set, but Baje One managed to make his solo “That’s The Way” riveting. There was a split second of silence after a particularly emotional version of “House Wigger” (unfortunate title, great song), then the cheers erupted.
Flushing-born superstar Yak Ballz has a name that begs to be chanted, and chanted it was. Yak tore through a blistering set, whetting appetites for the forthcoming “Scifentology II” with his roll-down-the-window anthems. From the soles of his gold hightops to his witty, aggressive rhymes, Mr. Ballz packs more charisma than Mr. Cent dreams of.
Label honcho El-Producto closed down the night in fine, vitriolic form, but he stopped his set to announce a surprise. A special guest, a new member of the Def Jux family... could it be? Yes, it could. Del himself, making an unadvertised appearance in anticipation of his long-overdue “The Eleventh Hour” (which Def Jux will release, finally, in 2008). El-P grinned like a lucky fankid when Del took the mic, and so, dear readers, did I. —Mary Phillips-Sandy
Black Kids / R-Bar
Was if the Moldy Peaches were slightly tolerable, as opposed to mostly horrible. —Poor Fred Wilson
Islands / R-Bar
Nick Thornburn is a genius in our midst. Do not take this statement lightly. This praise is not handed out by me often and I certainly wasn't about to give him this praise after his Juiced Elfers "set" on Thursday at Pianos. The Islands’ debut, "Return to the Sea," was co-written with Jamie Thompson (ex-Unicorns, now ex-Islands) making it harder to discern what each member of the songwriting duo brings to the table. The new material played during this finale Brooklyn Vegan day show was transcendent. And Thornburn was clearly at the helm.
The world that is created around the package of songwriting is dizzying in its complexity, yet not overwhelming enough to take away from the pure pop genius at the creamy nougat center. Calypso, hip hop and the Kinks all collided into the soundscape. The six-piece, multi-instrumental band was able to perform the ever-shifting, unexpected arrangements with dexterity and energy, as the string section switched up to keyboards, the lead guitarist jumped on the saxophone and the rhythm section locked into the downbeat. Thornburn's live showmanship has finally equaled his writing prowess, as he theatrically twirled a giant striped umbrella and utilized the classy stripper poles. Just when you thought they couldn't reproduce everything live, vocal duties went to the guest freestyler on "Whalebone" for the show’s high point. I'd actually pay money to see this performance again. —Carl Gambrell
Eisley, Mute Math / Irving Plaza
I pulled up to Irving Plaza and guiltily sailed past the line of CMJ badge holders that couldn’t get into the Eisely/Mute Math show. I admittedly arrived late, partly because I wanted to see one song of Biffy Clyro at my last spot and partly because the will call guy decided to wear his “Little Miss Difficult” t-shirt last night. I walked in and saw the room filled with twentysomethings mesmerized by the mystical sounds of Eisley. Even though the DuPree girls still have the high pitched voices of their teen years, the family played a solid, confident set of songs from “Room Noises” and new album “Combinations.” They closed with their infectious single “Invasion” and bid the applauding room farewell amid the glow of warm pink and purple lights.
I thought the room was full for Eisley, but it only got more sardine can-like for Mute Math. The New Orleans rock group began their action-packed set with the trifecta of “Collapse,” “Typical” and “Chaos.” Then, in front of a blazing light show and six giant trippy video screens, the foursome played a new song, which they said they penned while on the road. If there’s an award for “most instruments on stage,” Mute Math would win it. I think I counted four or five keyboards alone. Paul Meany had already won me over with his neo-Sting vocals, but when he picked up his stool and started playing percussion with it during, “Stare at the Sun,” I thought, “Man, I am so lucky to be at this show.” —Nadine Cheung
Ghostland Observatory / Webster Hall
The electronic Austin duo Ghostland Observatory has the hipster seal of approval, which means I had no business being at their show. But, I left my emo heart at home, wore the coolest sneakers I own and went to see what the kids are buzzing about.
I walked into Webster Hall and saw an audience that was divided into three parts: the dancing uberfans up front, the head bopping cool guys in the back, and the VIP voyeurs upstairs. Usually, I’d run right up to the balcony at Webster as to avoid the sweaty crowed, but at this show, the action was on the floor and there was no way the 15 people upstairs didn’t feel like social rejects for standing up there.
I didn’t know the song titles, but by mid-set, I thought, “Holy crap I’m actually having a great time.” Being at this event was like playing a game of laser tag and letting Ghostland kick your ass. The neon-colored lasers were a show in itself and I couldn’t help but wish I was on something other than Ketel One and soda. Although his braids were cute, Aaron Behrens’ often spastic voice didn’t do it for me. However, I could listen to Thomas Ross Turner’s beats all night, and as superficial as it is, I would see them both again simply for the lights alone. —Nadine Cheung
