When Wild Beasts came to New York City last fall, they found themselves in the pressured position of having a lot to prove. They’d made only one US trek beforehand, to SXSW. Members of the press came out in droves to hear and see the UK foursome, now on their second album, Two Dancers, which had been graced with Pitchfork’s coveted “Best New Music” moniker. The Beasts didn’t crack under the pressure, they roared, seducing all ears and eyes in their path. Closing out their first full US tour in Brooklyn, the Wild Beasts were relaxed and giddy, coming off what must’ve been a successful run of dates.

It helped, no doubt, that the crowd was rapturous and vocal in their support. “You guys are great and we’ve hardly even started,” Tom said after the second song, “We Still Got The Taste Dancing On Our Tongues.” One guy jumped up on stage during the boisterous “Brave Bulging Buoyant Clairvoyants,” to join the band in their singing & dancing.

And do they ever dance! None of this “sullen,” “tortured” act that too many artists try to use as an excuse for behaving as though they don’t enjoy their own music. Wild Beasts enjoy what they do, and they show it – jumping and swaying and shaking their bodies, and pumping their fists. They may have tried to hold back their smiles, but their cheeks puffed up with pride, belying their grins.

The crowd was dancing, too – it was hard not to. Their recordings are beautifully coated in vocals, and keys, and guitar, but their live shows draw out their rhythms, turning even the most atmospheric and moody tracks (“Two Dancers I,” “Two Dancers II”) into a dare not to move your body. But the beauty is all still there, in the fluttering notes of “Empty Nest,” in Hayden Thorpe’s operatic falsetto and erotic growls, in the opening line of “His Grinning Skull,” “How can you pine anymore?” Always a Wild Beasts talking point, but impossible to ignore, the contrast of Thorpe’s icy countertenor with Tom Fleming’s warm, robust lower register commune like the sweet and the salty, enhancing each other, complementing each other, and competing with each other, all at once.

Wild Beasts: “His Grinning Skull” (download)

Before closing with “Cheerio Chaps, Cheerio Goodbye,” Thorpe commented, “Thank you, this is incredible. This is the cherry on a very handsome cake.” It made for a sweet evening, indeed.

For more pictures & information, including the setlist, click the jump.

SETLIST
Fun & Powder Plot
We Still Got The Taste Dancin’ On Our Tongues
Vigil For A Fuddy Duddy
This Is Our Lot
Two Dancers I
His Grinning Skull
Two Dancers II
Please, Sir
Brave Bulging Buoyant Clairvoyants
All The King’s Men
Hooting & Howling
Encore: Devil’s Crayon
Empty Nest
Cheerio Chaps, Cheerio Goodbye

Wild Beasts Official Site
Wild Beasts on MySpace
Wild Beasts on Twitter

SEE THE FULL SET OF PICTURES HERE.

Murder City Devils are no longer the kind of band that sets their drums on fire, or plays dive bars. For quite some time they were technically no longer even a band. But for now, having reunited for a series of shows instead of just one, they were a band. The kind of band who packed Nokia Theater Times Square, a venue normally reserved for acts like Sugarland, Dashboard Confessional & Alkaline Trio. Something about rockabilly, punk, hardcore, and reformed hardcore types descending on the turf of emo kids and soccer moms made their manic takeover all the more sweet.

Front-man Spencer Moody, who used to sport glasses and short hair, and bore an odd resemblance to Harvey Danger front-man Sean Nelson, now looks even more the part of morbid garage punk vocalist, having traded in the glasses and acquired a full beard. Otherwise, glancing at the stage, it was the same old Murder City Devils of Pacific Northwest lore.

It took all of five seconds into the opener, “Press Gang,” for the crowd to throw themselves around the floor in a frenzy, with multiple mosh circles opening, and everyone being swayed back and forth, side to side. Hands in the air, everyone screamed along to classics like “I Want A Lot Now (So Come On)” and “It’s In My Heart” to the newest material, like “Bear Away” and “Midnight Service At The Mutter Museum.” Having waited some nine years since the Murder City Devils’ last East Coast jaunt, no one was anything short of ecstatic. As guitarist Dann Galucci flung himself around & Moody wriggled on the stage, it seemed the Devils had found, once more, whatever it was that compelled them to be in the group in the first place.

The only downside was, between their songs’ short length, and the show’s full-throttle energy, 18-songs went by all too fast. Later that evening, the band’s twitter read, “Thank you New York. See you again soon.” Here’s hoping that’s true.

To see all of the T-Sides pictures, click here. For more info, including the (almost complete) Setlist, click the jump.

SETLIST
Press Gang
I Want A Lot Now (So Come On)
Dancin’ Shoes
Bear Away
?
Fields Of Fire
It’s In My Heart
Idle Hands
?
Midnight Service At The Mutter Museum
Johnny Thunders
Rum To Whiskey
I Drink The Wine
Dance Hall Music
Iggy
Encore: Murder City Riot
18 Wheels
?

If you know any of the missing songs, please e-mail and let us know! taylor @ t-sides . com

Murder City Devils Official Site
Murder City Devils on MySpace
Murder City Devils on Twitter

One of the biggest challenges a music writer can face is writing about a band you adore. Sometimes you like something so much that the task of describing it is an overwhelming pressure. You want to do it justice, you don’t want to over-sell it, but you want to convey just what makes it so fantastic. Sometimes all that comes out of your mind is a jumble of generic positivity (which, if you ask me, is more the reason behind the hyperbolic tendencies of the blogosphere than anything else).

This week, I attended my sixth and seventh Yeasayer shows – all within the past two years. I’ve seen the psych-pop-folk-rock outfit from Brooklyn more times than any other band in those years, and although they’ve completely shown-up every band they opened for (MGMT, the National, Man Man) or played with (Amazing Baby, Suckers), I only wrote about one of those shows. There’s a reason for this, and that reason is the challenge of describing what I like about Yeasayer in anything other than hyperbole. There’s also the fact that once you cross a certain line, it can be difficult to still play the critic.

When tickets for the Bowery Ballroom & Music Hall of Williamsburg Odd Blood release week shows went on sale, I was on a bus to Boston. Having acquired Yeasayer tickets in the past with no problem, I figured I would order them when I arrived in Boston three hours later. By the time I arrived, the shows had sold out. The album hadn’t even leaked yet, but their reputation had clearly been fueled by Dark Was The Night track, “Tightrope,” and the Odd Blood single, “Ambling Alp.” But the resilient heart does not give up so easily. Odd Blood was my most anticipated album of 2010, and I was determined to see Yeasayer play on this tour.

Monday night I arrived at Bowery Ballroom early on the chance there would be a few extra tickets, and gloriously, there were. I drank a beer in quiet celebration. I met a nice guy who traveled up from Tennessee to see Yeasayer both nights.

Openers Bobo were more gimmick than band. Wearing matching outfits of yellow turtlenecks, overalls with cutouts showing fake body parts, and foam tails, they sang about genies, cops, adventurous kids & cupcake companies. At the very least, though, they were amusing – every audience member had a smile on their face.

Mid-show entertainment was Light Asylum, whose set-up comprised an insane amount of cords and plug-ins. Their haunting electronic gems were more akin to a Kraftwerk kind of stream than a Yeasayer. The real driving force was the voice of Shannon Funchess, mastermind behind Light Asylum, and possessor of some real power-house, deep, booming vocal chords.

Owning up to their standard classification as a psych band, Yeasayer took to the stage amid an impressive light display. For their last tour, it was glowing orbs, this time, it was a four-piece backdrop, and light-up pedestals.

They opened with “The Children,” Odd Blood’s rather controversial first track. In previous interviews, the band has mentioned a two-step approach to their music: They create the music in the studio, and then they work out the best way to recreate it live. This shows through immediately; “The Children,” which has no discernible guitar on the album, was lead by Anand Wilder’s guitar in the live setting, giving it a warmer, more organic feel.

This approach breathed life into some of Yeasayer’s less accessible tracks. “Love Me Girl,” which begins Odd Blood’s odd second half, was pushed to its R&B dance jam heights, complete with smooth dance moves from smooth-voiced Wilder.

Mid-set the band transitioned into older material – “Wait For The Summer” and “Sunrise” from All Hour Cymbals, and “Final Path,” a popular b-side. It’s hard to tell with the three year time period between albums, but either the earlier songs were given a more stripped down treatment, or just seemed simpler in comparison to Yeasayer’s complex new direction.

Chris Keating retains his entertaining as ever spastic moves and facial contortions, and co-lead vocalist Wilder seems to have picked up on some of Keating’s stage charisma in the process of taking a more prominent vocal role on Odd Blood.

The band was in good spirits about the sold out shows (“You must’ve been on the internet real fast,” Keating remarked. “I couldn’t buy a ticket for my own show.”), and the release of Odd Blood (“Did you download it?” Keating asked with a grin and a laugh.)

The last chunk of the setlist held the new album’s biggest pop songs – “Mondegreen,” “Ambling Alp,” “Rome,” & “O.N.E.,” making for a solid 20 minutes of all out dancing. Leaving the crowd begging for more, they naturally closed out an encore with the song that started it all, “2080.”

Yeasayer: “O.N.E.” (download)

For the second evening at Music Hall of Williamsburg, an early venture to the box office was not as lucrative as it had been the evening before. Upon returning to the venue awhile later, however, my friend and I were left to marvel at the kindness of strangers. We ran into the young man from Tennessee who I had met the night before, and he had an extra ticket, as did a couple who walked by while we were discussing how hard it was to get tickets. (Many thanks to all three of you, on the offhand chance you see this.)

While the show at Music Hall of Williamsburg boasted the same setlist, to some disappointment, it had the exact opposite feel of their Bowery show. Where the Bowery show was more impressive in terms of the sound, the band was visibly more excited about playing in their home borough of Brooklyn (“We parked right outside,” Keating commented). And while the Bowery set started strong and found the band looking a little exhausted by the time they reached “2080,” they seemed to hit their stride mid-set at Music Hall.

Regardless of what one thinks about the new direction of Odd Blood, Yeasayer is truly a band that is consistently working on producing the best live show possible – and they deliver every time.

Click the jump for the setlist, more T-Sides photos & more info.

SETLIST (both nights)

The Children
Madder Red
Tightrope
Love Me Girl
I Remember
Strange Reunions
Wait For The Summer
Final Path
Sunrise
Mondegreen
Ambling Alp
Rome
O.N.E.
Encore: Grizelda
2080

All photos from Bowery Ballroom, taken by me. See the full set here.

Light Asylum

Yeasayer

Yeasayer Official Site
Yeasayer on MySpace

Light Asylum on MySpace

Related Posts:
T-Sides’ Decade in Review: Albums
New Yeasayer: “Tightrope”
T-Sides’ 2008 in Review: Concerts
Ear Farm: The National, Yeasayer @ Central Park Summerstage

As mentioned in the last post, I recently took a gig working for Domino Records, which means I’ll no longer be editorializing about Domino artists, but providing visual coverage – which brings us to the very first instance of such, Cass McCombs, who performed at New York City’s Joe’s Pub on Monday night. T-Sides has written about McCombs in the past, so you can find some relevant words here. Click the jump for some music, more information and pictures.

To see all of the pictures, check out the flickr gallery here.

Cass McCombs: “Dreams Come True Girl” (download)

Cass McCombs Official Site
Cass McCombs on MySpace

I’m truly sorry T-Sides and all related projects have been offline for so long. Chalk it up to summer, chalk it up to a quarter-life crisis, chalk it up to any sorry excuse for life taking us away from the things we love that require any amount of work. But let’s turn the focus on the positives. I’ve certainly continued ingesting and thinking about all things culture-related, just find myself less able to capture the associated thoughts. So, here’s a showcase of Top 15 things that have been on the T-Sides radar while we’ve been dormant (not in order of preference, simply in the order of thought). Click the jump to see!

1. TV on the Radio Remixes – Read Silence

Truth be told, remixes rarely appeal to me. A relationship with a song can be so personal, so intimate, that for it to be broken down into pieces and transformed can be like going to bed with someone you love and waking up next to a stranger. But holy hell, all three remixes on the Read Silence EP are breathtaking reinterpretations. The handy craft of Glitch Mob, Gang Gang Dance and Jneiro Jarel on these selections from Dear Science are perfect companion pieces to TV on the Radio’s compositions. It’s like finding out that someone you already love is an amazing cook or volunteers to teach children how to read or something.

TV On The Radio: “Shout Me Out (Willie Isz Remix By Jneiro Jarel)” (download)

***

2. Neko Case, Neko Case, Neko Case

Oh, Neko. It’s quite possible that my girl-crush on her has gone too far, considering I’ve begun to imitate her promotional art in portrait form. Middle Cyclone enchanted me so deeply that I went back to listen to Fox Confessor… and Blacklisted, and more frequently than any other current listening habit I’ve developed, I have a tendency to just put those three albums on shuffle. It’s only a matter of time until I own and then do so with her entire catalog.

Neko Case: “Runnin’ Out Of Fools” (download)

***

3. Mariah Carey, “Obsessed”

The reasons why this song is on repeat deserve their own list, because it mostly involves the lyrics, like “All up in the blogs,” and “Lyin’ that you’re sexin’ me,” but especially the line, “Got you all fired up with your Napoleon complex, seein’ right through you like you’re bathin’ in Windex.” Really. Oh, and it’s a Mean Girls reference. What’s not to love?

Mariah Carey: “Obsessed” (download)

***

4. Ear Farm

Go ahead and call me biased since my name has appeared on the site a time or two, but truth is, it’s not bias, it’s bloggist envy! The crew at Ear Farm have been coming up with some ridiculously insightful, entertaining and impressively original features. From countdowns like the “Top 10 Most Metal Classical Music Pieces” to exposes about fake myspace accounts to dinnerviews, Ear Farm has me constantly checking their site for updates – and checking my brainstorming well for better ideas.

***

5. Yeasayer

It’s not that I want these dudes to rush, by all means, I want them to take as much time as they need to write their perfect, perfect songs, but oh god I can’t remember the last time I was so prematurely excited for an album. All Hour Cymbals is still still still on heavy play because it is so so good, and “Tightrope” is so so good, and it’s just so so hard not to get so so anxious/eager/greedy for more! Their “Odd Blood” recording blog is a bright spot on my Google Reader every update, whether it be picture updates from their Woodstock recording cabin, random themes, crueal teasers or actual news. Between this and their upcoming Pier 54 gig, I hope my thirst for Yeasayer will be satisfied.

***

6. Jay-Z, “DOA”

Hovy Hov, it’s not that I stopped loving you, but the leaks and singles since the American Gangster stuff have been… well, mediocre. Your “A Billi” version of “A Milli” is fierce, and “Brooklyn We Go Hard” is a serious jam, but it’s not going to be on Blueprint 3? That made me think you had something better coming, but nothing I heard has really topped that. I was ready to side with your detractors and brush you off as an old man, outta touch – which, truthfully, I don’t neccessarily completely disagree with. But there’s something about you, that swagger, that love of old soul samples, that epic, hit-making ear that keeps me coming back for more. So I didn’t lose all faith. And then you relased “DOA,” which deservedly rips auto-tune, has those hot brass and guitar riffs and references my other favorite big-time rapper (Young Jeezy). Not to mention, a seriously piiiiimp video, featuring exploding assets, you smoking a cigar in front of an NY skyline and playing poker with Harvey Keitel. There I was, finessed by you again.

Jay-Z: “DOA” (download)

***

7. Music Direction on “The Sopranos”

Anyone who checks in on my personal tumblr has heard me talk about this before. I’m closing in on “The Sopranos” finale (and if you try to spoil it for me, I’ll cut your head off) after a couple years spent watching it via Netflix and friends’ copies of the show. Most HBO shows use music in the most incredible way, and “Nip/Tuck” is another great example of television music direction, too, but “The Sopranos” is so perfect, it’s as if they had an army of thousands, possessing the knowledge of every song to ever exist when selecting, as if they had brackets and votes and cage matches of which song is best for which moment. My recent favorite selection was the use of The Rolling Stones’ “Moonlight Mile” in the Season 6, Part 1 closer. And, yes, I do already know what the big finale song is – but that’s all I know.

The Rolling Stones: “Moonlight Mile” (download)

***

8. Jaime Foxx, “Blame It”

I hated “Blame It” the first time I heard it. It’s demeaning to women no matter how you look at it – either we need liquor to have a one-night stand so as to not feel “easy” (women can’t be as sexually promiscuous as men), or Foxx is acknowledging that such a double-standard exists and is exploiting a loop hole (but is still, basically, trying to bone women by getting them hammered) – that stutter is annoying as hell if you’re not in the right mood, and someone should probably tell Foxx he’s not Usher (speaking of which, wherefore art thou, Usher?). That said, “Blame It” is club R&B gold, catchy and sing-a-long-able as all hell, and unsurprisingly fun to drink to (or get ready to drink to). I also acknowledge that the video is killer, though I probably only think so because it features an appearance from fellow redhead and The Music Man star, Ron Howard. Yep, that’s right. Ron Howard in a club video. Point: Jamie Foxx.

But I’d still love it if a woman did a version of “Blame It” targeted at male drinking stereotypes. (Hint: Ironically, it rhymes with frisky stick). Someone put me in touch with Beyonce and Rihanna’s agents!

Jamie Foxx: “Blame It (Feat. T-Pain)” (download)

***

9. Built To Spill

The minute Pacific Northwest Rock Royalty Built To Spill were announced as headliners for this year’s Siren Fest, I pulled out Keep It Like A Secret and There’s Nothing Wrong With Love, and haven’t stopped listening to them since. As with Neko Case, it’s only a matter of time until I jaunt through their entire discography. Luckily I’ll be getting another addition in the fall, in the form of There Is No Enemy.

Built To Spill: “You Were Right” (download)

***

10. VeniSin

From the gents who bear such musical fruits as Lilum and The Jobz comes VeniSin, an exericse in indulgence, masculinity and rock. You don’t need words, you just need to listen to this.

VeniSin: “Koadak Blues” (download)

***

11. Jake One, “Home”

Click here to view the embedded video.

What’s that? I already posted this? You don’t say…

Actually, I don’t say, because it’s worth talking about again, between the opening shot at my beloved Dick’s Drive-Thru on Broadway, the Sir Mix-A-Lot cameo, the jokes about Seattle being a city of potsmokers, the digs at Seattle sports teams, and the laid-back, positive vibes. Seattle doesn’t get enough theme songs, so I’mma pimp this one, our best one, as much as I can. Even if you aren’t from the Emerald City, you can appreciate the skill of some of its best emcees.

***

12. The Dead Weather

After playing witness to their in-store at Jack White’s pop-up Third Man Records, it’s hard to listen to Horehound, which lacks some of the intensity and complexity of the live performance. But, at the very least, on “Treat Me Like Your Mother” and “I Cut Like A Buffalo,” Jack White’s passion is infectious, and Alison Mosshart makes a great toughsexy frontwoman for him to spar with. The rest of the album requires more digesting on my end, but I may never get past the way both songs make me want to slinky-swagger my way down the sidewalk and spit in some dude’s eye, or the violent video for “Treat Me Like Your Mother.” Can you imagine if you and an ex could have a shoot-out, knowing you wouldn’t kill the other person? I also have to point out the deliciously sinister fact that it’s filmed right outside some sort of copycat suburban housing plot.

The Dead Weather: “Treat Me Like Your Mother” (download)

***

13. Phoenix

The French popsters from the Lost In Translation soundtrack hit it big with this year’s Wolfgang Amadeus Phoenix, particularly opening tracks “Lizstomania” and “1901.” They have me smitten – me and everyone else, that is.

Phoenix: “Lizstomania” (download)

***

14. Wilco

I’m fully aware of the fact that I’ve knocked Wilco before. Though I’ve admittedly warmed up to them, in some ways, I still stand by my original statements. It takes way too long for Wilco albums to hit home, longer than I’m usually willing to spend on an album without some amount of faith in the artist. After hearing some live recordings, though, I decided to splurge on seeing the band with Yo La Tengo (who I, regrettably, only saw the last song of), and came away something closely resembling a fan. My favorite moments involved songs from A Ghost Is Born and Sky Blue Sky and the incredible guitarmanship of Nels Cline, who made sounds I’d never heard before. I don’t know that I’d call Wilco a new favorite, but I came away from the show willing to put a little more faith in their hands.

Wilco: “You And I” (download)

15. Domino Records

So, about that job thing. After an exhaustive job hunt, I’ve taken a positon with Domino Records (US), fine purveyors of alternative artists. Being a critic and working at a label puts me in a right compromising position, one that will be solved by my not expressing opinions regarding Domino artists. This unfortunately means I’ll have to refrain from further editorializing on Domino artists I’ve written about before – Animal Collective, Dirty Projectors, Cass McCombs, The Notwist, Arctic Monkeys – but is the best route to ensure things don’t get cloudy around here. There is a chance that I will decide to report facts - without critique or comment – from events I attend (for example, Animal Collective’s show at Prospect Park that I bought tickets for months and months ago), but should I do so, will disclose things of that nature to you, the T-Sides readers. Credibility and integrity still remain two facets I hold dear, despite being known as a blogger and the source of my current paycheck.

Van Morrison: “Domino” (YouTube)

An overwhelming 27,000 people showed up to see David Byrne play a free show at the Prospect Park Bandshell in Brooklyn on Monday night. The show was the opening of the 2009 Celebrate Brooklyn concert series. Celebration was easily the theme of the night, whether you were celebrating the fact that it didn’t rain, the fact that you managed to actually get inside the bandshell (many were detoured by the long, snake-like line, which purportedly began just before 11am), or the fact that you were seeing a legendary performer for free (or the cost of your donation).

The show’s focus was Byrne’s work with Eno, covering the Talking Heads’ three pivotal, mid-career albums, and their two collab LPs, 1981’s My Life In The Bush Of Ghosts, and last year’s Everything That Happens Will Happen Today, with the latter release unsurprisingly taking the most focus. (Which explains the absence of hits like “Psycho Killer,” “And She Was,” and “Road To Nowhere.”) Still, Byrne brought out some of the bigger Talking Heads players, all of which got the crowd going – “I Zimbra,” “Crosseyed & Painless,” “Once In A Lifetime,” “Burning Down The House” (See T-Sides video below!), “Life During Wartime,” and the group’s funky Al Green cover, “Take Me to the River.” The hopeful attitude of the newer material was especially fitting, as Byrne serenaded, “I’m counting all the possibilities,” in “My Big Nurse.”

David Byrne & Brian Eno: “My Big Nurse” (download)

Byrne was more than capably backed, not only by an arsenal of musicians and back-up singers bringing a soulful, afrobeat flavor when needed, but also by a saucy dance troop. The spectacle made the show all the more joyous, at least for those within eye range of the stage. Overall, the audience was upbeat and well-behaved, dancing and singing at full force.

The sound was a little muddled at times (even close to the sound booth), and the vocals definitely could have been louder. Leaving the area was a slow process, though not much worse than it was in the days of the McCarren Park Pool shows. Hopefully over the course of the summer, those kinds of kinks will be worked out. And, hey, it’s hard to complain much about something that’s free.

For more T-Sides pictures, click here. For the setlist, T-Sides video of “Burning Down The House” from this show and more information, click the jump.

SET LIST:
Strange Overtones
I Zimbra
One Fine Day
Help Me Somebody
Houses In Motion
My Big Nurse
My Big Hands (Fall Through The Cracks)
Heaven
Moonlight In Glory
Life Is Long
Crosseyed And Painless
Born Under Punches
Once In A Lifetime
Life During Wartime
I Feel My Stuff
Encore: Take Me To The River
Great Curve
Encore 2: Air
Burning Down The House
Encore 3: Everything That Happens

David Byrne: “Burning Down The House” Live @ Prospect Park Bandshell, June 8th, 2009

Click here to view the embedded video.

David Byrne Official Site
David Byrne on MySpace

Also there:
BrooklynVegan
Late Night Wallflower
Quiet Color
Village Voice

Save the massive excitement surrounding what was claimed to be his first and only show in the U.S. (though it seems he played Chicago three nights prior), everything about Wolfgang Voigt’s show at Columbia University’s Miller Theatre on Friday night was minimal. Performing under the name of his popular ambient electronic project, GAS, Voigt was hardly discernible in the dim light of Petra Hollenbach’s video accompaniment, a white, triangular portion of his shirt more visible than his face.

Primarily known as a co-founder of the German techno label, Kompakt, Voigt made four albums under the GAS moniker, all of which were re-released as the box set Nah und Fern last year. Beginning in 1995, Voigt attributes the original inspiration for GAS to an LSD trip spent wandering in Germany’s Black Forest.

GAS successfully captures a natural atmosphere with ambient sounds akin to rain, wind, waves and rustling leaves. String and brass instruments float in and out, and techno beats are occasionally incorporated in a muffled manner, as though hearing someone bumping their car stereo from a couple blocks away.

GAS: “Vier” (download)

In an effort to make the performance more than just a laptop show, Voigt used a mixer to make subtle manipulations and transitions, though he primarily remained faithful to the original material. Video art from Hollenbach used Voigt’s own photography – also featured on the GAS releases’ album art – to create moving psychedelic forest images, stimulating the eyes in a similar way as the ears. Some audience members were lulled into unfortunately timed slumber while others softly nodded their heads. Drugs weren’t needed to feel Voigt’s desired affect – though they certainly would’ve been keeping with its inspiration.

Kompakt Official Site
Kompakt on MySpace

Also there:
NYT

Pattern Is Movement have certainly lived up to the Movement part of their name, touring relentlessly since the release of their excellent fourth album, All Together. Seeing them for the third time since October, Pattern Is Movement’s set at Webster Hall last Wednesday was yet another in a line of charged, exciting performances. The duo debuted two new songs that sounded a little more aggressive than the rest of their cannon, though that could very well be because their live sound is beefier overall. Drummer Chris Ward’s rapid-fire drumming must be seen to be believed that there’s not some kind of magician responsible for some of those beats, and singer/keyboardist Andrew Thiboldeaux is both collected and charismatic, their mutual sense of whimsy exemplified in their constantly expressive faces and a flirty cover of D’Angelo’s “Untitled (How Does It Feel?)” (see T-Sides video below!).

Pattern Is Movement: “Right Away” (download)

Headliner St. Vincent (aka Annie Clark) was surprisingly staid. Having whipped through New York City oozing charm and cutesiness in the past, the first half of her set was underwhelming, the sound a little flat and thin, the band just trudging through. Though she pulled out impressive riff after impressive riff, and heartbreaking vocal after heartbreaking vocal, everything seemed just a little off until the band returned to join her after a brief solo stint for “Oh My God.” Luckily they hit their stride in time for “Marrow,” the most savage song she’s written yet. As she waltzed through “Just the Same But Brand New” and dug out first album favorites “Marry Me, John” and “Your Lips Are Red” for the encore, it was easy to chalk the tepid first half to a case of nerves.

St. Vincent: “Marrow” (download)

Pattern is Movement and St. Vincent have a slew of dates – mostly together – and if you haven’t seen either, you oughta step to this.

For more T-Sides pictures, see here. For more info, including a T-Sides video of Pattern Is Movement’s D’Angelo cover, click the jump.

Click here to view the embedded video.

Pattern Is Movement on MySpace
Pattern Is Movement on Tumblr
Pattern Is Movement on Twitter

St. Vincent Official Site
St. Vincent on MySpace

Also there:
Fluxblog
Ear Farm
The Tripwire
Guilt Free Pleasures
The Music Slut
Brooklyn Vegan
Hooves on the Turf

Other Pattern Is Movement T-Sides coverage:
T-Sides’ 2008 in Review: Albums
Pattern Is Movement @ The Knitting Factory, Tuesday, Nov. 18th (2008)
Dispatches From CMJ, Day Five (2008)
T-Sides CMJ Wrap-Up, Nov. 1 (2006)

Other St. Vincent T-Sides coverage:
New St. Vincent: “The Strangers”
T-Sides’ 2007 in Review: Albums
St. Vincent @ Bowery Ballroom, July 17th (2007)
Lost MP3 of the Week: “These Days”
St. Vincent & John Vanderslice @ Union Hall, Sunday, Apr. 22nd (2007)

After seeing jam-freak-avant-folksters Akron/Family put on an incredible show at Brooklyn’s Union Pool in March, there was only one thing left to do: Go home, go online, buy tickets to see them again. After seeing Akron/Family put on an incredible show at Manhattan’s Bowery Ballroom last night, there’s only one conclusion that can be made: Akron/Family are one of the best live bands currently out there. Rarely is a show as lively and diverse as Akron/Family’s.

If you broke down their set and described it, song by song, it’d be hard to believe it’s all the same show. Most of all, Akron/Family is dynamic, moving from delightfully understated, pretty ballads like “Alps And Their Orange Evergreen” and “Crickets,” to epic-length jam-dance numbers “Gravelly Mountains Of The Moon” and fan favorite, “Ed Is A Portal.” Most of Wednesday night’s set was dominated by songs from their brand new album, Set ‘Em Wild, Set ‘Em Free, just released this past Tuesday.

Akron/Family: “Ed Is A Portal” (download)

But what really sets Akron/Family apart is the level of interaction, both between band members and with the audience. Three songs into the show, guitarist/vocalist Seth Olinsky invited members of the openers, William Parker’s Southern Satellites, on stage to play along with them. Throughout the show, bassist Miles Seaton played a cheerleader of sorts, inviting the audience to sing, snap, clap, dance. “I feel like you’re just staring at us. Maybe you could put your hands up or something,” he said, demonstrating, before “Creatures,” a groovy, bass heavy tune from the new album.

For the last quarter of the show, they pulled out some of the sing-a-longs from the Union Pool concert, “Woody Guthrie’s America” and “Crickets.” Especially poignant was the album closer from Set ‘Em Wild, Set ‘Em Free, “Last Year,” which is simply one repeated refrain – “Last year was a hard year / for such a long time / this year is gonna be ours.” The audience stomped, clapped and sang along as the band observed. (See the video below.)

Eventually Akron/Family descended from the stage, walked up along the Bowery Ballroom’s balcony, then down to the showroom floor, staking out a circle in the center of the audience. They jammed until someone yelled out “Dance party!” and the disco ball came on, sending everyone home dancing.

For more T-Sides pictures, click here. For the set list, a T-Sides video of “Last Year” and more info, click the jump.

SET LIST
They Will Appear
River
Alps & Their Orange Evergreen
Gravelly Mountains Of The Moon
Ed Is A Portal
Creatures
Everyone Is Guilty
Sun Will Shine (Warmth Of The Sunship Version)
Last Year
Woody Guthrie’s America
Crickets

Click here to view the embedded video.

Akron/Family Official Site
Akron/Family on MySpace
Akron/Family on Twitter

Other Akron/Family coverage on T-Sides:
New Akron/Family: “River”
Akron/Family @ Union Pool, Sunday, March 29th

If anyone other than Throbbing Gristle had been playing the Brooklyn Masonic Temple on Tuesday night, the fact that the crowd was older and stranger and on more drugs than the average New York City crowd might have been off-putting. And if anyone other than Throbbing Gristle had been on stage, the fact that they more or less just stood there while they played might also have been off-putting. But as it was, it was Throbbing Gristle who delivered a memorable performance in a characteristically unusual setting.

The group’s history alone was worth the price of admission. They formed in the UK in 1976 and began Industrial Records, which bred the term “Industrial” as a music genre. They only stayed together until 1981, after which the members embarked on different projects. During that time, they released four albums, became known for their outrageous and confrontational performances, and rarely played in the United States. The group re-formed in 2004 and recorded TG Now and Part Two, their first studio albums in 25 years. When the band came to New York City (twice over the past two weeks), it was the first time they’d ever played here. And as if that wasn’t convincing or fascinating enough, frontman Genesis P-Orridge doesn’t look so much like a frontman anymore as a frontwoman, having undergone massive surgeries as part of a “pandrogynous” project with his second wife, Lady Jaye, driven by a desire to look alike.

Throbbing Gristle couldn’t be a more apt name, because the band’s music is just that – throbbing and aggressive. But as far as performance, the performing aspect was rather low. Most of the musical components have translated to computers, run by Peter Christopherson, Chris Carter and occasionally Cosey Fanni Tutti, who otherwise plays guitar with a slide, while P-Orridge sings and occasionally plays violin. The pulsating qualities make the music inherently engaging, though, almost hypnotic, especially when coupled with P-Orridge, who sassily flirted with the audience, quipping “You must all be really sick to enjoy a song like that,” after “Very Friendly,” about a serial killer, and at another point, sniffing the boxers an audience member threw on stage and declaring them “acrid.”

The atmosphere was rather odd – when Throbbing Gristle took the stage, all of the house lights were turned on (perhaps a reference to the days when they would aim lights at the audience?). Some of the audience members danced, but most nodded rhythmically and applauded rapturously at each song, though a bearded gentleman towards the front was having some sort of freak-out, and got in several fights before being dragged out by security during “Hamburger Lady.”

Towards the end of the evening, the band debuted the newly rebuilt “Gristle-izer” in a song of the same name, during which it became obvious that, for once, the Brooklyn Masonic Temple had finally gotten the sound right. As P-Orridge asked, “Can we survive?” during “Endless Not,” from the 2007 album Part Two, one had to respect Throbbing Gristle for doing just that, for finding an embrace in a fickle, snobby music scene very different from the one they left.

For more T-Sides pictures, click here.

Throbbing Gristle Official Site
Throbbing Gristle on MySpace

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