We Are Not What You Think We Are

Mika doesn't release enough music. Once considered our generation's Freddie Mercury, he has been overshadowed by more flamboyant and outgoing acts, such as Sam Sparro, Patrick Wolf, and Of Montreal. However, Mika is back with his first single, We Are Golden, off his latest release, set to be released on September 21st. The video for the single is definitely unique, showing a guy's perspective of dancing alone with blaring boombox and boxers intact. For a man, he certainly has a lot of junk in his room. Laser suits, lightning ceilings, golden shoes, flipping dogs. Jesus Christ, this boy is a mess! But, I wouldn't mind hanging out in there. 

So Tap Into the Mainline and Tell Me All Your Secrets

   

One of the few good things about my internship is how I can waste a good chunk of time perusing music blogs and blaring somewhat bad indie music from my computer speakers. Usually I don't find new acts to gloat about, but I think I stumbled upon my newest obsession. Stepping out of London is quintet Fanfarlo. They're a combination of Beirut and Ra Ra Riot, properly using the violin, accordion, and trumpet, amongst other things, to convey a beautiful new perspective on life's flaws and how things can go so wrong so fast. Slightly tragic music with a unique instrumental. I'm all over it. 

Here you are, you are breathing life into ghosts under rocks.

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I would do anything to see Ra Ra Riot live. I've been a fan since my first days at college, and I have not yet seen them live once. What's up with that? I wish they did an acoustic set like they did in San Francisco over in NYC. I'd be all over that. 

Jenny's Coming After You - A Stellastarr* Review

There are two components in the music world that have begun to become very stale to me lately; post-rock and Brooklyn-based bands. While both have gained notice and some credibility, they also have become worn and weary to my ears. While post-rock bands such as The Album Leaf and Talk Talk now sound all the same, the majority of Brooklyn bands such as Dirty Projectors and The Antlers have been overplayed and over hyped all over the internet and within the five boroughs. However, there is hope for both genres, thanks to Stellastarr*. The band performed a great set at Highline Ballroom on July 16^th, and proved that there are still bands in these specific genres that deserve the hype.

 

Opening for the quarter were The Postmarks and Wild Light, and the results were hit-and-slightly-mediocre. The Postmarks have been hyped as one of the acts to follow in 2009 by many credible sources such as Spin, Pitchfork, and Stereogum, and have even been featured in an episode in the popular Nick Jr. show, Yo Gabba Gabba! It comes as no surprise that this threesome didn’t disappoint. Performing an eight-song set, the band managed to get the small-but-growing hyped for the acts to follow using a combination of popish keyboards and strong, powerful guitars. As for the talented vocalist Tim Yehezkely, my friend summarized her sound as a “female Ian Curtis”.

 

While I personally enjoyed Wild Light for shallow reasons (their tight jeans were sexy! and oh, look at that guitarist’s sleeve tattoos!), their music was atypical pop rock. The band was clearly talented, seeing how three of the four switched off with playing the guitar, bass, and keyboards during their thirty-minute set. However, this did not redeem them from how much every song sounded the same, in terms of instrumentals and lyrics. This set taught me a lesson that sometimes hotness does not always equal quality work.

 

Stellastarr* recordings’ don’t do them justice. Their music comes alive from the moment the first guitar string is strummed. Consisting of vocalist Shawn Christensen, guitarist Michael Jurin, bassist Amanda Tannen, and drummer Arthur Kremer, the band outdid my wildest expectations of how I imagined them being live. The band performed a majority of their latest album, Civilized, and a handful of their greatest hits, including My Coco and closing with my personal favorite, Jenny, where Christensen also managed to belt the final verses while sprawled on the floor. Jurin was also on floor for a few songs, and it seemed it was practically second nature. Their actions seemed like they would get the crowd rowdy and excited, but the nature of the crowd seemed more relaxed that amped. There were the hardcore fans that belted every verse of every song and danced their arses off, but a good majority of the crowd stood there, bobbing their heads with beer in hand. I imagined the crowd being a little more rowdy, since this was their hometown show. Still, I’m glad I didn’t have to uppercut a touchy-feely drunkard.

 

Hometown shows are usually supposed to make nights to remember, where nothing could go wrong. Or…things go wrong, and fans are too overwhelmed to notice. In terms of this Stellastarr* show, I walked out impacted, and yet a bit disappointed. I blame Wild Lights’ tight pants and the crowd’s stubborn attitude towards dancing for this slighty ajar feeling in my heart. Stella didn’t disappoint, though. Instead, they rekindled and reignited my heart for them, and I desire more material stat. 

Twist and Shout My Way Out and Wrap Yourself Around Me

500 Days of Summer inspired me to live a more musically-tinged life. For the past 24 hours, I've been nothing but obsessed over the movie since I walked out of the theatre. I haven't seen a movie that had the soundtrack fit the plot line so well in such a long time. Hell, there was even a dance sequence! With Hall and Oates! This is one of my life dreams. One day I wish I have the opportunity to dance in harmony with the rest of my surrounding world. It's official. However, in my head, there are only two types of songs I'd like to dance (or, in some cases, rock out to) in public. Either the song has to be something alternatively 90's or keytarred-tinted, synthesizer-twinged and essentially 80's. Upbeat hip hop wouldn't hurt, either. Actually, scratch that, anything upbeat is available for dancing purposes. 

During my day, I kept trying to think of the best songs that would be perfect for my future rendezvouses with making an arse out of myself. I think I came to a pretty good consensus as to my personal five. Or six. I can never stay within my personal limits. 

Follow You Down - Gin Blossoms 

Fascination - Alphabeat 

Toe Jam - David Byrne & Dizzee Rascal 

Get Down On It - Kool and the Gang 

Better Man - Pearl Jam 

All Hail The Heartbreaker - The Spill Canvas

P.S. As an additional bonus, since I'm in a giving mood tonight, I found the literal video for Tears For Fears' "Head Over Heels". I think it's hysterical because I'm the librarian with the big glasses. 

That's Very Kind of You: A Chris Garneau Review

It’s typically a fulfilling experience to go to a concert with artists you barely know. Not only do you get to test the waters of hearing near complete unknowns, but also you get an insight into what your friends are listening to these days. One of my best friends desperately wanted to go see Brooklynite singer-songwriter Chris Garneau for the longest time. Finally giving her the opportunity to go, I experience some strangeness that night.

The show, on July 9th at Greenwich Village venue Le Poisson Rouge, ended up being an indie-filled night, full of eccentric instruments, personalities, and musical selections. Opening acts Scary Mansion and The Lisps were radically different from most acts I’ve previously seen, but both were on opposite ends in regards to quality.

I had an inkling that Scary Mansion was going to be trouble after moniker Leah Hayes appeared on stage at 8, although every source reported that the show would start at 7. The set already started at a low peak, and things began to fall from there. Hayes walked on stage with a beer in her hand, which explained the delay. When she opened her mouth, she sounded like a indier spawn of Feist, but her voice and thunderstick doesn’t mix well with the alternative-tinged bass and drums. Also, the poor backup vocals seemed useless as her voice was usurped by the instrumentals. Hayes tried to interact with the bassist, but it looked like he wasn’t having any of it. Hayes looked like she was going to eventually stumble over herself and fall off stage, seeing how she was wobbling to an extreme. The crowd wasn’t thrilled during the set, and seemed relieved when the band finally ended.

Luckily, things changed for the better when The Lisps quickly came on stage about 15 minutes after the Scary Mansion set. Consisting of vocalist Sammy Tunis, guitarist and vocalist Cesar Alvarez, bassist Jeremy Hoevenaar, and drummer/object hitter Eric Farber, their set was like an indie old-time variety show. Their show was a bloody good time. Their songs and lyrics were varied and witty, their anecdotes were cute, and some of their instruments were quirky, ranging from tambourines to recycled film reels to melodicas to a huge wrecked tin box. The Lisps were a breath of fresh air that I haven’t really encountered in a while. They managed to win a new fan within 45 minutes.

Chris Garneau soon walked on stage, and I was shocked. The man was incredibly tiny and wore very tight pants. It was kind of cute. He came up and taped a keyboard to the already-grand piano already plopped on stage. In addition to the key-piano hybrid, cellos and an accordion sprinkled the stage. The various instruments reminded me of the Andrew Bird set-up when I saw him at Hiro Ballroom, but they also guaranteed an eclectic show. When Garneau opened his mouth, his voice was unlike anything that I’ve heard prior. I could call him a male Bjork, but he was more distinct than that. His voice has such rawness and emotion pouring with every word he sings that he cannot be compared with any other artist at the moment. The combination of his vocals and instrumentals made for a beautiful performance of his latest. In fact, the live performance proves that the material off El Radio is quite strong.

While the majority of the show was good, it's a shame to think that Chris Garneau and The Lisps don’t have as many fans as they should. The problem that I see with the music industry is that people aren’t willing to open their arms to new, truly different material. Unless if either or conform their genres to sound like music that is popular, both bands aren’t going to be able to reach a wider audience. While this is so, perhaps it’s not so bad that they remain with these intimate venues.