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.

If I Were A Lead Singer, I'd Be Gwen Stefani

I have to admit, I’m not particularly a fan of reunion tours. Either the band in question is reuniting to obtain some of the fame and glimmer that they have once felt, or they want to cash in because their royalty payments are dwindling. In addition to both of these usual traits, the group often isn’t as strong as they used to be. With this in mind, I watched in horror as No Doubt took the stage on American Idol on May 6, 2009 and butchered one of their greatest hits, “Just a Girl”. While the band was relatively on par, lead songstress Gwen Stefani trebled the hell throughout the approximate four-minute song length and focused more on doing push ups and screaming to the fangirls who only know her for her mediocre solo work.

Despite the time I spent cringing about this performance, I decided to spend a quarter of a paycheck to see her at Nikon Jones Beach, along with opening acts Paramore and Janelle Monae.

Opening acts typically don't stand out for me, and this time was no exception. Jones Beach never had the best acoustics, particularly because the amphitheatre is outside. Perhaps they could be to blame for my distaste towards the first opener, Janelle Monae. Monae, introduced as Diddy’s newest protégé, was very out there. She was like a combination of a black Lady Gaga and Kanye West on 808’s and Heartbreaks. It seemed like she only performed three songs, one being a Michael Jackson tribute. It was confusing to see what sort of music she was aiming to make. She was futuristic, yet soulful. She was manically energetic, yet smooth. Along with dropping her mic stand about five times, her set was messy and left me confused.

I know Paramore more for the lead singer’s, Hayley Williams’s, bold hairstyles and personal dating life more than their music, but their music reminds me of the music that I listened to when I was thirteen. However, I outgrew the majority of my old taste and I just found Paramore annoying. Their fangirls are much more annoying, however. It felt like a third of the crowd solely paid to see Paramore’s 50-minute set, then went home after their mini-show was done.  Their music was forgettable, and I felt like turning emo when they performed that Twilight song. Strangely enough, it sounded like Williams’ voice began to give in near the end of the set. She better rest up her vocals or she’ll wear herself out within a few years.

Luckily, the concert majorly redeemed itself when No Doubt went on stage at 9:33. Along with two touring members, the band showed us loyal fans why we loved them in the first place. Touring solely for inspiration for their new album, Stefani and Company performed their greatest and most beloved hits. Along with that, each member often got to illustrate his or her immense talents throughout the show, specifically drummer Adrian Young and touring members Stephen Bradley and Gabrial McNair. Of course, Stefani is the quintessential leader, both showing off her impressive vocals and interacting with the audience to the point where she brought up a lucky audience member and hugged him. The quality that I appreciate most about No Doubt is the fact that everyone in the band seems like good friends. While they started in 1986, they interact the same as they did back then. They have a goofy, playful aura to their personalities, and it reflects in their vast catalog.

I often go to concerts and shows for the main act, and I try to block out any bad acts, should they be bad. I have already gotten the bad taste of Paramore out of my mouth, and I’ll probably give Monae a second listen. Solely focusing on No Doubt’s show, it was one of the better performances I have seen within the past year. 

Actors Gone Hickster?

When actors become ambitious and try to make it big in the music world, the majority of them become mockeries at the end of the day. The two main men who immediately come to mind are Eddie Murphy and Bruce Willis. Despite their immense amount of fame in the 80’s, they couldn’t bring that same legion of fans to the record stores. Most actors can’t because they’re not made to be musical artists. Then again, actors such as Murphy and Willis probably made the leap because their egos told them to do so. So, how would a critically acclaimed actor such as Jeff Daniels fare with his latest bluegrass show?

For those who don’t know Jeff Daniels by name, a brief biography would be best. Known for his breakout role in 1994’s “Dumb and Dumber”, he has been in a string of critical hits (“Pleasantville”, “The Squid and the Whale”, “The Hours”, “Good Night and Good Luck”), duds (“My Favorite Martian”, “Mama’s Boy”), and relatively lame kiddie flicks (“RV”, “101 Dalmatians”, “Fly Away Home”, “Because of Winn Dixie”). He showed off his singing chops in some of these movies, but not many knew of his second career as a twangy musician.

One wouldn’t expect bluegrass as decent background music for a classy place like City Winery, filled with wine bottles, kegs, and an abundance of cheese. Come to think of it, the setting does seem appropriate for a Midwestern good time. Surrounded by male tourists with long ponytails and families who traveled to Manhattan to see Jeff Daniels, my date and myself were served platters of exotic cheeses and salamis as Daniels awkwardly walked on stage with his guitar and fedora.

From the first word uttered by Daniels to the first strum of his guitar, I was pleasantly surprised as to how good of a showman he was. He began his first song with requesting that the audience get pictures out of the way, which led to him making silly faces for the crowds’ many flashes. Each song came with personal commentary, varying from how bad of a driver her daughter is to how he lost his wife at a gas station while driving a recreational vehicle cross country. His songs were relatable and poignant, doused with hints of sentiment and humor. His strongest song, “The Dirty Harry Blues”, stemmed from a ‘deadly’ encounter he had with the legendary Clint Eastwood during his stint in “Blood Work”. Any artist who sings about getting brutally killed by Dirty Harry should automatically be considered a badass.

For my first bluegrass show, it was certainly a unique night, despite me not really knowing whether this was a legitimate bluegrass concert. In terms of actors-turned-singers, Jeff Daniels ranks higher than most. However, he knows that he shouldn’t give up his day job to do permanent touring. Perhaps this is the best route to lead, since he might lose his anecdotal charm should he ever follow through with such.

Maybe You've Been Brainwashed, Too - A Review

There are certain acts that are clearly out of my musical league. As an avid lover of the embarrassing Guilty Pleasure, I appreciate lyrics that are even too cheesy for Hannah Montana fans to bear and instrumentals that are sub-par and oh-so catchy. While I do happen to listen to critically panned on an hourly basis, I also appreciate the unsung heroes of the music industry. You know the type: a person or group that isn’t afraid to express themselves wholeheartedly and tests the boundaries with their daring attempts at entering harmonious infamy. This is where Gregg Alexander enters the picture.

After two failed attempts at solo stardom earlier in the 1990s, Alexander decided in late 1998 that his luck might change with the creation of New Radicals, comprised of himself, vocalist Danielle Brisebois, and a string of other unaccredited band members. The first track released off Maybe You’ve Been Brainwashed, Too, “You Get What You Give” is mainly known to casual listeners as The Song That Enraged Marilyn Manson More Than It Should Have. Aside from that, “You Get What You Give” is an exceptional example of how a first single should sound. The first twenty-five seconds opens with a futuristic feel (due to the taint of synthesizer here and there) and a countdown from Alexander that throws the listener ten years into the future. The song holds a message of straying away from conforming to the ugliness of society, but is ironically hidden behind the joyful keyboarding and upbeat tempo.

The remaining eleven songs are just as innovative as “You Get What You Give”, but receive little-to-no credit for their brilliance. While the album eventually went platinum, most people only know the leading single and “Someday We’ll Know” and “Mother We Just Can’t Get Enough”, known most memorably for being on the Walk to Remember soundtrack. While both songs are supposed to resemble the ecstasy one is supposed to feel while being in a relationship, they are also the weakest links on a track list that is otherwise innovative and ingenious. A personal favorite, “Flowers” tells of a better love story, where the protagonist is trying to convince his love that their love is “as real as the flowers [she] smoke[s] to get high”. The Beatles-esque guitar strumming and simple piano composition brings the tune together and makes listeners imagine themselves in the same dreamy scenario almost resembling a very pleasant acid trip. Another song, “I Hope I Didn’t Just Give Away the Ending” is particularly haunting due to the internal conflict going on in Alexander’s head for the first two minutes, breaking free by telling himself to “SHUT UP!” and goes into a tale contaminated by cocaine addiction and desperate pleas to get away from living such a life involving making pornographic films to pay for drugs. Truly a terrible story, but it is executed perfectly and will probably be stuck in your head after a first listen. The album’s concluding ballad, “Crying Like a Church on Monday” is a perfect way to end this album of self-discovery and self-loathing. “Monday” is a hopeful plea to try to make life worth living.

Unfortunately, “Maybe You’ve Been Brainwashed, Too” was the only album created for New Radicals. A few days after attempting to release “Someday We’ll Know” as a second single, Gregg Alexander decided to disband the musical experiment, insisting that he didn’t want to live a life of touring and interviews anymore. Alexander may be a big-time producer for the likes of Santana and The Bangles now, but New Radicals’ single album should remain a model for budding bands that hope on making a significant impact on the music industry. 

New York Romance

I have an interesting relationship with the five boroughs that lie within New York City. All five of them have drastic differences that separate them from each other, and the stories I hold from each borough are vastly different, as well. I’m fond of the Queens region because I’m technically a Queens baby (for only a month before moving to the Suburbs of Long Island, but that could be overlooked). The Brooklyn area holds a special place in my heart after endless thrifting trips, aimless bouts of roaming around nameless neighborhoods after crossing the Brooklyn Bridge and discovering that I could fall in love with the red velvet cake from the Cake Man. I have to respect the Bronx, since I have fond memories from my childhood going to my Nana’s house and having authentically Italian meatballs and bakery goods. While Staten Island gets a bad rep for being the birthing place of guidos, the area is a highly decent area that I should really explore more in-depth one of these days. Finally, I could go on about Manhattan. I’ll choose not to ramble, but living here has, in some way, helped me mature and made me realize what kind of person I really am.

Being an avid music lover, I find elements in certain songs that put me in a New York state of mind and remind me of the life that I’m living here. Certain beats, instruments, lyrics, and vocals bring me onto the streets of the city and enhance the overall experience of being here and just existing. Without further ado, here is my top three songs based around my beloved city.

Coney Island Baby – Lou Reed – Notorious for writing some of modern music history’s bleaker songs, Lou Reed released this song off of his solo debut in 1976 and highlighted his reflective side. The song is a reaffirmation of life of sorts, after all of the treacherous events that Reed has gone through during his lifetime. While he is contemplating every little aspect of life, the background could be mistake for the eerie serenity of Coney Island at night. He even compares his love for a transvestite named Rachel to how much he is infatuated with Coney Island. As trashy and nostalgic as the place seems in the daytime, one cannot help but fall in love with the place, regardless of time of day.

Harlem – Bill Withers – Back in the 1960’s and 70’s when Upper Manhattan was known for the explosion of Motown and soul music, Bill Withers was an icon for putting real heart into his verses. Withers even had the power to add an extra kick to a song simply about how he and those around him lived their lives up in the misunderstood neighborhood of Harlem. The main message he tries to convey in his classic song is that while one’s personal situation may not be all that great, he or she could still have a good time. Extreme heat or cold, lack of food, or confronting lying preacher men every day doesn’t have to stop a person when he or she can look forward to dancing with their friends and acquaintances until the wee hours of the morning.

New York, I Love You But You’re Bringing Me Down – LCD Soundsystem – Every person can grow disappointed with his or her own residency after a while. Residents of New York City are no exception. LCD Soundsystem puts the culture of New York into perspective and tries to come to the conclusion as to why the city is letting them down. Closely reading the lyrics, the average man can easily be disappointed with the ‘good life’ found in the five boroughs. They expect to live a life such as Carrie Bradshaw or the cast of Friends, but discover anything but when actually experiencing the city for themselves. People expect all the boroughs to be like glamorous Manhattan, but that is far from being true. Even if the common person does reside in Manhattan, they have to work their butts off to get what they want. Even when one gets what he or she wants, they will discover that the city doesn’t have the same diverse culture like it used to. The city isn’t as gritty as it was decades prior, and it seems like the majority of the region is trying to cater to the upper class, which can easily get a person down very quickly. Despite all of the disappointments found all about, there are a few glimmers of hope in the strangest places. They can discover the beauty of Battery Park in the middle of the night, or could stumble upon a hole-in-the-wall Australian meat pie joint in Alphabet City and eat the best pulled pork meat pie outside of Australia, or could perhaps find an epic outdoor book sale and buy half a library for fifty dollars. Moments such as this keep the doubtful around for a little while longer, and LCD Soundsystem know this holds true for aplenty of skeptics.