picture me and then you'll start watching/ watching forever...

July 28th's New Order show at Merriweather Post Pavilion was easily one of the most captivating performances I have ever seen. At times I was in tears at the aesthetic produced by the combination of sound and visuals. New Order's unique blend of post-punk, dance, and alternative electro came to life on stage, egged on by an eagerly awaiting crowd. Even after all this time, the songs still sound perfect. "Age of Consent", "Bizarre Love Triangle", and "Blue Monday" really brought the memories flowing back. The finale of "Temptation" was my personal favorite, and really got the people going.

The three songs used for the encore continued to break with the rumor that Bernard Sumner doesn't like to play Joy Division. The encore ended up being a tribute of sorts to Ian Curtis. As time goes on, it is most apparent that Sumner and Curtis both played integral roles in the Joy Division post-punk sound and writing process. Sumner was able to carry out an unparalleled style of music after Curtis' tragic suicide. While former bassist Peter Hook is not pleased that his band mates are going forward as New Order, his solo work does not quite conform to the same standards.

All in all, this show had everything it takes to be epic. Nostalgia, great music, stage presence, visual appeal, and positivity. I hope for the opportunity to see New Order perform again.

setlist

i got it, you got it, she's got it.

I haven't been to a show in a while, partially due to laziness and apathy to the current popular music. My friend and I had planned on attending Hopscotch festival, but that plan got sidelined as well. When I found out that festival headliner The Jesus and Mary Chain would be playing at the 9:30 Club I jumped at the opportunity to see one of my favorite bands who of course broke up in 1998/99 and have been playing sporadically since then.

The audience of the sold out show was more diverse in age than you would see at most 9:30 events. It was nice to see everything from original fans to younger people who discovered them after they disbanded. Reunions are tricky, as is the controversy of fifty year old musicians taking the stage. Watching recordings of The Jesus and Mary Chain at Coachella in 2007 I wasn't pleased with the sound and so it's a bit nerve wracking to think that it might not be up to all the hype. Well, they surpassed my expectations.

With these types of shows the vibe can be more important than the song choice. For a band notorious for acrimony, they seemed appreciative towards the crowd and put on a great performance. I would have loved to hear more from Darklands (1987), but as the band explained they wanted to put together a setlist full of crowd-pleasing hits for this tour. It was an enjoyable show and I hope they put out their new music soon so I can see what direction they are moving into.

setlist

they use smiles to bury you.

A curious band, Esben and the Witch, played Thursday night at the Red Palace. The English trio took the stage with a sense of the fairytale and a gothic touch. It was almost like a dream sequence. Vocalist Rachel Davies let her long hair flow over her face as she sang strong smooth words and provided the sole percussion. The set was magical in a way, and though they aren't shoegaze in a traditional sense, their detached synchronization worked well for the music. They have been signed to Matador, and I would like to see them continue to garner positive attention.

video:
they use smiles to bury you
marching song

your love is a mirror.

With my night off last Sunday, I checked out new-to-me Scottish group We Were Promised Jetpacks at the Rock & Roll Hotel. Erik Anderson had suggested them to me since he had played with them before and thought I would be into the music. Going in I only knew the song "Quiet Little Voices," and I was curious to see what their other stuff sounded like.

The crowd was rather large and actually much more than I had expected for a Sunday night. The band incorporated jet-esque sound effects in the intro and outro, which added to the hype in the room. They came out with a burst of volume and energy that showcased their talent and ability. It was nice to see a band who could hold their own without all of the smoke and mirrors. I was drawn to the vocals and lyrics in almost all of the songs, and they held my attention. The addition of xylophone on "Thunder and Lightning" rounded things out instrumentally. New songs "Hard to Remember" and one other were probably the highlight. They took the band in a similar, but more complex direction. I would love to catch We Were Promised Jetpacks the next time they come around.

looking over your shoulder and setting sail.

As ADD as I am, it means a lot if I can sit through an entire album. Fanfarlo's Reservoir (2009) has had my attention for the past few days. Simon Balthazar's sweet vocals welcome the listener into an indie pop paradise. The five-piece out of London do well to play off of each other and still keep things cohesive.

When I saw the video for "Fire Escape" I was instantly hooked. I am drawn to the concept of the video as well as how it relates to the song.



Also, "Harold T. Wilkins" is one of the catchiest songs I've heard in a while.

chaos and the big sea.

"Creation was an indie, but it didn't wear a cardigan, it didn't apologize".

I have a lot of respect for Creation Records. Spearheaded by Alan McGee and his Biff Bang Pow! bandmates, Creation was at the forefront of British indie labels. They were home to so many great artists from the label's beginnings in 1983 until its dissolution in 1999. Cutting records for Felt, Primal Scream, The Jesus & Mary Chain, and eventually Oasis, Creation made a name for themselves out of excessive debaucherous genius.

I prefer the earlier days before Sony bought-out nearly half of the company. It was a straight-up indie label that gave its unique acts a chance to flourish. From jangly British pop to the origins of shoegaze, Creation succeeded in putting out groundbreaking records. There are many compilations that allow the listener to get a general feel for the label. I am partial to the Creation Purple Compilation (1988). The album has a cohesion, but also highlights the musicality of each of the bands. Below are links to some of my favorite tracks.

"Christine" - The House of Love
"It Happens" - Primal Scream
"She Haunts" - Biff Bang Pow!
For Further Reading...

unhappy girl, you're out of time.

Another band that has taken on various genres, Primal Scream have been a go-to for me lately. This Scottish group formed in 1982 and continues to this day. Their early & jangly stuff will probably always be my favorite, so I will speak here about their debut album. Sonic Flower Groove (1987) was written by ex-Jesus and Mary Chain Bobby Gillespie, and by Jim Beattie. Beattie left the band after this album, thus accounting for some of the differences in sound.

walking back to you is the hardest thing that i can do.

After hearing snippets of The Jesus and Mary Chain for years, but not knowing who was behind the music, they came to my attention when I bought a Filter Mag in the summer of 2005. I was drawn to the article by the unique band name and I proceeded to read a fantastic interview with singer and guitarist Jim Reid. Since then, I have only become increasingly enamored with the Scottish shoegaze/post-punk band. From their formation in 1983 until their near-decade long disbandment in 1998, the JMC spanned a wide range of sounds and genres. The often volatile partnership between brothers Jim and William Reid was able to produce musical genius.


The JAMC's first two studio albums are vastly different from one another. Psychocandy (1985) begins on a semi-quiet note with the veiled "Just Like Honey," made especially brilliant by Bobby Gillespie's percussion. But, it is quicky noticeable that this album is all about feedback as it continues to build up. What makes it unique is that melody is never far from the forefront. No matter how much noise they made, the reverberating vocals and underlying gentleness still manage to show through. With Darklands (1987) came a shift to softer guitars and electronic drums. It has a much more mellow sound, but they executed the change with ease, losing nothing musically. In my opinion, it is often times more listenable than Psychocandy, but neither is inherently "better" than the other.

The following album, Automatic (1989), is a sort of mixture of the other two. It includes "Head On," which became a classic cover by The Pixies. Although it has not received as much attention, perhaps for its less abrasive and more synth-heavy approach, I still greatly appreciate the songs and sounds.

Notorious for short gigs and antagonistic shoegaze tactics, like performing with their backs to the audience, a Jesus and Mary Chain show was often enough to incite a riot. They were simply always a band who did what they wanted. That is, up until the drama became too much and William Reid walked off stage in 1998, angry that Jim was in no state to perform. Luckily, the brothers seem to have reconciled and they continue to exude their trademark effortless cool as they currently work on new music.

Links:
Never Understand (1985)
Just Like Honey live (1985)
April Skies live (from Darklands)
Take it (1989)

For extended listening, I highly recommend the compilation The Power of Negative Thinking: B-Sides & Rarities (2008).

my thoughts are getting banal.

When I started REALLY listening to Blur, Parklife (1994) was my favorite of their albums and I still thought Oasis were the superior group. A lot has changed in the past 3 years. I adore Blur and cannot stop revisiting Modern Life Is Rubbish (1993). Every song is meticulous. In fact, my blog name comes from the line "She's a twentieth century girl" out of "For Tomorrow."

I would really love to see Damon Albarn, Graham Coxon, Alex James, & Dave Rowntree performing together again. I'll leave the music to speak for itself, and conclude with lyrics from "Blue Jeans," one of my favorite songs ever.

and don't give up on me yet/ dont think i'm walking out of this/ she don't mind/ whatever i say, whatever i say/ i don't really wanna change a thing/ i wanna stay this way forever.

Edit 5/20/2009: Blur have announced reunion shows and plan to add US and European dates. Yes!

don't tell me to try to control myself.

Recently, I have reignited my interest in The Popguns, a British jangle pop group hailing from Brighton. Formed in 1986 and active for a decade, The Popguns were endlessly both catchy and emotional. Vocalist Wendy Morgan is a true star with her effortless ability to wail sentimental and sometimes snarky lyrics while rocking a rickenbacker. To quote another blogger, "She is able to give seemingly the most innocent phrase just the right amount of spite, hurt or tenderness it deserves." I've been listening to "Don't Smile" a lot for that very reason.




I highly recommend The Popguns best-of entitled Another Year, Another Address. Released in 1996 by Cherry Red Records, this album includes many rare and amazing songs from the band's time at Midnight Music.

please don't throw it all away.

My New Favorite Song:


When I was doing my radio show over the summer I came across a demo. A song called "You're Making This Hard" by Irish indie band Sweet Jane. The song was reminiscent of Darklands (1987) era The Jesus & Mary Chain and featured a duo of male and female vocals, steady bass drum beats, and driving guitars. Unfortunately, they changed it up a lot for the version in their EP, which can be previewed on their myspace.

"Blackboots Blackhearts" is the title track on the EP. It is really the style of stuff I'm into right now. In lieu of something lovey and valentiney, I'll go with something that reminds me of exactly how I feel. Just the right blend of melancholy and feedback.