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Archive for May, 2022

NNAMDÏ / Ghösh / Lizdelise (Johnny Brenda’s, Philadelphia, PA, May 31, 2022) [DID NOT ATTEND]

Posted in GHÖSH, Johnny Brenda's, Lizdelise , NNAMDÏ, Nnamdi Ogbonnaya, Philadelphia, PA on May 31, 2022| Leave a Comment »

[DID NOT ATTEND: May 27, 2022] NNAMDÏ / Ghösh / Lizdelise 

I saw Nnamdi Ogbonnaya open for Wilco and Sleater-Kinney.

I really enjoyed his set which went in all kinds of interesting directions.  As this blurb puts it he

makes dreamy, fractured, and frisky music that rarely sits still. He pulls from indie rock, hip-hop, and jazz on songs that mine his experience as a self-described “Black, Jewish, first-generation Nigerian-American.” He was terrific last year at the Mann Center opening for Wilco and Sleater-Kinney, though he couldn’t play guitar because he had broken his wrist skateboarding.

That’s the show I saw, too.

I’m not sure why I didn’t go to this show.  I’d say just taking it easy at the end of May.

Ghösh seems like an unlikely fit for this bill.  I very much want to see them, but sandwiched between two mellow artists this seems a little off.  XPN explains them

Ghösh combines the darkest elements of aforementioned 90’s rave — pummeling beats and washy, distorted samples ala Atari Teenage Riot or Front 242– with the lyrical intensity of a 2009 LiveJournal entry co-written by Angela Davis and your little sister: they’re pissed off, informed, and ready to party.

It’s a weird mix on the surface, but with songs like “Dear Daddy” intoning how bad all cops are (“even my dad,” Symphony shouts) over a dizzying jungle beat, to a cover of Limp Bizkit’s “Break Stuff” where buzzsaw riffs that tear through the an avalanche of Miami bass empowered 808 kicks where they scream-rap “my suggestion is to keep your distance / right now I’m dangerous”, it’s clear the genreless entropy is not just intentional, but beautiful.

The band has honed their sound in the usual spots: basements, dive bars, the batting cages, defying the usual punk orthodoxy with ever slurred, tripped out vocal sample, every re-appropriation of 90’s hip hop and nu-metal, every radical, queer, noisy explosion. And it’s true, Philly gravitates to bands that push, explore and distort a myriad of experiences and influences, the eclectic shit, as much as we love three chord punk, staid indie rock, and meathead hardcore.

Lizdelise was described by NPR as

Liz de Lise is a singer, songwriter and guitarist who writes alternative folk songs with jazz influences. She creates lush soundscapes with acoustic and electric guitar, vocals and a loop pedal. She completed her one-video-a-month-for-a-year project in 2015.

For ease of searching I include Nnamdi, Ghosh.

Here’s a video of Ghosh

GHOSH  PhilaMOC

 

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Modest Mouse / The Cribs (The Stone Pony Summer Stage, Asbury Park, NJ, May 28, 2022) [DID NOT ATTEND]

Posted in Asbury Park, NJ, Johnny Marr, Modest Mouse, The Cribs, The Stone Pony, The Stone Pony Summer Stage on May 28, 2022| Leave a Comment »

[DID NOT ATTEND: May 28, 2022] Modest Mouse / The Cribs

I really enjoy seeing Modest Mouse live.  I’ve seen them a number of times and will happily see them again.

However, I didn’t really want to see them at the Stone Pont Summer Stage, which I have a kind of love hate relationship with.

They tour all the time and I was able to see them again later in December, so it’s okay that this show was missed.

The Cribs are an old (I had no idea) British rock band (formed in 2001).  They are made up of twins Gary and Ryan Jarman and their younger brother Ross Jarman.   Johnny Marr (who was also part of Modest Mouse for a while) played with them from 2008 to 2011.

They were a hugely popular British indie rock (emphasis on the rock) band whom I’d never heard of.  Apparently they hit some trouble just before COVID, and here’ a fun little blurb from the NME.

The Jarman brothers were left staring defeat in the face following ‘24-7 Rock Star Shit’ due to a self-described “legal morass”. After unexpectedly parting ways with their management, a morale-sapping period in the wilderness followed; they couldn’t release music or tour (the gig-hardened band still haven’t played live since September 2018). “Towards the end of last year, we honestly could not even begin to imagine coming back and were seriously questioning our future as a band,” The Cribs revealed in a message to their fans back in August. “It felt almost like a distant dream or something.”

Step forward Dave Grohl. While supporting Foo Fighters in Manchester in the summer of 2018, the deflated Cribs received a pep talk from the gregarious frontman, who offered them a route out of their quagmire. “‘Forget about all that business stuff, come out to LA and make a record at our studio’ – Dave made that offer to us,” a relieved Ryan Jarman recalled.

It was precisely the kind of escape that the Jarman brothers so desperately needed: after reuniting at their parents’ house during Christmas 2018 to thrash out some new song ideas, the trio headed to the Foos’ Studio 606 the following April to record what would become ‘Night Network’, The Cribs’ best album in 11 years.

Back to ‘Goodbye’, then. The record’s very un-Cribsian surf-pop opener, complete with ‘Pet Sounds’-influenced harmonies, permits the band to first and foremost reflect on the bullshit (“Goodbye when you chose the sons of privilege,” one withering line goes) before consigning those tumultuous times to the past.

Point made, drummer Ross Jarman  signals the resumption of normal service as his tumbling fill sparks lead single ‘Running Into You’ into life. “If I could only write her favourite song / Still be in her head when I am gone,” bassist Gary Jarman wistfully sings as his twin brother Ryan crafts a sprawling and very Cribsian riff from the barrage of fuzzy guitar he lays down throughout. There’s even an “ah-oh-oh-oh” cry thrown in at the end, almost like a tip of the hat to ‘The New Fellas’ era. Isn’t it good to have The Cribs back?

I’m going to have to give these guys a listen.

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Bit Brigade / Super Guitar Bros. (Johnny Brenda’s, Philadelphia, PA, May 27, 2022) [DID NOT ATTEND]

Posted in Bit Brigade, Johnny Brenda's, Legend of Zelda, Philadelphia, PA, Super Guitar Bros. on May 27, 2022| Leave a Comment »

[DID NOT ATTEND: May 27, 2022] Bit Brigade / Super Guitar Bros.

I saw Bit Brigade in 2018 and really enjoyed the show.  The premise of their live show is terrific

The band plays the soundtrack to a video game while their resident gamer plays the game.  The band is heavy and the sound is amazing.

Last time I saw them, they were playing The Legend of Zelda and it was phenomenal (The music is really good).  They came around last year playing a different game but I couldn’t go.

This time they were playing Zelda and Castlevania.  I’m sure it would have been a lot of fun.  But I just didn’t feel like going out.  They’ll be back, I’m sure.

Opening for this show was Super Guitar Bros.  They are two guys from Detroit who play acoustic guitar versions of video game theme music.  As their blurb says: “Gentle Video Game Guitar Covers For Relaxation.”

Sounds like a perfect pair.  And I’m absolutely ready to see them again.

 

 

 

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Afghan Whigs: Free at Noon (World Cafe Live, Philadelphia, PA, May 27, 2022) [CANCELLED]

Posted in Cancelled, Coronavirus, Philadelphia, PA, The Afghan Whigs, World Cafe Live on May 27, 2022| Leave a Comment »

[CANCELLED: May 27, 2022] Afghan Whigs : Free at Noon

indexI love The Afghan Whigs’ album Gentlemen.  I should love more by them, but I like them just fine (never been in the cult of Dulli).  I’ve never really been interested in seeing them live.  But a Free at Noon is a great way to get a thirty or so minute show without committing to an evening out.

I grabbe a ticket for this show, but on the Wednesday before the show, a member of the band tested positive for COVID and they cancelled the appearance.

They had a show planned that night for New York (he last of the tour), so there was no point in them sticking around.

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Blue Man Group (State Theatre, New Brunswick, NJ, May 25, 2022)

Posted in Arrested Development, Blue Man Group, New Brunswick, NJ, State Theatre on May 25, 2022| Leave a Comment »

[ATTENDED: May 25, 2022] Blue Man Group

Blue Man Group began in 1987. In 1997 I was working in New York City in Greenwich Village and every day I thought I would love to check out this crazy looking show.

I never did.

Over the years, Blue Man Group became a phenomenon, a punchline and much more.  I had no idea that in 2017 it was purchased by Cirque de Soliel.  It even became a plot line on Arrested Development.

And all that time I still thought that I’d like to experience the show.

So when State Theatre announced that Blue Man Group was touring, I purchased tickets for the four of us, figuring we would all enjoy it.  I gather that in the 35 years the show has changed, but some things are still the same.  They’re still all in Blue.  There are still marshmallows.  There’s still music and there’s still a kind of sensory overload.

The set was wild with lights flashing and scaffolding and walls on either side that were designed for climbing.  The set is lit up long before the Blue Men come out and you can really study everything that’s up there.  We were pretty far back so we couldn’t see it very closely.  But there were screens with Pong on it and other things that seemed futuristic and retro at the same time.

I knew that the Blue Man Group played music–they have even done a Tiny Desk.  And that they make a lot of their own instruments (mostly weird things out of PVC).  I didn’t realize there would be a (really loud, rocking) backing band [apparently Corky Gainsford on guitar Chris Reiss on the strings and drummer Chris Schultz].

Audience participation is a fun thing with the Blue Man Group.  There are parts that are clearly scripted–bits in which they come out an interact with the audience.  But there are also ways in which the audience’s reactions result in the Blue Men reacting in turn–as if they are aliens unsure about what to make of the audience in general.

And I think that’s what makes the whole thing so magical.  The three guys really do keep in character the whole time–and that character is truly alien.  Truly like beings from another world doing their thing, trying to communicate with humans in some way.  It is strangely affecting and strangely moving. (more…)

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Nine Inch Nails / 100 gecs / (The Met Philadelphia, Philadelphia, PA, May 24 & 25, 2022) [DID NOT ATTEND]

Posted in 100 gecs, Nine Inch Nails, Philadelphia, PA, Skinny Puppy, The Met Philadelphia on May 24, 2022| Leave a Comment »

[DID NOT ATTEND: May 24 & 25, 2022] Nine Inch Nails / 100 gecs 

I saw Nine Inch Nails open for Skinny Puppy on Halloween in 1988 at Irving Plaza in New York City.  My memory is hazy, but I recall Trent Reznor playing all of his music on a giant reel to reel player and no one else on stage.  No idea if that’s correct.  I recall not thinking much of him/them.  “Head Like a Hole” wouldn’t come out for another year and a half.

Obviously, things went pretty well for him.

I don’t really think I would have gone to this show even if it hadn’t sold out.  I have nothing against the new version of NIN, I’m just not all that interested.  Plus its fun to have my memory.

100 gecs are a crazy band who apparently put on a wild show (and sell out pretty quickly).

My son played us “Stupid Horse” a while ago and I thought it was crazy–funny, catchy, irritating–a perfectly weird pop song.  When they announced a tour, I asked him if he wanted to go and he laughed and said no.

I looked up a concert review to see what their show was like and people said they played their entire catalog, which was like 30 minutes.  And that was it.  (Turns out they played for 50 minutes at their headline show in Philly).

There were some interesting openers on this tour.  More power to Trent:

Yves Tumor, Boy Harsher and a little band called Ministry.

I just found out that someone ha a recording of that 1988 show

 

And here’s a poster for the 1988 show

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Lo Moon / Social Animals (Johnny Brenda’s, Philadelphia, PA, May 24, 2022) [DID NOT ATTEND]

Posted in Johnny Brenda's, Lo Moon, Philadelphia, PA, Social Animals on May 24, 2022| Leave a Comment »

[DID NOT ATTEND: May 24, 2022] Lo Moon / Social Animals

Lo Moon is a kind of soft-rock indie rock band.  Their big influences are Talk Talk and Prefab Sprout.

There’s delicate, soft voices and pretty melodies.  I don’t really like them all that much, although I think that their single “Dream Never Dies” is outstanding.  It was the constant play of this song that made me even considering seeing them live (and hearing Matt Lowell hit those high notes).

But this show sold out before I even heard about it and I had plans already anyway.

Social Animals is a more rocking band that Lo Moon.  There’s a more propulsive feel to their songs which sounds a lot like other bands–I keep thinking they sound like someone else when I hear a song by them.  I’m not sure I’d want to see them, although maybe a short opening set would be good.

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Turnstile / Citizen / Ceremony / Ekulu / Truth Cult (Fillmore Philadelphia, Philadelphia, PA, May 24, 2022) [DID NOT ATTEND]

Posted in Ceremony, Citizen, Ekulu, Philadelphia, PA, The Fillmore Philadelphia, Truth Cult, Turnstile on May 24, 2022| Leave a Comment »

[DID NOT ATTEND: May 24, 2022] Turnstile / Citizen / Ceremony / Ekulu / Truth Cult

The new Turnstile record is fun and wild.  And I’ve heard that a Turnstile live show was absolutely bonkers.  I wanted to go to this show, although the prospect of five bands in one night is exhausting.

Plus I had tickets to see Sondre Lerche (they couldn’t be more different options)–which we wound up not going to anyhow.

Citizen are a rocking band who embrace a lot of styles.  I hear some post punk and some shoegaze wrapped in an emo blanket.  I rather dig their stuff.

Ceremony were a hardcore band who have expanded their palette a bit.  Indeed, one of their newest songs has a female vocalist singing gently in the middle of the song.

Ekulu, are a crossover hardcore band with lots of screaming metal solos.

Truth Cult throws in a bunch of influences.  There’ a lot of 70s rock in their delivery (those backing vocals and riffs) but the lead vocals are firmly in the punk realm.  There’s a hint of Fucked Up on their overall sound, as well.

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Sondre Lerche / mmeadows (City Winery Philadelphia, Philadelphia, PA, May 24, 2022) [DID NOT ATTEND]

Posted in City Winery Philadelphia, mmeadows, Philadelphia, PA, Sondre Lerche on May 24, 2022| Leave a Comment »

[DID NOT ATTEND: May 24, 2022] Sondre Lerche / mmeadows

I’ve been a fan of Sondre Lerche for about eight years.

I was delighted to have the opportunity to see him live, but when the night of the show came up, my wife and I decided to just stay home instead.  She didn’t really know him–sometimes I get tickets for a show I think she’ll like–and I’m sure that impacted her decision to stay home.

At the same time, it felt like a long drive for a seated show of mellow folk, no matter how good it was.

Here’s a review from the NYC show the night before

Lerche said that his newest album was written and recorded in Norway, where he grew up and hunkered down during lockdown. He kept busy training for marathons, started a wine company, wrote children’s books, and busted out creative new music videos during that span. He also discussed how his working methods have allowed his artistry to evolve and branch out in unique ways.

Lerche’s music has continued to evolve over the years and now encompasses an extraordinary range of styles, each amazing in their own right, from jazz and addictive instrumental ballads to pop melodies and rhythms. Approaching each song is much like examining a gallery piece: once you can overcome the rush and excitement of the melody and can focus on the lyrics, you let them sink in. His thought-provoking, introspective poetry strikes a chord and makes you love and appreciate the songs more with each listen. These elements come together with eclectic, but incredibly appealing results.

I don’t really know mmeadows, but their music is pretty interesting.  Rough Trade publishing describes them this way:

Longtime collaborators Kristin Slipp and Cole Kamen-Green come together for the first time as a duo in mmeadows. The band’s distinct sound is informed by their deep musical backgrounds: Kristin is a current member of indie royalty Dirty Projectors, while Cole has worked directly with Beyoncé on two albums, ‘Beyoncé’ and ‘Four.’ Drawing from their disparate influences, mmeadows sees two people connect in what Paste Magazine calls a sonically “singular” way.

Vocal-focused pop songwriting is the heartbeat of mmeadows, who liberally use found sounds and esoteric vintage instruments in their productions and performances. The band released their first EP, Who Do You Think You Are?, in April 2020.

Perhaps a but too poppy for me, but I’ll bet they’re fun live.

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Scott Thompson and Paul Bellini: An Evening with Mouth Congress (PhilaMOCA, Philadelphia, PA, May 21, 2022) [DID NOT ATTEND]

Posted in Paul Bellini, Philadelphia, PA, PhilaMOCA, Scott Thompson, The Kids in the Hall on May 21, 2022| Leave a Comment »

[DID NOT ATTEND: May 21, 2022] Scott Thompson and Paul Bellini: An Evening with Mouth Congress

I love PhilaMOCA and can’t believe how many of their shows I’ve had to miss since they reopened.

Of course this one I wouldn’t have missed ina million years.  Except I didn’t even HEAR about it until it was long sold out.  [Plus, we went to Music Man on Broadway so I wasn’t around].

So what the hell was this?  And are you telling me that for an extra $15 I could have met a Kid in the Hall?

PhilaMOCA is excited to host The Kids in the Hall’s Scott Thompson and KITH writer Paul Bellini for a documentary screening and reunion performance of their 1980s gay punk band Mouth Congress! This is not a tour, this is a one-off just for Philly proudly organized in-house by PhilaMOCA!

The event will feature a screening of the pseudo-documentary MOUTH CONGRESS followed by a live performance, sketches, and a Q&A with Thompson and Bellini.

About Mouth Congress:
Mouth Congress was formed in a basement in November of 1984 when Paul Bellini rented a beatbox from an audio store. He wanted to experiment with sounds and try his hand at songwriting with his sister’s boyfriend, guitarist Rob Rowatt, and her high school buddy, bassist Gord Disley. Their cacophony immediately drew the attention of Scott Thompson, who at the time was on the cusp of joining a local comedy troupe called The Kids in the Hall. Since they only had the beatbox for a month, they recorded dozens of sketches for songs. Then, about ten months later, they made their stage debut with Brian Hiltz’s band I Want functioning as back-up. From start to finish, Bellini either tape-recorded or video-taped everything the band ever did, from jam sessions to costume fittings to lyric-writing sessions to live shows. This dragged on for about 4 years, so you can imagine how much media he accumulated. But by 1991, both Thompson and Bellini were so preoccupied with their work on The Kids in the Hall television series that they quietly put all the Mouth Congress media into a deep, dark hallway closet. They didn’t forget about it, though. For years, Bellini pondered the idea of making a film about the band. Then, in 2011, he dug all this stuff out of the closet, showed it to Thompson, and the two men set about trying to shape it all into something.

Synopsis:
It’s a cold, snowy night in Toronto. Melancholy, an 8-year old girl, is spending the night at her Uncle Kevin’s place. Uncle Kevin is Kevin McDonald of The Kids in the Hall. After a day of Josef von Sternberg cosplay (he dons an ape suit like Marlene Dietrich in Blonde Venus), Uncle Kevin sets Melancholy up in his den to watch a DVD of a movie he was in called Lilo & Stitch.

But Melancholy isn’t interested in Lilo & Stitch. Instead, she finds an old VHS tape labelled Mouth Congress and her curiosity gets the best of her. As she watches the first five minutes of this bizarre rock band on stage, she is captivated. Kevin catches her in the act and admonishes her for snooping, but she is hooked. For a bedtime story, she insists on being told the history of Mouth Congress.

NOTE: There will no longer be a 10:00 PM performance (no controversy, the performers just want to put their all into a single performance).
Admission is $40, Admission + post-show Meet & Greet is $55

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