Posts Tagged ‘Live’

SAVAGES – ” Live at KCRW “

Posted: February 15, 2015 in MUSIC
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Hyped London-based post-punk band Savages visited Morning Becomes Eclectic on KCRW to play a set in the studio. Savages a rock band from London and lead singer Jehnny Beth (real name: Camille Berthomier) is from France. The band’s guitarist Gemma Thompson had come up with the name for the band and had been discussing the idea with singer Jehnny Beth for almost a year. Thompson says the band’s name was derived from books, such as Lord of the Flies, that she read when she was younger . The band was eventually formed in October 2011 and they had their first gig in January 2012 supporting rock band British Sea Power. Their manager John Best also manages Sigur Ros. Here is the full session. Enjoy!

Savages  Live at KCRW 

Tracklist:
1. City’s Full, 2. She Will 3. Waiting for a Sign 4. Hit Me 5. Husbands

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Parquet Courts, they’ve become more and more assured and impressive. The Brooklyn band — who are now “big” enough to headline many a venue,  decided to end their latest stint on the road in the best possible way. The foursome landed this time at Bushwick’s Palisades, a resolutely scrappy DIY venue where the room is spare, the drinks are cheap and the vibe is warm for a two-night stint. This level of ticket sell-out reminded me of the best days of the venue 285 Kent ,

Parquet Courts inspires that kind of loyalty, and deserves to. Their style may be rooted in garage and punk, but they play like serious musicians, shredding their way through material from both of their 2014 records, “Sunbathing Animal” and the newer Album  “Content Nausea” (released under the name “Parkay Quarts”). Besides Andrew Savage’s lead vocals that are easy to actually make out , the band’s most notable calling card is their ability to construct earworm riffs that make you remember songs of theirs even if you’ve only heard them once. This set did a fine job of mixing up short masterpieces of the band’s like “Light Up Gold II” and “Careers In Combat” with pieces that give Savage, guitarist Austin Brown, bassist Sean Yeaton and drummer Max Savage a chance to stretch out and show their chops, especially the “Instant Disassembly” that came earlier in the set. At times it felt like the band wasn’t even taking a breath between songs, with the riff of the next number cranking up at the last downbeat of the one before. It made for a kind of momentum that reminded me of Parquet Courts’ current career.

Befitting their love for the hometown crowd, the set we got here was longer than than other recent shows, and included a new song mix, including a cover. At first, the Monday night crowd felt a little sedate, to the point that you can hear a fan screaming “Wake the fuck up!” at least once on this recording. But the only blame for that can go to how densely packed it was in there — sardines can’t dance, either. By mid-set, the true believers had assumed their rightful places up front, and the pogoing and pit were in effect. The band kept joking with the crowd about how any of us got tickets in the first place. But that’s one advantage of having your tour-ending shows at Palisades on a Monday and Tuesday night — you can make a pretty educated guess that the people who choose to be there are the ones that actually give a shit.

The band is off to Australia and New Zealand, and then the festival circuit, in March. At their current pace, they may as well have another album done by summer. Until then, we wish them well. Success sits well with them.

many thanks to the New York Taper,

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Viet Cong, from Canada’s less-celebrated center Calgary, sold out at the Union Pool show long before the not-at-all-catastrophic snowstorm hit New York City this week. Viet Cong had the place well past capacity. Half-composed of former members of the band Women,  Viet Cong continues that band’s art-rock mission, if not expands it. What makes the band’s live show flat-out better than their very-well-regarded debut LP is simply that watching them put this music together gives you a clearer sense of how much is going on. The interplay between guitarists isn’t simply your usual rhythm/lead dichotomy; guitarists Scott Munro and Daniel Christiansen’s instruments are almost in opposition to each other at points, at others answering each other note-for-note. Both guitarists double up on keys as well, but don’t think vocalist/bassist Matt Flegel isn’t producing himself. Granted, some of the members have history together, but this is still an incredibly tight unit for a band with only the “Cassette EP” and now the new album to their credit.

The band’s sound mimics the bleak landscape of their hometown at times; the show, and the album closed with a ten-plus minute dirge named “Death”.  But there’s also humor running through Matt Flegel’s lyrics, when you can make them out, and the Cassette songs, especially, have a more straightforward appeal. Ultimately, though, what comes across most about this band is just how effing good they are. The complexity of their work may suggest that this is music for musicians, but what Viet Cong do so well is make that complex music relatable, even fun, to listen to. This show will set a high bar for the rest of 2015, in the best possible way.

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The Thurston Moore Band — aka Thurston, his former Sonic Youth bandmate Steve Shelley on drums, My Bloody Valentine’s Deb Googe on bass, and guitarist James Sedwards — put out their SY-esque The Best Day earlier this year and recently toured it, hitting NYC twice..

 

 

Incredible performance at the celebrated halftime of the XLIII Edition of the Superbowl, on the 1st of february 2009, at Tampa byBruce Springsteen & E.Street Band who played at Super Bowl Halftime Show at
RAYMOND JAMES STADIUM, TAMPA, FL. A total showman, Bruce Springsteen projected a full 100 yards of charisma as he proudly introduced the E Street Band. Re-watching them open with ‘Tenth Avenue Freeze-Out’ instantly reminds one of just how much Clarence Clemons will be missed. Springsteen’s choice to play ‘Born To Run’ seemed highly appropriate, as was ‘Working On A Dream’ which allowed a full-fledged choir and the audience to participate. Calling over guitarist Little Steven to duet on ‘Glory Days’ capped off this high-energy performance, which even included a referee getting into the act. It was a top-notch halftime from beginning to end.

setlist:
“Tenth Avenue freeze-out”
“Born to run”
“Working on a dream”
“Glory days”

Gene Clark & Roger McGuinn – Full Concert Recorded Live: 3/4/1978 – Capitol Theatre (Passaic, NJ) This is a very fine set, good songs from Gene Clark and Roger McGuinn who also played together in The Byrds and some very fine covers, among them three Bob Dylan songs are included.

Setlist:
1 – Release Me Girl
2 – Silver Raven
3 – Don’t You Write Her Off
4 – Jolly Roger
5 – Chestnut Mare
6 – Crazy Ladies
7 – You Ain’t Goin’ Nowhere
8 – Lover Of The Bayou
9 – Train Leaves Here This Morning
10 – Mr. Tambourine Man
11 – Bag Full Of Money
12 – Turn! Turn! Turn! (To Everything There Is A Season)
13 – Knockin’ On Heaven’s Door
14 – So You Want To Be A Rock ‘N’ Roll Star
15 – Eight Miles High
16 – Band Exit

thanks to alldylan.com

SAVAGES playing “City’s Full” live at their debut London show at The Shacklewell Arms on 24th January 2012. beautifully filmed in Black and White Shot by Giorgio Testi. Track available from savagesband.com,

Savages finished the ‘Silence Yourself’ tour in April 2014. After a period of 6 months isolated writing in London, the band decides it’s time to introduce their new music to its natural habitat: they settle in New York and plan a series of small club shows in the city.”We believe in movement initiating sound as well as sound initiating movement. The power of migration to inspire new ideas. The incessant commutation of bodies across the globe resulting in the transformation of music”

NYC Shows

  • Jan 12 Brooklyn, NY: Baby’s All Right (sold out)
  • Jan 14 NYC, NY: Mercury Lounge (sold out)
  • Jan 17 Brooklyn, NY: St Vitus (sold out)
  • Jan 19 Brooklyn, NY: Baby’s All Right (sold out)
  • Jan 21 NYC, NY: Mercury Lounge (sold out)
  • Jan 24 Brooklyn, NY: St Vitus (sold out)
  • Jan 26 Brooklyn, NY: Baby’s All Right (sold out)
  • Jan 28 NYC, NY: Mercury Lounge (sold out)
  • Jan 31 Brooklyn, NY: St Vitus (sold out)

Rory Gallagher live at the Marquee Club in 1972. The beginning of a twenty-year musical relationship between Gallagher and McAvoy the other band member was drummer Wilgar Campbell The 1970s were Gallagher’s most prolific period. He produced ten albums in that decade, including two live albums, Live in Europe and Irish Tour ’74. November 1971 saw the release of the album Deuce. Gallagher played and recorded what he said was “in me all the time, and not just something I turn on Though he sold over thirty million albums worldwide, it was his marathon live performances that won him greatest acclaim  He is documented in Irish Tour ’74, a film directed by Tony Palmer. During the heightened periods of political unrest in Northern Ireland, as other artists were warned not to tour, Gallagher was resolute about touring Ireland at least once a year during his career, winning him the dedication of thousands of fans, and in the process, becoming a role model for other aspiring young Irish musicians

rorystoke

Alvvays members Molly Rankin and Kerri MacLellan were childhood friends, who began playing music with Alec O’Hanley while in high school. Rankin is the daughter of John Morris Rankin of The Rankin Family. Molly Rankin released a solo EP titled “She EP” in 2010 and then formed Alvvays with MacLellan, and O’Hanley, and new members Brian Murphy and Phil MacIsaac. Following tours with The Pains of Being Pure at Heart and Peter Bjorn and John, the group recorded a full-length album, Alvvays, an superb indie pop album full of great songs which was released by Transgressive Records 

Alvvays performing live in the KEXP studio. Recorded December 2, 2014.

Songs:
Ones Who Love You, Dives, Archie, Marry Me, Party Police,

Allah-Las performing “Artifact” live in the KEXP studio. Recorded December 5, 2014. The L.A. garage psych revivalists the Allah-Las didn’t mess around with their winning formula much on their second album, 2014’s Worship the Sun. Working with retro-leaning producer Nick Waterhouse again, the quartet can still effortlessly crank out chiming ballads that sound worthy of a strong volume of Pebbles, dish out moody mid-tempo tracks that have the feel of classic West Coast bands like the Chocolate Watchband, and take the occasional instrumental detour that come off like surf music that’s been dragged through some desert dust. It definitely feels like an extension of their debut album, only instead of being a re-tread, it’s an improvement. Stronger songs, vocals that lean a little less on the snotty side of the garage in favour of some nuance, and slightly softer focus production mean that the album is a slight bit of an improvement.