Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: Moisturizer at BAM Cafe, Brooklyn NY 9/28/07

A deliriously good show. The all-instrumental trio – baritone sax, bass and drums – swung like crazy. This band doesn’t just “bang out a good time,” as one New York periodical sarcastically put it a couple of years ago: they flat-out groove. Tonight virtuoso baritone sax player Moist Paula, inimitably imaginative bassist Moist Gina and the newest addition to the band, drummer Moist Yoshio laid down the sexiest groove heard anywhere in New York. It was clear that everybody in the band was especially amped for this show.

Moisturizer proved without a doubt that they are the funnest and maybe even – gasp – the best live band in New York. Moist Paula jokingly told the crowd before launching into the catchy, bouncy Cash Incentive that “that’s why we’re here tonight.” But afterward she admitted that she was just kidding. Cash is great, but these two girls and a guy are clearly in it for the love of it just as much as for the moola. The songs that Moist Paula and Moist Gina write are meticulously composed, effortlessly memorable and danceable as hell; it was incongruous to see the tables here full of people just sitting there. People usually get up and move around at Moisturizer shows. If there’s one criticism of this band, it’s that Moist Paula doesn’t always announce the songs’ sly, Satie-esque titles, and tonight she remedied that, making sure to let the crowd know whether they were about to play the gleefully busy Dimestore Aphrodisiac, the big audience hit Actually I’m So Busy, the haunting tango Girl in the Goldfish Bowl and a dynamite new funk number – perhaps titled Restaurant Delivery? – pulsing along on an absolutely luscious, Larry Graham-inflected Moist Gina bassline. They closed the set with guest trombonist David Smith invited up to join the band on a sexy, bluesy reworking of one of their usually more percussive numbers.

Moist Paula has jazz chops, but tonight was a reminder that she’s all about the melody, first and foremost. Moist Gina is a hard hitter, a melodic powerhouse herself, but she’s also become a master of textures, adjusting her effects pedals between every song to change her tone from boomy to watery to springy and back again. For some reason, her amp was producing a ton of interesting overtones in the big, cavernous space, resulting in some high octaves bouncing around the room, almost as if there was a vibraphone in the band. Moist Yoshio has impeccable timing and swings with the best of them, one of the reasons why this band has been able to take it to the next level in recent months.

Moisturizer’s songs are catchy, but they’re deceptively complex. Verses and choruses don’t repeat often: the melodies often seem to have a narrative, and as Moist Paula was quick to let everyone know, all their songs are true stories. Frequently the melody would switch between the sax and the bass, back and forth; other times the two instruments played off each other. The effect of all those low frequencies was as hypnotic and soothing as it should have been dance-inducing (although this venue doesn’t exactly seem like the place for that). The songs embody elements of jazz, funk, surf music, 60s go-go instrumentals, punk rock and even hip-hop. But ultimately Moisturizer plays something completely unique. Call it moist music.

Moisturizer also happens to have perhaps the most diverse fan base of any New York band, bringing an impressively polyglot following out tonight that seemed to embrace just about every ethnicity and age group in town. They were scheduled to do another set accompanied by a heavy metal guitarist from the 80s – this band seems like they’ll try anything once – but we had places to go and things to do.

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September 29, 2007 Posted by | Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 4 Comments

Better Lay off the Guinness…for a Few Million Years

This just in:

“LONDON (AFP) – Demolition experts blew up Saturday the giant cooling towers of the world’s first commercial nuclear power station, 51 years after it was opened in northwest England.

The first two of the four 88-metre (288-foot) high cooling towers at Sellafield were demolished at 9 a.m. (0800 GMT), sending a cloud of dust over the Irish Sea before hundreds of onlookers.

Four minutes later the final pair of cooling towers crumbled to the ground in a series of controlled explosions.

The demolition of the towers is the first phase in the decommissioning of the 167,000 square metre site made up of 62 buildings…”

Note that nowhere in this article do the words “what brain-dead moron came up with this idea” appear.

September 29, 2007 Posted by | Politics, Rant | Leave a comment

Concert Review from the Archives: Revlover, Noxes Pond, Florence Dore, Patricia Vonne and Paul Foglino at the C-Note, NYC 9/28/01

The sky looking particularly ominous, I caught a cab up from my company’s satellite office at Union Square to a friend’s gallery for her very first curated opening. She did about seven grand worth of business, not bad considering what she was selling: the artist was sort of Edward Hopper lite, familiar outdoor and storefront NYC scenes including the H&H Bagel sign. Shadows falling everywhere: the guy’s in love with shadow, and when he isn’t doing shadows he’s doing the reverse with lights tracing a path in the dark. Then caught a cab down to the club where a wretched acoustic grungeboy tortured us for the better part of 40 minutes. Fake moveable chords, lame vocals and awful fashion sense. As Luke Haines said, junk shop clothes will get you nowhere, and this guy is living proof, playing to just about nobody at 7 PM at a little Lower East Side club that rightfully shouldn’t even be a club at all. It looked like he was trying to pester the promoter for another gig afterward and the promoter was having none of it. Hopefully he won’t be back.

Revlover were next. They didn’t have Ed Sargent on guitar like they did last time: it was just the three of them doing an exceptionally tight, catchy mix of indie janglerock and somewhat crunchier, tuneful, Guided by Voices-inflected material. They did the always amusing faux Irish ballad Emily, their song about a hermaphrodite, along with the very memorable On Ordinary Days (the title track to their album), sung by their excellent, melodic bass player. He also sang their closing number, a fiery, riff-driven, minor-key garage number called Men in Plastic featuring a fast, searing blues guitar solo at the end. Particularly appropriate, considering what’s going on downtown (body bags – as it turns out the bassist’s office was at 1 Liberty Plaza. He escaped into the Path station).

In the case of the recently regrouped Noxes Pond, word on the street is to be believed: their new lead singer is amazing. Sarah Mucho, all five feet one and maybe a hundred pounds of her, belts like a 300 pound black blueswoman from the 1940s. The songs they played tonight generally fell into a slinky, often funky, generally minor key groove; the steady, sinuous swing of the bass contrasted nicely with the rattle and clatter of the drums, with the vocals sailing spectacularly over it all. The guitarist seems to be the band’s rhythm center which is a very smart move because his timing is spot-on. This version of the band likes dynamics a lot more than their previous incarnation: if this gig is any indication, they’re on track to something really good.

Florence Dore is a star in the making. She didn’t bring a big crowd, but that was probably a good thing since Noxes Pond did and this is a small place. The NYU English professor is a real find, an excellent lyricist with a very strong sense of melody, a honey-sweet, soaring voice and an excellent, driving Americana rock band behind her featuring bassist-about-town Scott Yoder and former Smithereens drummer Dennis Diken pushing it along. She blends country songs with more rocking, upbeat tunes including a lot of material from her new album, including the fiery, early Who-inflected Framed, on which Diken did an impressive Keith Moon seance. But the quieter songs were the best. The highlight was the poignant, rueful Early World, the opening track on the new album, about what it feels like to know that you’ve probably missed the boat. Dore delivered it with a nonchalance that was downright scary.

Patricia Vonne took the stage late, but by the time her hourlong set was over – at almost a quarter to one – she had the crowd mesmerized. Playing without a drummer, backed by just her lead guitarist and bassist, the tall Texas ex-model played a masterfully nuanced set of very compelling material. Like Dore, she falls into the Americana category, but there’s a lot of Tex-Mex and mariachi influence in her songs (she’s Mexican-American and defiantly proud of her heritage). Her vocals are absolutely unique: though she didn’t have to sing over the noise of an electric band, she maintained her trademark passionate, throaty wail throughout the show. All her best songs tonight had an impressive political awareness; the usually stomping El Cruzado was given the tiptoe treatment, without the drums, but it still hit the spot. Dance in a Circle, written in support of wrongfully imprisoned Indian activist Leonard Peltier was as harrowing as the album version, even if it was quieter tonight. She and the band closed with her best song, the riveting escape anthem Blood on the Tracks. Obviously it took a lot of nerve to appropriate that title, but the song lives up to it: there’s absolutely no hubris here. “We ain’t never coming back,” she railed, with a barely restrained rage: “Our hearts have been scarred, there’s blood on the tracks.” It’s amazing that in this city you can see someone this popular – she’s something of a household word in Texas – on a stage this small.

Former Five Chinese Brothers bassist Paul Foglino was pulling mop-up relief duty, playing a solo acoustic set as the crowd slowly dispersed, but he held up his end. He’s very funny, and he knows what he’s doing. “Too old to rock and roll, too stupid to quit,” said the poster for his show taped to the inside of the club window, which is far too self-effacing. Some of the slightly bluesy, upbeat, major-key songs he played tonight were pretty amusing, including a number perhaps titled You Can’t Be too Drunk to Get Drunk. Given the crowd, the hour and the venue, he couldn’t have come up with a more apt choice. Spending this amount of time in a bar is usually a big mistake, but tonight’s bands made it all worthwhile. We ended up closing the club and then going over to Mona’s where a drunken college friend of one of the performers was trying to pick up somebody in my posse, so I went over to the deli on 6th and Ave. B for one of their trademark cheese heros (with jalapenos and avocado), then caught a cab home at around 4:30, waking up in the early afternoon to find that I’d been sharing the bed with what was left of the sandwich.

[Postscript: as Lucid Culture regulars know by now, the once-vibrant C-Note is now defunct, as are Revlover and Noxes Pond (the latter went through some lineup changes and morphed into spectacularly good art-rockers System Noise, who happen to be playing Arlene’s this Sunday, Sept. 30 at 9). Florence Dore’s academic career continues, though it’s been ages since she’s played a New York show. Patricia Vonne expanded her fan base to include Europe, where she became a star and tours regularly. Paul Foglino is still active in music and plays guitar in Ellen Foley’s band].

September 29, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment