Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Warning: Identity Theft Ring at Crash Mansion?

Don’t compromise your identity. Don’t frequent Crash Mansion. Not that you ever did anyway.

 

Crash Mansion is not your typical A-list New York venue: they have a good show there maybe a couple of times a year. However, last night the prospect of seeing the French Exit there was intriguing enough to warrant a stop: they seem like they’d be a good live band. Unfortunately, there will be no review of the show because the door crew – a sleazy-looking bunch if there ever was one – would not let Lucid Culture’s reviewer in since they insisted on trying to make a copy of the reviewer’s passport (which contains a Social Security number). Naturally, they ducked the question of whether this was exclusively their idea or if it was sanctioned by club management.

 

A more detailed version of this post with names and descriptions has been provided to the New York City Police Department, Fraud Division.

 

 

 

 

 

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October 9, 2008 Posted by | Live Events, Music, New York City | , , , , | 1 Comment

CD Review: The Bedsit Poets – Rendezvous

Not what you might expect. The Bedsit Poets’ 2006 debut The Summer That Changed was a gorgeously summery collection of soaring, harmony-driven, Britfolk-flavored anthems and mellower pop numbers. By contrast, this is their autumn album, pensive, jazzier and more stylistically diverse. The charming harmonies of Amanda Thorpe and Edward Rogers (both of whom have released excellent solo cds this year) are still there, as are the virtuosic, thoughtful guitar of Mac Randall, and Nancy Polstein’s tasteful drums and percussion work. But this time the band looks outside Rogers’ and Thorpe’s native England for influences ranging from 60s French ye-ye pop to Norah Jones.

 

Standouts from among the cd’s fourteen tracks include a couple of deliciously melodic, classic Carnaby St. style 60s Britpop numbers: the rueful, revealing The Highs Can’t Beat the Lows, and NoTel Rendezvous, which picks up the pace as Thorpe and Rogers trade off jazzily on vocals. Daze for Love sets their harmonies sailing over a slinky bossa beat. The single best track on the cd is Hardened Ground, a stoic, atmospheric 6/8 lament featuring a beautifully restrained Thorpe vocal and lyric that could be about the destruction of New York by luxury condo developers, or could mean something else entirely: “What do you get by taking away/Building glass houses with nothing to say.” There’s also Top Shop, imaginatively blending bossa nova with Byrdsy twelve-string janglerock; the tersely melancholy New Year; and the blithely tongue-in-cheek Winson Green, a dead ringer for a vintage, comedic 60s hit by the Move or the Kinks, recounting the tale of a prisoner finally set free who decides that the outside world is a bit too threatening and that ultimately he’d prefer to remain behind bars. Fans of the first album are in for a bit of a surprise, but the elements that made it such a smashing success are still in place, voices and guitars ringing every bit as true as they did the first time around. The Bedsit Poets play the cd release show for this one on Tues Oct 21 at the Cutting Room. Rogers’ longtime collaborator George Usher opens the night with a solo set at 7:30 PM, and the Bedsit Poets’ labelmate Dave Rave follows with a set of his own at 9:30.

October 9, 2008 Posted by | Music, Reviews | , , , , , , , | Leave a comment