Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Hipster Demolition Night Still Rules

Thursday night was Hipster Demolition Night at Public Assembly. Last time we caught one of these, it was at Glasslands in the dead of summer, 120 degrees inside the club on a night where four excellent bands met the challenge head on but we didn’t. We left in the middle of a literally scorching set by Muck and the Mires, which pretty much speaks for itself. Since then, Hipster Demolition Night has moved to Public Assembly, whose larger back room is an improvement on every conceivable level. The Demands opened this show. They’re what the White Stripes ought to wish they were. The three-piece band’s frontwoman plays simple, catchy bass riffs that lock tight with the garage-rock drumbeat. Much of the time their guitarist would punch out chords on the beat but there were also a lot of places where he’d go out on a limb and explore, adding an unexpectedly psychedelic element. The operative question was whether he was going to go out too far and fall off – nope. Even with those diversions, they kept it tight, and with the vocals’ sarcastic, playfully confrontational edge, it was a fun set.

Jay Banerjee & the Heartthrobs were next. Between songs, Banerjee chugged from a Cloraseptic bottle and complained about his health. But whatever was in there – hey, cold medicine works fine for L’il Wayne – gave him a noticeable boost. Meanwhile, Vinnie, the drummer was bleeding all over his kit. If that isn’t rock and roll, then Williamsburg is cool. And just when we had them pegged as a band who write songs for guys, they get a woman to play 12-string lead guitar. She’s brilliant. She ended one of the songs with a casually stinging charge down the scale that evoked nothing less than 12-string titan Marty Willson-Piper of the Church. They opened with a blistering version of the deliciously catchy Long Way Home, an amusingly brutal account of a gentrifier girl being brought down to reality: OMG, she might actually have to get a job to pay the rent on her newly renovated $5000-a-month Bushwick loft! With a snort or two, Banerjee and the band did her justice. Maybe desperate to get the show over with, they ripped through the rest of the set: a Byrdsy janglerock song with cynical la-la’s, a guy assuring his girlfriend that he’ll stick around “because I’m too lazy to look for someone else,” a couple with an ecstatic early Beatles feel, another fueled by a catchy, melodic bassline that sounded like the Jam without the distortion and finally an equally ecstatic cover of I Can’t Stand up for Falling Down, reinventing it as a powerpop smash in the same way that Elvis Costello reinvented What’s So Funny About Peace Love & Understanding. If Banerjee was really feeling as miserable as he insisted he was, no one would have known if he hadn’t mentioned it.

Garage rockers Whooping Crane were scheduled to headline afterward, but there were places to go (the train) and things to do (kill self-absorbed, nerdy boys in skinny jeans standing in the middle of the sidewalk and texting – just kidding). Hipster Demolition Night returns to Public Assembly next month, watch this space.

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December 12, 2010 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Song of the Day 3/5/10

If you’re in New York tonight, you’re invited to come out and join us at the Parkskide (way east on Houston at Attorney St.) for the big Erica Smith/John Sharples/Tom Warnick triplebill, show starts at 8 sharp. Or you can just stay home and spend all night reading this blog – in that case the best we can do this evening is to continue the ongoing best 666 songs of alltime countdown with #146:

Elvis Costello – You Bowed Down

The Byrdsiest thing Costello ever did, a savage slam at an unnamed music business type, from All This Useless Beauty, 1998. That’s Roger McGuinn on twelve-string. The link above is live with McGuinn.

March 5, 2010 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: Marty Willson-Piper – Nightjar

His best album. Marty Willson-Piper is the preeminent twelve-string guitarist of our time, whether creating rich layers of atmosphere as one of the two lead guitarists in legendary Australian art-rockers the Church, or building a ferocious, bluesy blaze moonlighting in the latest incarnation of the Saints. He’s also as good as songwriter as he is a guitarist. This cd, his first studio effort since 2000 is every bit the match for pretty much everything his main band has ever done. The production manages to be ornate yet terse, with judiciously arranged guitars, keys and occasional strings  (by the alluring Australian quartet the Mood Maidens) and harmony vocals by cult siren Tiare Helberg. Willson-Piper leads the band with a somewhat airy delivery (imagine Rob Younger of Radio Birdman today, in a relaxed, thoughtful moment, if that’s possible). The songs are mostly slow-to-midtempo anthems, and Willson-Piper also, somewhat surprisingly, proves particularly adept at mid-60s style country on the sardonic, pedal steel-driven Game for Losers and the unforgiving, stern The Love You Never Had.

The opening track, No One There sounds, unsurprisingly, towering and majestic just like the Church, right down to Willson-Piper’s trademark echoey, ominous, portentous bent-note phrases, a pensive study in alienation and, more importantly, disalienation. Willson-Piper does not suffer fools gladly, and though he’s often very funny about it, much of this album is a surgical strike against complacency. The theme echoes, amusing yet spot-on, in the thoughtful, eco-friendly More Is Less:

 

I heard that god was coming back

I didn’t know that he’d been here…

Even the angels enjoy a good cigar

They say, tone-deaf drunks sing sweet songs

 

The cd’s centerpiece The Sniper, is a similarly thoughtful, methodical track, an eerily calm, rational assessment of whether or not to assassinate an unnamed, crooked politician (this album being recorded during the waning days of the Bush regime, Dick Cheney is the obvious suspected victim). The world goes to hell, and we all let it happen, Willson-Piper calmly intones. What if we didn’t? What is the price, and what are the philosophical consequences of heroism, he ponders?

The rousing, countryfied Feed Your Mind is laugh-out-loud hilarious, a savagely lyrical anti-tourist tirade that begins almost inscrutably but gets less and less subtle as it goes on, ending on the same note as the Room’s classic Jackpot Jack. High Down Below is the requisite big rocker, its narrator retreating to a place of sanity to make sense of the idiocy all around. The most poignant of all the tracks here is the vivid, haunting Song for Victor Jara, commemorating the great Chilean songwriter and poet murdered in 1973 in the wake of a CIA-backed coup. Ferociously intelligent and richly melodic, this makes an ideal late-night headphone album: look for this at the end of the year high on our best albums of 2009 list in December. The Church are on tour this summer (they’re at Irving Plaza in New York on July 8th) and hopefully Willson-Piper will be able to do a few solo dates as well.

May 18, 2009 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment