Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: The Disclaimers at Spikehill, Brooklyn NY 1/2/10

Half past midnight Saturday night, Bedford Avenue, Williamsburg, coldest night of the year. Even Anna Maria Pizza is practically empty. It’s an omen. This is our decade and this is part of the soundtrack. The Disclaimers are waiting onstage for the sound guy, who looks like he really knows what he’s doing, to finish checking all the mics. The hi-hat clutch has disappeared from the drum kit, then miraculously reappears. And they’re off.

It’s like being in college, seeing a favorite band for the first time. All the hits. The audience is pumped, old friends in the crowd materialize out of nowhere. Happy New Year, long time no see! The band starts with Stay out of My Nightmares which is in a way self-explanatory; no big violin buildup on the intro or outro like they usually do but that’s ok.

Under the Belly of the 7 Train is a behemoth, a careening surreal Syd Barrett style chromatic art-rock monstrosity alive with danger swirling around in the shadows beneath the ironwork.

An apprehensive backbeat-driven country anthem is a dead ringer for the Walkabouts. It’s relatively new. Kate Thomason does her best understated avenging angel impression on the mic, “Stranger in this stranger’s land.”

Lead guitarist Dan Sullivan sings Damage, all organ and jangly Dylan guitar and soul girl harmonies, cynical vintage r&b flavor, “Not even the damage gets done.”

Absolution has a casual sexy soulfulness on the verse, Naa Koshie Mills’ trombone leading into the anguish of the chorus, Kate’s wounded vocal – “Rips me apart!!”

Next is a big riff-rocker that sounds like X with blues harp – down to Andy Nelson’s growly bass groove, and then a cold ending.

“She’s going for sultry,” says drummer Phil McDonald who seems to be the band spokesman tonight. Naa Koshie nails a new song, an artsy, resigned, beautifully Beatlesque ballad. And another new one, an anthem, Tell Me What You Want, sweet major/minor changes.

Out of Sight, Out of Mind is an old garage rocker of theirs – “not again not again not again not again” – Dan sings this one.

Strat player Dylan Keeler sings Just Desserts. It sways along on Dan’s organ riffs -“If you’re gonna write a suicide note you should at least spell all the words right.”

Phil: “Love in the back seat.” Kate:”And ice cream.” The big soul ballad’s not quite as much a showstopper as it was the last time out but it’s still impossible to turn away from: “How can you give up something so sweet?” Kate won’t let it go without a fight.

Tiptoe is ferocious when it gets to Dan’s unhinged Leslie speaker solo – he breaks a string but keeps going. Actually he’s not using a Leslie, just a wah turned wide open for a chorus box effect.

They’ve got a theme song now! “We’re the Disclaimers!” Long build to a cold ending. Up front where the drums and the guitar hit you in the chest, the sound is intoxicating, this is why people come out in the cold in the wee hours. This is why we live here instead of somewhere else. Saturday night, ground zero in Williamsburg, and there’s not a single trendoid or tourist to be seen anywhere.

January 4, 2010 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The Somebodies’ Christmas Show 12/16/09

You know a band has to be good if they can keep a smart crowd entertained with a bunch of Christmas songs. Let’s face it – Christmas music sucks, bigtime. Almost as much as Nickelback or Lady Gag. In fact, the only holiday music that’s any good is the non-Western stuff: Diwali, Passover, Ramadan. And of course Halloween. But the Somebodies – with a lot of help from some good friends – had obviously really worked hard on putting together a theme night that in a lesser group’s hands would have been pure schlock.

The band’s sound is concretized sometime in the 80s: their faster stuff has a scurrying new wave beat; the anthems look back to a time before grunge, before hair metal, in fact, when you were supposed to sing them casually, unaffectedly, without any cliches. But they didn’t play any of those. Usually the bass carries the melody, as Graham Maby used to do on Joe Jackson’s early albums. Their three originals in their set list at Lakeside on the sixteenth included a brisk, punchy pop number that would have made a good b-side to What I Like About You, another with a propulsive, melodic reggae bassline that went doublespeed on the chorus, and the last song of the night, where bassist Luke Mitchell got  to go deep into his bag of chops for some slinky slides, hammer-ons and fat, boomy chords. And these were all well-received, but it was the holiday stuff that made smiles out of winces.

They started with the Eric Carmen weepie (and Rachmaninoff ripoff) All By Myself, just Mitchell and drummer Phil McDonald who gave it the most deviously deadpan vocal you could want. Then frontman/guitarist Pete Derba joined them for Feliz Navidad, which in his hands was basically the same lyric over and over again. That was mercifully over fast. Dylan Keeler of the Disclaimers took a reluctantly amusing turn as Elvis impersonator on Santa’s Back in Town; later, Derba did Blue Christmas back into deadpan territory with some help from a ringer chorus on backup vocals. Kate Thomason and Naa Koshie Mills – the duo who give the Disclaimers their signature soul sound – did a lighthearted rap number, and later a Christmas soul song from the 60s. For her absolutely sultry cover of Eartha Kitt’s Santa Baby, Mills peeled off her shiny fake fur coat to reveal an equally shiny 60s cocktail dress and then brought down the house.

Keeler and his fellow Disclaimers guitarist Dan Sullivan gave Santa Claus Is Coming to Town a sublimely ridiculous Blues Brothers vibe, Sullivan doing most of the jumping and kicking around in front of the stage: “He knows when you forget the lyrics,” he deadpanned. But the most affecting moment of the night was when Jerome and Susan O’Brien of the Dog Show led the crowd in an acoustic singalong of So This Is Christmas. “War is over, if you want it…” If only this year’s Nobel winner could have been there, he undoubedly would have a good time, notwithstanding this timely reminder of how little has actually changed since that auspicious day in November of last year.

December 23, 2009 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The Disclaimers at Spikehill, Brooklyn NY 5/29/09

Sign of the times or what: even with the implosion of the major labels, with most of the indie labels a step behind them, it’s hard to believe that a band like the Disclaimers, with not one but two telegenic, charismatic frontwomen and as many great songs as they have, would not be famous. Friday night they ran through a characteristically tuneful, varied set of jangly rock and sultry soul, emphasis on the latter. Unveiling at least three new songs (they sometimes rearrange some of their older tunes), violinist/trombonist Naa Koshie Mills traded off her signature breathy yet nuanced vocals with Kate Thomason’s full-throttle wail. As usual, one of the set’s high points was a snarling, snide version of the propulsive janglerock anthem Tiptoe (an unreleased gem that ranked high on our Top 100 Songs of 2008 list), Dylan Keeler and Dan Sullivan’s guitars slamming their way through with casual, even offhand intensity. Thomason brought down the house as usual with that big summertime soul ballad she always does (it’s unreleased, and this band doesn’t often announce song titles). Mills also took a particularly gripping star turn on a slinky new one, and a duet with drummer Phil McDonald who in his own casual way is as good a singer as anyone else in this band. And you could tell because the sound mix, like it always is at this place, was so pristine. Watch this space for upcoming NYC shows.

June 2, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , | Leave a comment