Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The New Collisions’ Optimistic Full-Length Debut

Track for track, this could be the best rock album of 2010. The New Collisions burst out of Boston last year with an ep that blended coy, quirky retro 80s new wave pop with a dark, literate lyrical edge. Their new full-length debut The Optimist is a lot more serious and more intense: the title is sarcastic to the extreme. It’s a concept album of sorts about a society in collapse. Musically, it’s a turn in a much louder direction, with more of a fiery powerpop edge, guitarist Scott Guild adding layer after layer of roar, jangle and clang. Casey Gruttadauria’s woozily oscillating vintage synthesizer is further back in the mix this time out alongside Alex Stern’s percussive, insistent, melodic bass and Zak Kahn’s drums. Maybe what’s most impressive of all is how much more of her range frontwoman Sarah Guild is using, wary and serious in the lower registers when she’s not soaring above the roar with the chirpy wail she utilized so effectively on the band’s early material. She sings in character – whether sarcastic, defiant or simply exhausted, she draws you in and makes these narratives hard to turn away from. She brings some of the outraged witness that Siouxsie Sioux played so well for so long to these songs.

The single is Dying Alone, impossibly catchy yet bitter and cynical to the extreme. “God knows you hate the quiet, when you’re dying, dying alone,” Sarah reminds with an understated angst. Swift Destruction is a fast new wave powerpop smash, a final concession to what sounds like the inevitable: “I’d like to order up a swift destruction…standing in the shadows of my pride,” she announces. The most memorable cut on the entire album is Over, an exasperated, uncharacteristically intimate kiss-off anthem (like the best punk performers, Sarah typically keeps the listener at a safe distance). They go back to the roaring powerpop vibe with Seven Generations, a chronicle of decay: “Are we happy yet?” Sarah asks sarcastically. The sarcasm reaches boiling point with Ne’er Do Well, the album’s lyrical high point, which wouldn’t be out of place in the Squeeze catalog from around 1979. Over a lush guitar-and-keyboard attack, Sarah savagely details the dissolute life of someone who just won’t grow up:

Bring me all your ablebodied men
So I don’t have to take on the chin
And I don’t have a confrontation with what might have been
I’ve got my suitcase in back to cushion the impact
Better not to have tried at all
Rules are beaten, I haven’t eaten and I want to be alone

Coattail Rider is sort of a smoother I Don’t Want to Got to Chelsea, with a big explosive chorus, Sarah’s absolutely nailing the lyric with a coy disingenuousness. The lone previously released track here, the dead-end anomine anthem In a Shadow benefits from bigger production than the version on last year’s ep (and a really funny quote from the 70s cheeseball hit Funkytown). They wind up the album with an almost unrecognizable, Joy Division-flavored cover of the B-52’s Give Me Back My Man and then the most overtly pop-oriented track here, Lazy, with its oscillating layers of synth and repetitive chorus hook. The New Collisions play the cd release show for this one at Great Scott in Allston, Massachusetts on October 6.

October 5, 2010 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Win Free Tickets to the New Collisions at the Mercury on 9/13

Who wants free tickets to see Boston’s best band, the New Collisions? They’re playing the Mercury Lounge on Monday, September 13 at 7 PM sharp: email here for your chance to win. Their forthcoming second album The Optimist is far darker and deeper than their deviously fun retro 80s new wave debut from last year, frontwoman Sarah Guild showing off every inch of her impressive vocal range.

September 9, 2010 Posted by | Live Events, Music, music, concert, New York City, rock music | , , , , , , , , , , , , , | Leave a comment

Concert Review: The New Collisions at Arlene’s, 7/1/10

The New Collisions are Boston’s best band; from the small crowd lingering at Arlene’s, you wouldn’t know it. Although what’s obvious from the first few notes is how tight they are. In a classy black dress, midriff jacket and heels, platinum blonde frontwoman Sarah Guild is wiry, intense and inscrutable. She hardly talks to the crowd – mystery seems to be her thing, and she works it. The rest of the band is anything but. Bass player Alex Stern does most of the talking – he’s in a good mood. He ought to be. This is a dream gig for a bass player. Most of their songs motor along with fast eight-note basslines which he plays with a pick and a trebly, Bruce Foxton-esque tone, so he’s always way up in the mix and gets to take a few bubbly, ska-inflected solos as well (no surprise – his other gig is with the Void Union). A year ago this band was mining a totally 80s vibe; the new songs in the set tonight evade referencing any particular time period. They’re just catchy, with a powerpop feel that’s considerably warmer, somewhat gentler than the edgy intensity of their 2009 debut ep. The keys have shifted from minor to major – one of the new songs could have been a hit for the Motels in 1983, with its skeletal verse building to a big, crescendoing chorus.

Guitarist Scott Guild pogos around the stage – he can’t stand still. But playing this kind of music, that would be hard. Firing off his chords with a casual dexterity, by the fourth song he’s lost his glasses, something that seems to happen at every show. There’s an optician in Cambridge or Somerville who owes his livelihood to this guy. Casey Gruttadauria works his keyboards methodically, adding soulful organ swells on the newer songs in place of the blippy, oscillating 80s patches that he’s so adept at. Drummer Zak Kahn hints at a fullscale stomp but doesn’t go there – he feels the room, feels the music for what it is, knowing that if he went over the top some of it would be camp.

Sarah Guild holds something in reserve tonight – she isn’t belting at full volume, at least early on. “This one you know,” she tells the crowd, with just the hint of a smile. It’s a vaguely familiar melody – Missing Persons, maybe? – oh wait, this is Give Me Back My Man by the B-52’s! And they’re doing it completely straight, completely deadpan. And Sarah actually sells the lyric. “I’ll give you fish, I’ll give you candy.” She makes it seem normal to wonder what it would be like if she flipped you a sardine and a box of Mike and Ikes.

The band is on a roll. They segue from one song into another: the tersely scurrying outsider anthem In a Shadow, followed by a couple of new ones, one of them with a This Year’s Model-era Elvis Costello feel. The forthcoming album is titled Optimism, which makes sense. Another new one has bass and guitar locking in sync like a smarter version of the Buzzcocks’ I Believe – and then they do a hailstorm of a twin solo after the chorus. And follow that with an uncharacteristically slow ballad.

Sarah finally takes off her coat. She’s been wailing pretty much full-throttle for over a half an hour now, dealing with one bad mic after another and she looks drained, emotionally depleted. But she rallies, ending the next song cold with a caustic “Shut up!” And then Scott launches into a staccato, Friday on My Mind-style intro and the band joins him on their best song, The Beautiful and Numb. Outside the club, the streets are littered with overdressed tourists talking loudly about nothing to no one – or maybe to their phones. They spill out of bars, still yelling even when they’ve stepped beyond the roar of the crowd. Inside Arlene’s, the New Collisions have an anthem for the night, and it’s about the apocalypse. “We’re in denial, but we’ve got style…we’re in denial, and I’m overcome,” Sarah rails, her voice suddenly lower, taking on a darker nuance. “Isn’t it ironic, this is how the world ends…we are the Beautiful and Numb.” The band fakes an ending, picks it up and then takes it out with a booming crash, everything falling apart, Scott losing his footing, going down with his guitar in the middle of the stage while the world collapses around him. Tonight the New Collisions seized the moment and had the perfect song for it. The kind that rattles around your brain all the way to the train, throughout the train ride and then finally up the steps out of the subway into the temporary beauty of the cool night air.

July 2, 2010 Posted by | concert, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: Pat Benatar and Blondie at Coney Island 8/13/09

What promised to be a gay old night of high camp turned out to be more like a trip to the supermarket: interminable lines of rude, obnoxious people, pleasantly cool temperatures, pretzels and drinks within easy reach and oldies radio songs playing over the PA. Brooklyn Borough President Marty Markowitz, every out-of-town scam luxury housing developer’s best pal, spent a rambling, senile hour and a half on and off the mic before the show, ass-kissing and giving shout-outs to every corporate type he could still recognize who’d showed up. Finally, he was assisted off so that big lesbian faves the Donnas could phone in a small handful of generic bubblegum metal songs.

Long Island’s very own fifty-four year old Pat Benatar was next. It took about three seconds before it was obvious that the poor woman’s voice is completely gone. Like a battered cassette tape from the eighties, she’d waver on and off pitch, then drop unexpectedly out of the mix, then come back in like one of Marge Simpson’s sisters attempting to do karaoke. At this point in Benatar’s career, lipsynching might not be such a bad idea. Meanwhile, her husband Neil Giraldo released his inner fantasy over and over again with an incessant barrage of garish, gratuitous heavy metal guitar licks. Like that Love Camp 7 song goes, he plays a million notes where one would do, and if it fits the song that’s ok too. Not many of them did. Benatar’s set allowed for plenty of time to find the local McDonalds and the urinal – woops, dumpster – adjacent to it. Forty-five minutes after she’d taken the stage, she was still struggling to stay in the mix, one cliched power ballad after another. Benatar is a gay icon – there at least used to be several YMCA’s worth of Chelsea boys who wanted to be her. Not many of them seemed to have made the trip. Perhaps they were on to something the rest of the crowd wasn’t.

Similarly, Deborah Harry has made a career of singing off-key for the better part of 35 years if you count her time in the Stillettos. Be that it what it may, when Blondie were at the top of their game, they were one of the world’s greatest powerpop bands and they were all that Thursday night. What they did was anything but camp. This version of the band sizzled and burned, layering nonchalantly stinging, distorted guitar and playfully oscillating synth over a steady, thumping backbeat. Now in her sixties, Harry carried herself with grace, even gravitas in places, holding back for when she had to go to the top of her range and when she really had to nail the note, she inevitably did. Benatar ought to find out who her vocal coach is. Because this band plays so many of the same songs over and over again, they way they keep them fresh is to reinvent them. Children of the Grave – woops, Call Me – bore a much closer resemblance to the Black Sabbath original that Georgio Moroder ripped off and glued to a disco beat for the soundtrack to the Richard Gere vehicle American Gigolo (anybody ever sit through that one all the way? Yikes!). The best song of the night was a stinging, slightly mariachi-esque version of Maria. The Tide Is High was no better than Johnny Clarke’s cloying  rocksteady original, but Rapture was reinvented as evilly slinky funk with a big guitar break and then a new rap at the end which only offerered further proof that hip-hop is not Harry’s thing. A couple newer numbers were starkly minor-key and equally compelling. After they’d burned through a pleasantly loud, swaying One Way or Another, they left the stage and then it was clear that  Benatar had overdone it in more ways than one, cutting into Blondie’s stage time. The second of the band’s two brief encores was a rocking, organ-driven take of Heart of Glass. If you’re contemplating seeing Blondie on tour this month or next, you won’t be disappointed – especially when they have another charismatic, platinum-tressed siren, Sarah Guild and her amazing band the New Collisions opening for them.

August 16, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 9 Comments

Two Generations of New Wave Collide on Tour

New wave legends the B-52’s are on the road again promoting their latest album Funplex. Opening on the first leg of the tour are up-and-coming Boston new wave throwbacks the New Collisions, driven by frontwoman Sarah Guild’s chirpy, devious lyrics backed by playfully oscillating vintage 80s synth, snarling guitar and an infectious dance beat.

Upcoming shows include Saturday August 1 at the Cape Cod Melody Tent in Hyannis, MA; Sunday, August 2 at the South Shore Music Circus in Cohasset, MA and Saturday, August 8 at the Filene Center At Wolf Trap in Vienna, VA, August 12 at Innsbrook Pavillion in Glen Allen, VA; August 16 at Sunrise Theatre in Ft. Pierce, FL; and August 20 at DTE Energy Music Theatre in Clarkson, MI. In between they’re squeezing in a show opening for Blondie on August 10 at the Community Theatre in Morristown, NJ.

Watch this space for additional dates.

July 31, 2009 Posted by | Live Events, Music, music, concert | , , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: The New Collisions – Their Debut EP

That a five-song ep (four-song if you count the brief instrumental that segues between the third and fifth tracks) could rank among the best albums of 2009 so far speaks for itself. Boston band the New Collisions have been blowing up lately and this helps explain why. Their shtick is taking a classic 80s new wave pop sound and adding an indelibly original, contemporary bite. This may be the most intelligent, edgy dance music out there right now. Sarah Guild’s vocals are often chirpy in the same vein as Poly Styrene of X-Ray Spex, early Cindy Lauper or Dale Bozzio of Missing Persons, but she’s no one-trick pony. Scott Guild’s guitar cuts and burns while keyboardist Casey Gruttadauria adds layer after layer of playfully oscillating vintage new wave synth over Alex Stern’s fiery, crescendoing, snappy bass. And the lyrics pack a punch, apprehensive and all too aware of the here-and-now.

The first track is No Free Ride, nicking the opening lick from the Vapors’ hit Turning Japanese. “There’s no free ride for being pretty on the inside,” Sarah Guild wails – although she has a platinum-tressed look that could easily make her a fashion icon, it’s clear that substance is what she and this band are all about. “Get. Me. Out!” she insists defiantly at the end. The best cut here is The Beautiful and Numb, opening with a staccato riff evocative of the Easybeats classic Friday on My Mind. It’s a savage slap at Gen Y complacency. “We’re in denial, but we’ve got style/We’re in denial, but I’m overcome/The world’s on fire, uh oh/Not our problem,” Sarah Guild rails.

The big hit is Parachutes on the Dance Floor, stark and minimal with a head-bopping beat into a ridiculously catchy chorus, evocatively catching the dead-end desperation of what it means to be young and broke in the early days of a depression, “caught between amusement and despair.” After an atmospheric instrumental, Sarah Guild gets to air out her powerful pipes with the towering, Kate Bush-inflected ballad Fireflies, surprisingly ornate, majestically beautiful and ultimately optimistic. It reminds very much of the more epic side of the late, great New York band DollHouse. If this ep is any indication, the band is going to be huge. Having just reviewed another accessible yet very intelligent act, Tift Merritt here, it becomes clearer and clearer that the future of American pop music rests in the hands of talented legions who’ve bailed out of major label dreams, parachutes on the dance floor, bringing everybody out to join the celebration. The New Collisions’ next gig is on July 16 at the Midnight Madness Festival in Bennington, Vermont on followed eventually by a show at Gillette Stadium in Foxboro, Massachusetts on September 5. They’re here in New York on August 22 at 11 at the Bitter End.

July 2, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

The Lucid Culture Interview: The New Collisions

One of the first things you notice about the New Collisions is how catchy their songs are. How your head starts bobbing to that fast retro 80s dance beat. How they sound like some great new wave band that’s just about to be rediscovered. But there are a zillion retro bands out there. What distinguishes the New Collisions from the rest of the pack is how smart their songs are. “The world’s onfire? Not our problem,” platinum blonde frontwoman Sarah Guild sarcastically chirps on Beautiful and Numb, the centerpiece of their killer new ep (full review here due soon – watch this space). With a potential national breakout gig upcoming at Gillette Stadium (home of the New England Patriots) the Boston band’s on the verge of leaving small club gigs behind. The band’s brain trust, Scott and Sarah Guild (guitar and vocals, respectively) took some time out of their insane schedule, recording with former Cars keyboardist Greg Hawkes, to answer a few questions:

 

Lucid Culture: What happened to the Collisions? Or was it the Old Collisions?

 

Sarah Guild: This is actually a funny story. We’ve lived in Boston for a year and launched the New Collisions about six months ago, so we weren’t too familiar with the Boston scene. There had, apparently, been a successful local band called the Collisions, which broke up a few years ago. When we started to pick up steam, people assumed it was members of the Collisions resurrecting the project. But no press is bad press; there are actually lemmingtrail threads on this [laughs].

 

Scott Guild: Contrary to public opinion, however, we actually wanted to be called the New Collisions. The music is about history, culture, religion, human connection, and all their strange permutations in this era. The collisions are “new” because they are the changes and the tensions that are happening right now, shaping the identity of this generation.

 

LC:  You weren’t even born yet when the bands you resemble were in their heyday. And don’t tell me you grew up listening to classic new wave hits…or did you?

 

Sarah: Yes and no. We were always eclectic, so we grew up listening to everything. When the time came to pick a definite direction for the band, it was the great melodic pop of the 60s and 80s that grabbed us. We love many many kinds of music, but there’s something timeless about Blondie, the Beach Boys, the Kinks, the Cars–we’re trying to make that same kind of musical statement.

 

LC:  I’m curious to know Sarah’s musical background. You belt, you wail, you chirp sometimes. You probably have more stuff up your sleeve than I know about. Is this style you’re using now something you’ve adapted from listening to Missing Persons, or Cindy Lauper, or is it just how you’ve evolved, or what?

 

Sarah: Well, I have a background in classical and choral music, and have sung every type of music on the planet in my brief time on this planet. I’m such an avid fan of so many bands that I imagine you can hear everything from Billie Holiday to Ray Davies in my delivery. But yes, Dale Bozzio especially is a huge influence. Funnily enough, when I started listening to Missing Persons, I was amazed to hear a few vocal tricks that I had been doing for a long time. In any case, it really starts new with every song, trying to find the vocal approach that will fit the melody, the message, the overall feel.

 

LC:  Is there a neat backstory to the band, I mean, something like Scott saw Sarah on the T, looked over her shoulder at her ipod and saw she had Blondie on it…something like that?

 

Scott: Well…we met at college, dropped out together, and then lived in many many places over a few years–England, the south, all over the northeast. Finally we decided to move to Boston and form the New Collisions. The musical direction came from taking our favorite influences and then trying to merge them into something new and unique.

 

LC:  What’s up with the drummer situation, you guys have been like Spinal Tap except that all those drummers are still alive. I’m guessing anyway…

 

Scott: We had a few fill-in players for New York shows, as you rightly discerned. Really it was a search for the right person, which took a few months, but we were too impatient and started gigging anyway! When Zak came along, we knew within the first thirty seconds of the audition.

 

LC:  Whose vintage synthesizer is that, and is the use of all those weird, oscillating settings a deliberate attempt to get an 80s sound? Or do you just genuinely like that vibe?

 

Sarah: Actually, our keyboard player has no background with this kind of music. He somehow has almost the exact musical aesthetic of Greg Hawkes, but he had no knowledge of the man when he wrote most of these lines. Casey brought in his stuff, started messing around, and it all fell into place. Spooky.

 

LC:  For a band with some pretty poppy songs, they’re awfully dark sometimes. I don’t want to open any old wounds, but to what extent do your lyrics draw from personal experience?

 

Scott: Almost none of the lyrics, actually, are about our personal experiences as such. We try to write about the condition-slash-struggles of people our age at this point in history. They’re deeply personal, but not about our personal lives per se.

 

LC:  Were you guys teenage delinquents? The Ones to Wander? Is that what that song’s about?

 

Scott: Ones to Wander is more personal than most. We’ve always been restless, and spent a few years roaming about before settling in Boston to form the New Collisions. Even in high-school, we were always going on odd adventures, getting into trouble, and so forth. When you have that kind of wanderlust, you’re always in tension with people who are living normal, relatively peaceful lives – there’s a huge gap between you. So that song is about having this endless yearning, and trying to survive in a society that doesn’t support it at all. “I don’t know how the rest survive/But oh my eyes, oh my eyes.”

 

LC:  Can you explain Parachutes on the Dance Floor?

 

Scott: This lyric, apparently, is quite obscure I guess [laughs] A parachute catches you when you’re falling. So parachutes on the dancefloor is about living a totally empty, vapid life, based around some mindless job, then finding relief and meaning in music, art, expression, etc. “The world had betrayed me/My parachute’s on the dancefloor.” In our own lives, music has been the saving grace.

 

LC:  You have a big following in Boston, you get great gigs and have a lot of media buzz going there. How has it been you outside your home turf?

 

Sarah: We seem to go over well everywhere–I think it’s that the music is fun and melodic. That being said, it’s hard for a new band to immediately get buzz in a huge city like New York, where none of us live or have lived previously. Also, our first real recordings have been out for less than a month. To answer your question, it’s been great, but we’re excited to see it grow even more.

 

LC:  I’ve always believed that pop music can be smart and accessible at the same time, is that something that factors into what you’re doing or is it just more of an unconscious thing?

 

Sarah: That’s definitely a factor. Our goal is to make fun catchy music that is also about something. We’re trying to have the best of both worlds – Blondie on one hand and Leonard Cohen on the other – serious fun and serious poetry. Hopefully it works!

 

LC:  Here in New York – and I’m seeing elsewhere – there’s been a big backlash against indie rock, musicians and audiences both getting into styles that are more fun. Is fun back in style? Or is the whole indie world full of shit, fun never really ever went away in the first place?

 

Scott: I think fun is definitely coming back into style. It’s kind of a paradox, but I think standing around and sulking is less in vogue when everyone’s broke. When you’re dirt poor and have a horrible job, you want to have some fun with your small amount of money. We’re all paupers and peasants these days.

 

LC:  Unlike a lot of new bands, you draw a remarkably diverse crowd. You even seem to get some of the people who listened to that stuff the first time around in the 80s out of the house. Does that offer some validation of what you’re doing?

 

Sarah: Sure, we want everyone to love us! A good melody, whether it’s Elvis, or the Velvet Underground, or ABBA, or Pat Benatar, is essentially timeless and can connect to everyone. We work hard on the lyrics, but I think we’ll go as far as our melodies can take us. 

 

LC:  What’s the sickest thing that’s ever happened to you at a live show?

 

Scott: Sick as in gross? Or sick as in, “Dude, that was sick!” Hmm…we played a strange show once at the upstairs of this bar, and they put us on this slippery linoleum floor with no carpet for the drums. We were all falling and moving positions, a cymbal stand went flying past Sarah in the middle of one song…it was a gig on a slip-and-slide. Fun, but we would never ever do it again.

 

LC:  OK, now what’s the best thing?

 

Sarah: Well, we had Greg Hawkes from The Cars sit in with us for three songs at our ep release show last month [TT Bears in Boston]. That was an amazing experience and privilege. Performing “You Might Think” with him at the helm, to an absolutely packed house, was probably the high point of our lives as performers. 

 

LC:  Any breaking news about the band we should share? Like, you just got a song on the L Word – oh yeah, that’s off the air. But seriously – you know what I mean…

 

Sarah: Well, we’re headed back into the studio to do two new singles in July, and we’ll also be filming 2-3 music videos. A bunch of really excellent people found out about us and were excited to be involved with the project, so we’re making it happen. There’s going to be a ton of new stuff, and we’ll probably book a tour around releasing it come late summer or early fall.

 

LC:  Any shout-outs you wanna give to good Boston bands? Here’s your chance…

 

Sarah: Yes, yes, and yes. Everyone should check out, in no particular order, the Sterns, the Motion Sick, Freezepop, Passion Pit, and the Luxury.

 

LC: There’s the Boston Phoenix poll too: fans of the band can vote for the New Collisions as Best New Act of 2009.

June 30, 2009 Posted by | interview, Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The New Collisions at Arlene Grocery, NYC 4/23/09

The night began auspiciously. Boston new wave revivalists the New Collisions just get better and better. In the studio, platinum-haired frontwoman Sarah Guild sings with a provocative chirp but in concert she turns on the big, ferocious, Martha Davis-style wail. If their upcoming cd is anything like their live show, it’s going to be amazing. Seven PM being an uncharacteristically early hour for them, they made it seem like it was midnight, burning through one sharply danceable, catchy song to the next, many of them segues that took the crowd by surprise. With their busy basslines, swooping 80s-style synth, guitarist Scott Guild’s slashing, trebly chordal style, they’re something akin to Missing Persons with a college degree and an ever-present sense of unease – almost all of their three-minute dance songs have a dark side. The persistent restlessness in the lyrics is anything but a pose: it’s almost as if this band is offering a new look at the real side of the 80s, the one that John Hughes never would have. Even though the band looks like they weren’t even born until late in the decade.

 

From the first notes of the calypso-inflected intro to No Free Ride, Scott Guild was pogoing. They segued from that one into the lost-kids anthem In a Shadow, Sarah Guild belting wildly into the chorus: “In a shadow is all I know.” On Caged Us Kids, she finally took off her leather coat, revealing an irridescent red dress. “They caged us kids and stole from us,” she wailed over the song’s catchy four-chord, darkly minor-key hook. And then segued into a particularly ferocious version of their nonconformist anthem Ones to Wander: “We were the ones to wander, not like you…between the lights, oh my eyes!” It was transcendent, powerpop heaven, like being at a CBGB of the mind, 1976.

 

Beautiful and Numb began as an uncharacteristically warm, atmospheric ballad, with synth washes building to a stinging, anthemic chorus: “Isn’t it true, this is how the world ends…they took away the danger and they taught us how to sing,” Sarah Guild lamented, a stark contrast with the American Idol types she was disparaging. Then the keyboardist took a nimble electric piano solo that wouldn’t have been out of place on a Radio Birdman song.

 

“I could not escape what was mine…in the night there is no silence,” went the verse on a the new, somewhat New Order-tinged ballad Constellations. They closed the set with a ferocious new one building from a stark piano outro, Sarah Guild’s outraged wail telling how, “somehow when I sleep we were maimed, we were changed.” Since the band has been rehearsing with two drummers, they’d depleted all the songs the guy they brought along with them knew (this guy is a keeper!) so they did Caged Us Kids again as an encore. Next time around the club ought to put them on later: a lot of their fan base were AWOL, no doubt still at work or on the way home. They’re back in NYC at the Delancey on May 21 at 9.

April 25, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , | Leave a comment

Top Ten Songs of the Week 4/20/09

We do this every week. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Pretty much each link here will take you to the song; if not, you’ll have to check back here for live dates.

 

1. Juliana Nash – Love Song for New York

Classic, fiery, late 90s style underground NYC rock:  “It’s 6 AM and I’m drunk again…I turn incidents to habits!” Unreleased, as far as we know; watch this space for hopefully a live date or two sometime from the former Pete’s Candy Store proprietress.

 

2. Lenny Molotov – Brother Can You Spare a Dime

Updated for the new depression: stockbrokers become crackheads. Unreleased, watch this space for live dates.

 

3. Kerry Kennedy – Sons of Sons

Gorgeous NYC noir rock evocative of the Jesus & Mary Chain’s classic Deep One Perfect Morning

 

4. Moisturizer – The Kitchen Is Closed

Brilliant, counterintuitive bass goddess Moist Gina doing Larry Graham one better. They’re at Black Betty on 4/29 at 10 debuting their brand-new five-piece lineup!

 

5. The New Collisions – Ones to Wander

The Boston new wave revivalists have a ton of catchy, edgy three-minute gems and this is one of them. “Oh my eyes!” They’re at Arlene’s at 7 on 4/23 and the Delancey on 5/21

 

6. El Radio Fantastique – Riverbed 

Swaying, haunting, imaginative modern noir cabaret.

 

7. Linda DraperTime Will Tell

The great New York songwriter/lyricist has yet another new cd out, titled Bridge & Tunnel and this is a choice cut.  

 

8. Traquair – Perverted by the 21st Century

Scottish singer-songwriter – catchy, smart, terse.

 

9. This Spy Surfs – Spy Beach

Smartly virtuosic but tasteful guitar instrumental stylings. They’re at LIC Bar on May 15.  

 

10. King Django – Thirsty

Characteristically hypnotic but interesting dub reggae. They’re at Shrine on May 1.

April 20, 2009 Posted by | lists, Lists - Best of 2008 etc., Music, music, concert | , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review: The New Collisions at Public Assembly, Brooklyn NY 3/20/09

The 80s get no respect. Sure, there were the Cheesy 80s: Reagan, and Bon Jovi, and Beverly Hills 90210. But there were also Cool 80s: the Dead Kennedys,  the Dream Syndicate, and new wave. Unlike how VH1 and the rest of the corporate media would like you to think – if they want you to think at all, that is – new wave didn’t start out as top 40. It was people doing new and unique and fun things with catchy pop songs, and that became top 40 because it was so much fun. In the spirit of those first new wave bands of the late 70s and the early 80s come the New Collisions. It’s a very encouraging story: in less than a year, they’ve gained critical mass in their native Boston and now they’re working on New York. Their show at Public Assembly on Friday added more than a few believers to the posse: there is without a doubt a film or five in development that could use their ridiculously hummable, biting, casually intense songs.

 

Indelible moment: platinum-haired frontwoman Sarah Guild spins away from the mic, look of disdain on her face, strolls back to the drums and then, back to the audience, raises her left hand in a tightly clenched fist. Nothing stagy or contrived about it, that’s just how she felt in that one moment. One look at this band’s song titles reveals a considerable edge: No Free Ride. Parachutes on the Dance Floor. In a Shadow. Caged Us Kids, one of the best songs of the night. In guitarist Scott Guild’s fiery, upper-register chords, the band’s fast 4/4 dance beat, soaring melodic bass and devious vintage synthesizer lines, there’s a sense of exasperation, of just dying to get out, to have some real fun for once in their lives. Which speaks for pretty much all of us these days.

 

It was a methodical yet inspired set, the band roaring from one memorable number to the next without much fanfare. Sarah Guild has a chirpy insouciance that reminds of Poly Styrene from X-Ray Spex, but also a big formidable wail with echoes of the Motels’ Martha Davis, and she uses both expertly. Scott Guild goes for a staccato, slashing style that pairs well against the fast, climbing bass and the meandering synth lines. Ones to Wander featured some marvelously tight, accusatory harmonies. The snide, darkly captivating Underground had an eerie organ solo that sounded straight out of the Radio Birdman songbook. Losing Ground built off a melodic, crescendoing bassline, reaching a peak as the chorus kicked in with its “uh-oh” vocalese. Their last song of the night, Escape began slowly with eerie electric piano and broken guitar chords, building to a searing anthem, evoking images of after-dark mall parking lots scattered with kids on car hoods drinking beer out of paper bags, leaning up against utility poles, somebody’s ipod rigged up to the car stereo speakers, who’re only there because it’s all they have. The New Collisions are the Kids in America. They’re back here at Arlene’s on April 23 and then at one of their usual haunts, TT Bear’s in Boston on April 28.

March 23, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , | 7 Comments