How to Green Your Sex Life
Wednesday, October 31, 2007
Upcoming Show: Dr. Dog
Hailing from Philadelphia, this barely kindergarten aged band, is now on tour for their 2nd album, We All Belong, available here
11/9/07
only $14
Dr. Dog @ the Bowery Ballroom, located at 6 Delancey St.
Save on the bogus ticket master charges & buy yours at the Mercury Lounge Box Office located at 217 E. Houston St. (corner Ave A & Houston); offices open from 10-7pm Monday-Saturday
Review to follow the mayhem which will surely ensue...
Dr. Dog's Official Website
Dr.Dog's Myspace page
-Ninja Courtney
11/9/07
only $14
Dr. Dog @ the Bowery Ballroom, located at 6 Delancey St.
Save on the bogus ticket master charges & buy yours at the Mercury Lounge Box Office located at 217 E. Houston St. (corner Ave A & Houston); offices open from 10-7pm Monday-Saturday
Review to follow the mayhem which will surely ensue...
Dr. Dog's Official Website
Dr.Dog's Myspace page
-Ninja Courtney
Tuesday, October 30, 2007
Clare & The Reasons - Brooklyn, NY
Ninja: Jonathan Daniel
When one first presses play on The Movie, the debut release from Clare & The Reasons, his/her first reaction might be to compare Clare Muldaur’s voice to that of any of the great jazz singers from the Golden Age of music. One might also be tempted to compare the band’s instrumentation to that of Sufjan Stevens’ work. It is also possible that this person would even compare the musical arrangements (excuse me if I overstep my bounds) to that of a Mozart composition, or the tone choices and chord changes to the new Wilco album. However, if this person happened to be you, you would be wrong.
Now, I don’t mean to say that Clare & The Reasons don’t take inspiration from every crevice, corner, and vast open space of music history, or even that they don’t possess similarities to any of these artists - in fact, I think quite the contrary. What I am aiming to say is that it is nearly impossible to pin their music down into one specific genre: they combine as many influences as they can without turning each song into a complete mess (see: TV on the Radio’s Return to Cookie Mountain).
I first heard Clare sing at a performance - of let’s call it experimental classical music - put on by her husband, Olivier Manchon (Olivier also plays violin for The Reasons while at the same time specializing in the recorder and glockenspiel, and occasionally sitting behind the piano or wielding an acoustic guitar or musical saw to accompany his wife). That night, I was intrigued by both her voice and Olivier’s arrangements, but unfortunately did not have a chance to hear them play again until just recently when they graced the small stage of Rockwood Music Hall on New York’s Lower East Side.
I recognized most of The Reasons from Olivier’s performance, and was pleased to note the upright bass, cello, violin, viola, grand piano, electric guitar, and acoustic guitar strategically placed on the stage so that the musicians could play every band’s favorite game – “let’s see how many people we can fit on this small-ass stage”. Once Clare and her five Reasons had taken their places, the audience drew immediately quiet – they were ready to listen. For the following hour, the only sound in the small room was that of the band’s intricately woven instrumental melodies, with Clare laying down her voice as the maraschino cherry sitting atop a hot brownie sundae.
As usual I had no cash so I couldn’t purchase the album that night, and despite my attempts at bartering an empty glass of whisky and an ice cube for a copy, I went home empty handed. Nevertheless, I was determined to have the necessary $12 on me the upcoming Saturday, when they played at SoundFix in “Williamscool”, Brooklyn. I was so determined that I chose not to drink that night, and instead attended the show alone in the half-record store/half-bar venue.
Again, the moment it was clear they were ready to begin, a hush fell over the (this time much larger) crowd and those who failed to silence themselves were shushed before the first measure had been completed. I knew then that, beyond my own infatuation, this band had something special. No matter the venue - whether large or small, light or dark, crowded or empty (although so far always crowded), Clare & The Reasons commanded the attention of every single soul seated or standing in the room. Those who had heard them before quietly appreciated the fact that each musician is equally as talented in person as they are on the recordings, and those who were experiencing them for the first time slowly but surely realized the same.
Now, you may say that I give them too much adulation, and perhaps I do, but it has been a very long time since I have enjoyed a band this much, and so consistently to boot. Not only do they combine influences taken from nearly every genre of music, and not only do they possess the talent to do this, but they also make beautiful, catchy music that will not fail to put a smile on your face. Let’s call it classical jazz with a twist of rock n’ roll.
Highlights of seeing them live are similar to those of the album, including the more upbeat songs Pluto and Rodi, but also the slower ballads Love Can Be A Crime and Alphabet City. On the album are a couple of hidden gems that I am yet to hear them play live, a particular favorite of mine being Go Back. Played live are a couple others not featured on the album, the most memorable holding the title Why, Why Why, an old fashioned love song sung as a duet by Clare and the bass player, Alan Sherwood, which proves that the individuals in the band take themselves far less seriously than they do their music.
So go take a listen to them. I think you'll like what they do.
When one first presses play on The Movie, the debut release from Clare & The Reasons, his/her first reaction might be to compare Clare Muldaur’s voice to that of any of the great jazz singers from the Golden Age of music. One might also be tempted to compare the band’s instrumentation to that of Sufjan Stevens’ work. It is also possible that this person would even compare the musical arrangements (excuse me if I overstep my bounds) to that of a Mozart composition, or the tone choices and chord changes to the new Wilco album. However, if this person happened to be you, you would be wrong.
Now, I don’t mean to say that Clare & The Reasons don’t take inspiration from every crevice, corner, and vast open space of music history, or even that they don’t possess similarities to any of these artists - in fact, I think quite the contrary. What I am aiming to say is that it is nearly impossible to pin their music down into one specific genre: they combine as many influences as they can without turning each song into a complete mess (see: TV on the Radio’s Return to Cookie Mountain).
I first heard Clare sing at a performance - of let’s call it experimental classical music - put on by her husband, Olivier Manchon (Olivier also plays violin for The Reasons while at the same time specializing in the recorder and glockenspiel, and occasionally sitting behind the piano or wielding an acoustic guitar or musical saw to accompany his wife). That night, I was intrigued by both her voice and Olivier’s arrangements, but unfortunately did not have a chance to hear them play again until just recently when they graced the small stage of Rockwood Music Hall on New York’s Lower East Side.
I recognized most of The Reasons from Olivier’s performance, and was pleased to note the upright bass, cello, violin, viola, grand piano, electric guitar, and acoustic guitar strategically placed on the stage so that the musicians could play every band’s favorite game – “let’s see how many people we can fit on this small-ass stage”. Once Clare and her five Reasons had taken their places, the audience drew immediately quiet – they were ready to listen. For the following hour, the only sound in the small room was that of the band’s intricately woven instrumental melodies, with Clare laying down her voice as the maraschino cherry sitting atop a hot brownie sundae.
As usual I had no cash so I couldn’t purchase the album that night, and despite my attempts at bartering an empty glass of whisky and an ice cube for a copy, I went home empty handed. Nevertheless, I was determined to have the necessary $12 on me the upcoming Saturday, when they played at SoundFix in “Williamscool”, Brooklyn. I was so determined that I chose not to drink that night, and instead attended the show alone in the half-record store/half-bar venue.
Again, the moment it was clear they were ready to begin, a hush fell over the (this time much larger) crowd and those who failed to silence themselves were shushed before the first measure had been completed. I knew then that, beyond my own infatuation, this band had something special. No matter the venue - whether large or small, light or dark, crowded or empty (although so far always crowded), Clare & The Reasons commanded the attention of every single soul seated or standing in the room. Those who had heard them before quietly appreciated the fact that each musician is equally as talented in person as they are on the recordings, and those who were experiencing them for the first time slowly but surely realized the same.
Now, you may say that I give them too much adulation, and perhaps I do, but it has been a very long time since I have enjoyed a band this much, and so consistently to boot. Not only do they combine influences taken from nearly every genre of music, and not only do they possess the talent to do this, but they also make beautiful, catchy music that will not fail to put a smile on your face. Let’s call it classical jazz with a twist of rock n’ roll.
Highlights of seeing them live are similar to those of the album, including the more upbeat songs Pluto and Rodi, but also the slower ballads Love Can Be A Crime and Alphabet City. On the album are a couple of hidden gems that I am yet to hear them play live, a particular favorite of mine being Go Back. Played live are a couple others not featured on the album, the most memorable holding the title Why, Why Why, an old fashioned love song sung as a duet by Clare and the bass player, Alan Sherwood, which proves that the individuals in the band take themselves far less seriously than they do their music.
So go take a listen to them. I think you'll like what they do.
Wednesday, October 24, 2007
Lap-top Liberation In Rainbows
10.25.2007 by Miguel Castro
FROM
TO
As the music industry tries to salvage itself by suing pre-teens and attempting to establish a death grip over the Mp3 format, Radiohead has greased things up for major record labels.
How?
Because they don’t belong to one.
Authenticity has kept Radiohead one click left of being regarded as a full blown rock band. But somewhere between sad-bastard howls and landscape melodies, there lies intelligent design. And now, with the release of In Rainbows, a once a divisive and experimental hit-or-miss with audiences has become an aural enterprise that we can all stand behind.
Why?
Because they’ll let you pay whatever you want for their new album.
Rather than simply sticking with what works, Thom Yorke and his band of electronic troubadours have continued to push their own envelope. Since 1993 they have used each album as a step in their own evolution. Radiohead has been able to succeed where many have failed: A positive correlation between an increase in uniquity and popularity.
Their new album is no exception. The sonic evolution from Hail to the Thief (2003) to the 2007 release In Rainbows sounds as natural as the transition of monkey to man. Hundreds of subtle changes and adaptations over the past four years have brought this quiet storm into full bodied British thunder. But what’s more is that they have positioned themselves to become the revolutionaries of modern music.
When EMI’s contract with Radiohead expired in 2003, it made them the most popular free agent in the industry. For a group of guys who know how to rock a lap-top, this allowed them an opportunity to tout their big experimental balls.
On September 30th, John Greenwood announced the new album on the band’s blog. Set for release on October 10th, Radiohead cut out the middle-man, created a web page called InRainbows.com and launched their album from Greenwood’s kitchen – allowing fans to download the whole album for whatever price they want.
Greenwood told Rolling Stone Magazine,
Sound crazy?
It’s not.
The band stands to make more money than they ever would have under a contract, regardless of how much each fan chooses to pay for the album. More importantly, it establishes Radiohead as the peoples champion, the Anti-Metallica. We finally have a true contender in the fight for musical liberation.
Is the album good? I wouldn’t know. I don’t really listen to Radiohead.
But now I have good reason to.
FROM
TO
As the music industry tries to salvage itself by suing pre-teens and attempting to establish a death grip over the Mp3 format, Radiohead has greased things up for major record labels.
How?
Because they don’t belong to one.
Authenticity has kept Radiohead one click left of being regarded as a full blown rock band. But somewhere between sad-bastard howls and landscape melodies, there lies intelligent design. And now, with the release of In Rainbows, a once a divisive and experimental hit-or-miss with audiences has become an aural enterprise that we can all stand behind.
Why?
Because they’ll let you pay whatever you want for their new album.
Rather than simply sticking with what works, Thom Yorke and his band of electronic troubadours have continued to push their own envelope. Since 1993 they have used each album as a step in their own evolution. Radiohead has been able to succeed where many have failed: A positive correlation between an increase in uniquity and popularity.
Their new album is no exception. The sonic evolution from Hail to the Thief (2003) to the 2007 release In Rainbows sounds as natural as the transition of monkey to man. Hundreds of subtle changes and adaptations over the past four years have brought this quiet storm into full bodied British thunder. But what’s more is that they have positioned themselves to become the revolutionaries of modern music.
When EMI’s contract with Radiohead expired in 2003, it made them the most popular free agent in the industry. For a group of guys who know how to rock a lap-top, this allowed them an opportunity to tout their big experimental balls.
On September 30th, John Greenwood announced the new album on the band’s blog. Set for release on October 10th, Radiohead cut out the middle-man, created a web page called InRainbows.com and launched their album from Greenwood’s kitchen – allowing fans to download the whole album for whatever price they want.
Greenwood told Rolling Stone Magazine,
"We’re feeling a bit dazed from it all…It’s so mad that you can sit in your kitchen and launch this insanity…but [the album] seems to have gotten
everywhere."
Sound crazy?
It’s not.
The band stands to make more money than they ever would have under a contract, regardless of how much each fan chooses to pay for the album. More importantly, it establishes Radiohead as the peoples champion, the Anti-Metallica. We finally have a true contender in the fight for musical liberation.
Is the album good? I wouldn’t know. I don’t really listen to Radiohead.
But now I have good reason to.
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