a new-fangled weblog serving our listening community.
stream us at wrur.org or tune to 88.5fm in the rochester metropolitan area.
9.12.2007
electro!
It's been a budding genre this summer, with discs from Justice, Simian Mobile Disco, Digitalism, and more as electro-house, or electro, has been the term to describe this music that's not quite house, not techno, but will definitely get you on the dance floor. Rochester gets its first taste of it this Saturday, as LA's remix duo/Kitsune recording artist Guns'n'Bombs (pic left) aim to bring down the house over at Pearl at 349 East Ave. The dudes have already created some nasty remixes of Chromeo's "Fancy Footwork" and Klaxons' "Gravity's Rainbow." They also have a few club bangers of their own, which you can check out on their myspace at the link above.
It doesn't stop there for Pearl, as a week later will be "Thrash Thursday" on September 20th. Featuring Rochester's own DJ Annalyze and DJ Ewun who will be spinning electro, retro, hip-hop, and of course, thrash-up. This seems like this may be a weekly or monthly thing, but I can't say for sure, all I know is it's time to dance!
Great fall tour news Rochester, as Omaha's golden boy Conor Oberst, aka Bright Eyes makes a stop at the Main Street Armory on November 15th. Supporting his latest release Cassadaga, expect Conor to bring out both the emo kids and hipsters, as his already impressive catalog of seven studio albums, numerous EPs, singles, rarities/b-sides collections, and work with his other group Desaparecidos, and still only 27 has spanned solo acoustic drunken loveless croakings, to electro-pop gems, and to now a more folk-oriented indie rock. Bring tissues or alot of money for the bar to this show folks, becuase this one might make you cry or drink until you're not sad anymore.
This summer's big concerts make it seem as if we're in some kind of strange time warp. The Police, Bjork, Rage Against the Machine, Pearl Jam headlining Lollapalooza, and Wu-Tang Clan are all touring the country, but let's not forget everyone's favorite robots, Daft Punk. Playing only a few select dates this summer across the U.S., it is their first U.S. tour in eight years, save for the few festival appearances last summer as well. The closest they would have come to Rochester was Toronto, so it was a day trip up to the great white north on Sunday.
Arrow Hall isn't in Toronto acutally, but in Mississauga, about 20 minutes out of Toronto. Part of the International Centre, it is a massive complex used for conventions and a handful of concerts. Inside was similar to that of an airplane hanger, massively high ceilings complete with makeshift barriers and bars. I walked in to SebastiAn and Kavinsky already spinning, set up on the floor in the middle of the hall. Rocking what appeared to be CD turntables, the dudes fromEd Banger Records reminded folks what they were there to do; dance. Playing a nice mix from their own music to other Ed Banger artists to other electro-house club-bangers, their work did not go unnoticed, although a few folks may not have realized it was actual live DJs providing it.
Personal favorites The Rapture, took the stage, playing a pretty good blend of their two full-length releases, Echoes and Pieces of the People We Love. However, the band didn't seem too into the show, and looked as if they were just going through the motions. "House of Jealous Lovers" doesn't have the same effect when it's in the middle of the set, and no longer makes the crowds go crazy when it first came out. Their new tracks have grown on me, as I lose myself in "W.A.Y.U.H." and "Get Myself Into It." Solid set from the NYC boys, but they new everyone was there for something bigger.
The anticipation was impalpable, as SebastiAn & Kavinsky kept the crowd pumped with tracks from Justice, The Chemical Brothers, and semi-strangely enough, a Mr. Oizo remix of Rage's "Killing in the Name Of." Then, as the music faded and the lights went down, the crowd went wild as the faint beginnings of "Close Enounters" echoes through the hanger. Slowly the lights come up, and the outline of a large pyramid in the middle of the stage takes shape, and the outline of two men in robot suits becomes clear, and bliss is reached; Daft Punk has taken the stage. The duo of Thomas Bangalter and Guy-Manuel de Homem-Christo don't just play any of their famous tracks cut for cut, but wonderfully blended each tracks together, creating a remix of sorts that paired "Around the World' up with "Television Rules the Nation" and "One More Time" with the Stardust hit "Music Sounds Better with You." How much the two are actually doing live is questionable, as they are fitted in robot helmets and gloves, but I'll give them the benefit of the doubt.
Props also to who ever is doing the lighting for these shows. The pyramid lcd screens, flourescent tube lattice, backscreen, and the rest of the lights are intricately timed to the music which is really what creates the surrealistic experience.
There's not much else to say, I'll let the pictures speak for themselves.
Fresh off the release of their third full-length album, Our Love to Admire, the 5-piece NYC group better known as Interpol was ready to kick off their summer tour, playing their first show since the album was released...in Rochester?? I have no idea who does their booking, but it is nice to see someone give The Flower City some attention, as the band played at the Harro East Ballroom Thursday night.
Harro East is a really nice facility, however, it was never made to hold a concert. There's nothing soft on the walls, there's long windows, and the space is almost square shaped. The sound wasn't bad as I thought it was going to be, as openers Calla took the stage to warms things up. The band's sound was simialr to that of Interpol's with more of a rock edge to it, and Aurelio Valle's vocals were indecipherable through Harro's PA system. The band was tight and kept the set short, which is what most openers should do.
Interpol built up the suspense by taking a while to get to the stage, but once they did the crowd erupted as they launched into "Pioneer to the Falls." This being their first show since the release of the album, I was worried the set would consist mostly of new songs, but the band did a great job of blending songs from all three releases, keeping in mind those who have been there since Turn on the Bright Lights.
A new experience for me occured not even three songs into the set, when as I was taking pictures for you fine folks, I was grabbed by two security guards and dragged out the side door. I was completely unaware of the no camera policy, as I didn't see the sign when I came in, and no one stopped me about it either. Pissed off, and even more so when I realized I miss "Say Hello to Angels," I reasoned with another security guard who agreed to let me back in. I quietly enjoyed the rest of the show much farther back from the stage, and without my friend Lindsay.
The band seemed much more into their performance than when I had last seen them in Niagara Falls two years ago. Then, then band could barely be seen with the sparse backlighting, lead singer Paul Banks barely uttered more than six words the entire night, most of them "thank you," and the only one who seemed to have any form of life was bassist Carlos D, as band went from one song right into another. This time around, guitarist Daniel Kessler got into it, moving around the stage, most likely to cool off a little from being in a suit on stage in the quite hot ballroom. Carlos D was into it as usual, but now sporting a new sweet 'stache. Even Banks drifted from his usual stoic position, twiddling with effects pedals and feedback. Banks also had a little more to say this time mumbling something about "Rochester" and "thank you" and "new album" in between a few songs. Could this be a new, friendlier Interpol, now being on a major label, taking time between songs to switch guitars, drum and guitar techs, and fancy lighting? Did I actually see Banks crack a smile at the end of the show? Is the band actually happy? Whatver the reason, it seems the band has actually reached some form of commerical status, with videos on MTV, and selling out shows in Rochester, New York. Well done boys, well done.
Due to the lack of pictures, here's a setlist:
Pioneer to the Falls Obstacle 1 Narc Say Hello to Angels Rest My Chemistry Mammoth Slow Hands Leif Erickson Scale The Heinrich Maneuver Evil Not Even Jail
Encore: NYC Length of Love Stella was a Diver and She's Always Down
The final day in Chicago definitely didn't disappoint, as most of the performers turned out great sets.
The day kicked off with Atlanta's Deerhunter. Lead vocaist Bradford Cox, who isn't anorexic, but suffers from Marfan Syndrome, sported a dress as he has been lately, and also had a glove on which little puppets dangled off strings from the fingers. It was quite strange, but the band put on a wonderful performance with Cox's looped, reverbed vocals a la Animal Collective, while the band's laid back punk feel was similar to Sonic Youth. A great way to start the last day of the festival, and it would only get better.
I stuck around the Connector Stage to see Menomena. I was startled to discover that the band is only a three piece, as Brent Knopf manned guitar, keys, and glockenspiel, while Justin Harris took care of guitar, bass, and saxophone. All three members share vocals, and the band played a great set, featuring songs mostly from its latest release Friend and Foe. It's quite amazing how much music the three Portland boys could make, as they rocked it with great piano lines, bass and guitar riffs and great drumming.
I then took a break to grab a bite to eat and check out the poster sale, as I had seen Junior Boys a few months back and their live show is pretty much just like the album tracks cut for cut, and I know nothing about The Sea and Cake. It would be the Aluminum Stage the rest of the day, as I staked out a spot for the greatest man in showbusiness, Jamie Lidell. I had seen Lidell about this time last year in Toronto, and immediately fell in love with his combination of soul singing and electronic noodling. This time around it was no different, as Jamie came out sporting his usual robe, and donning an unusual turban with strips of colored aluminum foil through which he was somehow still able to see and sing. Opening with "Game for Fools" which was almost acapella, Lidell then launched into his usual building of his beats live through beat-boxing and looping, and singing the original songs over it. He also debuted a new track which was quite catchy and wonderful, although the name of it escapes me. I'll say it before and say it again, Jamie Lidell is the best kept secret in music right now, but it may not stay that way after his wonderfu performance at the festival.
I immediately claimed Lidell's set the best of the festival, but merely an hour later I was proved wrong, when Of Montreal took the stage. Kevin Barnes and co. came with more crazy getups, three headed tigers, masked men in spandex, gold women serving strange red substances, and ballons filled with glitter than you can think of. Not to mention they played a fantastic set that pulled almost exclusively from their latest, Hissing Fauna, Are You the Destroyer?, save for a new song, "Softcore" which was prefaced with the band in football attire throwing passes to each other as well as the crowd, ending the set with "The Party's Crashing Us," and returing for an encore with a cover of The Kinks "All Day and All of the Night." Easily the my favorite performance of the weekend.
I then decided that I need to see the headliner, since I had not seen one at the festival last year, and skipped out on Yoko Ono the night before. I was barely familiar with De La Soul's 3 Feet High and Rising, but it didn't matter as the group blazed through songs spanning their nearly 20 year career. Getting the crowd amped with the unintentionally funny statements "give it up for the Pitchfork" and "give it up for the Pornogrpahers (referring to the New Pornographers), they doin' their thing" was forgiveable as they got the crowd enthusiastically involved throughout the set. If their was a roof, it would have nearly came down when the group brought out their special guest, 3 Feet High.. producer and hip-hop legend Prince Paul. Paul spun, and also did one short verse as the crowd went wild. De La Soul was a wonderful way to close out another fantastic weekend at the Pitchfork Festival.
More pics will be up in the coming weeks, keep it tuned.
So we spent this past weekend the same way we spent it last year; at the Pitchfork Music Festival in Chicago. We skipped Friday's performances of Sonic Youth's Daydream Nation, GZA's Liquid Swords, and Slint's Spiderlandto check out Chicago and play tourist. But Saturday we were there at the start. Here's how it went down:
I started the day off with Chicago's own Califone. They put on a wonderful set of folk/rock/experimental, through which Wilco comparisions can easily be made, from the band's sound down to Tim Rutili's voice. The band also brought a horn section with them which added alot to the band's sound. A great early surpise from a band I was not familiar with at all.
I then camped through Voxtrot's set to have a good spot for Grizzly Bear, and I wasn't disappointed. The band, pulling mostly from their latest effort, Yellow House, was fantastic, harmonizing their ghostly voices while floating through strange song structures. The cover of "Deep Blue Sea" was great, as well as their own songs like the wonderful "Knife," which many of us couldn't stop singing the whole weekend.
From GB I ran over to the other stage to try to get somewhat close to Battles. While I hadn't heard much of their music, and was slightly annoyed by Tyondai Braxton's vocals on "Atlas," I had heard good things about their live show, and this was affirmed. The band ripped through songs new and old, and was quite tight musically, as both Braxton and Ian Williams played keys and guitar simultaneouly, Helmet drummer John Stanier ripped it up on drums, and Dave Konopka followed suit on bass and guitar. While technical difficulties midway through the set did kill a little of the energy, the band brought it right back when they went into "Atlas." Easily the best performance of the day.
I then rolled over to the Blanace Stage, which was the tent last year, and housed a sick collection of mostly electronic artists. This year, the tent was gone, and the Balance Stage features a few of electronic artists, but mostly smaller bands, like Profesor Murder. Yet another Brooklyn dance-punk outfit that seems to love playing music, the band was quite entertaining as Michael Bell-Smith, banged away on two snares as he yelped along. At times I found it to be kind of annoying and campy, and I think I enjoyed their between song music than their actual music.
After finding the shortest line for food, I made my way over to the main stages to check out Clipse. Hell Hath No Fury was one of my favorite records of 2006, and Malice and Pusha T didn't disappoint. Pulling mostly from the latest album, Clipse shared their stories about the coke game and uncomfortably ended each song with an explosion followed by gunshots. They also did a few mixtape tracks and the track that started it all, "Grindin'". An energetic performance from two fellas who probably didn't know what Pitchfork was until they reviewed their latest album.
I regretted opted out for Cat Power and quickly rushed back over to the Balance Stage to try and get a spot for Girl Talk during Dan Deacon's set. Deacon always plays on the ground, so I couldn't see a single thing. He sounded alright, but was cut short due to so many people at the stage it was causing a fire hazard. The threat to do the same to Greg Gillis was given before he started, but that didn't stop people from cramming in to see the king of laptop djing. I was about halfway back from the stage, and the sound system was terrible, and I could barely hear Girl Talk's crazy mashups. I could see the giant inflatable spider entrance on stage, and people throwing confetti and spraying silly string. Grizzly Bear made another appearance as Ed Droste provided the vocals for Girl Talk's remix of "Knife." Quite a party for anyone up front, but massively disappointing for everyone else who could barely hear the music.
While a great day ended poorly, Day 3 would really bring the noise...
I have been waiting for this day the entire summer. July 10 is arguably the best day for album releases this summer, and my wallet is slowly buring through my shorts, begging me to get to a record store to pick up some of the most anticipated releases of the year. Here's what's out today:
Justice- †
This is my most aniticipated release of the summer. I have been waiting for this album ever since I actually started to listen to DJ PTRQ (my newest co-host for the Transient State, Tuesdays 10-11pm) about how amazing the duo of Xavier de Rosnay and Gaspard Auge really are. Being hailed as the next Daft Punk (both duos actually share the same manager), Justice (pronounced Just-eece) bring it down with their brand of electro-house that ranges from the gritty synth lines of "Phantom" and "Waters of Nazareth" to the upbeat catchy Michael Jackson tribute "D.A.N.C.E.", which has already been remixed enough times to make a full remix album of just that song. Keep an eye out for the band's label, Ed Banger Records, as well. The French label, which is affiliated with Vice Records, has an arsenal of dance music artists waiting to explode onto the scene after Justice kick down the door.
Interpol- Our Love to Admire
The NYC gloom-rockers are back with their third full-length album, and their first for major label Capitol Records. As of this post, this is the only release I've heard in it's entirety, and it is solid. From the slow tempoed opener "Pioneer to the Falls" to the catchy, obviously placed single "The Heinrich Maneuver" to the empty spaced, guitar shaking "Lighthouse" to end the album, it's nothing extraordinary from these fellas. The album does suffer slightly from the crip, clean production quality, but gems like "Rest My Chemistry" and "No I in Threesome" are quality. This album may not draw any new Interpol fans, but it's definitely not going to lose any current ones.
The Smashing Pumpkins- Zeitgeist
The first Pumpkins album in seven years is garnering a ton of attention, especially from the die-hard fans who thought they'd never live to see another album from the band. Despite that the reunion consists only of Billy Corgan and Jimmy Chamberlin, they've been hard at work since 2005 working on this album with their three new members. I've only heard the single, "Tarantula," and while I'm not too fond of it, I was never a big Smashing Pumpkins to begin with. Making the album available with five different albums covers each with a different bonus track each available at separate big store retailers (Best Buy, Target, etc.) doesn't help their case either. But I'm still willing to bet this one's going to top the billboard chart at the end of the week.
Spoon- Ga Ga Ga Ga Ga
With probably the worst album title ever released, Spoon's sixth studio album will probably land on it's feet as a solid indie-rock album, as most of their albums do. While I haven't been to excited about this one, listening to "The Underdog" reminds me that these guys just make good music. Hearing the horns is a nice addition, almost seems like a throwback to doo-wop and 50s rock and roll with a modern twist. Without a doubt it's worth a listen.
Ulrich Schnauss- Goodbye
The third full-length from one of the best artists in ambient electronic right now, Schnauss's Goodbye has slowly snuck under the radar, mostly because of all the other albums being released today. Schnauss has been making music for twelve years, and has a penchant for making beautiful atmospheric soundscapes like Sigur Ros, but still retain an IDM quality like Boards of Canada. The new album seems to have more of a shoegaze element than usual, and seems a bit more fast paced, and features vocals on multiple tracks. I am stoked and can't wait to hear it in its entirety.
We return! Due to a lengthy school year, lots of work, and other inexcusable distractions, different weblog. kind of got left on the back burner. Now that I've had the time to sit down and remember HTML, different weblog will hopefully be up and running the rest of the summmer, and hopefully the school year as well.
Unfortuately, it will have to go on without its pioneer and fearless leader, David. At the end of spring semester, David mysteriously left WRUR and Rochester, and was last seen roving the hills and forests of Michigan with a pack of wolverines. We wish David the best of luck in life for the future.
Meanwhile, we're gearing up for a big week here at different weblog. On Thursday we again trek to the Windy City for the Pitchfork Music Festival! Hopefully it won't be as hot as last year, and I'll be able to dance around without dying.
Not too soon after that, the arguably best show of the Rochester summmer arrives, as Interpol roll into the Harro East Ballroom on July 19. Don't ask why the band is playing Rochester, just be grateful it is happening and turn out as the band looks to promote their latest effort, Our Love to Admire, which hits shelves on Tuesday.
As I prep my camera for Chicago, I will try to put up some pictures of some shows I saw during the year. Keep it close, the next post won't be in sixth months.
As 2006 came to as close, of course all the blogs, websites and such posted their lists of the year, and while it may already be 2007, that isn't going to stop us here at different weblog from sharing our favorites from 2006. Here are my picks:
Top 10 Albums of 2006
10. Junior Boys - So This Is Goodbye
My newest acquisition of all of these on the list, Junior Boys are masters of making me dance while using what seems like the least amount of music in each song. The vocals are lustful, desparate, and hauting. Junior Boys downbeat techno is also extremely relaxing. This is some sexy music.
9. Page France - Hello, Dear Wind
I adore this album. Page France creates the most charming folk-pop I've ever heard. Catchy lyrics, a tinge of religious influence (see the wonderful song "Jesus"), and the nasally vocals of Michael Nau makes for the cutest album of the year. Yes, I just used the word 'cute' to describe an album, I'm not above that.
8. Anathallo - Floating World
The concept album based around a Japanese folk tale about a dog that finds treasure, Anathallo uses an array of instruments a la Sufjan Stevens and Broken Social Scene to craft an album that dances around dark corners and angelic beauty. Floating World is dazzling from start to finish, and I can't wait to see what results from their collaboration with Page France (see no.9 album).
7. Matt & Kim - Matt & Kim
The first time I heard this duo, it was the video for their song "Yea Yeah," which hilariously features the two being pelted with various foods. The song was catchy as hell, as I soon found out so was the rest of their self-titled debut. With Matt on synths/keys and Kim on drums, the duo cranks out extremely poppy, catchy songs about baseball, track and field, and pretty much whatever they want! One of my favorite discoveries of 2006.
I just started to get back into hip hop this year, and these are the three records that did it for me. Ghostface has a ferocious delivery that I think is the best in the game. "The Champ" is my favorite song of the year. Clipse a la Ghostface provided us with another album in the evolving "coke rap" genre, showing that the wait for this album was well worth it. The Neptunes cooked up the hottest beats of the year for this album, and Pusha T and Malice trade raps coolly and confidently. Lupe Fiasco put out a wonderful debut of thoughtful hip-hop, making fun of the genre Clipse and Ghostface are pioneering right now. A rising star channeling the likes of Kanye West and Talib Kweli, this guy will be around for a while. All equally strong albums, and that is why they all occupy one space on this list.
5. Xiu Xiu - The Air Force
While it's is most likely Xiu Xiu's most accessible release, it's also one of thier best. Jaime Stewart still retains the extreme emotions that are trademark of his recordings, but to an extent that it doesn't completely freak the listener out. Xiu Xiu still remains as one of the most unique artists I have ever heard, and that's what draws me to the dark twisted electronic/post-punk music they create.
4. The Thermals - The Body, The Blood, The Machine
This is what punk rock should be. Loud, yet melodic. Protesting, but not preachy. The Body, The Blood, The Machine is politically and religiously charged, but not in a way that bangs the listener over the head with their beliefs. Call it the thinking man's punk rock: Hutch Harris yells and hollars his controversial vocals amidst a blistering charge of guitar shredding, bass and drums. Punk's never sounded so good.
3. Hot Chip - The Warning
Hot Chip is just another reason among many for my love of DFA Records. The label puts out release after release that keep me dancing all through the day. The Warning is no different. They had me sold the first time I heard "And I Was A Boy From School" and the rest of the album to boot. Filled with great electronic sampling, synths, and all sorts of other goodies, Hot Chip know how to keep kids on the dance floor.
2. Islands - Return to the Sea
The first album post-Unicorns era for J'aime Tambeur and Nick Diamonds is more than just a "Rough Gem" (LOLZ PUN). What's great is it's not just The Unicorns Part 2, but Islands developed a great pop sound, but also managed to really rock with tracks like "Swans (Life After Death)." Add in a little hip-hop from Subtitle and Busdriver on "Where There's A Will, There's A Whalebone," (which also has my favorite lyric of the year, 'laying low in a tropical hideout/ if anyone finds out i'll turn their lights out), and you've got a album that is diverse, has great lyrics, and shines from beginning to end.
1. Ghostland Observatory - Paparazzi Lightning
I have to thank David for recommending this one to me. Released on Ghostland drummer/synth man Thomas Ross Turner's own label, Trashy Moped Recordings, Ghostland Observatory sound like a dancier Neon Blonde. The "electro-dance soul rock" beats cooked by the duo of Turner and Aaron Behrens are nasty, and get me dancing every time I heard them. Behrens yelps and wails throughout the whole disc, creating a funky, fresh new sound. The album does die out and slow down a little bit towards the end, but that can be ignored to appreciate the upbeat tracks the dominate the majority of the album. Paparazzi Lightning is that crazy whacked-out disco party you wish you had in your basement that you could visit anytime you wanted to, and always fucking enjoy it.
HONORABLE MENTIONS
Thursday - A City by the Light Divided, Grizzly Bear - Yellow House, Tapes 'n' Tapes - The Loon, Destroyer - Destroyer's Rubies, The Hold Steady - Boys + Girls In America, Annuals - Be He Me, The Foundry Field Recordings - Prompts/Miscues, Band of Horses - Everything All the Time, Sunset Rubdown - Shutup I Am Dreaming, Beach House - Beach House, Justin Timberlake - FutureSex/LoveSounds
ALBUMS THAT HAVEN'T BEEN MENTIONED YET BECAUSE I (EMBARRISSINGLY) HAVEN'T HEARD THEM IN THEIR ENTIRETY
The Decemberists - The Crane Wife TV On The Radio - Return to Cookie Mountain Joanna Newsom - Ys Belle & Sebastian - The Life Pursuit Herbert - Scale
FAVORITE EPs OF 2006
Born Ruffians - Born Ruffians Cars & Trains - 2 A.M. Klaxons - Xan Valleys Sparrow House - Falls
FAVORITE CONCERTS OF 2006
1. The Flaming Lips, (Ween), Sonic Youth, (The Magic Numbers) - New York State Fair, Syracuse, NY 2. Jamie Lidell - Harbourfront Centre, Toronto, ON 3. The Hold Steady - Mohawk Place, Buffalo, NY 4. Xiu Xiu, Cong for Brums, The Dirty Projectors - Bug Jar, Rochester, NY 5. Matmos - Pitchfork Festival, Chicago, IL
How could my return home to Buffalo for Thanksgiving get any better than a delicious turkey dinner? How about Islands hitting the Buffalo Icon the day before???
Luke, Jason, Pam and I entered the Icon around 8:15ish, and I was half expecting the show to have already started, but I also had read that Islands's shows had been running late. I was very surprised at the extremely sparse crowd that showed up. The Icon usually packs them in, but with all the college kids back home and being the night before Thanksgiving, the draw was surprisingly very small high school scenesters. I knew the first two acts were rapppers, so I was intrigued to see how they would react to it.
Subtitle stepped up first, an exteremely tall man with a Southern accent, who talks and raps extremely fast to beats played off his iPod. While his stories were funny, ranging from getting gear stolen his previous trip to Buffalo and trying to stop Islands frontman Nick Diamonds from having sex in the back of a car full of gangsters, his beats were simple and muffled, and his raps didn't seem to flow to well with them. I'm curious to hear him on record, I feel the iPod beats don't do him justice. He didn't get too much response from the crowd besides the laughs at his ridiculous tales.
Blueprint and DJ Rare Groove jumped on stage almost immediately thereafter, and had wonderful stage presence. His recent work with RJD2 as Soul Position, Things Go Better with RJ and Al, is anti-bling, very funny and thoughtful. He pulled a few songs from this including "I Need My Minutes," "Blame It on the Jager," and "No Gimmicks." Maybe it was the fact that he had a real DJ and more volume output, but Blueprint comanded the stage, got the kids into it and had fun.
After waiting a very long time, Islands took the stage, clad in white, and two members carrying a drum case onto the stage. Only a drum was not in it, but Nick Diamonds was as he jumped out, also in white and white facepaint, and launched into "Humans". The band played a majority of its debut, Return to the Sea, including "Bucky Little Wing," "Tsuxiit," "Rough Gem," "Volcanoes," and "Where There's A Will, There's A Whalebone," which featured Subtitle coming back and doing his rap and Bus Driver's from the crowd. The band also included several new songs, "Pieces of You," "The Arm," and others . These were quite good, some of them with some alt-country influence, and some of them a bit heavier and rock oriented than the debut. It's good to know the loss of J'AimeTambeur isn't slowing these guys down.
The bands live show is quite wonderful, with Diamonds singing all over the stage and crowd when he isn't on guitar or keyboards. Alex and Sebastian Chow are great on the violins and percussion, jumping all over the stage and create a wonderful dynamic to the music. Islands encored with "Don't Call Me Whitney, Bobby" and ended with a wonderful version of "Swans (Life After Death)" putting all their effort into the last song of their tour, and Diamonds leaving the stage with his guitar osciallating feedback from his amp. I was quite surprised by the great show Islands put on, and their new material is promising. Hopefully they won't fall to the same fate as The Unicorns, and we'll stick around long enough to comeback to Buffalo and play to a full crowd.
