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Moonface, Saltland - Littlefield, May 5th, 2013

I try not to ever miss a Spencer Krug's show. I saw Wolf Parade on their last tour and last night it was the 4th time I went to see Moonface. I was lucky enough to design a poster for his "Organ Music" Tour a couple of years ago and happy to say what gracious human being he is.

I am fond of small venues and Littlefield is definitely an intimate one: the lack of separation between the stage area and the bar though, did definitely add some unwanted bottle clinking to Saltland's set. Rebecca Foon's show was a lyrical journey on cello and voice setting a dreamy and minimalist atmosphere emotionally uplifting. It was a well thought opening performance to Moonface.

At the end of Saltland set, we crowd thickens and we all move a little close to the stage. There's a grand piano on the side of the stage and, from the way it is placed, it is clear that Moonface won't be facing us while he plays . Spencer enters the stage with a glass a whiskey and after thanking the audience explains what we are about to listen to: a set of piano songs he wrote that had never played before and nothing more than that. To my pleasant surprise, nobody made a sound of complain at that fact - which is very common to hear, since many of us cherish this and that song and secretly hope to hear it again someday - but having been to other Moonface shows, I know the drill and I instead try to hold on to what is presented in front of me and understand that I might not get a second chance to experience that music live again. From the way me and my men were standing we could see his hands speeding up on keys and, it was somehow hypnotic and mesmerizing. He talked about himself, confessing memories we all could have shared and yet never fully understand. The songs were nesting melodies driving us to believe we were listening to a different tune and then here he was holding us back where it all started. It was personal and emotional. It was like listening to an old friend telling his secrets and tales after you have not seen him for a long time.

#moonface #ezorzi #saltland #spencerkrug

Animal Collective, Prospect Park, July 12, 2011

And with his wide brown eyes, my friend looks at me and says “We made it”. Animal Collective has been our most wanted show in quite a while and because we actually love this band, I believe we did not have very clear or specific expectations about what the show would have been like. I saw Animal Collective for the first time in 2004 in Dublin, where they were the supporting band of múm. At that time I had no idea who they were and what they were doing on stage, but their sound got stuck in my head so that I actually kept following them. I remember them being noisy and kind of scary - which is not exactly what I look for in music - but it was different, challenging and weirdly inspiring. I have this vague memory of one of them wearing a rabbit mask, but don’t trust me on that. This was my first show actually “inside” the Bandshell in Prospect Park - I went listening the National last summer and I’ll have to listen to Bon Iver this year unfortunately - and I must say that the atmosphere was relaxing and very festival-like. My friend and I met there and while grabbing some food, Black Dice started to play. We didn’t pay too much attention and then suddenly, when there was still light in the sky, people started to gather close to the stage and the show was on. They opened with what I believe where two songs by Deakin who, after few years, joined again the Collective. I actually went to see Deakin last December playing at the New Museum and it was such an amazing show. Deakin’s sounds are very much inspired by Indian music and psychedelia and his melodies are very full and tight. What followed were mainly new songs that left some of us extremely happy and others were completely disappointed of not hearing their favorite tunes. But that's the way it goes with Animal Collective, and they have done it for years: they use their shows as a showcase for the new songs rather than playing what it is expected from them, in other words, their most famous songs. Few weeks ago I was listening to this 2007 Animal Collective show recorded by NPR in which they played almost entirely "Merriweather Post Pavillion" which was then released in 2009. Same goes for Panda Bear, who has played and tried his "Tomboy" for years since he finally released it this June. During their set they also played "Brother sport", "Summertime Clothes" and "Taste" What do the new songs sound like? As a friend of mine says all the time, they sounded "solid", from the noise and urban tribal chants of their first years, Animal Collective seem have chosen to experiment more and more within the melodies and the new songs were another step in this evolution. I felt completely lost in their harmonies and, I must admit, I was a little doubting that they would have sounded great live, especially in an outdoor venue. Panda Bear and Avey Tare voices are always on the edge of breaking into a thousand pieces, but they never do and they keep you on your toes each time they open their mouth. Many were disappointed by the absence of their hits from the set, but my friend and I have no regrets. It was like looking at the future, in a year or two when those those songs will be on a record, they will open the memories of that night like the Pandora vase and we will be even more glad of having seen Animal Collective live, again.

#Animal Collective #music #review #prospect park

Stars - Littlefield, September 26

This is the best concert I have ever seen.

Are Stars my favorite band? No. Do I know all of their songs? No. Was it such an amazing musical experience that I will treasure for the rest of my life? Not quite. Saturday morning I woke up and found a post on Stars facebook page announcing a small show for the next night in Brooklyn. The band previously played a show at Terminal 5 to which I couldn't go, therefore I bought 2 tickets in a blink of an eye and thought of which gentleman I should have invited to come with me. Stars and I have a simple and not very deep relationship: I loved them for the sweet and probably cheesy Your ex-lover is dead when I was living in Holland and falling for a Canadian. I started listening to Set yourself on fire which is still the only album that I fairly know of Stars. So why was it the best concert? I was in front of the stage. So close to them that I they were not your icons, your dream musicians, they were people, with definitely a lot of talent, but people like you and I. Littlefield is a pretty small venue in Park Slope and filled with people who didn't happened to be there but seemed to really want to be there. There was some sort of feeling of improvisation when Torquil Campbell came out of the stage submerged by our applause and claiming that not yet, but was hoping to be ready in 20 min. There was some king of realism that I usually do not experience in concerts of bands famous or kind of. It is a dream to feel that you are part of the interaction and not only the recipient of the performance. We waited almost 2 hours for the show, but, in my case, I had a lot of catching up to do with my friend (it involved lyons and elephants and waterfalls) so I personally didn't mind the wait. And being able to go buy a beer and come back to the exact spot you where before in less than 5 min and without having to do the elbow dance, is a luxury. I wish I could be more specific and precise in my description of the show, but as I mentioned before, I know only one album and I started listening to their last Five Ghosts only few days before. The sound wasn't perfect and Campbell's voice was definitely too low but, again, the size of the venue allowed just to yell "Turn it up!" and voila'. Pretty amazing. Amy Millan's voice is crystalline and innocent and gorgeous and carries all that female subtle and disarming power that I have been loved in bands like BBS. It's obviously not a coincidence that Millan and all the other members of Stars are also part of the Broken Social Scene collective. Millan appears on Broken Social Scene and performed as their lead female singer since they released You forgot it in People. My friend did not know Stars at all, but seemed pretty satisfied with the performance and enjoying their catchy melodies that keep that edginess and crispness which refines their pop. I have to admit that there's still a couple of songs that I sometimes do not know if it's theirs of Death Cab for Cuties'. Campbell is definitely an actor, you can tell from a mile. He's extremely expressive and the sound of his voice is so perfect it sounds almost calculated. I am not saying it doesn't sound real, but (having my friend and I a little acting experience of our own) I can tell you there's a lot of technique in his voice production. A guy from the audience just couldn't stop yelling his devotion for the band (reminded me of a very drunk guy I met at the Four Tet show last February, who simply couldn't stop dancing ON people and yelling ILOVEHIM), I believe he also took off his shirt and discussed his plan to propose to his girlfriend with Campbell. The band was pretty talkative and thankful and did a different setlist for those who went to see their show at Terminal 5. And many of them came to both show. They played, for my joy, Your ex-lover is dead and I was happy and a little emotional. What a girl. My only big regret is not buying the Jason Munn poster of the show. It would have looked so pretty in my new house. Next time. Stars Setlist The Night Starts Here Soft Revolution The Passengers We Don't Want Your Body Fixed Going Going Gone Look Up What the Snowman Learned about Love Take Me to the Riot I Died so I Could Haunt You Wasted Daylight The Comeback Ageless Beauty Heart Dead Hearts Calendar Girl Encore Winter Bones This Charming Man (Smiths cover) How Much More Your Ex-Lover Is Dead Tonight

Broken Social Scene - Rumsey Playfield, September 18, 2010

This was the end of the summer. As I started my 2010 summer with the epic journey to Governors Island to the Yeasayer show, I ended it with the BSS in Central Park. I got there unfortunately too late to taste (the) Cake and also to position myself where my height wasn't the usual issue, but there was the smell of grass combined with a light fall breeze, as if the two seasons where kissing, that kind of made me forget everything. I also guess that the (absolutely unexpected) romantic atmosphere that filled the air - plenty of loving couples whispering "You know it's time - That we grow old and do some shit - I like it all that way" in each other ears - just got me too. My friend revealed me the existence of a movie called This Movie is Broken, www.thismovieisbroken.com based on an idea by Kevin Drew, a romantic comedy with a lot of BSS going on. Let me put it in this way, I'd rather think of them as the musicians behind the soundtrack for Half Nelson.

Anyway, these guys played for 2 hours including a "fake" encore. "Fake" because, according to Drew, it takes far too long for all of them (10, maybe 12? I don't even know!) to get off the stage and come back for the usual ritual, so they just kept playing the entire time. The set list spanned from Broken Social Scene to You Forgot It In People and they played big part of Forgiveness Rock Record. Their last album is of much easier listening than their previous works, nevertheless it stands out as one of the best records of my summer. The sequence Hotel, Romance to the Grave, Guilty Cubicles and Superconnected was absolutely my favorite part of the show, these more intricate and basically instrumental songs define perfectly the band, which I have always admired for the deepness of their melodies and the nonsense of their lyrics. The necessary Lover's Spit and Anthems for a Seventeen Year Old Girl followed but, in spite of my adoration for Drew's voice, I think we all like better the Feist version in Bee Hives. Kevin Drew is quite a character, definitely the icon of the band, his voice sounds even better live and his presence is sexy and amusing, he smoked a cigarette on stage discussing the craziness of American anti-tobacco laws and realized he never met before one of the musicians on stage and introduced himself.

The show was the perfect end of my summer and that's probably the reason why I feel a little nostalgic in writing this post.

Broken Social Scene Set list

KC Accidental Texico Bitches Shoreline (7/4) Fire Eye'd Boy Forced to Love All to All Stars and Sons Cause=Time Sweetest Kill Art House Director Hotel Romance to the Grave Guilty Cubicles Superconnected World Sick Lover's Spit Anthems for a Seventeen Year Old Girl Ungrateful Little Father Meet Me in the Basement Looks Just Like the Sun Water in Hell Pacific Theme Chase Scene Ibi Dreams of Pavement (A Better Day)

#broken social scene #show

After the Cold War Kids at Terminal 5 on January: aka my very first concert without my friend

No, I'm not a tolerant person. What follows are my very first notes on a concert and no, this time it's not about music. If you spent all afternoon straightening your hair and wore knee boots to see this concert, you should have spent your $30 ticket in drinks with your galfrienz. If you have spent all night texting and yelling after 1 hour "I know this song", you shouldn't occupy the space in front of me. If it's not legal to drink under age, unless you are a nerd, solitary, shy, not dancing kid, when you're under 21 you should be at the Hannah Montana concert and not here obscuring my view. If the band members are ugly but they play even better than you thought, you'll want to sleep with all of them. It's scientifically proved. When you start yelling "stop moving" at the drunk teenager who's been elbowing you for the past 5 min, you can officially consider yourself an adult. Stay away from the 15 year old dancing queens. They move only in group, get drunk with a sip of beer, and they climb you if they have to. Little bitches. And, I swear to god, they tend to fart. If you're a small sized lady, just bring your big and tall friend with you. He'll protect you from the little bitches. Oh, and the Cold War Kids were awesome. I mean, I just said "awesome". Damn teenagers, they got me.

#cold war kids #show

Arcade Fire - MSG, August 5, 2010

You might have seen this concert too. And you might have watched it on Youtube directed by Terry Gillian. And, if this is you, you’ve probably seen it better than me. But still, I was there. Arcade Fire were the #1 in my list of “bands I’d kill to see live” and, after losing my spot for the August 4th show, I bought my ticket. Never been happier in spending money before. I do not like arena shows, but, after the impossibility of going to Montreal to see them at the Osheaga Festival, I had no other choice. So here we go with my arena’s complaints. I was sitting. I had seat with a number, in a numbered row of a numbered section in a numbered gate. And my jealousy for whomever got the pit’s tickets was driving me insane. My friend, who was watching it on Youtube, almost stopped chatting with me after my exhausting complaints. On each seat (which was undoubtedly comfortable, but, hey, is it me or my grandma going to see the Arcade Fire?) a nice "MSG Inside powered by Time Out" copy was left. And not even one word was spent on the supporting bands. Not even for Spoon. Should I be happy that a band like Arcade Fire made it to embrace the big audience? I guess. Should I be worried their originality and independence might get lost on the way? Probably. The Arcade Fire appears on stage in front of a gigantic scenography depicting an highway and a screen on a billboard. If it wasn’t of massive dimensions, it would seem almost simple. We all stood up and, at least I, tried to awkwardly dancing in my personal 3 squared feet. Owen Pallett - whose opening act was a delight to watch - joined them for their set. Win Butler introduced the band with Ready to Start, new single that has been downloadable for the past few weeks. It was clear that the audience was familiar with the new tune, but it was Neighborhood #2 (Laika) to raise higher pitches. Funeral songs seemed to be still the favorite among the audience, determined also by the fact that only 3 songs from Neon Bible were performed. Their performance was passionate, dramatic, and theatrical. Régine Chassagne switched from singing to the tambourine, from the drums to the piano, with a silvery fairylike dress, as Richard Parry, Jeremy Gara and the unstoppable William Butler did (without the silver dress). Her reedy voice does get partially lost in the live performance but her looks and moves make her one of the most enchanting artists I have ever seen. They played an, at least for me, unexpected Crown of Love, which has never been one of my favorite Funeral’s songs for its exceeding melancholia, but, maybe because it was the perfect break of the set, it sounded beautiful and its lyrics, possibly for the first time, just went through me. We Used to Wait with its loss theme and the final rhythmic climax it’s a perfect Arcade Fire song as you would expect it, but Win Butler’s rock attitude was questionable. Diving into the audience and climbing the fences seemed as much as a lack of originality as a waste of the song. The other Butler instead danced and run on the stage from one side to the other during Rebellion with a tom drum in a musical rapture that just made us all feel a little insane and defeated by the music. Will 1 - Win 0. Month of May was a punkish-surf-rock experience a little different from what the Arcade Fire have made us accustomed to, but sounded more like “hey, we can play hard rock, too!” than anything truly refreshing. And then the encore was on with Neighborhood #1 (Tunnels) and the fake snow came down from gigantic cannons. Why they did it? probably for the webcast in order to make everything so theatrical as Gilliam and the Arcade Fire like it. And I could tell you how cheesy and waltdisneish that was, but instead I cried. Because Tunnels tells about a magical place and that is all the Arcade Fire are about, depicting magical and imperfect and mortal fairy tales. And they sung in chorus and their voices broke and I just jumped and chanted. During Sprawl II (Mountains beyond Mountains) Régine and her quavering voice danced over the odd rhythm, until Butler stopped claiming “this is a live show!” because the drum-machine “fucked-up” (as it did in the beginning of the show), and started their song again. And Régine danced and sung and Win went to kiss her on the cheek. As everyone knew, the end came with Wake Up. Arcade Fire play as if it is their first and their last show, they scream and run and dance and laugh and smile and you just wanna be there with them. I know it’s lame, but it is the best description I could come up with. My doubts about the show are mainly related to the new record, which has not the power nor the drama of Funeral or Neon Bible, while their live act has been a pleasure to watch. You should undoubtedly see the Arcade Fire, because you want to sweat and run, but maybe you can only manage to bump into other sweaty beings while listening to stories about the snow, the tunnels, the people you love and the ones you’ll never see again. I know you do. What did my friend say? "Sky is the limit for Arcade Fire. Some people may think that once you hit Madison Square Garden you are at the peak of your career. I feel Arcade Fire will take it even further. Sky is the limit !"

Arcade Fire Set list

Ready to Start Neighborhood #2 (Laika) No Cars Go Haiti Empty Room The Suburbs Crown of Love Rococo Intervention We Used to Wait Neighborhood #3 (Power Out) Rebellion (Lies) Month of May Keep the Car Running

Encore: Neighborhood #1 (Tunnels) Sprawl II (Mountains Beyond Mountains) Wake Up

(thanks, as usual, to the Brooklyn Vegan)

#shows #Arcade Fire

Wolf Parade - Terminal 5, July 13, 2010

This blog has no aspiration on becoming impartial, but for this particular post I find myself in greater difficulty. I like the Wolf Parade and I like them in spite of the things I also dislike about them. It's like being in love. Long story short, this post is completely biased. My friend didn't know the Wolf Parade, besides few songs on his iPod, nevertheless trusted me enough to come see them (well, yeah, I bought his ticket - didn't give him much of a choice). I'm not big fan of the Terminal 5, the hybrid venue, not too big, but not even remotely intimate, the sound tends to suck and the beers... oh well, whatever. To defeat the lack of personality of the Terminal, I literarily dragged my friend as close as we could get to the stage. When the first supporting band, Zola Jesus, started, the crowd behind us was dispersed around the bars and along the two floors. Nika Roza Danilova’s voice filled our ears with her deep and mighty voice and made us dizzy by looking at her hysterical walks across the stage. In the middle of their set, my friend and I started saying that maybe they we're quite enjoyable in their electro-dark-neodepressing pop. But then the Moools came. And they were really fun. These crazy Japanese guys played their songs with that effortless look of someone who's making you believe that the Pastoral is easy to play as Mary Had a Little Lamb. The singer Yasuaki Sakai entertained us with his little English and partially filled some of the songs with lyrics that seemed as senseless as they were almost out of tune, but their sound was a full and satisfying experience with touches of 70s rock. After an interesting conversation with a “secretly” Canadian guy (well, he was yelling to the absent Wolf Paraders all the Italian obscenities he knew) Dante DeCaro and Spencer Krug silently appeared on the stage to tune up their gears. How classy. While I frantically explained to my friend who was who on the stage, they just started with Soldier’s Grin and immediately demonstrated their forceful sound by giving us a Dan Boeckner’s song and followed by what appears to be the most popular song of the new Expo 86, What did my lover say? sung and written by Spencer Krug. The extensive song hit both the new and old fans, since the audience seemed to enjoy the piece like an old favorite tune. I am not particularly attached to the new album which I perceive as much cohesive as untrue to the Wolf Parade’s original nature, whose schizophrenia between the leaders is their essence. The band thanked extensively the audience with a modesty and sincerity that, in my very personal experience, is inborn in many Canadians. As Boeckner and Krug kept switching the mic they approached their Apologies to the Queen Mary songs with the experience of years of touring and the same unaffected raw attitude. A seemingly slower version of In the Direction of the Moon, thanks to the swings of Krug on his keys, felt like the ballad of the night. The Wolf Parade do not restrain themselves in any way, but their energy is conveyed magisterially and makes one show a sufficient reason to become a fan (my friend has been converted). The necessary This Heart’s on Fire and I’ll Believe in Anything made us older followers of the band extremely satisfied in seeing Dan’s disquiet spasms singing the earnest lyrics and feel the devotion permeate the audience’s crying of “your blood, your bones, your voice and your ghost”. California Dreamer appeared as a sign of the band’s inability to slow down and giving another chance for us enthusiast to bawl the lyrics. The encore featured a song from each of the albums. As easily expected, the Boeckner/Krug little masterpiece, Kissing the Beehive, dragged us into their psychedelic spiral to the closure of the show that left the band and some of us dripping in sweat and sore from the clumsy dancing. The Wolf Parade tiptoe on the stage and once they embrace their gears, they nail you there. I told you this post was completely biased.

Wolf Parade's Set list

Soldier's Grin What Did My Lover Say? (It Always Had to Go This Way) Palm Road Dear Sons and Daughters of Hungry Ghosts Ghost Pressure In the Direction of the Moon Fine Young Cannibals Cave-o-sapien This Heart's On Fire I'll Believe in Anything Little Golden Age California Dreamer Pobody's Nerfect

Encore Cloud Shadow on the Mountain Shine A Light Kissing the Beehive

(thanks to the Brooklyn Vegan)

#wolf parade #spencer krug #shows

I am a wall of sand and stone and you, you're some kind of ivy I'm trying to hold as best as I can.

As best as I can.

But I'm a disaster, I could not be burning faster I stick my arms into webs, I take my meals with weirdos, And play with my rocket ships. And all the while you, you are so composed. So composed So composed You are the most gracious thing I know. Touched by crooking flowers Touched by snow And I put my rockets away. I think you're fantastic. I'll put my rockets away. I know that you care. I'll put my rockets away. And you I'll put my rockets away. are a house of skin and hair. I've been running off of fumes again. I've been running off my mouth. I've been running in the hours between midnight and dawn In the direction of the moon. With the impression that's the way, the way to find your house. So, hey, I will build your bastion And hey, how long can you put up with these questions When you got nowhere to go except into the terrible air? And I put my rocket away. I think you're fantastic I'll put my rocket away. I know that you care I'll put my rockets away. And you I'll put my rockets away. are a house of skin and hair Erring on the side of culture apparently past Come down from the good rack crystal glass 'Cause I, I'm a wall of sand and stone. And you, your some kind of ivy I'm trying to hold as best as I can.

#videos #spencer krug #wolf parade

Yeasayer - Governors Island, June 5, 2010

Governors Island is a dream come true. A ferry away from downtown Manhattan, the Island slaps against your face such a view of the city while you get to see some good bands playing and sometimes it is even for free. Luckily I managed to get the ferry right before a gigantic line formed from the pier and I dragged my friend with me. By the time we got there it was far too early and far too humid, but hey, a free concert has always a price. As the sun was going down, the supporting bands, Keepaway and Delicate Steve, started their shows. Not exactly memorable. And then it was dark and Anand Wilder led the Yeasayer into Wait for the Summer with my particular pleasure since I find All Hour Cymbals more distinctive and powerful then Odd Blood. The setlist allowed Chris Keating and Wilder to exchange the microphone quite often and to demonstrate the ability of both to conduct the show. The songs were cleanly performed, but the concert lacked of energy, people were ready to dance their asses off and they actually did, but I guess my dancing expectations were far too high. Yeasayer are clearly a band with good performance skills, but a tired sound during a concert on a (fake) beach? hmm, that's not right.

What did my friend say?

for not knowing the yeasayer before the concert, and for having a limited knowledge of the hip music scene I dare say I found it nice. pleasant evening, with beautiful landscape, interesting population... but nice is a 'limbo' adjective expressing it was amusing but maybe the whole event lacked some vibe. the supporting band were pure torture!

#shows #yeasayer

The Stolen Tapes

When I was a kid, my Dad had a stereo in his car. He had a lot of tapes. One day, somebody stole my Dad's stereo and all his tapes but one. The soundtrack of Flashdance. After that, my Dad never bought another stereo - until he was basically forced by me - and I had always been disappointed by that because sometimes he would tell me which were the tapes that got stolen and, oh dear, were they brilliant tapes. When he hears a song he knows on tv, on the radio or in a bar, he usually challenges me to see if I recognize it and sometimes it was in one of those tapes. One of my Dad's favorite musicians is Mark Knopfler. I admit, I am not a huge fan of the Dire Straits, but hey, Knopfler is one of the greatest guitarists that has lived and I have learnt how to recognize his sound among any other. As I learnt the sound of the guitar of Carlos Santana and I could mumble Oye Come Va at a pretty young age.

But the biggest loss was the Police tape. I still haven't figured out which one was the album, but the Police have had since the day I was born an influence on my life and I find it funny and superb. But this a story for another time.

I have listened to the Flashdance soundtrack many, many times and I believe I have never watched the movie. I guess the tape was enough for me. It reminded me of a world of music that was stolen, but that I was eager to bring back home.

#why I listen to music the way I do

Moonface – Dreamland EP

#masterpiece #spencer krug #wolf parade

Local Natives - Bowery Ballroom, May 7, 2010

At the end of the concert a girl with a Northern European accent asked to my friend if it was normal to have just one hour concert because she felt it was too short. Well, I tried to explain, they played all the songs they have. They have just 1 album (and she kept understanding "1 hour") and, unless you want to make a(nother) cover then there's no way you can play longer than 1 hour.

The Local Natives appear on stage in a row, they switch positions during the show, they switch instruments, they seem almost interchangeable, and then, inevitably, Taylor Rice and Kelcey Ayer become the focus of your attention thanks to their perfectly assembled vocals. But it feels like you are going at the first big concert of a band of friends of yours and it's kind of weird that people around are singing loudly their songs.

The band does not disappoint. An inevitable extension of Sun Hands is both predictable and yet mirror of the potential of the band thanks to a couples of minutes of pure jam.

At the beginning of the concert a guy asked me if I were a big fan. I answered "a kind of". Dear Local Natives, make another album an then there's a good chance I might become a real great fan of yours.

What did my friend say?

Local Natives sounded just as incredible live as on their first album. The tone and blend of their voices makes them a band worth noticing, and I can't wait to hear from them.

#shows #local natives

#videos #local natives

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