Watch Pearl Jam give a relentless performance of “The Fixer” on Austin City Limits, along with a nice PBS spot on the history and impact of the show. Eddie Vedder’s bristly bravado does not disappoint.
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Santos Party House, New York City
“This is all we got tonight,” sang Free Energy in raggedy, homespun harmonies. It was the sentiment, however, not the vocals, which resonated in their early set. They played an agreeable synthesis of classic, at times psychedelic, rock (two raging, and dueling, Epiphone Les Pauls) and post-punk dance music (propulsive rhythms and a skinny, dancing front man), instantly becoming the best bar band around without even playing a cover. Whether their sound could convince a dance floor is dubious, despite their tambourine and cowbell qualifications. As new additions to the DFA family, though, I’m sure I’ll be proven wrong reasonably soon.
Bell House, Brooklyn
I hate to slap on labels like “buzz” or “bandwagon,” but when every song intro in some way replicates The Pains of Being Pure at Heart and then develops into a more Japandroids concoction, it’s hard not to. The resurgence of, often over-calculated, garage music has fully breached Brooklyn boarders, and New Zealand’s Surf City is wallowing in the flood zone. Though pleasant sounding they lacked innovation, making it harder to appreciate the soothing melodies and hints at surf rock that my ears usually welcome.
Mercury Lounge, New York City
It’s tough to perform electronic music live. The availability of reliable, touch-sensitive MIDI interfaces has made this somewhat easier, but still, if you don’t have a Daft Punk LED pyramid or a primo sound system it’s difficult to keep people interested if they’re not moving their feet. But when Javelin began setting up their day-glo boom box collection—which they use to amplify their music using an old FM radio transmitter—I thought for sure they’d have a shot a bucking this trend. Sadly, it wasn’t to be. Javelin’s 45-minute set was plagued with sound problems that muddied their infectious brand of dance pop from the start. Couple that with a dead audience and Tom Van Buskirk feeling the need to rap-sing over several songs that had no lyrics to begin with and I had had enough. Javelin has a few more CMJ shows this year, but I think they need to take a mulligan on this one.
The chorus of Little Boots’ “Earthquake” announces itself with great fanfare, transitioning abruptly from the verse into a bang-bang shout-along dance floor stomper. While the trappings are there, it lacks a certain exuberance that takes a pop song from catchy to truly memorable. You may sing along, but you won’t be terribly excited about it.
// Moving Pixels
"This week we take a look at the themes and politics of This Is the Police.READ the article