While their live show alone could easily carry them into the future, if Monotonix can find a way to translate the reckless energy onto record, these crazy folk from Tel Aviv are going to be huge. It was a smart lineup decision to put these guys on last, as trash buckets flew, drums were annihilated, and beer was spilled over the entire audience. The best thing about Monotonix, though, is they aren’t gimmicky; the instrumentation—just drums, guitar, and vocals—is so ungodly powerful that it would be fantastic even if they were just standing stoically. More bands need to take note that you’ve got to incorporate the best of both worlds to make it in today’s oversaturated musical market. Monotonix not only heed this advice, they go above and beyond it.
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High Places put out one of the best debut records of 2008, but unfortunately, their live show isn’t going to push them out into the crowd of developed bands quite yet. Although it’s hard for a duo to be able to put on a captivating live show with so much going on musically, they need to add elements to their live show to hold the audience’s interest. To be fair, they are still new on the scene and they have plenty of time to grow. The songs are great but the show is lacking, a common case these days it seems
There’s something to be said for a band that can hold it down as a three-piece, and Thrill Jockey’s Pontiak can do just that. One the heaviest, more intelligent bands I saw over the course of CMJ, Pontiak proved they are more than just a “heavy” band. Their tracks are minimal, yet composed with great accuracy, and were able to hold the audience’s attention with a trance-like quality until the guitar exploded into freak-out territory: A true psychedelic, stoner metal experience without all the assorted clichés.
Royal Bangs must be sitting on top of the world right now. They just supported The Black Keys on the Akron duo’s biggest tour to date and released an album on the band’s label earlier this year. Their CMJ performance wasn’t dead on, but it didn’t need to be. Their chops were great, their energy was great, and the audience from front to back was paying attention, and that’s more than you can ask out of any CMJ experience, especially at midnight on the very last evening (we were all just about dead by then). Their name is out there, now they just have to get their sound out there—and frankly, they are doing a damn good job at that.
I committed the jackass foul of cutting the around-the-block line to get into They Might Be Giants’ show. But the length of the line maxed out precisely when the rain was most dramatic, so I felt it was ok. Once inside I joined the also long queue of alt-rock nerds, eagerly awaiting the performance of the duo’s 1990 album Flood in its entirety. As the self-described “hardest working band in Brooklyn that still takes the L train” put it, the nights show would feature a bifurcated set, “that’s a fancy way of saying we’re playing two sets with a fifteen-minute break so the bar can sell drinks.” The duo of John Flansburgh and John Linnell has developed a strong reputation for their live shows in their 26-year career. And they were chatty and hilarious throughout their two and half hour set, mocking weary CMJ photographers (“That ringing you hear when you finally lay down your head on a pillow is not going away”), their sometimes discombobulated endings (“Don’t let the song get in the way of your first place finish”), cheap weed (“I just got high from some terrible second-hand weed smoke”), and Flood’s original two-star rating in Rolling Stone (“They were right about Hendrix and they were right about us”). The second half of their set featured classic They Might Be Giants anthems, new and old alike, such as “Mink Car”, “Dinner Bell”, “Seven”, “Older”, and “James K. Polk”. That they played two encores by popular demand only cemented the night’s stellar vaudevillian-like set, closing with the educational “Alphabet of Nations” and crowd-favorite, “Fingertips.”
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article