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Monday, Apr 27, 2009
Words and Pictures: Thomas Hauner

This night found Messieurs James Ford and Jas Shaw bringing their British brand of minimalist electronica to the Highline. Though their ascent, and hype, in the electronica scene has paralleled that of French duo Justice (they also like to remix each other and release albums on the same day while sounding completely different), they are decidedly geeky and focused in concert, eschewing the rock-star pranks the Parisians flaunt so effortlessly.


 


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Sunday, Apr 26, 2009
by Kevin Ott
In Store Performance by the Breeders

If Saturday, April 18th unfolded as beautifully sunny and spring-like as it did in Cincinnati, and the rest of the over 700 independent record stores in the USA were as crowded and vibrant as Shake It Records on Record Store Day, then there is good reason for optimism in the industry. By “industry”, I don’t mean the broad definition of the music industry, but instead, the small-but-no-longer-practically-obsolete corner of the world frequented by the true music junkies and ephemera aficionados—the jumbled and cramped old storefront operations that are packed with racks of CDs and vinyl, old and new, obscure and popular.


 


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Monday, Apr 20, 2009
Andrew Kenny's new band swings through town, debuting material from its forthcoming debut LP, Magnolia. Words and pictures by Mehan Jayasuriya.

This past week, I spent my Easter Sunday at the Black Cat with the Wooden Birds, the latest project from American Analog Set frontman Andrew Kenny. AnAmSet fans will feel right at home with the Wooden Birds, as the band finds Kenny marrying his hushed delivery with dulcet tones and understated arrangements yet again. That’s not to say, however, that the Wooden Birds are just the American Analog Set with different players. Longtime fans will notice that Kenny’s latest vehicle favors acoustic over electric instrumentation and has a more rhythm-heavy bent (nearly every one of the band’s songs features maracas and tambourine).


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Friday, Apr 10, 2009
Words and Pictures by Jayson Harsin

I like Mecanique Ondulatoire, the venue where I saw the ascendant fuzz rock royalty A Place to Bury Strangers, but by most standards – with just a 150-person capacity—it is too small for this band. (APTBS played Paris last November in the Nouveau Casino, a 400-person capacity venue.) Descending into its basement concert lair, the Mecanique Ondulatoire, with its arched form of huge sand-colored rectangular stones, looks like a medieval torture chamber. And with a sardine-packed sold out crowd inside, the venue is more a closed-off tunnel than a room.


 


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Thursday, Apr 9, 2009
by Christina Parrella
Words and Pictures by Christina Parrella

Craig Owens has always been a shy guy, but on his solo tour he’s become more available and open. When he came up with the idea of a solo run, without Chiodos and Cinematic Sunrise, the bands he fronts, he originally wanted to play in front of less than 100 people every night. In order to meet the high demands of ticket sales, he eventually embraced the idea of playing bigger shows. Although the setting was not as intimate as he’d like, the packed out Highline Ballroom show was hardly small, brimming at a 700-person capacity.


 


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