Aug 20 - Long Beach, CA - {Open} ,- that's the name of the space, not "open date" Aug 21 - Los Angeles, CA - Bootleg Theater Aug 22 - Santa Monica, CA - Santa Monica Museum of Art Aug 24 - Santa Barbara, CA - SoHo Aug 25 - Salinas, CA - The Steinbeck Center Aug 26 - Santa Cruz, CA - The Crepe Place Aug 28 - San Francisco, CA - Rickshaw Warehouse Sept 04 - Ft. Collins, CO - Tour De Fat Sept 05 - Denver CO - The Oriental Sept 08 - Baltimore MD - 2640 Sept 09 - Havre De Grace MD - Biller's Bikes Sept 10 - Havre De Grace MD - Biller's Bikes Sept 12 - Philadelphia, PA - Bike Philly Sept 12 - Philadelphia, PA - Johnny Brenda's Sept 15 - Doylestown, PA - Puck Live Sept 16 - Bethlehem, PA - Wild Flower Cafe Sept 18 - Kempton, PA - Renewable Energy & Sustainable Living Fest Sept 20 - Lancaster PA - Fair Trade Cafe @ FMU Sept 21 - York, PA - The Depot Sept 23 - Frederick, MD - Cafe Nola Sept 24 - Bethesda, MD - Mansion at Strathmore Sept 25 - Washington, DC - Edmund Burke School Oct 07 - Richmond, KY - Eastern Kentucky University Oct 08 - Frankfort KY - The Grand Theatre
It takes a special brand of musician to release a live album. Mogwai not only meet all of the standards necessary, but pour forth their guitar heavy brand of post rock from the very beginning of the film. No introduction, no credits; they let the music speak for itself.
And it does.
With levels of blissful distortion unparalleled this side of White Light, White Heat, the viewer gets their first “break” from the music 16 minutes into Burning. Aptly titled, the film and accompanying live album, Special Moves, document the band’s stirring 2009 live performance in Brooklyn. The live film is the band’s first and was directed by Vincent Moon and Nathanael Le Scouarnac, the same brilliant minds behind La Blogotheque’s Take Away Shows. It’s a haunting spectacle—not solely because of the ethereal yet turbulent music which refuses to be contained by the venue itself—or the ominous black and white aesthetic, but also because of the delicate interplay of the Scottish band’s traverse in the hardy city, followed by their explosive feeds into the amps on stage. The camera’s constant fluctuation between the streets of Williamsburg and the concert stage results in a dazzling accentuation of everything, from the graffiti to the blinding lights on stage. It’s comforting to be reminded that even though bands like Mogwai often go without widespread fame or fortune, their fellow artistic innovators can be counted on to hold a candle recognizing their achievements.
a bunch of local artists, including: Tartufi, AB & the Sea, Still Flyin, Leopold and his Fiction, Social Studies, Butterfly Bones, The California Honeydrops, Sunbeam Rd, Sea of Beas, Jhameel, Billy & Dolly, The SHE's, The Thrashers, The Psychotherapists, Wizard Lizard, The Romane Event
15 August 2010 (Sunday) San Francisco, CA (day 1 reviewed HERE)
The Devil Makes Three Wow, these guys sure could get a California crowd square dancing. I hadn’t seen the likes of this since the third grade and learning about the Oregon Trail. With a rose painted on an acoustic guitar, could you expect anything short of heartfelt Americana? The Santa Cruz band is a simple three piece, and their delivery is basic while simultaneously accentuating their strengths. They really hit home with “Help Yourself”, as Pete Bernhard sang with lighthearted exuberance: “I done some bad things but I like to have my fun.”
Edward Sharpe & the Magnetic Zeros With an abundance of Near Eastern clothing and an aesthetic that could only be described as psychedelically inspired, lead singer Alex Ebert was espousing George Harrison vibes like no other. Before the first song even commenced, Ebert jumped down in a sprightly manner and dove right into the crowd. When he finally made it back to the stage, he was dancing as if he were trying to shake bugs off of his legs. Never ceasing to monkey around, he and female counterpart Jade Castrinos (who, for the record, had some impressive pipes) tried to summon the sun to the dreary San Francisco sky. The duo were grinning, harmonizing, and radiated an infectiously giddy energy. The band brings to mind 50’s style rockability, as the communal dancing, singing and frolic gave way to American Bandstand type submission to primal instincts. Whereas the music is not inherently spectacular, what makes ED&tMZ an act that is hard to forget is their matchless delivery. Ebert’s vocal style seemed to be inspired by the likes of James Brown. Edward Sharpe & the Magnetic Zeros is composed of eleven members who inspire, rather than awe. The only worries I have for this band come in terms of longevity: how long can this remain fresh?
Al Green Covering the Temptations and howling delightfully on the main Lands End stage, Al Green and his fantastic backing band proved that soul, more than any other genre, is timeless. He slyly interjected that he was singing all of these love songs with no hopes of getting a special lady and therefore encouraged the crowd to grab a hold of a lover. The horns soared, Al danced and absolutely everyone in the audience had a grin on their face.
Phoenix Oh, Phoenix. Why must you embody everything I love about indie rock, from the constant obsession with perfection in tone to the unshakable humbleness of leading man Thomas Mars? I don’t think our French boys could deliver a disappointing set if they tried, they are just programmed for excellence. The highlights of the set included the strange, decelerated version of “Rally” and the explosive closer, “1901”, complete with Thomas Mars crowd surfing during the reprise. During the set, Mars seemed to be overflowing with nervous energy and climbed atop everything including the speakers to his right. Edward Sharpe may have showmanship, but Phoenix have staying power. Their music has so much substance, and their impeccable sets will surely be relayed by fans to generations of forthcoming grandchildren.
Social Distortion One of the few disappointments of the weekend, Social D were diametrically opposed to The Strokes: although the California punk outfit have a new album coming out in November, their set left me thinking “why do these guys even bother?” They were desperately trying to cling onto the times of past, but failing utterly, down to the tastelessly over-propped stage. They rendered a mediocre version of the Cash classic “Ring of Fire” and even failed to strike a chord with “Ball and Chain”. Unfortunately, some bands should only be reachable through well-worn records and trips down memory lane, not in the live concert setting.
Kings of Leon The band opened up with “Closer”, and I almost thought that they had replaced their bass player, because Jared looks a hell of a lot older than what I remembered. From the first few moments, seeing Nathan pound away made my heart ache for Kings of Leon, whom I had forsaken because of how far they’ve strayed from their badass origins. I had originally planned on watching their whole set, but after hearing them butcher “My Party” (which is a relatively new song, pretty detached from their first two albums), I couldn’t stick around. How they managed to water down a track from Because of the Times, I don’t know. It’s so unfortunate to see such a talented band piss away their potential by delivering half-assed, mom-approved rock, but what pained me the most was seeing Nathan—the lone remaining good element of the band—drumming in the background as if nothing had changed. They aren’t trying to go back to their roots at all, they’re milking this corporate bullshit for all its worth. I, for one, refuse to be a part of this nonsense.
