Postcards from the Pit: The Felice Brothers / Yellowbirds / Mail the Horse, Mercury Lounge, 12/31/12

And now, at long last, the promised pictures from the Felice Brothers’ New Years Eve show.

Starting from the beginning, with Mail the Horse:
 
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Yellowbirds were up next; they’re also from Brooklyn, and were an odd little burst of power-pop in the middle of a twangy, fuzzed-out evening:
 

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And then, The Felice Brothers, who played a bunch of crowd favorites (ones I can remember: Frankie’s Gun, Cumberland Gap, Whiskey in my Whiskey, White Limousine, Run, Chicken, Run), surprised us with an appearance by Simone Felice, poured us into the New Year with Take This Bread, ceded their stage to a member of the audience for a (successful!) marriage proposal, and at the end shut the place down with back-to-back covers of Carry That Weight by The Beatles and Smells Like Teen Spirit by Nirvana.

Carry That Weight I sang along with out of . . . habit, for lack of a better term. It’s the Beatles, I’m not that keen on them but it’s a communal thing to do, rolling with the crowd-swell for the chorus, acknowledging that 2012 was rough and 2013 may not be much better but no matter what is going on outside, we’re warm, indoors, some of us are not feeling any pain, and we have been able to come together with our band and sing with them.

Smells Like Teen Spirit was electrifying and cathartic. And communal, too, but in a different way. Most of the people there, or at least standing around me, were old enough to actually remember Nirvana when Nirvana was new. And we pretty much all got up on our toes and howled Here we are now / Entertain us / I feel stupid / and contagious and it felt like an exhortation to take the new year by the throat.
 
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2012: A Year In Pictures, October and December

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Johnny Hallyday, Beacon Theater, Oct. 7, 2012
 
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Blake Mills, Terminal 5, New York, NY, Oct. 16, 2012
 
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Fiona Apple, Terminal 5, New York, NY, 0ct. 16, 2012
 
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Fiona Apple, Terminal 5, Oct. 16, 2012
 
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Beast Patrol, The Studio at Webster Hall, October 19, 2012
 
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Alex Greenwald and Z Berg, JJAMZ, The Studio at Webster Hall, Oct. 19, 2012
 
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Alex Greenwald and Michael Runion, JJAMZ, The Studio at Webster Hall, Oct. 19, 2012
 
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Sweatheart, Terminal 5, New York, NY, Oct. 22, 2012
 
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The Dirty Pearls, Terminal 5, New York, NY, Oct. 22, 2012.
 
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Justin Hawkins / The Darkness, Terminal 5, New York, NY, Oct. 22, 2012
 
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Jeffertitti’s Nile w/ Father John Misty, Bowery Ballroom, New York, NY, Oct. 24, 2012
 
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Katy Goodman, La Sera, Bowery Ballroom, New York, NY, Oct. 24, 2012
 
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Father John Misty, w/ Jeffertitti, Bowery Ballroom, New York, NY, Oct. 24, 2012
 
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Lindi Ortega, Roseland Ballroom, New York, NY, Oct. 26, 2012
 
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Mike Ness, Social Distortion, Roseland Ballroom, New York, NY, Oct. 26, 2012
 
Apparently I didn’t go to any shows in November, either.
 
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Sheena Ozzella, Lemuria, Webster Hall, New York, NY, Dec. 2, 2012
 
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Ceremony and stage diver going in to the pit, Webster Hall, New York, NY, Dec. 2, 2012
 
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Titus Andronicus, Webster Hall, New York, NY, Dec. 2, 2012
 
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Animal Collective, Terminal 5, Dec. 5, 2012
 
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Casey Neill, 68 Jay Street Bar, Brooklyn, NY, Dec. 8, 2012
 
IMG_8261 A small fraction – there are nine of them! – of Industries of the Blind, Knitting Factory, Brooklyn, NY, Dec. 21, 2012

Postcards from the Pit: Ceremony, Webster Hall, 12.02.12

Ceremony were not the headliners for this show – that was Titus Andronicus – but they were the band I liked best. The first opener was Lemuria, who were pleasant but didn’t really turn my crank, and as for Titus Andronicas, I just wasn’t feeling it this time. Everyone else was having the best possible time and losing their collective minds, though, so I think it was me, not them.

Ceremony was a surprise in a number of ways. First they were American punks when I had been expecting British goths1 – some day I will learn to read band bios before shows – and second, the previously placid pit exploded the moment their first note sounded.

The reason most of the pictures are a little bit blurry is because the floor beneath me was vibrating from the force of the audience’s enthusiasm. I was mainly hanging on to the barrier as tightly as I could and occasionally ducking stage divers.

Their music is ferocious and beautiful. It sounds like both the end and the beginning of the world, and like something complex and spiky being annealed in the blue core of a fire.

 

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1 Essentially I had conflated their influences – Joy Division – and a wide array of cultural echoes – a song by Joy Division, a record by The Cult, a long-running club night in Boston, all also called Ceremony – and thought they were a first or second-wave goth band that doesn’t actually exist.

Wölfbait: Wölfbait

Wölfbait is a sonic sledgehammer-steamroller, heavy experimental noise that walks the fine but bright line between deeply satisfying and painful to listen to; and is for anyone who has ever listened to Metal Machine Music and thought This needs to be faster and should also have some echoey howling and shouting and more weird screeching noises.

Other notes: they do interesting things with feedback, and their drums are steady and powerful but not as pounding and punishing as some hardcore drums can be.
 

 

The Dirty Nil: Little Metal Baby Fist

The Dirty Nil’s summary of themselves on bandcamp is The Dirty Nil play rock and roll, and, you guys, that’s an accurate statement. They sound like a dive bar: loud and a little dirty.

Little Metal Baby Fist is the A-side from their most recent single, which I picked because I can almost see the circle belling out and the pit forming before they even get through the first chord. I would totally wade into the fray and put my arms up to bounce sweaty dudes away from me while scream-singing along to this song.
 

 
I can also recommend the B-side, Hate is a Stone (slightly heavier, sounds like stewing in self-loathing) and their cover of Moonage Daydream.

Video: Tina Turner, What’s Love Got To Do With It

Tina Turner turned 73 yesterday, so this is both a belated birthday celebration and a general appreciation.

What’s Love Got To Do With It is from Private Dancer (1984); the song won three Grammys in 1985 and the original video got an MTV video award, also in 1985.

I’m pretty sure I became a Tina Turner fan in that year too, partially because of the music, and partially because she was Aunty Entity, Queen of Bartertown. If you haven’t watched Mad Max: Beyond Thunderdome, GO DO IT NOW.

Meanwhile, the video you are about to watch is from her last tour, in 2009. I can only hope to be as fierce as she is when I am her age.
 

Video: Fall Out Boy, Sugar We’re Going Down

Fall Out Boy didn’t play Fueled by Ramen’s 15th anniversary shows last fall, but they were there in spirit, via the music between sets. At some point during night two, this song came on over the PA.

I was deep in the crowd, half listening, half trying to wriggle into a better spot, when I noticed a female voice in the chorus that I was pretty sure hadn’t been there before. I actually spent 30 seconds trying to remember if they had pulled someone in to guest vocals – Maja Ivarsson from The Sounds, maybe? – before the penny dropped.

It wasn’t Maja.

It was the room.

It was hundreds of girls – including me – singing along so loudly they had become one voice, soaring and swooping and almost drowning Patrick Stump out. And it remains one of my favorite concert memories.

This video is from 2006, and is a classic FOB dash of visual absurdity.

 

Thunderclap: Banks of Yarrow

Nick Kinsey (Diamond Doves, Elvis Perkins in Dearland) has an exciting new project.

Working under the name Thunderclap, he’s reimagining the Child Ballads, a group of 305 English and Scottish folk songs collected by 19th century folklorist Francis James Child. Kinsey is not covering each one individually; instead he is reworking the songs, mixing and matching between tunes to create original and modern interpretations of the source texts.

The song you are about to listen to is based on Banks of Yarrow, but also borrows heavily from a song called Sir Hugh. It features Jean Garnett on lead vocals; Nick Kinsey on drum programming, percussion, synths, keyboards, guitar, vocals; Zach Tenorio-Miller on Celesta and effects; and it is quite lovely.