The Twenty Best Bands In NYC?

 

The NY Press recently released it's list for the 20 Best Bands currently residing in NYC. No one here is saying these guys are the authority, but it is a fun topic of discussion.

Who was left off? Who doesn't deserve to be on? How wack or right is the order?

Honarable Mentions: Jealous Girlfriends, So So Glos, These Are Powers, Crystal Stilts, School of Seven Bells, Ford & Fitzroy, Asobi Seksu, Harlem Shakes, Chairlift, Pela, Pains of Being Pure at Heart, O'Death, Free Blood, The Forms, Oakley Hall, Gang Gang Dance, TK Webb, Blood on the Wall, Religious Knives

20. Magnetic Fields
Essential track: Take Ecstasy With Me
This Is The Ivy League - You Me & The Moon (Magnetic Fields cover)

19. Danger Mouse
Essential track: The Mask by Dangerdoom
18. Motel Motel
Essential track: Coffee
17. Apes & Androids
Essential track: Hot Kathy

Apes & Androids - Night Of The Week
Apes & Androids - Golden Prize

16. The National
Essential track: Apartment Story

The National - Fake Empire

15. LCD Soundsystem
Essential track: All My Friends

You can see the remaining bands in their Top Twenty AFTER THE JUMP...

14. Les Savy Fav
Essential track: Patty Lee
13. Obits
Essential track: Widow of My Dreams
12. Parts & Labor
Essential track: Ghosts Will Burn

Parts & Labor - Nowheres Nigh
Parts & Labor - Fractured Skies

11. Yeasayer
Essential track: No Need to Worry
10. El-P
Essential track: Up All Night
9. Dirty Projectors
Essential track: Fucked for Life

Dirty Projectors - No More

8. Battles
Essential track: Atlas
7. Marnie Stern
Essential track: Transformer
6. Department of Eagles/Grizzly Bear
Essential track: Teenagers by Department of Eagles, Little Brother by Grizzly Bear

Department Of Eagles - No One Does It Like You
Department Of Eagles - In Ear Park

5. Gogol Bordello
Essential track: Wonderlust King
4. Sonic Youth
Essential track: Teenage Riot
3. TV on the Radio
Essential track: Stork and Owl

2. The Walkmen
Essential track: In The New Year

1. Animal Collective
Essential track: Fireworks

Headlining the evening’s show are Minneapolis indie-rockers Cloud Cult, performing their first ever NYC acoustic show! Their latest release, Feel Good Ghosts (Tea-partying Through Tornadoes), has earned accolades from publications including Fig & Mint, SPIN, LA Times and a feature on the Rolling Stone site as a Breaking Artist. 
 
Also performing will be Scott McCloud of critically-acclaimed ‘90s post-punks Girls Against Boys.  Scott is no stranger to the scene but chances are you haven’t seen him as his new solo project, Paramount Styles. Supporting his debut release, Failure American Style, this show will be different than those on the recently announced upcoming tour as Paul Cantelon will join him on stage along with Angela McCluskey.
 
Making their CMJ debut is Montreal-based Sister Suvi.  Featuring Patrick Gregoire of Islands, they are a dynamic trio who smash their personal musical influences into each others' faces. The result is a thrilling and surprisingly focused mess. They have just finished their first full-length with Mark Lawson (Unicorns, Arcade Fire, Islands) and are aiming for a winter-spring 2009 release.
 
Finally, NYC-favorites The King Left will bring an acoustic take on their angular rock sound.  Their latest release New York Nothing EP, won the hearts of bloggers and college radio and led to opening slots for We Are Scientists, Joseph Arthur, Secret Machines, Tokyo Police Club, The Long Blondes, Snowden, Le Loup, Film School and many others.

Doors open at 6:30 and tickets are $8 in advance and $10 the day of the show.

With a history like this, and a name like that, Miles Benjamin Anthony Robinson can be no stranger to expectation. Released July 1 on Say Hey Records, his self-titled EP is the long-anticipated debut from a pained youngster who has lingered in a part-vagabond, part-hustler haze for the past 10 years. In the year 2000, Miles was thrown into the bowels of New York from the comfort of the Oregon countryside. With nothing but music and juvenile indiscretions on his mind, Miles, on full scholarship at NYU, tested the limits of his talent through rampant alcohol and drug use. By the time he turned 21, he was ready to stop drinking, he says, because he had already done way too much of that and everything else.* Lucky for us, too much is relative for Mr. Robinson. Opening his album with the morbidly self-indulging funeral song, "Buriedfed," the four-named troubadour from Oregon jokingly reflects on his adolescent escapades in serving up a theme for the album. The leading lyric, This is my last song about myself, about my friends / Found something else to sing, introduces  Robinson's signature sarcasm on an album in which Robinson acts primarily as the passionate ferrier of nostalgia. The joke revealed at track 2, which relies on the debt-wrangled emotions of a lost soul tortured by self-deflating prospects of success. Not sure that I want to stay alive / it's so expensive / it's cheap to die scowls Robinson in "The Debtor," a track he says was written in that purgatory between college and homelessness, when he was forced to sneak into NYU studios after dropping out. Yet, this time was only transitional. Now, Robinson is able to smile when he reflects, which can often come off as smug or fake on stage - a tribute to the fact that he still doesn't take himself too seriously. Robinson understands all the bad cliches that come with writing this type of music. In "Who's Laughing," Robinson jokes, tell me if you've heard this one before when pushing around the emotional weight of a romance strained by personal neglect and self-healing justification.

The musical and biographical contrast is startling - A young man most influenced by '90s grunge rock sounds more like a new millennium Bob Dylan. Like Dylan, Robinson can attribute his rootsy-ness to the persistent loneliness of introspective ramblings. The bi-racial, bi-coastal songwriter invites us to his emotional island through stories of dependent desolation. The beer and cigarettes are symptoms of his outlet and origin. Lost in his merry-go-round of improprieties, Robinson celebrates his years of isolation through a grateful reminiscence. "My Good Luck," a Bud-infused anthem, may sound most like a Gold Ryan Adams, but Robinson won't let you forget where he is coming from. "I'm definitely a '90s kid, and I'm from the Pacific Northwest. I never really gave up the alt rock thing—I came to New York wearing Doc Martens and flannel in 2000."* And he still wears them. I wanted to be written over!, Robinson screams on track 7, a feeling most children growing up with the influences of Nirvana, NIN, and Pearl Jam can certainly understand. A time when pain and pressure were cool, even celebrated. Pushed, pulled, and played loud, self-hate was the paramour of the mid-nineties and Robinson was no stranger to its seduction. Even in what had to be one of the best times of his life - being on tour with friend and producer Chris Taylor of Grizzly Bear - Robinson penned "Mountineer'd," a song that would have you believe that its the swan song of his fabled break up with his fiancee. Fortunately, that's not the case. As noted in the Paper Thin Walls interview, this entire album was penned pre-break up. His soon-to-be released second album, Summer of Fear, captures the effectual discharge of the relationship's sudden demise.*

But let us not forget that Miles Benjamin Anthony Robinson's talent extends beyond storytelling. The musical accoutrement of acoustic guitar and piano produced with a lo-fi sound begs the beggar's feeling of grimy homeless regret. While Robinson's vocal talents, like Dylan's as well, leave something to be desired, TV on the Radio's Kyp Malone, along with Chris Taylor, helped re-dub different versions of Robinson's vocal on several tracks to give them the emotional impact of a church chorus. In "Above the Sun," Robinson creates the Southern Sunday church service of a delta bluesman, pasting heaven-reaching voices on a zealous infusion of stand-up bass over ambient extensions of prolonged organ chords. Yet, beyond the religious excursion in "Above the Sun," you won't find too many detours of sound in this album. Based in the celebration of juvenile reflection, Robinson consistently melds songs of drugs, alcohol, and typical 25-year-old malaise. In an interview with NPR's Conor McKay, Robinson countered, "I've drank a lot of whiskey and I've done a lot of drugs, but I think that is the least interesting and certainly the least unique thing about me and my music."** He may be right; but for now, that's all we have to go on. In Robinson's first album, he steadily relies on his adolescent cycle of indiscretion and regret.  But it is his commitment to sound and feeling that ensures that Summer of Fear will be a more grown-up endeavor.  If the current album is the "closest to honest thing [Robinson] could make,"** when looking back at the last 10 years, Let us hope our next romp through the life of Miles Benjamin Anthony Robinson proves just as entertaining.

This winters been like no other before / staring down at the sky from up here on the floor. - Miles Benjamin Anthony Robinson, from "Boneindian"

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* More Use For A Name - Paper Thin Walls

** Miles Benjamin Anthony Robinson - National Public Radio

The FADER COVER - Miles Benjamin Anthony Robinson

The Daytrotter Sessions - MBAR (four previously unreleased recordings)

Delicious Scopitone - Buriedfed Video (be sure to check out Sigur Ros Gobbledigook video as well)

Myspace

Say Hey Records

Not to say I'm completely exhausted.

Based on the past several years of touring, Remember  juxtaposes the simple, yet powerful vocals of Eleanor Friedberger with the complex and often uncomfortable orchestrations of her brother, Matthew. Out August 16 on Thrill Jockey Records, this double LP creates quite a challenge for the listener. But getting your hands around art should be a challenge. It's a challenge I've enjoyed with all 51 tracks of Remember.

What struck me upon my first listen to the album is how much I had forgotten the liberties Matthew, the musical leader of the group, gives Eleanor with her vocals. "Two Fat Feet" and "Black Hearted Boy" both sound more like spoken word poetry  than rock music. Yet, it's that revivalist vocal style which justifies the decision to make the live album.  My first exposure to The Fiery Furnaces were with the 2005 release, Rehearsing My Choir. Rehearsing is the seminal storytelling album in their career, based in different time periods and locations, holding such powerful tracks such as "The Garfield El" and "Forty-Eight Twenty-Three Twenty-Second Street." These songs shine on Remember as well. With "Garfield El," The Friedbergers show their ability to bring a purity to a repertoire filled with cynicism and discernment while "Forty-Eight Twenty-Three Twenty-Second Street" emits the vibe of a street poet in an urban landscape, shouting against his enemy of the day.  Street poet, my favorite role, shows up again in the 2006 release "Borneo," in which I picture a know-it-all tramp romping around a banquet hall boasting about her dirty thoughts and deeds. With The Fiery Furnaces, the orchestrations playing as a back track doesn't always work. The songs on Remember shift from quirky to neurotic, some even borderline on video game ripoffs. When listening "Benton Harbor Blues," from 2006 Fat Possum Release, Bitter Tea, I can't help but be sent back to that final castle level in MarioWorld.

But I won't blame them too much for that. It's as if the band remains constantly unchallenged, desperate to add new sounds. And they have several times over. They are all present on Remember.

Throughout Disc 1 and 2, the unique melodic relationship between Eleanor and Matthew dodges harmony at times, leaving me a bit uncomfortable. This feeling is especially present in  "Wicker Whatnots," where the music and lyrics weave in and out of a nondescript unity. "Philadelphia Grand Jury," on the other hand, from their latest 2007 release, Widow City, places  the listener comfortably in harmony with keys and vocals, replacing all the tension and aggression of "Automatic Husbands" violent beat with a slow melodic meditation. 

Variety should be what sells this album. From the more rock sound of 2004's "Chris Michaels" to powerful funk orchestrations like 2006's "Vietnamese Telephone Ministry," The Fiery Furnaces have deserted genres and picked their top performances for this live compilation. I felt by the end of the album I would surely be writing off anyone playing an organ not named Jimmy Smith, but that wasn't the case. The Friedbergers throw in just enough of that creative rock to keep the listener's attention. The perfect example is track 2, disc 2 - "Quay Cur." At 1:48 on the track, you are exposed to a master musician's orchestral talent. The keys begin feeding the lyrics, methodically kicking in the cymbals, powered home with the organ before a transition back to slide guitar. Beautiful.

The Fiery Furnaces just finished up their Democ Rock Tour which you can read about on their website. Next time they are performing around here, I'm going to be sure to check them out just to see which band I may see - the one which incites emotion or the one with the R2D2 riffs (see disc 1 track 3 "Single Again"). As for Remember, my final verdict is in (or out) - its a split decision. I'm left with a mixed impression. On one hand: the album makes quite a statement. Review after review has called the brother-sister combo of The Fiery Furnaces unfocused. The band hits back with an in-your-face live memoir of their consistent, "unfocused," and undeniable creativity. On the other hand: The album seems a bit overdone with the number of reprises (there are 6) and unexpected genre shifts. It's two parts circus to one part opera. I just don't know which one I like more.

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Note: The author takes no responsibilty for the lack of cohesion in this piece. He completely blames The Fiery Furnaces.

Meanwhile, The Black Keys continue to tour. Below, some very important dates:

July 31 - METRO - CHICAGO, IL

Aug 1 - LOLLAPALOOZA, CHICAGO, IL

Aug 7 - MCCARREN PARK POOL, BROOKLYN, NY

Aug 10 - VIRGIN MOBILE FESTIVAL, BALTIMORE, MD

Sept 25 - NEW DAISY THEATER, MEMPHIS, TN

Bon Iver and the Bowerbirds are playing two shows in the NYC area next week. I suggest you check them out. As a warmup, be sure to check out the Daytrotter session.

MGMT plays McCarren Park Pool, Sunday, July 27, 2008 @ 2:00 PM (FREE)

After playing the nightclub scene for almost 4 years, The Hold Steady took off in 2007 to make a name for themselves. Yet, despite playing before 177,000 at Glastonbury and opening for the Stones, their songs were mostly reserved for soundtracks and video games. They did get a celebrity nod via Daniel Radcliffe; but having Harry Potter call you the "best band" may only get you into the hands of 8-12 year olds and middle aged women - not exactly the type to attend a live show. If The Hold Steady want to move beyond the bar band classification, the first thing to do is get more than a nomination from Hogwarts.

And they've recieved it. Critical acclaim has been laid upon the band for quite sometime within the New York media market - notably gracing the cover of the Village Voice in 2005. Regarding the new release, most online and print reviewers have given the album a positive review, with predictable descriptions of hard-driving beats, bar room melodies, adeloscent indulgences, and the gritty rowdiness of old-school rock. For a band that names The Band as an inspiration, they can't be too far off. Yet, I'm left questioning most reviewer's integrity. After working on the album for two years, I expected more than a natural, predictable progression. Absent a few experimentations with the banjo and the piano, the album, as well as the band, is playing to fans of drinking - not fans of music. It may sound good with the windows rolled down, numerous music reviewers,¹ but it needs to sound good with the windows rolled up, too.  And despite an increased musicality from Boys and Girls Club, The Hold Steady continue to combine the same flavor of juvenile redemption and 70's rock nostalgia.

Not to say the 70's rock can't take them far. After all, there is a lot of distance between Atlantic City and Vegas.

I personally do not know what to do with the album. While lead guitar/vocals Craig Finn believes Stay Positive represents the band hitting its "creative peak," I pray his comment is only a generous promotion.² If The Hold Steady want to make it in this increasingly competitive music industry where fame can happen overnight, the THS sound must move beyond the classic in classic rock. Beyond "Sequestered in Memphis," which combines Finn's story-telling, the band's musicianship, and a sing-along chorus into a package that can be called nothing less than unique (special appearance by Ben Nichols of Lucero), Stay Positive generally appeals to the bar crawlers. Even a complete escape into new sound like  "One for the Cutters" comes across as a cheap appeal to the depressed co-ed in the Affliction T-Shirt.  

Ultimately, Stay Positive continues to rely on the stale sounds of the harpsichord and Finn's scruffy old voice (he's 36 and not afraid to admit it). While I continue to hope that this Brooklyn-based band is able to move beyond novelty and nostaligia, I am not encouraged by the sounds of the new album. Hopefully, on this long tour, The Hold Steady can seek out and find a new creative peak, one that doesn't just remind us of something we heard on the radio 30 years ago.

¹L.A. Times, Idolator, MassLive.com

²Uncut.