Entries tagged with: titus andronicus
The 2015 CMJ Music Marathon happens from October 13-17, and today the initial list of artists was revealed. A bunch of these are NYC shows we've posted about (browse our "CMJ" tag), but highlights include Car Seat Headrest, Cheatahs, Destruction Unit, Dent May, Dilly Dally, Doomsquad, Drinks, Eternal Summers, Evans the Death, Ex Hex, Expert Alterations, Ezra Furman, Frankie Cosmos, Hooton Tennis Club, Kamasi Washington, Kero Kero Bonito, Mercury Rev, Nai Harvest, Neon Indian, Panda Bear, Perfect Pussy, Protomartyr, S, Shannon and the Clams, Slim Twig, Stealing Sheep, The Album Leaf, The Dirty Nil, The Men, The Wonder Years, Titus Andronicus and Wildhoney. Check out the full list below.
Badges are on sale.
by Andrew Sacher
"Pop punk" was once widely considered a dirty term in most indie rock circles, but over the past few years it's been sneaking into indie rock vernacular. We use it here on BV a lot. Pitchfork has used it when talking about anyone from Cloud Nothings to Upset to Joyce Manor. Stereogum has used it for The Sidekicks, Chumped, and Cayetana. NPR for Wavves, Title Fight and Waxahatchee. The list goes on.
It's easy to see what made "pop punk" such a turnoff as it became progressively more mainstream in the '90s and early '00s. "Punk" is a genre with a code of ethics that punk fans feel should be kept sacred, and "pop" is basically the antithesis of those ethics. So "pop punk" is theoretically the worst thing that could ever happen to punk. Indie rock fans adhere to similar ethics, so when "What's My Age Again?" hit TRL, it's no surprise that Sebadoh fans weren't gluing their eyes to their TVs.
But for a younger generation, some combination of Green Day, The Offspring, Rancid, blink-182 and New Found Glory (or all of the above) was a foundational listening experience, and an entry point into alternative music. Those bands may have made punk more mainstream, but they were also gateways to older and more universally canonized artists. blink-182 directly led to Descendents, Dinosaur Jr and Drive Like Jehu; Green Day to Husker Du; Rancid to Roger Miret and Sham 69; New Found Glory to Lifetime and Gorilla Biscuits; and so on. The people who grew up on those bands are becoming today's indie rock musicians, fans, and critics, so it makes sense that the sounds of pop punk are making their way into indie rock. Not to mention Best Coast, who started as a lo-fi band on Mexican Summer, went on to cover blink-182, collaborate with New Found Glory, and tour with Green Day.
photo: Best Coast opening for Green Day in 2013 (more by Dana Distortion)
Right now, the amount of bands blurring the lines between indie rock and pop punk is pretty astounding. We saw pop punk's influence sneak into indie rock on a handful of our favorite records of last year, and this year we have great records from Colleen Green, Bully, Superheaven, Turnover, All Dogs, Radioactivity, Royal Headache, Titus Andronicus, Worriers, Hop Along and Adventures that all fit the description.
Even with this huge influx of indie rock bands taking influence from pop punk, it's not hard to see why there's still resistance against the "pop punk" tag. The kind of over-produced pop punk that critics cringed at in the early 2000s is still very popular. All Time Low's new album debuted at #2 on Billboard this year and there's nothing "punk" about this. 5 Seconds of Summer may be the biggest band in the world right now that anyone is calling "pop punk," but they also share management with One Direction, have toured with them, and are closer in sound to 1D than to any band who ever signed a contract with Fat Wreck Chords. If 5SOS can be called pop punk, or apparently anyone who plays Warped Tour -- like Front Porch Step, who in addition to his questionable actions, makes cringe-worthy music that has nothing to do with pop punk -- it's understandable why some people want to avoid the term.
There's also a group of bands who frequently play Warped Tour and not only warrant being called pop punk, but pride themselves on it: bands like Man Overboard, The Story So Far, Four Year Strong, Neck Deep and State Champs. Their approach is basically to take the moment pop punk took over the world and recreate it. (The Drive-Thru Records catalog is a big influence here.) They're not shy about their style -- Man Overboard make shirts that say "Defend Pop Punk" and Neck Deep make ones that say "Generic Pop Punk." They don't seem to be after hugely mainstream success and tend to build their fanbases like punk bands do, but to our ears they're usually unoriginal at best and still kinda cheesy at worst.
If you have any place in your heart for early 2000s-era mainstream pop punk though (and if you've read this far, you probably do), there's one band I think is doing a hell of a lot of justice to it: The Wonder Years. Unlike the bands bringing pop punk's influence into indie rock, The Wonder Years are making the kind of pop punk that is in fact pop music, but they also happen to make really fucking good pop music. It's becoming more prevalent for critics and "serious music fans" to discuss great pop music, and this is a good thing because great music can truly come from anywhere. The recent Beyonce and Justin Timberlake albums were steps forward for music in general, whether or not you normally listen to the radio. A lot of fans and critics noted that, but for whatever reason there's still a stigma when it comes to pop punk. You're more likely to see certain critics champion Fifth Harmony, a new teen-pop group formed by Simon Cowell on The X Factor, than even mention the latest Bad Religion or Rancid albums. It's a stigma that hopefully disappears, because The Wonder Years don't deserve to be ignored by any serious music fan.
photo: The Wonder Years at House of Vans in 2011 (more by Andrew St. Clair)
The Wonder Years started out as more of a generic pop punk band, and while in hindsight I respect the people who knew they were great from day one (or at least since their 2010 breakthrough The Upsides), they didn't really catch my ear until 2011's Suburbia I've Given You All and Now I'm Nothing. And it didn't really click until 2013's The Greatest Generation, which might be the greatest true-blue radio-ready pop punk record since Enema of the State. It probably owes more to New Found Glory and The Starting Line than it does to blink-182, but even if those bands have proved to be more influential, they never had this level of songwriting or maturity. Even on New Found Glory's "mature" album, they couldn't escape writing songs about girls who "smell like angels ought to smell." The Greatest Generation grapples with hitting your mid-to-late '20s, seeing your friends and cousins getting married and transitioning into adulthood, and thinking "did I fuck up?" When they do sound like they're singing about high school crushes ("I hadn't felt a heartbreak until now") you quickly realize they're singing about the death of a friend.
It's close to an absolute perfection of its form, and it's hard to say just yet if they've topped it, though they've undoubtedly made another artistic leap on the new No Closer to Heaven. It's the band's most overwhelmingly emotional album yet, and the most musically diverse too. In 45 minutes it touches on double-time pop punk, slower atmospheric songs, heavy rock riffs, and an acoustic song to close things out. It's the kind of record that might piss off some old fans and cause them to say The Wonder Years "aren't pop punk anymore," but it might win over a bunch of new fans in the process. It's pop punk's Sunbather. The thing is though, unlike say Title Fight's trek into atmospheric rock, this is a pop punk album. It pushes the boundaries of the genre about as far as they can go without losing the type of thrill you specifically get from this style of music. Really it shouldn't piss off old fans because it manages to retain the sound they've always had while clearly pushing it forward.
It makes me think a lot of Brand New's The Devil and God Are Raging Inside Me. It doesn't sound like Devil and God, but that was the moment Brand New made a devastating, cathartic album that defied its genre without abandoning it, and that's what TWY do here. They're also similar to Brand New in that each record is a shift from the last, and that people (rightfully) worship these guys. To compare it to an album it does sound like, it's actually a little like The Hotelier's last one, and that may be the most acclaimed album the entire emo revival has given us. But it feels a little unfair to compare those two, because The Hotelier are a young (yet fully-formed) band and No Closer to Heaven is clearly the work of seasoned songwriters.
The Wonder Years are more dynamically diverse here than ever. They know just when to switch from a chorus turned up to 11 to a bridge of clean guitar arpeggios and back again. They know which lyric needs a three-part harmony, which needs frontman Dan "Soupy" Campbell to sing gently and which needs him at the top of his lungs. At least half the songs completely avoid the standard verse-chorus-verse. Recurring lyrics and themes throughout an album aren't new ground for The Wonder Years, but No Closer to Heaven might be the closest they've come to a true concept album. Death, if it wasn't obvious, is that concept here. The lyric we hear over and over is "We're no saviors if we can't save our brothers," and that's only one of the instantly-quotable lines packed into this thing. There's a harsh reality to Soupy's lyrics this time around, and when he brings his voice to a shout it feels more like a reflex than an artistic decision.
Like the last record, his melodies are familiar without being predictable. Thanks in part to the fact that almost every member can sing, they've mastered the kind of multi-part harmonies and overlapping vocals that most of their peers aren't even attempting. (My only complaint about the new album is the guest vocals from the singer of letlive. who come too close to a maligned genre I won't defend, nu-metal.) The production is once again shining with gloss, but nothing sounds artificial -- unlike many of their peers, the band and longtime producer Steve Evetts (who has helmed other pop punk classics like Jersey's Best Dancers and Through Being Cool) have long discussed avoiding auto-tune and sample replacing. The interplay between the band's three guitarists also make this far more detailed than punk's "learn three power chords, form a band" mentality. But The Wonder Years do stay true to the latter half of the phrase "pop punk," and if you've seen them live you know this. They typically fill big rooms these days, but they still play like they came out swinging from a South Philly basement. They might not win over a snobby punk purist, but for the genre-hopping listener who finds emotional depth and musical ambition in both the new Drake and the new Sufjan Stevens, you may find it in the new Wonder Years too.
photo: You Blew It! at Riis Park Beach Bazaar - August, 2015 (more by Mimi Hong)
No Closer to Heaven is out today via Hopeless (order yours) and you can stream the whole thing via Rdio, below.
They'll be on tour this year with another unique pop punk band, Motion City Soundtrack, emo revival darlings You Blew It!, and State Champs. That tour hits NYC for two Webster Hall shows in October, but first TWY play an acoustic in-store at Rough Trade on Wednesday (9/9).
by Andrew Sacher
Titus at Shea (photo via doNYC)
Titus Andronicus may continue to increase in popularity and ambition, but the spirit of their band seems to actually get closer to their punk/DIY roots. Their newest album is the hour-and-a-half, 29-song song rock opera The Most Lamentable Tragedy, but it's got the rawest production since their debut and some of these songs could've been on late '80s Epitaph or Lookout! releases without anyone raising an eyebrow. So it makes sense that they'd celebrate the album at a Brooklyn DIY venue that normally hosts bands who play places like that out of necessity. Of course it makes even more sense that the venue in question would be Shea Stadium, which current Titus guitarist Adam Reich is a co-founder of and where several Titus members (including Patrick Stickles) work. And it makes even more sense that they'd do it over the course of five nights, all of which sold out well in advance.
They fancied the place up a bit for these shows too. They put up a screen next to the stage that projected the band's performance, the stage was covered by a curtain that dropped right before their set, and the backdrop of the stage was painted with Titus's "+@" logo. (If only they could've also installed air conditioning.) Those embellishments aside though, Shea was basically the same place it is any other night, and it was clear that that's the kind of place Titus are meant to play. It was the best I've seen them in a while.
They opened with "Fear And Loathing In Mahwah, NJ" and went right into "A More Perfect Union," and as you'd probably expect, the whole place was a massive blob of people bopping around and going nuts. There was no opener and Titus played for maybe two hours, hitting tons of favorites from all over the discography. We got "No Future Part Three," "A Pot In Which To Piss," "Still Life With Hot Deuce On Silver Platter," "Dimed Out," "Fatal Flaw," and plenty more. I don't remember the exact setlist, but I also don't remembering feeling like there was anything I was dying to hear that they didn't play. When they played "Joset of Nazareth's Blues" off the first album, they brought out Ian Dykstra, who drummed on that album and who Patrick called "the second original drummer of Titus Andronicus." The band seemed like they were having a great time, and they had fun with it too. They worked little jokes into the set (musically and during stage banter -- it seemed like they may have taken a jab or two at the Pitchfork review of their new album that they were tweeting about yesterday). And Patrick turned 30 at midnight, which he made reference to throughout the night.
"It was fun being dimed out in my 20s, but now I'm in my 30s and it's time to... take it easy," he said to introduce a cover of The Eagles' "Take It Easy," the first of three covers to end the night. After that came John Mellencamp's "Hurts So Good," and like they did at Warsaw last year, they wrapped up with Semisonic's "Closing Time."
Check out a short video of "Still Life with Hot Deuce on Silver Platter" from the first night of the run, below...
by Andrew Sacher
Titus Andronicus' 29-song, hour-and-a-half-plus punk rock opera The Most Lamentable Tragedy comes out 7/28 via new label home Merge, and now the whole massive thing is here to stream. As you've probably guessed, there's a lot to take in here. Sometimes it's just a great punk song like lead single "Dimed Out." Other times it's colossal over-nine-minute prog rock adventures like "More Perfect Union" or "(S)HE SAID / (S)HE SAID" which sound like a garage rock band taking on Jethro Tull's Aqualung, or The Decemberists' The Hazards of Love.
The latter of those songs is introduced by an a cappella rendition of the traditional Catholic hymn, "Glory to God in the highest." "Forever" has Patrick playing off The Beach Boys' Dennis Wilson-penned "Forever" (and presumably intentionally singing off-key). What I'm pretty sure are bagpipes on "More Perfect Union" could be right off a Pogues album, and later in the album they literally cover that band's "A Pair of Brown Eyes." "I'm Going Insane ( Finish Him )" reprises Local Business' "Titus Andronicus vs. The Absurd Universe (3rd Round KO)." Interludes and intermissions are sprinkled throughout the album, and it starts and ends with almost the same thing. Again, it's a lot to take in. You can now do so below, via NPR.
Album stream below...
photo: Titus Andronicus at BV-CMJ 2014 (more by Amanda Hatfield)
Titus Andronicus already released "Dimed Out" and "Fatal Flaw" from their upcoming 29-song rock opera The Most Lamentable Tragedy (due 7/28 via Merge), and today they reeased a short film featuring six more of the album's songs (tracks 7-12). The film's called "The Magic Morning" and is described via press release like this:
"The Magic Morning" was written and directed by +@uteur Patrick Stickles in a display of artistic hubris that no buzz band today could begin to attempt. Side by side with Stickles in the Welles / Toland tradition stands Director of Photography / Editor Ray Concepcion, who brought the hyperkinetic (yet somehow supremely patient) style that made him a legendary fixture on the late '00s NYC DIY scene, his epic portrait of which stands as a powerful testament to that now-bygone era.Watch the video below. Titus' tour includes sold-out NYC shows at Shea Stadium from July 24-28 and a larger NYC show with Ex Hex and Spider Bags on October 16 at Warsaw. Tickets for that one are still available.
WATCH "Our Hero" awake to a world of wonder! GASP at the shocking secret of "The Lookalike!" MARVEL at the mysterious transformative powers of the Vernal Equinox! DANCE to those which are already being called "+@'s Greatest Hits Yet!" UNDERSTAND the underlying themes and motifs that elevate TMLT far beyond the petty constraints of a mere "rock album" and into the realm of that which the German philosopher K. F. E. Trahndorff first called, in 1827, Gesamtkunstwerk ("total art"--look it up)!!!
"People have been putting +@ in a box for too long," Stickles says, having taken a little time out and feeling a lot better. "We can do anything we decide to be our will, and I am proud to say this little movie was done entirely 'in-house,' in one day. Doubt and deny +@ at yr own peril." Then he falls asleep.
He's not done explaining himself, though! Today, the complete lyrics to TMLT, transcribed by The Artist's own keystrokes, are available for you to read on Genius, along with annotations from the master himself i/r/t the "officially released" TMLT tracks up to this point. Go ahead--name a buzz band who would drop their lyrics before the album, thereby putting the words to their ultimate challenge: standing alone. Still trying? Stop trying. Simply watch the site between now and July 28 for the complete anno+@tions and finally understand #TheTruthAboutTMLT.
"I just want to be understood," Stickles wrote on a note he'd given us in the event that he disappeared or became otherwise indisposed. "I know people are listening to TMLT somehow--I just know it--I want to share it with them, but I want them to understand it--help me--tell my story--" and then the bottom of the page is burned off.
photo: Titus Andronicus at Warsaw in 2014 (more by Mimi Hong)
Titus Andronicus' five intimate Brooklyn shows on their upcoming tour are all sold out, and the band have already added another one happening here. This one's at a much bigger venue, and it's a cool double bill with Mary Timony's glammy power pop trio Ex Hex. It happens October 16 at Warsaw, and Spider Bags open. Tickets go on sale Friday (6/26) at noon. That's during CMJ week, but no word on whether or not its an official show for it.
Titus have a 29-song album, The Most Lamentable Tragedy, coming 7/28 via Merge, and they also put out a mixtape with outtakes, demos, and rehearsal records from the album. Listen to that mixtape, with two tracks from the new album and the list of tour dates, below...
DOWNLOAD: Titus Andronicus - Sorry for the Delay mixtape (zip)
Titus Andronicus' new album, The Most Lamentable Tragedy, is out next month (7/28) and while you wait, the band have shared a mixtape titled Sorry for the Delay. It's got outtakes, demos, as well as rehearsal records of many of the songs off the album. You can download for free above and it's streaming below.
Titus have five small shows at Brooklyn's Shea Stadium coming up next month, all of which are sold out.
photo: Titus Andronicus at BV-CMJ 2014 (more by Amanda Hatfield)
Titus Andronicus already released one of the 29 songs on their upcoming album The Most Lamentable Tragedy (due 7/28 via new label home Merge), and today they put out a second. It's called "Fatal Flaw," and you may be familiar with it if you've seen them recently. Watch the video below.
Titus have five small shows at Brooklyn's Shea Stadium from July 24-28 coming up, all of which are sold out. And now they've announced a lengthy tour to follow that with support from Spider Bags and Baked. No other NYC shows besides the ones at Shea have been added yet though.
All dates are listed, with the new video, below...
by Andrew Sacher
Titus Andronicus have been saying for a while now that they're working a 30-song rock opera, and it looks like we may be one step closer to that. They posted an Instagram announcing that they signed to Merge (their last two albums were on XL), and released a new single called "Dimed Out" on Rdio and Spotify. It has Titus injecting some '77 punk vibes and Who-worthy keyboards into their sound, and as you'd expect from them, it's a total anthem. The song comes with the artwork above. Listen below.
UPDATE: As the artwork above hinted, The Most Lamentable Tragedy is the name of the band's new album. It will be out July 28 via Merge. The band also made a lyric video for "Dimed Out" which you can watch below.
Titus also announced five album releases shows to happen at Brooklyn DIY spot Shea Stadium from July 24-28. Tickets are on sale.
photo: Delicate Steve @ Baby's All Right in 2014 (more by David Andrako)
Waking Windows Music & Arts Festival happens this weekend (May 1-3) in Winooski, VT, featuring over 100 music acts and comedians at 11 different venues in the city's downtown area. Artists include King Tuff, Titus Andronicus, Delicate Steve, Cymbals Eat Guitars, Tops, J Fernandez, Javelin, O'death, William Tyler and more. Think of it as New England's Northside Fest (or SXSW, MusicFestNW, etc). Tickets and passes are on sale. Full lineup is listed below.
Delicate Steve, who played Brooklyn Bowl last week, will be performing at Soho's Moscot Gallery on May 7 as part of their "Live from the Shop" series. It's a free show with complimentary beer/wine for those 21+ but you do need to RSVP.
photo: Titus Andronicus at Webster Hall in 2014 (more by Greg Cristman)
Titus Andronicus still haven't announced finalized details on their upcoming fourth album, but luckily for us in NYC, they just keep playing shows. Their next one is a free one happening February 13 at Brooklyn Night Bazaar with Louisville Polyvinyl signees White Reaper and Brooklyn's Hard Nips. It's their only upcoming date at the moment.
Watch a live video of one of their new songs, below...
photos by Amanda Hatfield
Sharon Van Etten / Patrick Stickles with Deer Tick @ Brooklyn Bowl 12/27/2014
Deer Tick just wrapped up their six-night 10th Anniversary celebration at Brooklyn Bowl that had them covering classic albums in full in addition to sets of their own material.
THE ALBUMS THEY PLAYEDI was there for the "War Elephant" night. Hearing Deer Tick perform the album that made me fall in love with them was perfection. At least two of the songs on that album they almost never play live which made it even more special.
12/26: NRBQ - Tiddlywinks / Deer Tick: War Elephant
12/27: Lou Reed - Transformer
12/28: The Beatles - Meet the Beatles
12/29: Devo - Q: Are We Not Men? A: We Are Devo!
12/30: Elvis Costello - My Aim is True
12/31 fan chosen Deer Tick Set
Another highlight of night one was finding out that happy NRBQ members were in the audience to see Tiddlywinks performed live because they heard about it and bought tickets. Marshall Crenshaw, who guested on about 5 of the NRBQ songs, has since said on his WFUV show that he thinks it was special to see a young crowd experiencing NRBQ's music. Also special was Jana Hunter of Lower Dens opening the show and then returning to the stage to cover Buddy Holly hit "It Doesn't Matter Anymore" with Deer Tick and Marshall Crenshaw who played Buddy Holly in the movie "La Bamba". They played that right before Deer Tick did "War Elephant" which was first released on Jana's label FEOW! Records (the Partisan Records release was a re-release). John thanked Jana for helping put Deer Tick on the map.
Each night featured a different opener and multiple special guests. Here's the final tally:
DEER TICK @ BROOKLYN BOWL -- OPENERS & GUESTS(Did we miss anyone?)
12/26: Jana Hunter, Marshall Crenshaw, Lux Deluxe, Skye Steele
12/27: Robert Ellis, Sharon Van Etten, Patrick Stickles (Titus Andronicus), Josh Rawson (Felice Brothers)
12/28: Joe Fletcher, Tommy Stinson (The Replacements), Taylor Goldsmith (Dawes), James Felice (Felice Brothers)
+ James Felice, Robert Ellis, Bryan Minto, Chris Marine, Taylor Goldsmith, Tommy Stinson & Joe Fletcher on "Goodnight, Irene."
12/29: The Districts, Vanessa Carlton, Robert Ellis, Alex Collier (The Weeks)
12/30: The Weeks, Smoota, Julian Veronesi (Titus Andronicus), Spencer Swain
12/31 T. Hardy Morris & The Hardknocks, Chris Paddock (emcee), Skye Steele, Stevie Nicks, Vanessa Carlton, John's mom
On night 2 (12/27), which is pictured in this post, Deer Tick performed Lou Reed's Transformer with Sharon Van Etten singing lead on "Perfect Day". Watch the video of that below. Ian Felice did "Walk on the Wild Side" and Titus Andronicus' Patrick Stickles came out for "I'm So Free." Deer Tick guitarist Ian Patrick O'Neil sang most of the lead on the rest of Transformer's songs. The full setlist is also below.
Opening the second night was Robert Ellis, who covered Billy Joel's "Movin' Out" and also joined Deer Tick on guitar during the Transformer set. Ellis then played with the band again the next two nights.
Rolling Stone was at the Beatles night:
With frontman John McCauley serving as John Lennon and guitarist Ian O'Neil taking the McCartney parts, the usually scrappy garage band opened the evening as a harmonizing three-piece pop outfit, running through overlooked Beatles gems like "It Won't Be Long" and "Till There Was You." There were plenty of pleasant surprises along the way, as when Goldsmith came out to sing lead on "Don't Bother Me" ("He's our George tonight," said McCauley), Felice added some unexpected accordion to "Little Child" and Stinson joined the band for a ragged take on "I Wanna Be Your Man."----
Vanessa Carlton, aka Mrs. John McCauley, performed twice during the run, despite being NINE MONTHS PREGNANT. One of those times was on backup vocals on New Year's Eve when the biggest special guest of all appeared to help Deer Tick play Fleetwood Mac's "Rhiannon". That guest of course was Stevie Nicks, a long time mentor to Vanessa, and the person who officiated her wedding to John.
More pictures, video and the setlist from Deer Tick's 12/27 show, below...
As announced back in September, Deer Tick are celebrating their 10th anniversary six nights in a row at Brooklyn Bowl, starting tonight (12/26). During the first five nights, in addition to playing their own material, they'll be covering some of their favorite albums in full, and tickets are back on sale:
THE ALBUMS THEY'RE PLAYINGMore excitingly, at the 12/26 show they'll be performing their 2007 album War Elephant in full too! For the final (New Year's Eve) show, it will be an entirely fan-chosen setlist. The band promised "many friends, special guests, and great bands joining the party each night.", and openers and some of the guests have since been announced. They definitely delivered in that department
12/26: NRBQ - Tiddlywinks / Deer Tick: War Elephant (tix)
12/27: Lou Reed - Transformer (tix)
12/28: The Beatles - Meet the Beatles (tix)
12/29: Devo - Q: Are We Not Men? A: We Are Devo! (tix)
12/30: Elvis Costello - My Aim is True (tix)
12/31 fan chosen Deer Tick Set (tix)
ANNOUNCED OPENERS & GUESTSIf you can't be there, tonight's show (12/26) will also be streaming live on Yahoo. If you are there, pick up a poster, which is pictured above.
12/26: Jana Hunter, Marshall Crenshaw, LuxDeluxe (tix)
12/27: Robert Ellis, Sharon Van Etten, Patrick Stickles (tix)
12/28: Joe Fletcher, Taylor Goldsmith, Tommy Stinson, Felice Brothers (tix)
12/29: The Districts, ? (tix)
12/30: The Weeks, ? (tix)
12/31 T. Hardy Morris & The Hardknocks, ? (tix)
Rdio/YouTube streams of the albums they're covering, below...
Beach Slang @ BV-CMJ at Baby's All Right 10/25/14
Mimi Hong shot a bunch of shows for us this year, and now that 2014 is coming to a close, she's gone through her pics and submitted a list of her 14 favorite photos she took in 2014. That's one above, and you can check out the rest (along with her favorite LPs) below...
Beverly / Fat White Family
For the final day of CMJ (10/25), just like last year, Brooklynvegan took over Baby's All Right from noon till the wee hours, starting with our free Saturday day party (which came after our free Friday day party).
With brunch also being served in the venue, Austin's Residual Kid started off things with a youthful bounce, making indie rock that already has J. Mascis' approval and consistently lands them choice opening slots in their hometown.
UK trio Flowers were next. While their debut abum, Do What You Want To, It's What You Should Do, is lovely, the band really come alive onstage, both a bit more roughed up and beautiful at the same time. Singer Rachel Kennedy, who was celebrating her birthday that day, has one of those voices that makes you pay attention and you could hear a pin drop in the Baby's performance room during their set.
Then came young LA duo Girlpool, one of the more talked-about bands at this year's CMJ. They only have one EP and a few other tracks so far but they've definitely got a sound. They're drum-less but not empty and both girls nasally shout-sing in unison. It feels a little inspired by punk and a little drone-y in a psychedelic way, but it's also not exactly either of those things.
At this point our day party kicked into high gear with Japanese band Bo Ningen. Their set was pure sensory overload with smoke machines set to 11 and strobes going off the whole time. (For some, those free Bell's Brewery sunglasses came in handy here.) The visuals -- including the band's high-flying rock moves, seen here in silhouette -- matched the Bo Ningen's genre-defying music. Overheard: "I don't know what that was, but it was incredible." We agree (with the incredible part), as does Jon Pareles at the NY Times who says the band put on his favorite performance of CMJ 2014.
At that point, most people probably needed a palate cleanser and Beverly's sweet, fun, harmony-laden music made them the perfect sonic sorbet for the packed room.
Then came White Fence whose lineup for this tour included Cate Le Bon on second guitar and backing vocals, adding a new harmony element to the band's retro-'60s style.
Things went back into insanity mode at this point with the debaucherous mayhem that is Fat White Family. It could seem like the band's love for removing layers of clothing during their set is a schtick to make up for mediocre music, but that's not the case at all. Everyone goes hard the whole show and at times the Fat Whites were straight up mesmerizing. Not to mention the light show and all the fog going on at Baby's that day was perfect for these guys. They came back to do it again at 3 AM (more on that soon) and were just as killer.
Titus Andronicus kicked off their headlining set with a bang with "A More Perfect Union," and then went on to give a sarcastic speech about how this is CMJ, and like most bands at CMJ they've got a new record coming and are hoping to catch their big break. So most of the set included new material which did sound great (and hopefully we get to hear it recorded soon), but hearing those older favorites in a small place like Baby's was really special.
Hopefully you didn't take Titus frontman Patrick Stickles' advice and leave after their set to head to Shea Stadium because our night show which happened immediately afterwards at Baby's was great (though we're sure Shea, which Bully also played again, was fun also!).
Like on Friday, we were giving out tattoos and rum courtesy of Sailor Jerry, and once again we handed out a free keg of Bell's Brewery craft beer along with koozies, bottle openers, Bo Ningen-strobe-protecting sunglasses and other fun stuff.
Pictures from Friday are HERE. More from Saturday (and video too), below...
UPDATE: Full lineup now announced.
Titus Andronicus (more by Mimi Hong)
The lineup for the free BrooklynVegan Friday day party at Baby's All Right was already announced, and now we're excited to announce MOST of the lineup for our free Saturday day party at Baby's All Right (which is in three days from now):
SATURDAY, Oct 25 @ NOON @ Baby's --- FREE (RSVP)!Like on Friday, things kick off early at noon with a FREE KEG OF BELL'S BREWERY CRAFT BEER while it lasts (special variety TBA),
12:00 Residual Kid
3:00 Bo Ningen
4:30 White Fence
5:15 Fat White Family
6:15 Titus Andronicus
Headlining the show is one of the most consistently great bands in the area, Titus Andronicus. It's their only CMJ show this year and going by other recent shows, we can probably expect to hear new material.
White Fence at Glasslands in 2013 (more by PSquared)
There's also psych rockers/Ty Segall associates White Fence, indie pop band Beverly (whose album but not live show includes Frankie Rose on drums), promising Nashville poppy punk band Bully, and the young but talented beyond their years Austin band Residual Kid.
TWO MORE BANDS will be announced tomorrow.
UPDATE: Full lineup now announced.
At noon, like the day before, Matt Marcus of Three Kings Tattoo will start giving out free tattoos courtesy of Sailor Jerry Sign up at his table for the chance to win one and get inked right inside the front room of Baby's for free. (this year tattoo recipients will be picked by raffle instead of first come, first served like last year).
Complimentary Sailor Jerry rum beverages will also be flowing while supplies last, and we'll have multiple varieties of Bell's on tap for you to try out.
We're also at at Baby's All Right for our free Friday day party with Twin Peaks, Single Mothers, TWIABP, Protomartyr and more; and our official showcase on Saturday night with The Jazz June, Pity Sex, Beach Slang, Cayetana and Sport (tickets).
Listen to some stuff from the artists playing the Saturday day party below...
NOTE: You can also see our events with RSVPs & tickets HERE
Pity Sex at last year's BrooklynVegan show at Baby's (more by Amanda Hatfield)
FRIDAY, Oct 24 @ NOON @ Baby's --- FREE (RSVP)
12:00 Dilly Dally <---- FIRST U.S. SHOW
12:45 The Wytches
2:15 King Gizzard & The Lizard Wizard
4:00 The World is a Beautiful Place & I am No Longer Afraid to Die
5:00 Single Mothers <----- ONLY CMJ SHOW
5:45 Twin Peaks
SATURDAY, Oct 25 @ NOON @ Baby's --- FREE (RSVP)
12:00 Residual Kid
3:00 Bo Ningen
4:30 White Fence
5:15 Fat White Family
6:15 Titus Andronicus
SATURDAY, Oct 25 @ 8pm @ Baby's --- $15 (tickets)
8:00 Sport (France)
8:45 Cayetana (Philadelphia)
9:30 Beach Slang (Philadelphia)
10:15 Pity Sex (Ann Arbor)
11:10 The Jazz June (Philadelphia/London)
Xerxes (photo by Mary Burks)
Tuesday (10/21) at the Paper Box, BV is co-presenting the FREE No Sleep Records showcase which begins at 6 PM. That show includes a lineup of mostly post-hardcore and punk with Taking Back Sunday's John Nolan, '68, Fake Problems' Chris Farren, Xerxes, The Felix Culpa, Aviator, Run Forever, Rescuer, In Between, Foreign Tongues and Maps for Travelers. Those who show up early will get a free No Sleep vinyl sampler (limited to 150 copies).
Walter Schreifels w/ Quicksand in 2012 (more by Fred Pessaro)
On Thursday (10/23) at the Acheron, BV is co-presenting the Iron Pier showcase which begins at 7 PM. That one features Self Defense Family, post-hardcore veteran Walter Schreifels (Quicksand, Gorilla Biscuits, etc) with his new band The Dead Heavens, and Deep Pockets. Tickets are still available and a limited amount of CMJ badges will be accepted too.
Twin Peaks at Baby's All Right in August (more by PSquared)
On Friday (10/24) afternoon at Baby's All Right, we're throwing our first of two free BrooklynVegan day parties. Friday's lineup includes Twin Peaks, Single Mothers (their only CMJ show), The World Is A Beautiful Place & I Am No Longer Afraid to Die, Protomartyr, King Gizzard & the Lizard Wizard, Tweens, The Wytches and Dilly Dally (their first NYC show). That goes from noon-7 PM, will have free tattoos and complimentary beverages courtesy of Sailor Jerry, and Bell's Brewery will be there too with multiple varieties of the craft beer available to purchase and a free keg while it lasts. It's 21+ and again, it's free (RSVP).
The second free BV day party happens Saturday (10/25) at Baby's All Right with 9 more bands including Titus Andronicus, Fat White Family, Girlpool and many more, more complimentary Sailor Jerry and tattoos, and another free keg of Bell's while it lasts.
The Jazz June
And lastly, the official BrooklynVegan CMJ showcase happens Saturday night (10/25) at Baby's All Right, starting at 7 PM. This one includes veteran emo band The Jazz June, Pity Sex, Beach Slang (ex-Weston), Cayetana and France's Sport, with Tom Mullen of Washed Up Emo spinning between sets. It's the only chance to catch all of those bands (except Cayetana who have one more show) at CMJ this year. Tickets are available and a limited amount of CMJ badges will be accepted.
Hope to see you at one. (Or all!) More flyers below...
Titus Andronicus @ Webster Hall earlier this month (more by Greg Cristman)
Titus Andronicus just played Webster Hall earlier this month with Buzzcocks and just mentioned on Twitter that they're playing somewhere much, much smaller on Monday (9/29): Cake Shop. The show, which is billed as a "private, 21+ event" and part of the "Newcastle Brown Ale Bartender Gigs" series, is free with RSVP. Also: "Newcastle Brown Ale and snacks provided." It's the band's only date on their schedule at the moment.
by Andrew Sacher
Joyce Manor at Bowery Ballroom earlier this month (more by Mimi Hong)
Certain corners of the internet punk community have been up in arms this week after Joyce Manor "shamed" a stage diver at their Jacksonville, FL show this past Sunday (9/21). Themusic.com.au described the incident, writing:
The "grown man" in question -- got up on stage during one of Joyce Manor's songs and proceeded to stage-dive onto a group of young fans, overwhelmingly described since as being no older than high-school-age. Johnson, noticing the commotion, abruptly stopped the song and pulled the diver up on stage.They've also got a video of the whole thing going down which you can watch (starting at the 1:00 mark) below.
"Hey man, how tall are you?" Johnson asked the stage-diver. "How much do you weigh, if you don't mind me asking?"
Upon being told he weighs about 190 pounds (86 kilograms), Johnson turns to a girl in the audience: "How much do you weigh? Sorry, that's really rude. You're much smaller than him, right? It's completely unacceptable for him to impose himself on top of you. Completely unacceptable, right? Under no circumstances is that acceptable? OK."
[Barry] Johnson, though, sensed something sinister happening. He asked: "Ever been watching a sensitive pop-punk band," and "get your head walked on?"At Bowery Ballroom, he was met with cheers, but of course this is the type of thing that gets a lot of other people angry. Stuffyouwillhate.com called them "old men who don't understand the lifestyles of the youth." Idioteq.com wrote of the video of the Jacksonville incident, "No stage diving at punk rock shows?! Haha, you simply have to watch this video. Barry Johnson really embarassed himself with this cheesy move." Some people tweeted things like, "Seriously that infuriates me so fucking much Joyce Manor are a bunch of fucking pussies. Don't support them," or like, "Just saw a video of a kid getting thrown out cause he stage dived to Joyce manor. Fuck that band. Your supposed to encourage dives pussies," or like, "Lmao fuck Joyce manor, calling out a guy for stage diving." The Runout points to a screenshot of pop punk band American Verse posting, "Fuck these pussies. Stage dives forever."
...He noticed a few bad actors. He recognized the type, he said: "hardcore guys with Morrissey haircuts" who think nothing of "using a teenage girl's face for leverage" to climb on top of the crowd. "I'm not about that," he added. Indeed, at least two young women retreated from the center of the crowd clutching body parts in pain, though they both merrily returned.
Midshow, one of the Morrissey-haircut guys climbed onstage for the second time, and Mr. Johnson motioned to a security guard at the side, who chased him down and forcibly removed him.
Joyce Manor defended their stance though, tweeting:
Seeing a lot of people online saying I'm a "pussy" and a "bitch" for calling out that grown man trying to crush a group of teenage girls. So far on this tour I've seen a girl with a black eye, a girl with a concussion, and a girl with a dislocated knee. Great way to make young women feel safe at a show when the rest of the fucking world is hostile towards them already. I love a crazy show as much as any1 else I just don't think any1 should have to go 2 the hospital cuz of sum idiot w a tank top & Moz hair.Barry also added later on, "Not sayin every1 who stage dives is an asshole. Ppl been gettin hurt & maybe we should cool it? Myself included," along with a picture of himself stage diving with his guitar. Other bands took to Twitter to voice their support for them, including Balance & Composure, Candy Hearts, The Sidekicks, Code Orange, Spraynard and Touche Amore frontman Jeremy Bolm.
Placeholder's Brandon Gepfer wrote his own response on The Runout, saying:
I get that some people want to have fun, and I've been stage diving since 2006. I used to go to the Wonder Years' shows, too. It's totally cool. The line gets drawn, however, when the performer says that it isn't cool. Why is it so confusing, rather; why is it so outrageous to listen? At the end of the day, you are an attendant at a show and you made the decision to support a band. However, there are a number of people, including bands that call Barry Johnson from Joyce Manor a 'pussy' and say that's not 'punk rock.' You know what's not punk rock? A disrespectful teenager calling someone a 'pussy' because you disagree with their view point.Read the full, very interesting thing here.
This highlights the actual problem in punk rock. The attendees of the show think that they are owed something because they have an opinion. A lot of people got into punk rock because they were made fun of. I was called a 'pussy' from fifth grade all the way up until right now because of the opinions I hold, you know that simple opinion called equality. I hate the bro aspect of pop-punk and how these dorks infiltrated punk rock. The same type of people that beat me up as a kid listen to hardcore and punk rock now. They come to shows and hit people (not even dancing, just pushing each other for the hell of it), they jump off the stage literally every three minutes because I guess that's how they express themselves, I don't know.
The band's gotten support from many others too. Rookie Mag/Pitchfork Review editor Jessica Hopper tweeted, "THANK YOU @JoyceManor for respecting the rights and safety of show going teenage girl fans." Pitchfork's Ian Cohen tweeted, "@JoyceManor stays being the best." AltPress' Scott Heisel tweeted, "I stand with @JoyceManor on this one. Stage-diving = inconsiderate, selfish and potentially harmful. That's not punk." And plenty of others on Twitter expressed favorable opinions like "Thank you @JoyceManor Girls to the front!," and "Bless Joyce Manor's tweets right now. Fuck those huge dudes that stage dive & crush everyone in the crowd, especially tiny girls," and "Major respect to @JoyceManor, i was the one at fault for not giving a 200lb sweaty dude a boost up on my shoulders so he could crowdsurf."
People getting overly and unnecessarily rowdy and violent at punk shows has been happening since at least the '80s -- most people reading this probably know Fugazi is famous for taking a stand against it -- and of course this is part of why people feel confident refuting Joyce Manor by saying something along the lines of "that's just what happens at punk shows." But just because it's gone on for over two decades doesn't mean it's wrong to still take a stand against it. In 2011 I saw Screaming Females ask their crowd to calm down. After the crowd didn't listen and ended up breaking one of the band's drum stands, they walked off stage as at least one person sarcastically yelled "Fugazi!" at them. Earlier this year Titus Andronicus said something about it at a Brooklyn show and Joanna Gruesome did too. And it's not unrelated that Tigers Jaw and Pity Sex had to ask fans not to touch someone without consent, only for them to be made fun of much like Joyce Manor has been.
Watch the video of Joyce Manor's Jacksonville incident below...
Photos by Greg Cristman
Buzzcocks / Titus Andronicus @ Webster Hall 9/6/2014
As they hit the stage opening with "Boredom" and then, "Fast Cars," Buzzcocks seemed to have not lost their touch. Just pure adrenaline and excitement charging them on stage and the audience loved every second of it. The band, who are on tour in support of their new album, The Way, which has not been released in the U.S. yet, even guitarist Steve Diggle joked about it saying, "Here is a new song that you can't buy!" before going into "Keep On Believing." With a handful of new tracks played through the night, the latest songs sound as if they were kept in an archive from the bands heyday and seem to have not lost their touch, the same was true to their performance. - [HuffPo]UK punk legends Buzzcocks hit NYC on Saturday (9/6) at Webster Hall as part of their current North American tour around Riot Fests. The band has a new import-only album out this year (The Way), but this show was mainly a cavalcade of hits, from opener "Boredom" through the encore of "Harmony in My Head," "Ever Fallen in Love" and "Orgasm Addict." A bearded Pete Shelley and the always smiling Steve Diggle (looking remarkably like he did in 1979) seem like they're still having a blast. Pics, setlist and full video of their Webster Hall set are in this post.
The night was well matched with NJ's Titus Andronicus, making for two generations of punk rock. The band blasted through a brief, 30-minute set with almost no time for banter. Pics and video from their set, and more from Buzzcocks, below...
by Andrew Sacher
Yesterday, Pitchfork posted their top 200 tracks of the decade so far, and today they've listed the top 100 albums to have come out between 2010-2014. There's some surprises on there. For example, I didn't expect to see Bon Iver's self-titled, their #1 album of 2011 and with a score of 9.5, rank as low as #27 on this list. I was also surprised to see Chief Keef make it but not, say, Shabazz Palaces or Schoolboy Q. And there's a few other glaring omissions: nothing by The National? Grizzly Bear? One thing that will surprise no one though, is their #1 pick.
You can check out the full list below...
TItus Andronicus at Strawberry Fest 2014 (more by Chris La Putt)
Titus Andronicus have been talking about their new rock opera for a while now, and though we still don't have many details on that, they did announce a new 7" series in a recent online press conference. There, Patrick Stickles talked about the number seven and noted that they've released seven 7"s in seven years, the first release in their new series will be a reissue of their first one, 2007's "Titus Andronicus" b/w "Fear And Loathing In Mahwah, New Jersey" and it comes out on on 7/7.
Also on July 7, the band will play a very intimate release show at 7 PM at Brooklyn's Shea Stadium. That show is sold out, but you can still get in if you subscribe to the 7" series.
The show is with Wicked Kind, who feature members of Titus Andronicus and Lost Boy?, and whose song "Sport" is on the b-side of the first 7" in the series to feature new material. The a-side of that one has a new song from Titus, "Stranded (On My Own)." You can stream both sides of that one below.
Lost Boy? are also releasing a new album, Canned, on August 5 via Double Double Whammy (home of Frankie Cosmos and ex-Titus member Liam Betson), which follows their May EP on Exploding In Sound. Stream a track from that album, with the streams of the new Titus/Wicked Kind 7" and the press conference video, below...
Beach Slang at Philly's Golden Tea House earlier this month (photo by Jessica Flynn)
Beach Slang, the new band of Weston's James Snyder, have been added as an opener to Titus Andronicus' free show happening July 11 at Brooklyn Night Bazaar, making for an excellent double bill. Also on the show is Slothrust and DJ Pegasus Warning. Doors open at 7 PM, and like we said it's free, but you can RSVP to skip the line. Show flyer below.
Beach Slang put out an excellent EP earlier this year and have a followup coming out on Tiny Engines this fall. They made their NYC debut at Suburbia earlier this month, and since we last spoke about that, a video of the show emerged which you can watch below...
Buzzcocks at Coachella 2012 (more by Dana (distortion) Yavin)
Late '70s British punk pioneers Buzzcocks (who have been reformed since 1989 -- their current lineup features core members/songwriters Pete Shelley and Steve Diggle) are returning to North America for Riot Fest Chicago, Denver and Toronto, and while they're here they'll go on a short US tour too. That tour hits NYC on September 6 at Webster Hall, which is awesomely being opened by Titus Andronicus, who have headlined that venue on their own. Tickets for this great double bill go on sale today (6/20) at 10 AM. All Buzzcocks dates are listed below.
You can also catch Titus in NYC sooner when they play a free show at Brooklyn Night Bazaar on July 11.
Stream some classic Buzzcocks, with the list of dates, below...
Titus at Warsaw last week (more by Mimi Hong)
Titus Andronicus just played a good amount of their upcoming rock opera at Brooklyn venue Warsaw during the Northside Festival, and they've since announced another show happening here. The band will hit Brooklyn Night Bazaar on July 11 for a free all ages show with other bands TBA, that will likely include yet another round of new songs. No other Titus dates announced at the moment.
The weekend they play is curated by Mailchimp/T Presents and also includes the July 12 show with David Wax Museum, River City Extension, Arum Rae, Morningsiders and DJ Pegasus Warning.
Watch a video of one of Titus' new songs being played live, below...