philadelphia

Fishpork’s Ten Favorite Shows of 2008

December 15, 2008 By Fishpork Leave a Comment

As a collective, Fishpork attended 15 live shows this year (and there are still two more: Of Montreal tomorrow and Crystal Castles on New Year’s Eve, both at the Music Hall of Williamsburg). Unfortunately, a band does not have complete control over how well received their live performance can be. This was the case with all bands that played in our least favorite venue of 2008: The Electric Factory in Philadelphia. Although Animal Collective managed to overcome the venue’s sound limitations the best, others were not so lucky (The Mars Volta, TV on the Radio, Of Montreal). Unless Jeff Mangum announces a show here, Fishpork will avoid it at all costs in 2009. Highlights of the year included an intoxicating performance by Deerhunter, a sweaty dance party curated by Girl Talk, and a 3am secret show by Modest Mouse. These were our favorite shows of 2008:

Deerhunter @ The Music Hall of Wiiliamsburg
Girl Talk @ Starlight Ballroom
Enon @ Hiro Ballroom
Modest Mouse @ Music Hall of Williamsburg
Built to Spill @ Terminal 5
Animal Collective @ Electric Factory
Nine Inch Nails @ Wachovia Center
Radiohead @ APW Festival
Saul Williams @ The Trocadero
Battles @ Johnny Brendas

Honorable Mention:

Holy Fuck @ Johnny Brendas
Crystal Castles @ Webster Hall
Health @ House of Blues
TV on the Radio @ Electric Factory
Of Montreal @ Electric Factory

Least Favorite Show of 2008

The Mars Volta @ Electric Factory

Favorite Live Venue of 2008

Johnny Brenda’s, Philadelphia, PA

Least Favorite Venue of 2008

Electric Factory, Philadelphia, PA

Filed Under: Featured, Lists, News Tagged With: animal collective, APW festival, battles, brooklyn, Built To Spill, crystal castles, deerhunter, enon, girl talk, HEALTH, holy fuck, house of blues, Jeff Mangum, johnny brenda's, modest mouse, nine inch nails, philadelphia, radiohead, saul williams, starlight ballroom, Terminal 5, the electric factory, the mars volta, the music hall of williamsburg, the trocadero, the wachovia center, webster hall

Of Montreal @ The Electric Factory

November 4, 2008 By Mark Leave a Comment

Most indie rock fans and critics agree on one thing: Kevin Barnes has lost his fucking mind. He has transformed himself into the lovechild of David Bowie and Prince. The problem is that some embrace the path he has chosen to move in (heavy on the dance and soul with stage persona Georgie Fruit, a black transvestite), while others long for the days of Cherry Peel (acoustic, lo-fi diddies). Although I appreciate both phases of Barnes musical career, I must admit the new Barnes has made a much bigger fan out of me. And, for the record, I do think he’s more talented than both Bowie and Prince. I love Bowie, but his most recent solo tour is marred at the bottom of my list (and my list is long) as painfully boring. Of Montreal is currently on tour supporting their dance-heavy, sex-oriented ninth studio album, Skeletal Lamping. I was lucky enough to score tickets for the Electric Factory in Philly on Halloween!

Several web sites have posted pictures of shows from this tour. And the extravagant stage production really peaked my interest. There was no excuse for a live show performed by the band of one of our favorite albums of the year to come and go without our attention. For the most part, the excitement of Skeletal Lamping transferred well to the stage. However, the sound at the Electric Factory is as bad as it gets and has been almost inaudible during many shows I’ve attended there. This night was no different. The opening band, Gang Gang Dance was mixed as poorly as I’ve ever heard. From what I did hear, I enjoyed their tribal dance arrangements. I did feel bad for singer Liz Bougatsos who’s experimental chanting vocals were completely drowned out by the venue.

Of Montreal took the stage about 30-45 minutes after Gang Gang Dance’s set. The crowd responded well to the dimming lights, as the band members took the stage wearing superman costumes. Barnes was the last to enter, as he was escorted onto stage Egyptian style, within a small carriage covered by curtains and lifted by several of his “slaves.” To the crowd’s surprise (and delight) Barnes crawled out also dressed in Superman attire, although his suit contained (fake) muscles. Even before he exited his royal carriage, the opening howls of the band’s latest single, “Id Engager,” could be heard. The crowd immediately recognized the track, and all hell broke loose.

The show, much like Skeletal Lamping, headed right into schizophrenia. Barnes’ latest compositions are rather disjointed, with many comparing the structure to that of a Girl Talk record. You never know when one song ends, and the next begins. This works better on an album than it does live. The band’s style has changed between albums before, but nothing as dramatic when comparing the last three releases to earlier albums in the discography. The transformation is so startling, that it’s hard to believe Barnes and company are still technically part of Jeff Mangum’s Elephant 6 Collective. Highlights of the show included Barnes sitting on a throne with sultry nuns at his feet, walking around as a minotaur (half-man/half-bull), and appearing almost nude with his “dick in a box.” Barnes ended a night at the circus with his rendition of Nirvana’s immortalized “Smells Like Teen Spirit.” The ending seemed a little out of place, but the crowd appreciated the homage.

Setlist:

intro
Id Engager
So Begins Our Alabee
Triphallus, to Punctuate!
She’s A RejecterFor
Our Elegant Caste
Touched Something’s Hollow
An Eluardian Instance
Heimdalsgate Like a Promethean Curse
Gallery Piece
Wraith Pinned To The Mist (And Other Games)
Women’s Studies Victims
St. Exquisite’s Confessions
Superman
Nonpareil Of Favor
October Is Eternal
Wicked Wisdom
Disconnect The Dots
And I’ve Seen A Bloody Shadow
Plastis Wafers
Beware Our Nubile Miscreants
Mingusings
“Lavender Dick Rub”
A Sentence Of Sorts In Kongsvingerencore

ENCORE:

Day ManGronlandic Edit
Oslo In The Summertime
Smells Like Teen Spirit

The entire show is available in high-quality FLAC format here.

Filed Under: Shows Tagged With: david bowie, electric factory, elephant 6 collective, gang gang dance, georgie fruit, girl talk, Jeff Mangum, kevin barnes, nirvana, of montreal, philadelphia, prince

TV on the Radio @ The Electric Factory

October 21, 2008 By Peter Leave a Comment

TVOTR When I first listened to TV On The Radio’s latest album, Dear Science, it didn’t hit me. I was in the middle of a huge Of Montreal infatuation and just wasn’t ready to digest it yet. One week later, I was blown away by the textures and the contours of the Dear Science landscape. Knowing I had a ticket to their Philly show made me one happy man.

Last time TVOTR toured the area they played the Starlight Ballroom (also in Philly) , which was arguably the best show of 2006. It was an all out, jaw-dropping show and one of the best live performances I had ever seen. Their increase in popularity brought them to a bigger venue this time around, but their set transitioned perfectly to the Electric Factory stage. Sounding audible at The Factory is no small task. Case in point, The Dirtbombs opened up the night with a less than memorable set. They finished not long after 9, and the crowd started to get impatient waiting for TVOTR to take the stage. 10pm came and went and still no band. However, a few minutes after 10, the band filed out and the crowd was paradisiacally electrified as if not one minute had passed.

As they began with the title track from debut EP Young Liars, it was clear that the low-fi ambiance of TVOTR’s sound was mixed to perfection, even over a soundsystem that can swallow the mix of even teh best bands. “The Wrong Way” came next, before weaving in new songs that balanced a consummate set list. The docile crowd roared with the opening synth bass chaos of “Dancing Choose.” The contrast between the Buddha-like Kyp Malone and the wild, picturesque arm swings and pumping chest bumps from Tunde Adebimpe was an esthetical scene to watch.

The vocals of Kyp Malone, guitarist and falsetto genious, are dramatically more prominant on Dear Science, then previous LPs. While he has always contributed to the lyrics, frontman Tunde Adebimpe had performed most of the lead vocals. Malone’s rise has also made him more of the focus on stage, as he traded lead vocals with Adebimpe on this night. Malone even played bass on several songs, while bassist Gerard Smithle did his samples and MIDI keys behind him.

David Sitek Producer and guitarist David Andrew Sitek’s commanding guitar playing set the mood of the show with intricate rhythms that blended perfectly with Malone’s “Golden Age” funk riffs and his slick lead on “Halfway Home.” The show also featured a live horn section which slithered beneath the mix artfully. Jaleel Bunton’s drums were tight, and he often looked to Malone to sync up when adding some impromptu drum fills.

“Golden Age” followed by “Wolf Like Me” were obvious crowd pleasers and riled the crowd into an unlikely mosh pit. In between songs Malone asked the crowd to go see Adebimpe’s movie Rachel Getting Married, which he plays alongside Anne Hathaway. Adebimpe modestly shook his head, trying to pull away the attention from his moonlighting acting gig. The band then started the calm intro for “Shout Me Out” before the feverish pace of double-time drums happily cracked open the ease of tranquility only a few bands could pull off.

After the band opened the encore with the melodic and seductive “Love Dog,” each band member put down their guitars and picked up a different type of persussion instrument to bang on, much like their set two years before. With Malone on wood block, Sitek on water-tom drum and Adeblimpe on one-handed symbol, the band went into the Return to Cookie Mountain track “A Method.” As the song winded down, Sitek pounded on his drum, lighting up the stage with a liquid fireworks display before the band went into ”Staring At The Sun” concluding a brilliant evening of musical foreplay.

TV on the Radio’s musicianship and energy just completely overwhelm you in the most satisfying way possible. If you like TV on the Radio because of the well produced soundscapes of their studio recordings, or their unique swirling dirge of beautiful lyrics, you will truly fall in love with them as a live act. Add “See a TV on the Radio Show” to your bucket list now.

Set List:

Young Liars
The Wrong Way
Dancing Choose
Golden Age
Wolf Like Me
Halfway Home
Province
Dreams
Blues From Down Here
Shout Me Out
Satellite

Encore:
Love Dog
A Method
Staring at the Sun

Filed Under: Shows Tagged With: of montreal, philadelphia, the electric factory, tunde adebimpe, tv on the radio, TVOTR

TV on the Radio and the Whore of Babylon

October 16, 2008 By Mark Leave a Comment

Simply put, Return to Cookie Mountain is one of the best musical compositions recorded in the last decade. So how on Earth do you follow up a modern-day masterpiece? You don’t try. You reinvent your sound and do what you do best: challenge the ears of convention and explore new sounds. TV on the Radio doesn’t write songs. They compose pulsing soundscapes with melodic hooks and falsetto wordplay. And on their latest LP, Dear Science, the Brooklyn natives have upped the antie on what music can mean to fans in a time of greed, corruption and environmental devastation. TV on the Radio can now be mentioned, along with Radiohead, in the conversation about the most talented bands on the planet.

The apocalypse is here, and TV on the Radio are your tour guides. The release of Dear Science, couldn’t have been timed more perfectly. In the midst of environmental decay, the collapse of an eroding financial system, and a presidential election that will change the world forever, TV on the Radio choose their fights carefully. In a time where uncertainty awaits us at every turn, music can be our solace. To put it bluntly, these factors put Dear Science, up there with Of Montreal’s Skeletal Lamping for album of the year.

The album is all about its lyrics, and they have never been better. The themes have not changed much, but the words are harsh and thrashing. Guitarist Kip Malone’s presence is more pronounced, as he’s credited with the lyrics on five of eleven tracks. Malone leaves no stone unturned with his accusations, “Fuck your war | Cause I’m fat and in love and no bombs are falling on me for sure | But I’m scared to death that I’m living a life not worth dying for.” His tone is unapproving and thwarting, yet his voice remains soulful and euphonic.

Tunde Adebimpe, Malone’s lyrical counterpart and liaison, is equally up to task. His vocal styles are fresh and add depth to each track. On the album’s third track, Dancing Choose, Adebimpe rap/sings/talks for extended verses, rhyming off-beat melodies and never losing breath. His style doesn’t overshadow the content of his words. His lyrics require more analysis of meaning than do Malone’s, but it doesn’t take long to figure out his gripes and warnings: “And the half-hearted hologram, posed for the party | now he gloss full bleed on a deaf dumb tree | cod liver dollar signs, credit card autograph down for the record but not for freedom.”

Dave Sitek’s production is somewhat minimalist here compared to Return. The electronic blips and beeps and are still here, but the songs are more straightforward. There is less noise (see “Staring at the Sun” from the album Desparate Youth, Blood Thirsty Babes) than on previous releases. You can almost say this is TV on the Radio’s attempt at going mainstream. Before the mudslinging and accusations of “selling out” are aimed at TVOTR, recognize the beauty in these compositions. The band incorporates more instruments than ever, and the tracks are more complex and layered. For example, on the album’s first single, Golden Age, one can hear a sax, trumpet, trombone, cello, conga, viola, and two violins. The result is musical euphoria wrapped in a political conscience.

Early on, there was a perception that TV on the Radio was not a great live band. I’m not sure where that came from, but it has since been dismissed twofold. The greatest concert I’ve ever attended was a TVOTR gig in Philadelphia two years ago. The band is currently on tour again, and a Fishpork review of their last Philly show is coming shortly. The band has already made videos for two of the album’s tracks (Golden Age and Dancing Choose), and both can be seen here:

The entire album is being streamed on the band’s MySpace page:

http://www.myspace.com/tvotr

Filed Under: Reviews Tagged With: myspace, of montreal, philadelphia, radiohead, tv on the radio

Girl Talk @ Starlight Ballroom

October 14, 2008 By Mark Leave a Comment

I was first introduced to Girl Talk just two years ago when he was the first of two opening acts for Peeping Tom, one of Mike Patton’s numerous side projects. As a skinny white guy with a laptop walked on the stage and stuttered into the microphone, “Hi my name is Girl Talk, I just play some party jams,” I didn’t expect much. As he began to tinker on his PC, the sounds that blared from the speakers peaked my interest immediately. I heard the beats from pop songs, the guitars from Indie classics, and the lyrics from hip hop jams, ALL AT ONCE!

The term mash-up refers to the mixing of the elements of two or more songs and has been around for years now. Girl Talk (aka Greg Gillis) takes this concept to the next level (see Fishpork review for Feed the Animals). Girl Talk has released four albums, and each one is more complicated than its predecessor. His latest features 264 samples of songs from all genres, and it’s meant to play as one continuous track at a party. For the most part, it holds up well on most listens. However, it works best in a party atmosphere. And it will not sound better than when Gillis manipulates his laptop live.

The live show is something you have to experience to fully understand. On Thursday night at the sold-out Startlight Ballroom in Philadelphia, everyone in attendance was treated to Girl Talk’s musical canvas. Hundreds of fans were invited on stage to surround Gillis, as he filled the room with his non-stop, postmodern tour of pop culture. Playing mixes from his last two (and most popular) albums, Girl Talk delighted the crowd with each new track. Part of the experience is recognizing the layered sounds in each track as the heavy bass fills the venue. Each song contains 20-30 samples and is best served with 1,000 of your closest friends in Philly.

At the last Girl Talk show I attended, Gillis limited the amount of people on stage. I would guess that about 30-40 were allowed to join him at that NYC gig. Throughout the night, Girl Talk slowly stripped down to only his boxers. This time around, Gillis sported long, hippie-like hair with a bright yellow shirt and a white, oversized bandana. Well over 100 people were on stage (including myself and friends), a presence that grew throughout the night. One single security guard stood behind Gillis and didn’t exactly keep the hoards of fans from accessing his space. However, there seemed to be an understanding that encroachment would only interfere with the party. Fortunate for him, Girl Talk kept his clothes on.

Filed Under: Shows Tagged With: girl talk, mike patton, peeping tom, philadelphia, starlight ballroom

The Mars Volta @ The Electric Factory

September 25, 2008 By Peter 1 Comment

The time on the tickets read 8:30pm. This usually means the doors open at 8:30. Not for The Mars Volta. As we walked into the Electric Factory in Philly, Cedric Bixler-Zavala was already wailing into his trademark white condenser microphone and writhing around the stage. The house was already packed as we made our way to the upstairs bar area. I had not read much about the tour and was not surprised by the lack of an opening band. I just assumed that there would be one. The Mars Volta live show is like clockwork. Show starts at 8:30pm and not one minute later.

My only concern leading up to the gig came from their opening set with System of A Down at the Wachovia Center, also in Philly. Of course, opening bands are usually not given the ability to manipulate the sound board to perfection. As a result, the wall of noise that emanated from that 2005 set was disappointing. I gave them a pass because nearly impossible to sound good in a stadium, unless, of course, your name is Trent Reznor. I skipped the band’s last tour in support of the epic record Amputecture, for just that reason. They opened up for the Red Hot Chili Peppers on that tour, and I had no interest to see Volta in a stadium show again. However, when I heard that The Mars Volta was playing a club tour, I was excited to see them as the headliner.

After grabbing a $5 Yuengling, we decided to stay upstairs since I was with the gimp. Fifteen minutes later, the band had not yet finished their first song. While the sound was much better than my experiences in the arena, some elements of their complicated arrangements were just lost. Omar Rodriguez-Lopez’s relentless tidal wave of guitar is deservedly high in the mix, and the drums in front of the new 24-year old drummer, Thomas Pridgen, were pounded to flawless precision. At times, even Pridgen became the spotlight in the 15-minute-plus jams, and added a new complexity to the Volta rhythm section. Bixler-Zavala’s vocals sounded sharp, but low at times, beneath the mix-heavy drums and guitar. With the exception of Juan Alderete’s bass lines, the other four musicians were completely drowned out.

The Mars Volta are a great studio band and amazing song writers, but their music does not translate well when mixed live. Although their performance of ‘Tetragrammaton’ on the Henry Rollins Show was one of the best I have ever seen, so much is lost when you open that sound to a club environment.

The energetic set was two hours long. At 10:30pm the house lights came on, and it was over. The audience started clapping and yelling for an encore, confused by the lights. Even as fans were walking out the front door, many peered back, hoping that the band might come back. However, two hours is longer than most bands’ live sets.

Overall, there were moments where my mind drifted off. For instance, somewhere around the 13th minute of ‘Cavalettas,’ the band was jamming over a very simple riff that quickly became repetitive after minute 19. This happened about three times throughout the set. I appreciate the talents of the performers, but three jams over fifteen minutes is excessive. The Grateful Dead could get away with 40-minute james because their fans were acid zombies, and the music was secondary. To their credit, The Mars Volta sets are unapologetic, and the sophisticated songwriting is astounding. To their detriment, the music is just too complex for most venues to handle. Perhaps they would sound better at a concert hall like The Met or Sydney Opera House. I don’t see that happening any time soon. With that being said, The Mars Volta continue to be one of my favorites. I look forward to their next masterpiece, just not the accompanying tour.

Filed Under: Shows Tagged With: henry rollins show, philadelphia, red hot chilli peppers, system of a down, the electric factory, the mars volta, wachovia center, yeungling

Nine Inch Nails @ Wachovia Center

September 4, 2008 By Mark Leave a Comment

I avoid arenas at all costs ever since The Mars Volta played an inaudible set opening up for System of a Down a few years back at the Wachovia Center. Generally speaking, large venues like outdoor festivals and arenas do not produce the sound or intimate setting one desires when seeing your favorite band. Although I still believe in that notion, recent events have made me realize that certain acts can pull it off. My last concert review raved about the sound that Radiohead was able to achieve at their recent All Points West headlining gig. This past Friday, Trent Reznor and company pulled off what I thought was just not possible at the Wachovia Center (and I’ve been there a bunch times).

Fans have been raving about the lights, set lists and sound on Nine Inch Nails’ recent Lights in the Sky over North America tour. I had seen YouTube videos of the lights, read set lists on EchoingtheSound, but was reluctant to believe that good sound was possible in that building. I don’t like to admit it often, but I was wrong. And I wouldn’t expect anyone else to shut me up. Let me just say that sound was mixed to perfection. Although you can’t overcome all of the downfalls of playing in an arena designed for sporting events, it just worked this time. Take notes System of a Down, The Mars Volta and Tool.

On a poor tip I overheard at a parking lot tailgate, we planned to enter the arena at 8:30 in time to hit the general admission floor at 8:50. As we entered I heard the opening riffs of 999,999/1,000,000 and rushed to the gate and entered the floor. It actually sounded so good, we first thought it was the PA system. “What arroagant bastards would play their own songs before a show?” I thought to myself. That was not the case, as an amazing 31-song set list would follow the opener.

The lights were something I’ve never seen used before. And, honestly, I could not explain how they worked if I tried. There are some YouTube videos that highlight some of these techniques but will not do them justice. You simply have to experience this for yourself. I’m posting one of those videos here anyway:

My favorite was when the lighting tech used a flood light to erase the images on a screen that is dropped in front of the stage. It makes me wonder how much money all of these lighting rigs cost.

The setlist was as satisfying as any NIN show I’ve been to (and I’m in double digits now). I’ve never heard Down In It played live before, and it was certainly a treat. Trent introduced it, saying,”This is an old song, a really old song.” Down In It was the first NIN single ever released. It came out in 1988 and preceded the 1989 release of debut album Pretty Hate Machine. Another rare track that surprised the crowd was Reptile. From what I can remember, it received the loudest cheers, both as the song began and after it was finished. Several songs from the Ghosts I-IV album were performed in chunks, highlighted by Trent playing a giant xylophone and new bassist Justin Meldel-Johnsen (formerly of Beck) on stand-up bass.

The new players represent the strongest overall lineup of the live band. Robin Finck plays a much meaner lead guitar than Aaron North did. North’s acrobatic antics on stage lost their novelty rather quickly, and Finck’s presence is menacing. Meldal-Johnsen is better known as being Beck’s bassist for years and looks a bit strange with his super-fro dyed black. However, he has a lot more energy than Jeordie White (formerly of Marilyn Manson) presented in the last incarnation. And what can you say about Josh Freese. This guy is on something. It’s not because of his physique but his relentless intensity. Some of the songs played on this tour have some complicated percussion arrangements that not many drummers would be able to pull off so effortlessly night after night. For now, I will forgive the fact that Josh is also the studio drummer for the Inidigo Girls, Daughtry, Kelly Clarkson, Avril Lavigne, and Miley Cyrus.

Trent looked awkwardly buff as usual and should definitely be tested for steroids. He’s sporting a dark beard now, which could only explain that he is hard at work on Year Zero 2 and the HBO project (and doesn’t have time to shave). He was more talkative than usual and described how he had tried to escape Pennsylvania for 18 years as a youth and now finds himself back where he started. He went on about how at the beginning there were all dudes at his shows, and now he notices more chicks (which I’ve heard him say at least three times before). He also mentioned that he talks too much and will stop at future shows.

Overall, the show was great, especially considering the size of the Wachovia Center in Philadelphia. It’s interesting to see how the theatrical side of NIN live, as well as the lineup, has evolved over the years. And it’s difficult to imagine how Mr. reznor will possibly top these concerts. Then again, I remember saying that two years ago. Here is the full set list:

1. 999,999 [Intro]
2. 1,000,000
3. Letting You
4. Discipline
5. March Of The Pigs
6. Head Down
7. The Frail
8. The Wretched
9. Closer [The Only Time Breakdown]
10. Gave Up
11. Me, I’m Not
12. The Great Destroyer
13. Ghosts 5
14. Ghosts 17
15. Ghosts 19
16. Piggy [Ghosts]
17. The Greater Good
18. Pinion [Interlude]
19. Wish
20. Terrible Lie
21. Survivalism
22. The Big Comedown
23. Ghosts 31
24. Only
25. Down In It
26. Head Like A Hole

ENCORE

27. Echoplex
28. Reptile
29. God Given
30. Hurt
31. In This Twilight

Filed Under: Shows Tagged With: aaron north, beck, echoingthesound, ghosts I-IV, hbo, josh freese, justin meldal-johnsen, marilyn manson, miley cyrus, NIN, nine inch nails, philadelphia, pretty hate machine, robin finck, system of a down, the mars volta, tool, trent reznor, wachovia center, year zero, youtube

Radiohead @ All Points West Festival

August 15, 2008 By Mark Leave a Comment

First things first! I am officially retiring from attending music festivals. The idea is nice, but the experience is more lame than a beer convention serving Red Dog. All Points West was no exception. Let’s start with the lineup. I pride myself on being able to find the best unknown artists, but who are these bands? Where is Tapes N Tapes? Where is Saul Williams? Compared to the impressive lineups of Lollapalooza, Virgin Music Festival and even the Pitchfork Music Festival, the lineup left me shaking my head in disappointment. Add to that the $90 price tag to get in. On a day where two of my favorite bands (Radiohead & Animal Collective) were playing on the same stage, the price didn’t bother me so much.

Three stages were set up as well as can be expected, and the sound from each was actually very impressive for a large outdoor venue. Anyone wanting to drink needed to get their ID checked on a 45-minute line and then wait on another 20-minute line to access the “over 21″ area. Then, you had to wait another 20-minutes on the actual line for drinks. I’m sure someone could have come up with a better way to handle this. I do have to admit giving everyone five tags on the bracelet kept the obnoxious drunks to a minimum, even though some people were spotted scalping wristbands.

Radiohead hit the stage on time, as most of the acts did during the day, to play their second headlining night at about 8:30PM on Saturday. The crowd went absolutely crazy, as did I, in anticipation for what promised to be a great set. Being too far away from the stage and despising large venues like this, I had my doubts about how much energy the band would find to play and how the audio would sound. My concerns were immediately silenced when Reckoner began to play. The sound was amazingly clear, crisp and loud. No instruments were drowned out, as the band was mixed to perfection. Hats off to the sound crew for making Radiohead sound like they were playing the Music Box in Atlantic City!

I was interested to see what kind of setlist they were going to play, considering this was my fifth Radiohead show since 2000. An a show two years ago, I was privileged to get a sneak peak of most of the tracks off their critically acclaimed In Rainbows album at the Tower Theater in Philadelphia. Remembering how amazing that most recent show was and enjoying the new release immensely gave me hope that the setlist would dig both near and far into their impressive catalog. They absolutely did not disappoint. They immediately broke into the new album’s opening (and most danceable) track 15 Step. At that point, you could see an ocean of fans moving to the hypnotic beats of one of the strongest tracks on the record. Next, they played favorites from 2000′s Kid A. Moving back to songs from In Rainbows and then back again to tracks from 1997′s OK Computer and 2004′s Hail to the Thief, the mix of old and new was a music fan’s dream.

The set was longer than anyone could wish for (about 2 hours). After pleasing thousands with 17 remarkable songs, the band left the stage only to be urged immediately back on by the night’s first encore. During these five songs, the band treated the crowd to a jaw-dropping version of Airbag (my personal favorite), the opening track from OK Computer. Lead singer, Thom Yorke announced the song was for Kings of Leon, the band that preceded them. The band once again left the stage but was brought back for one final three-song encore. The last encore was highlighted by crowd-favorite Idioteque, which ended the night with no complaints whatsoever. The long, two-mile trek to the train station was eased by the ethereal sounds of what many consider the best band on the planet.

www.myspace.com/radiohead

Filed Under: Shows Tagged With: all points west, animal collective, atlantic city, in rainbows, Kings of Leon, lollapalooza, music box, ok computer, philadelphia, pitchfork, radiohead, thom yorke, tower theater

Holy Fuck @ Johnny Brenda’s

April 7, 2008 By Mark Leave a Comment

$Holy Fuck at Johnny Brenda\'s$ Now that I work in Philly, I’m slowly being sucked into the local music scene. No longer is it necessary to drive all the way out here just for a show or take the train into the city. There are so many great venues in this town! One of the best in the area is Johnny Brenda’s. Although it’s in a rough neighborhood, they host some of the greatest bands you’ve never heard of. Best of all, they serve the best local microbrews around. In my winter/spring splurge of Philly concerts (Enon, Holy Fuck, Saul Williams, and Battles), this one had some high expectations. The band is a lo-fi electronica band from Canada. Instead of computers, they make music with toy keyboards, film sequencers, distortion pedals, etc. It’s all in real-time and very improvisational. The decision to use live drums (Matt Schulz from Enon) and bass adds an authentic feel to the sound.

What a great show! The two albums are very good, but the music works best live. If you didn’t see the band on stage, you would have thought that Schulz was replaced by a high-tech drum machine. He was relentless and full of energy. Graham and Brian stood over two huge platforms that contained all their sources for tinkering. The best part was the use of a 35mm film sequencer. I don’t really know how they achieved the sound they did, but it involved pulling 35mm film through the sequencer and the use of a turntable needle. It sounds pretentious (something that Johnny Greenwood would do with Radiohead on Amnesiac), but the result fits perfectly with the backbeat and distortion. The crowd loved it all, as they yelled for an encore at the end of the show. Standouts of the night were Casio Bossa Nova and Tone Bank Jungle. – Mark

Filed Under: Shows Tagged With: amnesiac, battles, canada, enon, holy fuck, johnny brenda's, johnny greenwood, matt schulz, philadelphia, radiohead, saul williams