Set Archive

The Monday Set: Shout Out Louds – Los Angeles – 5/23/2013

Shout Out Louds (2 of 4)

Shout Out Louds
El Rey Theater
Los Angeles, CA
5/23/2013

Stockholm’s Shout Out Louds have just finished their US tour in support of the new album Optica with a two-night stand at LA’s El Rey Theater. It was their first visit to the city in three years. If you haven’t heard them before, their music can be described as often bleakly wistful lyrics completely camouflaged by bright, sunny tunes. Over the years, they’ve increasingly polished up their production and slowed down their tempos — originally, they could clearly be categorized as garage-rock revivalists, but now they almost sound like Gran Turismo-era Cardigans in those regards.

This recording is from the first show, which featured a good mix of new and old, with seven songs off the new record, and three each from their killer début, 2005’s Howl Howl Gaff Gaff, 2007’s Our Ill Wills, and 2010’s Work. A real standout was main set closer “Very Loud,” which featured the addition of lyrics from LCD Soundsystem’s classic, “All My Friends.”

Drummer Eric Edman was not present for this tour.

Set list:
1. Sugar
2. Walking in Your Footsteps
3. The Comeback
4. Impossible
5. Candle Burned Out
6. Chasing the Setting Sun
7. Fall Hard
8. Illusions
9. Blue Ice
10. Hard Rain
11. Please Please Please
12. 14th of July
13. Very Loud (includes part of LCD Soundsystem’s “All My Friends”)

Encore:
14. Destroy
15. Walls
16. Tonight I Have to Leave It

Download: Shout Out Louds – Los Angeles – 5/23/2013 – 445 MB

Sample: Very Loud (Live)

Magnolia Electric Co. – Baton Rouge – 9/27/2006


tumblr_m3esrpo4rb1rv7ohro1_500

Magnolia Electric Co.
Spanish Moon
Baton Rouge, LA
9/27/2006

Apologies for the long post.

The terrible news yesterday was of Jason Molina’s passing. Jason was the force behind the Songs: Ohia moniker (largely for his own solo work) and Magnolia Electric Co (which saw him working with a regular band). He collaborated with a wide variety of artists from indie, country, and bluegrass backgrounds, including Arab Strap, Jim Krewson and Jennie Bedford (of Jim and Jennie and the Pinetops), Lawrence Peters, Scout Niblett, and Sarah Jaffe. He also released solo work under his own name and under the name Pyramid Electric Co.

The first public sign that things were wrong came in 2009, when the tour to support Jason’s album with Will Johnson was cancelled due to Jason’s health problems. These problems were not explained at the time, and Jason seemed to have fallen off the face of the planet. Then in May 2010, an interview emerged suggesting that he simply decided to move because of a new job his wife took in London.

But notes on Magnolia Electric Co.’s website seemed to tell a different story: he was sick, he moved to West Virginia and was working on a farm. A Kickstarter project was started to help him pay his medical bills…and now, finally, suddenly, the news that he had died, at age 39, of natural causes…but natural causes related to “severe alcoholism.” I wasn’t aware until now of this prophetic piece in Chunklet.

I first heard Jason when I was living in Athens, Greece, of all places, in 2003. I went to the biggest music store in the city, Metropolis (now vanished). Up on the third floor, some hipper-than-thou employees had put on The Lioness. I thought maybe it was Will Oldham, but they were all too happy to correct me. I bought the album, and that was it – I had discovered my new favorite artist.

I saw Jason perform three times, in 2004 (Charlottesville), 2006 (Baton Rouge), and 2007 (New Orleans). I spoke with him on two of those occasions. We only said hi the second time, but when I talked to him in Baton Rouge, we had a great conversation, talking about the fact that I’m an archaeologist, and that he was always finding Indian artifacts on his family property in Indiana. I suggested that he contact the local historical society or university and let them do a dig. He seemed interested in the prospect. We also talked about the baffling phenomenon of low attendance at the band’s shows in the South, and how hard it was for them to justify coming to Louisiana, even though they loved it (Florida had long been ignored for this very reason).

I made two recordings of Magnolia Electric Co.’s shows, both from the soundboard. I already posted a song from one of them, a cover of Waylon Jennings’ “Mamas, Don’t Let Your Babies Grow Up to Be Cowboys” that now seems eerily prescient. He made a habit of not playing old songs live. I had long considered posting the show you find here, even though the quality isn’t that great – the levels are too high and overloaded, especially when the keyboard is going. But whatever – the man deserves a tribute, this is what I’ve got, so here it is. This recording includes a brief mention of the origin of the song “Spanish Moon Rise and Fall” from the box set.

I’m just going to leave a section from the interview linked above to close:

JM: I think covers are important; I’ve seen it in its maximum power during the Johnny Cash American Recording sessions. You might notice that my songs did not get covered by Cash, or maybe one did but it’s not been released.

JT: Do you know which song he was thinking of, or if there was one in particular?

JM: Yeah, but I think that Willie [Nelson] took it. Then I did that “Song for Willie”… One of my band mates, Daniel McAdams, did the cover art for the new Willie Nelson record. He’s a brilliant silkscreen artist, he did the first Songs:Ohia record, he played bass with me for years, we shared a place together, so I said, “well, look I did this ‘Song for Willie,’ can you give him this fucking record?” and he did, so at least Willie has that in his hands. “Song for Willie” is, I think, the best song I ever wrote. Ever. And whether or not he ever hears it, it doesn’t matter.

JT: I’ll have to go back and listen to that song again. I was listening to it this morning. I mean I like that song a lot, but—well, I don’t want to sit here and have a fight with you about which of your own songs is the best, but I guess if I was putting a list together, “Farewell Transmission” would be a really strong contender for me. Also “It’s Made Me Cry”, with that one riff. I can’t even tell you how many hundreds of times I’ve listened to that song, which is actually hard to “get lost” in in the way I was describing before, because it’s so short. You have to just put it on again and—

JM: (hums riff)

JT: – Yeah, exactly.

JM: Well, when it comes to that song, and some others like the “The Lioness” and “The Black Crow,” I get a feeling that those are longtime fans hits. But I don’t like playing them. I already lived those moments.
“Farewell Transmission” must be one of the most heroic recording moments of all time, because I called in people that were not already scheduled to be in the band and I was like, “Oh, now we’re going to have a violin player, and we’re going to have an extra singer.” I called out all of these things, much like a conductor does – and trust me, I’m not a conductor. I’m the break man. I will not fuck you up if I am the break man, I just don’t want to move anymore.
We put, I think, about 12 people in a room and recorded that song live, completely live, and unrehearsed. I showed ‘em the chord progression, they had no idea when it would end, and we just cut it.
Steve [Albini] did a beautiful job. I noticed that at one point when it was a little too loud or a little too soft he came and opened a door to make it work, because it was just an ambient recording. When you hear that song kick off everybody knows it, and what’s so disturbing to me is the way that I ended it is I was dictating to the band and Steve—I go “Listen. Listen. Listen.” And then at one point they all stop. It’s great.

JT: I can’t even believe that was done live and improvised. That is absolutely stunning.

JM: I got all my favorite friends from Chicago, and my favorite, good musicians and we just did this record, and it has lasted. It’s got weight, I’m talking 500 pound weight; something you ain’t going to be able to lift too easy. You have to understand we’re working on a string, and Steve is throwing us a bone, giving us the studio and everything, and we are terrified about how expensive it is and he just went the extra mile. That’s the way it works and that’s where I come from. You get the job fucking done.

 

Set List:
1. Talk to Me, Devil, Again
2. What Comes after the Blues?
3. No Moon on the Water
4. Just Be Simple
5. Leave the City
6. Montgomery Bound
7. Lonesome Valley
8. Memphis Moon
9. Marsh Fire
10. Astrabel
11. I’ve Been Riding with the Ghost
12. Spanish Moon story
13. Shiloh
14. Hammer Down

Download: Magnolia Electric Co. – Baton Rouge – 9/27/2006 – 101 MB

Sample: I’ve Been Riding with the Ghost (Live)

 

The Monday Set: The Raveonettes – Los Angeles – 10/8/2012

This slick photo is a Carlie special…

The Raveonettes
El Rey Theater
Los Angeles, CA
10/8/2012

We saw Danish group The Raveonettes in what was our second show at The El Rey Theater in about a ten-day span. This was another band I had been wanting to see for a very long time — readers who have seen my “Best of” lists will know that their records consistently make it into consideration, and often appear on the lists themselves. But they never came to my neck of the woods (i.e., central Virginia or Louisiana) — so now that I’m in a city where one of the two members (Sharin Foo) now lives, I was more than a little enthusiastic for the show.

If you don’t know The Raveonettes sound, it’s 50’s-60’s song structures overloaded with fuzzy distortion (especially on guitars and vocals), guy-girl harmonies, and lyrics that push the grittier end of the spectrum. Fans of The Jesus and Mary Chain should find a lot to like here. The band member responsible for writing the songs, Sune Rose Wagner, has mentioned Twin Peaks as a kind of inspiration for the atmosphere in the band’s songs. On their early records, they added the gimmick of only playing in one key (B-flat minor for the 2002 EP Whip It On; B-flat major for their first full-length album, 2003’s Chain Gang of Love). Thankfully, they soon gave up that trick. While those early releases were good, I personally thought the band hit its stride with Lust Lust Lust and really started kicking ass with the follow-up In and Out of Control (which if I were redoing my annual list for 2009, would be in the top 3, up from #10).

In any event, what I was expecting from the show was not exactly what we got. Now first of all, I have to admit that in my heart of hearts, I was hoping that since the show was in Los Angeles, Ronnie Spector might show up to reprise her part in the song she recorded with The Raveonettes for their album Pretty in Black, “Ode to L.A.” That was pure fantasy, I know, and of course it didn’t happen. But I also thought that given the rich instrumentation on their songs, the band would show up with several touring members (like Menomena did). Instead, they only brought a drummer, and relied on quite a bit of canned audio to fill out their songs. This wasn’t an enormous problem — I still really enjoyed the show — but there were certain moments where things just didn’t work. The trouble was clearest during the song “Observations,” off the brand-new album Observator. The band themselves have talked about the importance of adding piano parts to the new record, and this song is probably where that addition is most prominent — but there was no keyboard on stage. Again, it’s not typically a big issue (for me, at least) to have some canned piano, but there is a part of this particular song where there is no other instrumentation or vocals, so the band just stood there while the piano played on. It just seemed awkward to me, at least more so than when Wagner and Foo were playing different guitar parts while one could also hear a very prominent bass line — they had something to do, anyway!

One other note: some of the least between-song banter I’ve ever heard from a band, and in fact they seemed to be a little down. I have no idea whether this is normal. Foo said that the band was being “very Danish tonight” — perhaps fatigue from being near the end of the tour? Again, a great show, really delighted to have seen them…just maybe not exactly what I was expecting.

Set list:
1. Hallucinations
2. She Owns the Streets
3. Dead Sound
4. Blush
5. Curse the Night
6. The Enemy
7. Gone Forever
8. Observations
9. Remember
10. Young and Cold
11. Love in a Trashcan
12. Medley: Attack of the Ghost Riders/My Tornado/Bowels of the Beast/Aly, Walk with Me

Encore:
13. Lust
14. Sinking with the Sun
15. Cops on Our Tail

Download: The Raveonettes – Los Angeles – 10/8/2012 – 322 MB

Sample: Gone Forever (Live)

 

The Monday Set: Menomena – Los Angeles – 9/27/2012

Crappy cell phone picture of Menomena

Menomena
El Rey Theater
Los Angeles, CA
9/27/2012

It’s been another long hiatus since the last post here, but hopefully this one will make it worth your while. Menomena kicked off their latest tour here in LA last week. It was a tough night to pick what to see, since Savoir Adore was opening a show for Kisses at the The Echo (which TSOI’s Kevin attended) and Dum Dum Girls were playing at Los Globos.

I had never seen Menomena, though, and I was curious to see just how their complex arrangements would translate into live performance — especially since they’re no longer a trio (Brett Knopf left the group at the end of 2010, following the release of Mines). They showed up with three touring band members and put on a hell of a show. Relentless rhythms are such an important part of Menomena’s music, and those were definitely in evidence here, maybe at the expense of the lush textures found on their albums.

Probably the most fun was the introduction of local dancer/actress Charlene deGuzman, who performed a tap dance routine alongside a song from the new album, Moms, “Don’t Mess with Latexas.” It was silly, but it actually worked. It’s not clear whether they’ll try this in other shows on the tour, but it did lighten the mood for a band whose music, beautiful as it is, can be ponderous at times.

Setlist:
1. Muscle ‘n’ Flo
2. Plumage
3. Capsule
4. Weird
5. Giftshoppe
6. Five Little Rooms
7. Pique
8. Strongest Man in the World
9. Queen Black Acid
10. Baton
11. Tap dance banter
12. Don’t Mess with Latexas (with Charlene deGuzman)
13. Rotten Hell
14. Heavy Is as Heavy Does
15. TAOS

Encore:
16. One Horse
17. The Pelican

Download: Menomena – Los Angeles – 9/27/2012 – 397 MB

Sample: Don’t Mess with Latexas (Live)

Tags:

The Monday Set: X – Los Angeles – 1/28/2012

X
The Geffen Contemporary at MOCA
Los Angeles, CA
28 January 2012

It has been far, far too long since I last posted on TSOI. The brief explanation is a change of venue, combined with a fair bit of sloth. Carlie and I left Louisiana back in August for a new life in southern California, and it bears mentioning that TSOI’s Kevin has been one of the reasons our transition has been as smooth as it has. Even so, new places take time for adjustment, and so it wasn’t until last month that we actually got our shit together enough to go out to a show. But what a show for our intro to the LA rock scene!

Contemporary art aficionados are likely aware of Pacific Standard Time, the current retrospective of southern California’s contributions to the art world from the end of the Second World War to the end of the twentieth century. This event is sponsored by the Getty Trust, but is actually happening at dozens of venues from LA to Orange County and beyond. The Museum of Contemporary Art’s location in Little Tokyo hosted (until today! go if you have time!) the show concerning art produced in Los Angeles between 1974 and 1981, which they called Under the Big Black Sun. Punk-rock fans will recognize that this title was lifted from the third album by LA’s own pioneers, X. To celebrate the exhibition, MOCA organized a concert in the plaza outside the Geffen Contemporary featuring X together with their contemporaries from northern California, The Avengers and the now-Jello Biafra-less Dead Kennedys.

We had seen Exene Cervenka playing a solo acoustic set only a year ago in New Orleans, but had never had a chance to see X live. It’s fair to say I was blown away — not only having this classic LA experience be my first live show in this new hometown, but also seeing how tight these guys are. Billy Zoom is a ridiculously talented guitarist, with a beatific grin on his face the whole time, never once looking down to the instrument to see what he’s doing. And DJ Bonebrake‘s drumming set (and sets) a standard for any punk drummer. I don’t need to say anything, probably, about Exene or John Doe and their chemistry, since their reputation precedes them. A dynamite show from top to bottom.

Setlist:
1. Your Phone’s Off the Hook, But You’re Not
2. In this House That I Call Home
3. We’re Desperate
4. Blue Spark
5. Beyond and Back
6. Barricade interstitial
7. It’s Who You Know
8. Year 1
9. Los Angeles
10. The Hungry Wolf
11. The World’s a Mess, It’s in My Kiss
12. Sugarlight
13. True Love
14. Breathless
15. Back to the Base
16. Nausea
17. Johnny Hit and Run Paulene
18. Because I Do
19. Motel Room in My Bed
20. Devil Doll

Download: X – Los Angeles – 1/28/2012 – 263 MB

Sample: Los Angeles (Live)

The Monday Set(s): Holy Ghost! – NYC – 2/2/11 & 4/1/11

Holy Ghost!I’ve been sitting on these Holy Ghost! shows for a while, but I figured it was time for me to get off my ass and post them. Since both of these sets are not full length I decided to bundle them into a single post. It’s an interesting juxtaposition in venues. Mercury Lounge is a small room that bands play when they’re on the way up, and Terminal 5 is the big place they play when they’ve made it.

The Mercury Lounge show was an early show which started at 8 for some reason. I got the feeling that it was simply a warm up show for the tour the band was about to embark on. It’s funny to listen to how mellow this crowd is and the band sounds considering that now they are bona fide rock stars and have sold out every headlining show they played in NYC after this one (3 to date). I’m glad I got to see these guys in such an intimate environment before they blew the fuck up.

The Terminal 5 show took place during the bands’ tour with Cut Copy on April 1st (see previous TSOI post). This week was a busy concert week at Terminal 5, full of DFA-related bands. LCD Soundsystem had just finished up their 4 night T5 run leading up to their farewell gig (see previous TSOI post), followed by this tour rolling into town for 2 nights. This LCD overload may account for the fact that the place was half empty when Holy Ghost! took the stage.

Mercury Lounge 02/02/11
1. Static on the Wire
2. It’s Not Over
3. Hold On
4. Say My Name
5. Hold My Breath
6. Wait and See
7. Slow Motion
8. Do It Again
9. I Will Come Back
10. Jam for Jerry

Download: Holy Ghost! – New York City – 2/2/11 – 324 MB

Sample: Hold On (Live)



 

Terminal 5 04/01/11
1. Wait and See
2. Hold On
3. It’s Not Over
4. Slow Motion
5. Do It Again
6. I Will Come Back
7. Jam for Jerry

Download: Holy Ghost! – New York City – 4/1/11 – 208 MB

Sample: Do It Again (Live)

The Monday Set: Austra – New York City – 10/5/11

Austra - Live - NYC

Austra
Bowery Ballroom
New York City, NY
10/5/11

I recently discovered Austra when I came across the song “Lose It” and was immediately hooked. It’s one of those handful of songs that hit me right in my musical G-spot. When I listen to it, my body tingles and I feel like a real woman. The whole song is perfectly written and I listened to it like 30 times in a row the day I first heard it. What I’m trying to say is that I like the song. The rest of the album is pretty good too.  It falls in line with what I call the “indie-goth” scene that has been emerging on my iPod lately, along with bands such as Cold Cave and Zola Jesus.

Austra is, for the most part, singer/keyboardist Katie Stelmanis’ project. A drummer and bassist, Maya Postepski and Dorian Wolf respectively, are credited as band members, but I’m pretty sure Katie’s running the show. The focal point of Austra’s music is the vocals. Voices are used as instruments to create layered harmonies. To pull it off live, the band is augmented by two singers to sing the parts rather than relying on samples. The result is excellent. Check out the bridge in “The Beat and the Pulse” to see what I’m talking about.

Several songs included in the set the were not on the “Feel It Break” LP. After the show, I discovered that two of the songs I didn’t know were B-sides from “The Beat and the Pulse” single. I’m completely making this up, but no band has released a single with B-sides since 1996. Back in the day, I used to love tracking down singles of bands I listened to to see what non-album tracks were being included. For some reason, a disproportionate amount of those B-sides were better than the singles they were backing. I thought it was very cool to see of Austra release some album leftovers as part of an under the radar release and sell it at the show.

In addition to the aforementioned B-sides, there was a new song “Habitat” performed as well as most of the “Feel It Break” album. I really can’t complain with the content of the setlist, although I didn’t like hearing “Lose It” so early in the setlist. That song is just simply too awesome to be played fourth.

Setlist
1. The Beast
2. Young and Gay
3. Hate Crime
4. Lose It
5. The Choke
6. The Villain
7. Identity
8. Darken Her Horse
9. The Beat and the Pulse
10. Spellwork

Encore:
11. The Future
12. Habitat

Download: Austra – New York City – 10/5/11 – 420 MB

Sample: Lose It (Live)

Sample: The Beast and the Pulse (Live)

The Monday Set: Peter Murphy – Los Angeles – 3/14/11

Peter Murphy Live

Peter Murphy
Mayan Theater
Los Angeles, CA
3/14/11

Earlier this year I caught Peter Murphy at the Mayan here in Los Angeles. It was the first time I had ever been to that venue. It was also the first time I had ever caught Peter Murphy solo. As a long time fan of Bauhaus et al., it was never in the cards for me to see Peter Murphy solo before. Despite the self deprecating jokes throughout the set, he still puts on a great show. I would have to say I actually enjoyed it more than any of the Bauhaus reunion shows I’ve attended. As a special treat for those in attendance, he honored a special request for a newly married couple and played a song you don’t hear any many (any?) other solo sets on this tour, Bauhaus’ All We Ever Wanted Was Everything. I’ve included that as the sample below.

Setlist
1. Intro
2. Low Room
3. Velocity Bird
4. Peace To Each
5. Raw Power (Iggy & The Stooges)
6. Disappearing
7. Silent Hedges (Bauhaus)
8. Burning From the Inside (Bauhaus song)
9. I’ll Fall With Your Knife
10. Subway
11. Hurt (Nine Inch Nails)
12. Marlene Dietrich’s Favourite Poem
13. The Prince & Old Lady Shade
14. Stigmata Martyr (Bauhaus)
15. Uneven & Brittle

Encore:
16. A Strange Kind Of Love/Bela Lugosi’s Dead
17. She’s In Parties (Bauhaus)
18. Cuts You Up
19. All We Ever Wanted Was Everything (Bauhaus)

Encore 2:
Missing: Too Much 21st Century

Download: Peter Murphy – Los Angeles – 3/14/11 – 549 MB

Sample: All We Ever Wanted Was Everything (Live)

The Monday Set: TV On The Radio – Brooklyn – 4/12/11

TV on the Radio was on tour this past spring in support of their soon to be released album “Nine Types of Light”. April 12, the albums’ release date was left conspicuously open on the band’s itinerary. About a week before, the band announced this special club show at the Music Hall of Williamsburg in their hometown of Brooklyn. With the aide of my trusty mouse-clicking finger, my web browsers’ Refresh button, and my advanced captcha entering skills, I was able to snag tickets before they sold out in one minute.

After sitting through the comedy/hip hop stylings of Das Racist, TV on the Radio started things off with slow jams “Killer Crane” from the new album and classic “Young Liars”. By the third song, they had kicked in full intensity and sounded more like a punk band than the indie darlings that they are. This turned out to be the theme of the night. “Staring at the Sun” for instance, was played with much more zeal than the subdued versions found on two of their albums.

The next night, the band played the cavernous Radio City Music Hall, which is one of my least favorite venues. It’s all seats, the sound sucks, and drinks are overpriced. I’m glad I was fortunate enough to attend this show, as I can’t possibly see this set translating as well in that place. Sadly, a couple weeks after the show, this tour was cut short by the tragic death of longtime bass player Gerard Smith, who lost his battle with lung cancer.

Music Hall of Williamsburg 04/12/11
1. Killer Crane
2. Young Liars
3. The Wrong Way
4. Caffeinated Consciousness
5. Dancing Choose
6. You
7. Blues From Down Here
8. Keep Your Heart
9. Province
10. Will Do
11. Staring at the Sun
12. Repetition
13. Wolf Like Me

Encore:
14. Forgotten
15. Red Dress
16. Satellite

Download: TV On The Radio – Brooklyn – 4/12/11 – 110 MB

Sample: Satellite (Live)

The Monday Set: Cut Copy – New York City – 4/1/11

This past April, Cut Copy made their triumphant return to NYC after playing Brooklyn last summer, which was a brief post-Lollapalooza stopover at the Williamsburg Waterfront (See previous TSOI post). This show was the 1st of a 3 night stand at NYC’s Terminal 5, where LCD Soundsystem had just wrapped up a 4-night stand the night before (see previous TSOI post).This time the band was touring in support of their 4th album Zonoscope, which had just been officially released. The set was heavy on new material as well as well as “In Ghost Colors”.  Strangely, the band completely ignored “Bright Like Neon Love” save for a fantastic version of “Saturdays”.  Also conspicuously absent from the set were the Zonoscope tracks “Alisa” and “Blink and You’ll Miss the Revolution”. Not that I mind, as I assume they’re just trying to keep those songs fresh for later tours in support of the album.

Terminal 5 04/01/11
1. Visions
2. Nobody Lost, Nobody Found
3. Where I’m Going
4. So Haunted
5. Corner of the Sky
6. Lights and Music
7. Take Me Over
8. Pharaohs and Pyramids
9. Saturdays
10. Hearts on Fire
11. Sun God

Encore 1:
12. Need You Now
13. Out There on the Ice

Encore 2:
14. Feel the Love

Download: Cut Copy – New York City – 4/1/11 – 110 MB

Sample: Feel The Love (Live)

Tags: