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Uhhh... Looks like they played a lotta tunes. :confused: |
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upps |
I went to see Pop Crimes: the Songs of Rowland S. Howard, last week in Rennes.
When the concert was announced, it seemed odd. We get to see huge posters of cover bands, playing big venues (the Australian Pink Floyd...), but seldom less known artists. Three dates had been arranged in France. The concert in Orléans was canceled (due to a lack of sales), the one in Rennes followed the one in Paris. So who played? The core of the band was JP Shilo, Genevieve McGuckin. On lots of songs you could have added Hary Howard and Mick Harvey. Plus, now and then, Chris Hughes and Conrad Standish. The gig was a curiosity rather than a proper gig. A guest would enter the stage, sing, and leave for someone else to come. It thus lacked fluidity. So now and then here were some good things, specially songs from his two solo albums. Exit Everything was great. I got to hear Shivers sung by Jonnine Standish. I got to hear Mona Soyoc sing, and saw people around me knowing who she was (French 80's duo Kas Product), and she was terrific I got to hear Edwina Preston (no idea who she was) I got to see Lydia Lunch... three songs in a row, the first very chaotically so - she had Mick Harvey start all over again 3 times... In Paris was also Bobby Gillespie. But he couldn't make it here. Or, as someone who acted as if she was in the know said, he wasn't offered enough money to hop to Brittany. Rennes song : https://www.youtube.com/watch?v=TQ81rPjFWRY London, before that, Gillespie & Lunch : https://www.youtube.com/watch?v=hKosCSFsDhA What Kas Product (Mona Soyoc) was like : https://www.youtube.com/watch?v=r1H_gdYcRMU |
I was at a (Sandy)Alex G concert here in Zurich this Tuesday.
I love his music and I loved the first half of the gig as well, but: boy, he played like 2 and a half hours, and, especially towards the end, he was showing to the audience how much of a jerk he was. Playing deliberately out of tune for minutes, making stupid jokes that noone laughed at ... weird. Great but weird. |
Saw Lydia Lunch (and the Retrovirus) at The Corner Hotel here in Melbourne tonight.
Not a hardcore fan but had to check her out because - hey she's Lydia Lunch. So she had two dudes kicked out (out for throwing a bottle at her and the other for being quote 'a cunt'), abused the audience and played a great show. And fucking LOUD! Great band too. Weasel Walter was on fire. Kinda made me think too - this was probably the most punk show I'd been to. Like we had a lot of love for her but she had more than a bit of hate for us.... |
Yeah, she’s a mean old grammy
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Not to mention still HAWT!  |
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The show was taped & shared, in case you wanna love her and be hated again: http://www.sonicyouth.com/gossip/sho...ostcount=14522 Of course, if you're Dimeadozen member crankingamps, I'm not telling you anything new. ;) |
got tickets for the Locust, Napalm Death and Nastie Band
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Cool! Thanks! |
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Maybe you'll get to hear "White Kross"... |
saw weyes blood last night and cried thrice
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By the way, the aquatic effect you get when moving your cursor over her website's front page is priceless. http://www.weyesblood.com/ :cool: |
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That sounds epic......lucky you! Her BandCamp mentions: “the clarity of Bob Seger.” Myself, I hear shades of Joan Baez/KD Lang on, Something To Believe......such a beautiful song!! Thanks for the introduction! |
to me she's more astral carpenters, taps into this really beautiful 'classic' vein but imbues it with these odd melodic kinks.
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I most definitely hear, Carpenters, too. Her BandCamp also mentions, “the Kinks meet WWII or Bob Seger meets Enya.” How many band mates did she have on stage? Just watched her Tiny Desk performance and she had five for that. I see where she’s playing Houston in May, SPELLING is the opener. I plan on going and taking my daughter. |
The Bob Seger line was more an in-joke than anything else. From Uncut magazine, which named Titanic Rising the best album of 2019:
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Of course, she doesn't sound like "Looking Back" nor "Orinoco Flow". And by the way, her previous albums don't sound like the last one either, even though you certainly feel her presence; it's been a journey. Oddly, she reminds me of what Matthew Sweet went through in the early '90s; not the style, but the spot-the-influence game: he was Alex Chilton, he was Lindsey Buckingham, he was Neil Young, he was R.E.M. In Natalie Mering's case I've read "Laura Nyro-esque structures" (that one sold me big time), "a Judee Sill for the Netflix age", "late-'70s Joni Mitchell produced by Brian Eno", "Glenn Miller's 'Moonlight Serenade' live from Davy Jones' locker" (to describe "A Lot's Gonna Change" - good one), "Roxy Music's 'Avalon' played on the deck of the Lusitania", Aimee Mann's timbre, and yes, Karen Carpenter, although "Mering says she doesn't care much about The Carpenters". |
One more Mering quote, because it's so damn good:
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So... OK BOOMER, MOTHERFUCKERS!  |
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