2012 April | The Audio Perv
Archive for April, 2012
30 Apr

As they put their spring and summer performance plans together, starting with initial sold-out intimate gigs at the Music Hall of Williamsburg in Brooklyn (May 16) and the Roxy in West Hollywood (May 18), a return to CBS’s The Late Show with David Letterman (June 28), and a performance on NBC’s Late Night with Jimmy Fallon (July 27), New Jersey-based The Gaslight Anthem premiered their brand new single, “45,” on Rollingstone.com today (CLICK HERE TO LISTEN). The song will go up for sale at iTunes the following week on May 8.

“45″ is the first advance track from HANDWRITTEN, the band’s fourth album, scheduled for a July 24 release on Mercury Records, a division of Island Def Jam Music Group. HANDWRITTEN was produced by two-time Grammy Award®-winner Brendan O’Brien, known for his work with Bruce Springsteen (Best Rock Album Grammy, 2002), Pearl Jam, Incubus, and many others.

In addition to the shows in Williamsburg and West Hollywood (which both sold out in minutes), The Gaslight Anthem has already set a number of major festival appearances, including opening for Bon Jovi at Bamboozle in Asbury Park, NJ, on May 20; appearing at the Metallica Orion Festival in Atlantic City, NJ, on June 23; and Lollapalooza at Grant Park in Chicago. European dates include Le Zenith de Paris in Paris, France on May 29 and Zitadelle Spandau in Berlin on May 31. In addition, the May 16 show at Music Hall of Williamsburg will be exclusively live broadcasted on livestream.com/thegaslightanthem.

Prior to HANDWRITTEN, The Gaslight Anthem – Brian Fallon (lead vocals, guitar), Alex Rosamilia (guitar, vocals), Alex Levine (bass, vocals), and Benny Horowitz(drums, percussion) – has released three full-length indie albums to date: Sink Or Swim (2007, XOXO Records), The ’59 Sound (2008, SideOneDummy Records), and American Slang (June 2010, SideOneDummy Records).

With tons of critical raves, The Gaslight Anthem has won strong and loyal followings across the U.S., Japan, and especially in the UK. In the U.S., hundreds of thousands of festival goers have seen The Gaslight Anthem on the stages of Lollapalooza, Bonnaroo and Coachella.

On late-night television, American audiences caught The Gaslight Anthem when they appeared (for the second time!) on CBS’s The Late Show with David Letterman in the spring of 2011. They performed “Bring It On,” a track from American Slang. The Gaslight Anthem has also appeared on NBC’s The Tonight Show with Jay Leno and Late Night with Jimmy Fallon, Conan, and ABC’s Jimmy Kimmel Live.

For more information on Gaslight Anthem, go to http://www.thegaslightanthem.com

Upcoming appearances:
May 16 – Brooklyn, NY – Music Hall of Williamsburg
May 18 – West Hollywood, CA – Roxy

Festival dates set for:
May 20 – Asbury Park, NJ – Bamboozle
June 23 – Atlantic City, NJ – Orion Music and More Festival
August – Chicago, IL – Lollapalooza

30 Apr

Shortly after completing their back to back tours in Japan and Australia, My Morning Jacket are taking their celebrated, exhilarating live show back on the road this August with the announcement of their North American tour, with Band Of Horses in support.

“Wonderful (The Way I Feel)” live from MSG featuring Ben Bridwell (Band Of Horses) MP3

Since their sold out Madison Square show to end off 2011, they’ve played a triumphant performance at the Independent Spirit Awards in February and shared the stage with Preservation Hall Jazz Band commemorating their 50th Anniversary at Carnegie Hall. Jim James also completed a tour with New Multitudes (Jay Farrar, Will Johnson and Anders Parker) in promotion of their album honoring Woody Guthrie. Additionally, the band has been busy curating the Forecastle Festival for the festival’s 10th Anniversary, where they will conjointly be headlining the event along with Wilco and Bassnectar.

The band are showing no signs of slowing down in the months surrounding their tour. My Morning Jacket will be contributing to John Fogerty’s new album, Wrote a Song for Everyone, which will be released this fall. In the month of June, they will complete a European tour making stops in Spain, The Netherlands, Denmark, Germany, Norway, Sweden, Belgium and the United Kingdom. The band will also be headlining this year’s Beale Street Music Festival in Memphis, Tennessee and Newport, Rhode Island’s Newport Folk Festival, as well as performing at New Orleans Jazz & Heritage Festival next month.

Commencing their tour in Denver, Colorado at Red Rocks on August 3rd and 4th, My Morning Jacket will be recording both performances and offering them as complimentary downloads to all ticket holders for those shows. Both My Morning Jacket and Band Of Horses are enthusiastic of hitting the road for the month long tour. “YES! We’re touring with the incredible My Morning Jacket!” says lead singer Ben Bridwell. “So psyched to hit the road with our buddies and (hopefully) warm you all up for the greatest band going.”

My Morning Jacket North American Tour Dates

% = $1 from each ticket will be donated to the local charity listed
* = with Band Of Horses
^ = with Trombone Shorty
+ = with Trampled By Turtles
# = with Shabazz Palaces

5/04: Memphis, TN @ Beale Street Music Festival
5/05: New Orleans, LA @ New Orleans Jazz & Heritage Festival
07/13: Louisville, KY @ Forecastle Festival
07/14: Louisville, KY @ Forecastle Festival (performance)
07/15: Louisville, KY @ Forecastle Festival
07/28: Newport, RI @ Newport Folk Festival
8/03: Denver, CO @ Red Rocks Amphitheatre^*% (Flobots.org)
8/04: Denver, CO @ Red Rocks Amphitheatre^*% (Platteforum)
8/06: Kansas City, MO @ Starlight Theatre*% (Operation Breakthrough)
8/07: Lincoln, NE @ Pinewood Bowl Amphitheater*% (Community Corps)
8/08: St. Louis, MO @ Peabody Opera House*% (Safe Connections)
8/10: Minneapolis, MN @ Somerset Amphitheater+*% (Free Arts and The Current Public Radio)
8/12: Columbus, OH @ LC Pavilion*% (Franklinton Gardens and Wexner Center For the Arts)
8/14: Detroit, MI @ Meadow Brook*% (Do Foundation)
8/15: Toronto, ON @ Echo Beach at Molson Canadian Amphitheatre*
8/17: Philadelphia, PA @ Mann Center for the Performing Arts*% (Urban Blazers)
8/18: Washington, DC @ Merriweather Post Pavilion*% (826DC)
8/19: Brooklyn, NY @ Williamsburg Park#% (Sy’s Fund)
8/21: Pittsburgh, PA @ Stage AE*% (Gateway To The Arts)
8/22: Chicago, IL @ Pritzker Pavilion*% (Advanced Art Education Program at Gallery 37)
8/24: Atlanta, GA @ Verizon Wireless Amphitheatre*% (West Atlanta Watershed Alliance)
8/25: Charlotte, NC @ Time Warner Cable Uptown Amphitheater*% (Neuse Riverkeeper Foundation)
8/26: Raleigh, NC @ Raleigh Amphitheater*% (Charlotte Tree Fund)

30 Apr

Pop Etc, formerly known as The Morning Benders, have a new video out for their single “Live It Up.”

Watch it below, pre-order their new album here and catch them on tour this summer with Dirty Projectors.

August 6 | Orlando, FL | The Beacham Theatre
August 7 | Fort Lauderdale, FL | Culture Room
August 9 | Atlanta, GA | Variety Playhouse
August 10 | Ashville, NC | Orange Peel
August 11 | Knoxville, TN| Bijou Theatre
August 13 | Nashville, TN | Cannery Ballroom
August 14 | Louisville, KY | Headliners Music Hall
August 15 | Pontiac, MI | Crofoot Ballroom


29 Apr

By Michael Zonenashvili

of Montreal has finally struck a needed balance in their live show. Not only have they reduced the amount of hyper-sexual, costumed antics on stage to a palatable level, their set list has also struck the right chord in a distribution of songs from their latest 6 records to accurately showcase the sound they’ve developed.

With a stage setup that included small projector screens riddled around different points, of Montreal and their team of artistic geniuses developed a visual experience to accompany the show that I haven’t seen used before. One projector was able to line up different images on each screen bringing visuals reminiscent of the kind of characters exhibited on the band’s various album covers. During some songs, the costumes would be all white and choreographed in a way that images would project onto the costumes or props, which the crowd ate up.

Starting with tunes from the latest record, Paralytic Stalks, Kevin Barnes and his enormous live band seemed a little more “into it” than previous instances of seeing the band. It seems like the psychosocial and therapeutic outpouring of Barnes’ lyrics from the album were ready to be shouted in front of an audience. Perhaps Barnes more frequent smiles were a sign that he was finally hitting a new peak in his vocals and songwriting.

If my theory is true, Barnes might think his voice sounds the best when he’s at the point of screaming just before the voice cracks. At least with the chorus of “Spiteful Intervention,” these instances of cathartic yells are when Barnes truly shined on the album, and especially live.

These more disjointed, screams new songs segued well into the rest of the set, with Barnes introducing “St. Exsquisite’s Confessions” as their “sexiest” song. And damn, with the addition of live saxophone it might as well be one of the world’s sexiest songs.

It seems like of Montreal’s members might be hitting their own levels of instrumental virtuosity. K. Ishibashi created whirlwinds of violin noise to make set highlight “The Past is a Grotesque Animal” the panic attack inducing 12 minute epic it is. Even the drums hit a new high with lightning fast solos to intro “She’s a Rejector.” And maybe of Montreal is one of the few bands that could place two bassists on a song and double the funk without ruining the sound.

The band kept the crowd happy, between slow jams, all out shouted choruses, and even the straight up glam rock “Suffer for Fashion.” Perhaps the show was best described by their encore. The band led the crowd in a 30 minute medley of songs from “Skeletal Lamping” and “Hissing Fauna” that showcased the best parts of “Wicked Wisdom,” “Gallery Piece,” and “I’d Engager” before the whole versions of two Hissing Fauna tunes. This was a non stop 30 minutes of floor shaking of London’s Koko, and a true testament to how oF Montreal can continue to up the ante of their already bombastic and eccentric live show.

28 Apr

Last year, Los Angeles-based artist Active Child (real name Pat Grossi) made quite a splash with his critically acclaimed debut, You Are All I See, which made many year-end lists (including mine). Though he spent most of the past couple of years as a supporting act, touring with bands such as School of Seven Bells and M83, this is the year where he gets the chance to be the headlining act. And Friday night, he got his chance by playing the Glasshouse in Pomona, the first stop of his nationwide spring tour.

The stage was adorned and decorated with a classical Greek motif. By this, I mean there were numerous faux statues of Greek goddesses that were half-clothed and missing limbs. This turned out to be the most accurate and appropriate décor in regards to Active Child in the sense that Grossi is a modern day classicist. He sings with a classically-trained falsetto and plays a harp – I don’t think you can get anymore classical than that unless you’re Mozart.

The backup band made their way out onto the stage, with Grossi pulling in the rear and taking a seat behind his harp. They opened the set with “You Are All I See,” then followed it up with “High Priestess” and “Shield & Sword,” where his angelic falsetto soared to ridiculous heights (perhaps to heaven). Seriously, I (and I’m sure others as well too) got goose bumps during the part where he sang one of the lines about halfway through the song.

At this point, Grossi moved over behind his synths and laptop for the hip-hop/R&B inspired “Playing House.” On record, How To Dress Well provided some guest vocals, but live, Grossi did a good job at handling both vocal duties, making it sound natural and fluid. And if the crowd wasn’t dancing, they definitely did on this song, putting on some of the weirdest dance moves in awhile. For the next song, he pulled out an older number, “When Your Love Is Safe,” from his acclaimed EP, Curtis Lane, which is driven by the heavy electronic percussion and the looped vocals.

To further reinforce the point that Active Child is a classicist, “See Thru Eyes” proves that he can be as romantic as the greatest of Greek poets, singing the lines “she threw her arms around my neck/whispered softly in a foreign tongue/her eyes were see through/tell me your secrets.”

“Way Too Fast” was a percussion-driven number where Grossi and co. added a tribal-like beat as an intro before playing the actual song. The pounding, acoustic percussion created a layered rhythm with the slower, electronic beats that his falsetto glided on top of. For “Hanging On,” he stepped back behind his harp, doing a masterful job at controlling his voice. Throughout the song, he sang each verse with either a high or low register and each transition was seemless, while playing intricate melodies on the harp. They ended the night with “Johnny Belinda,” an otherworldly number that drew the crowd in with the ethereal synth chords, intricate harp plucking, and steady beats.

For the encore, they began with “Diamond Heart,” a synth-pop number that gives a slight nod to the 80s, before ending the night with the instrumental number “Ivy.” It was a perfect, yet unexpected set closer that was reminiscent of the post-rock genre. Beginning with a steady bass drum rhythm, synth chords, and harp melodies, the song burst into an explosion at the very last minute that seemed like a chaotic jam session. At the end, the trio thanked the crowd before taking a final bow.

Despite the fact that the show was obviously not sold-out, those that were fortunate to attend saw first-hand the magnificence of Active Child. It was definitely an attention-grabbing set that never let go until the very end. If you haven’t had the pleasure of seeing Active Child live, make sure you don’t miss him on this current tour.


You Are All I See
High Priestess
Shield & Sword
Playing House
When Your Love Is Safe
See Thru Eyes
Way Too Fast
Hanging On
Ancient Eye
Johnny Belinda


Diamond Heart

28 Apr

Miike Snow performed “Paddling Out” on the Late Show with David Letterman.

Watch the video below:

27 Apr

By Michel Dussack

About 6 months after being forced to cancel their U.S. tour due to singer Justin Young needing vocal surgery, The Vaccines triumphantly returned to perform at Coachella for two weekends, as well as stop at New York’s Webster Hall for a sold out show that was everything a rock show should be. Their 15 song set went by in a blur of sing alongs, moshing, and teenagers suffering from alcohol poisoning next to me, partly because of just how well this band delivers their material, but also because the set clocked in at a mere 49 minutes. This wasn’t The Vaccines’ fault, as their limited amount of material, coupled with the short length of the majority of their songs meant the band simply didn’t have any more songs to play, even after playing three songs from their upcoming album.

The band came on stage backed by a giant back drop of the cover of the album “What Did You Expect From The Vaccines” and delivered a one two punch of hits ‘Blow It Up’ which was a slow start for the “post-punk” band and ‘Wrecking Bar (Ra Ra Ra)’ which was when the show truly took off. The band jumped around and ran all over the stage, and the crowd jumped along. Nearly every song was a hit with the crowd, though ‘Wet Suit’, ‘Post Break-Up Sex’, and ‘If You Wanna’ were easily the most popular songs in the main set. Young was a fantastic front man, leaning over and reaching out to the eager crowd that was pushed up against the stage (there was no barricade for this show), all the while playing guitar and singing.

The three new songs that the band played were simply great, and showed the band skewing their sound towards and edgier sound with less pop sensibility. Particularly of note was ‘Bad Mood’ which opened the encore. As Young introduced it, he noted that the crowd didn’t “know the words to sing with me, but you can still fucking dance!” and everyone happily followed. ‘Norgaard’ followed to close the show and as a giant pit opened up a few rows from the stage, it was clear that the time away from touring hadn’t taken away anything from the band. Their live show was just as energetic and chaotic, and their fans were just enthusiastic.

The Vaccines are one of those great young bands that prove that rock and roll will never be dead, even if it doesn’t reside in the forefront of popular music at the moment. But really, what did you expect from The Vaccines?

27 Apr

Harakiri, the new studio album from singer, songwriter, multi-instrumentalist, poet and political activist Serj Tankian is set to be released July 10th on Reprise Records/Serjical Strike. Serj released a teaser video set to the music of his first single, “Figure It Out.” The video follows 2 thugs that kidnap, torture and water board an innocent mailbox. A proper music video for “Figure It Out” will follow in the near future.

Beginning Tuesday May 1st, Harakiri will be available for pre-order on Serj’s website and at iTunes, where the single “Figure It Out” will also be up for sale at iTunes.

Earlier this week, it was announced that Serj and the rest of his bandmates in System of a Down will be performing a handful of dates in August. Dates below:

Confirmed System Of A Down Tour Dates:
08/02 Philadelphia, PA – Susquehanna Bank Center
08/04 Holmdel, NJ – PNC Bank Arts Center
08/05 Wantagh, NY – Nikon at Jones Beach Theater
08/07 Washington, DC – Verizon Center Arena
08/09 Boston, MA – Comcast Center
08/11 Montreal, QC – Heavy Metal Festival Parterre @ Parc Jean Drapeau
08/12 Toronto, ON – Heavy Metal Festival Downsview Park
08/14 Detroit, MI – DTE Energy Amphitheater
08/15 Chicago, IL – Allstate Arena


27 Apr

By: Cassandra Paiva

Step inside the mind of Paper Route’s JT Daly and pry into all of his personal files; his relationships, his hometown, his childhood, his faith. Do a bit of soul searching and that’s pretty much exactly the message that Daly’s debut solo album Memory conveys.

The album, which Daly states inside the booklet, was made because he “wanted to write an entire album without the possibility of people ever hearing it.” However, he decided to release it because he felt the need to “set some demons free.”

And these demons are expelled as Daly’s inner rhythm and musicality paired with painfully honest and heart felt lyrics. The intimacy of every song is intensified by each growing chord along with the mere fact that he published what was mostly his own personal journal.

“Things Will Never Be The Same” starts the album with bittersweet nostalgia and a tinge of first love. The booming chorus beats as an aching heart with explosive guitar and pounding drums under Daly’s assuring vocals. The same themes of summer and reminiscence carry into “Memory,” a more positive and upbeat perspective of love as Daly croons, “in that moment we know / I’ll never be alone.”

There’s also a very natural feeling that carries all throughout Memory. “Hymn (Lord I Need Time)” tells a story revolving around the Earth and the sun and various creatures sharing the land with him and his love. Tranquil instrumentals flow under cries of “Hallelujah” until it all fades away and the tender soprano of Daly’s friend Abigail Wright shines in “Love from Dust, Blood, and Rust.”

The interesting part of this album that makes it all the more personal, is that Daly pulled upon the people closest to him in his life, by showcasing their talents as well as his own. All of the artwork is by his friends, as well as the execution of the final touches.

Much like personal favorite “Youth” alternates and combines Daly and Wright’s vocals in a symphony-esque tell all reverie, the album follows suite by breezing by like a pleasant daydream. However, “Boys and Girls” breaks the mold by suggesting change and ending with an enjoyably chaotic calamity of jingle jangled instrumentals.

“Oberlin” is a bit harsher and heavier than previous tracks, with a constant clashing symbol sounding begging and pleading for a fresh start. Campfire sounding “You Go Your Way, I’ll Go Mine” plays with the idea of opposites, giving the track a duality of personal strife and inner peace.

Ballad “No Other” slows the pace and lightens the mood by contradicting the feelings of growing up too fast. “Children of God” ends the album on a happier note, with upbeat piano, edgy, dissonant bass that resolves midway, and soothing oohs paired with elegant and effortless guitar strums.

In essence, Memory is Daly’s enlightenment from all of his personal demons. The tender workings of his heart and mind are poured into this album with such craftiness and care. Each song is almost like its own ghost, getting set free to rest in peace and tranquility.

Pre-order Memory now at http://jtdalyart.paperrouteonline.com

27 Apr

By Michel Dussack

To say that fun. have been having a great few months would be the understatement of the year in the music world. Their single ‘We Are Young’ has been covered by Glee and was used in a massive Super Bowl commercial, and as a result the song reached the number 1 spot on the Billboard Hot 100 and set all kinds of sales records. On April 23, iHeartRadio hosted a private contest only show with the band for a lucky 200 fans, a now intimate showcase for a group who will be playing two sold out shows at the massive Terminal 5.

The band arrived on stage to a massive array of lights, most notable being the group of lights behind the band that alternated between “f”, “u”, and “n.” as they began with ‘One Foot’ off their latest album ‘Some Nights’. Vocalist Nate Ruess, previously of The Format, sounded pitch perfect throughout the bands six song set – so perfect in fact, that the use of autotune on a handful of tracks off ‘Some Nights’ seems pointless in hindsight.

“Walking the Dog” from fun.’s debut album “Aim and Ignite” was next and it highlighted one of the problems that bands with a massive single typically suffer from. While everyone at the show was quick to say they were a big fan, the fact is, the majority of the crowd was unfamiliar with their early material. Guitarist Jack Antonoff’s riff sounded like a mix of surf rock and Vampire Weekend, and the track allowed all the members to showcase their vocals – most notably touring member Emily Moore who plays guitar, vocals, brass, and sings. The additional touring members, Nate Harold on bass, and Will Noon on drums rounded out the band’s sound.

“Carry On” followed, and without a doubt, this should be the next single from the album. It starts off as a quiet, restrained acoustic number, but about halfway through, it’s bursting with powerful vocals from Ruess and Queen influenced electric guitar solos. Another track from the debut album, ‘Barlights’ followed, and again the crowd seemed largely unfamiliar with it, though they certainly enjoyed it, especially the sing along that Ruess helped to orchestrate.

At this point, Ruess thanked the crowd for being wonderful and explained that the band had taped for Letterman earlier in the day and that they had two more songs for us. Surprisingly, they chose to play ‘We Are Young’ next which elicited a great reaction from the crowd. At one point, Ruess stepped away from his microphone to allow the crowd to take over the song, and he smiled listening to the crowd try to hit some of the higher notes.

Andrew Dost, the guy who plays nearly all the instruments except guitar on the albums, lead a gorgeous piano introduction for the last song of the night, “Some Nights”. The track seemed extra polished live, and traded a bit of the African based drumming for a more rock vibe. It was the perfect way to cap off an intimate set with the band. As everyone filed out of the venue, several awful puns were made regarding “having fun” at the show, but thankfully, I’ve spared you from any in this review.