Williamsburg & Iktus

         The elephant claw bell? What a discovery! A beautiful sound within a dreamy electronic soundscape at Baby’s All Right in Williamsburg, Brooklyn. This was a night full of not only discoveries: my first time to this bar just south of the Williamsburg bridge, but it was also a night full of reminders: I can still enjoy Williamsburg. It’s been years since I’ve spent time in Williamsburg, but with friends I managed to find a vegetarian-friendly Italian cafe called Wild on Bedford Ave. Wild is the opposite of that evenings concert with its boasting of garden access, promotion of a natural, organic menu and lots of dried herbs and flowers hanging on the walls. It was a quaint getaway in a city full of sound and people.
         The concert on the other hand was very urban and technology-based. The kind of concert where performers seem very comfortable absorbed in their equipment and the audience seems satisfied to stand and listen austerely, perhaps with the occasional head bopping. Tristan Perich gave us a world that can only be created with electricity and gadgets. Sitting in the middle of the room with the audience gathered round, he played a noise set that was rhythmically simple, but with a variety of textures. These densities thinned and thickened as the sound became its own physical presence in the room. You could feel the sound around you; this I liked about it. You could not ignore this added presence as it joined you and those around you in one moment, not through lyrics or catchy rhythms but through its physicality.
         To compliment these harsh sounds, Iktus followed Perich’s noise set with a percussion and electronic piece. This was played on stage, which was lit by hundreds of small multi-colored decorations on the back wall.

With the rainbow lit in these circular decorations, there could be no better back drop for this dreamy, melodic electronic piece with catchy rhythmic grooves played by the percussion quartet. The ear catching moment in all this, as you may have guessed, was the elephant claw! If the percussionist could somehow turn and play one of the lit, circular decorations behind him on the wall, this is what it would sound like, as if one color pulsed among this polka dot rainbow or one color radiated just a little bit brighter than the others for just a short while. It was ear catching and wonderful.

-Sally, Spring 2014

Between the Buried and Me

         I've been to over 50 concerts and there are very few bands that each time I see them, they leave me speechless each time. On February 21st at the Paramount Theater in Huntington, I went to see one of those bands for the 6th time, the headliner Between the Buried and Me, and they didn't disappoint me or any musician in the audience. As a band that is progressive, extremely complex and technical, all musicians including myself go to witness the profound musicianship this band delivers each time. They had other bands open the show that suited their style of music and everyone in the audience respected the musicianship and talent that comes from all of these hardworking bands. With such talent warming up the audience, Between the Buried and Me had quite a warm welcome to the stage.
         This was the first time I’d been to the Paramount; it was a nicely sized venue and a very sophisticated venue for a Progressive Metal-core band, from men in suits opening doors to the bathroom attendants, which I’d never experienced at a concert like this before, but it was a great plus. The size of the venue encouraged bigger mosh pits and louder crowd participation. The audience would watch in awe, singing and screaming every line or mosh their hearts out; all being fans of either the aggressive nature of the music or talent of the musicians. When there was no band playing, the members of the audience would converse and bond over other progressive, technical bands, talk about their own bands or influence people to go out and listen to other bands they had never heard of. If anybody wasn't a fan before but were brought by a friend because they like “heavier” music, I guarantee that they fell in love with the complexity and musicianship the band displayed.
         Between the Buried and Me's performance was astonishing with their musical prowess. They played each song flawlessly as they appeared on the albums, leaving no room for improvisation and with little emphasis on the backdrop lighting to make the focus the real show of talent they displayed. They didn’t have a stage show or a unique way they dressed; they were all dressed casually. Besides a few key moments when the members would interact with the crowd, they were focused on keeping time and the constant changes in time signatures over the course of songs that would go on for about 16 minutes. With the ability to play so fast in such a complex manner over a long period of time makes them one of my favorite bands and makes Blake Richardson one of my favorite drummers. Each member throughout the night had their time to shine with guitar solos, bass solos, drum solos, and keyboard solos from the singer, when he wasn't displaying his vocal ranges from melodic singing to aggressive screaming.

         Their songs have a wide range of weird topics like their song, “Sun of Nothing,” which is about a spaceman, who ends up traveling into the sun in an attempt to commit suicide, but when he realized that suicide wasn't the answer, it was too late to turn back and had accepted his fate. The lyrics “I just see faces/faces staring blank as they go on with the routine/this routine/nothing new/it’s time to go through with this” display his wish to escape society and to commit suicide, while other lyrics “floating to the sun/farther away/I can't believe that's what it has come to/I never really had it all that bad” show his regret in his decision. The lines of the song that are the most sympathetic have the melodic singing and guitar tones, while the aggression being released is displayed through screaming and the guitarist's complex rhythmic parts. Obscene stories like that attract people to the worlds these musicians created within their minds as opposed to just focusing on their musical talent.

         Between the Buried and Me has done what everyone expects of them, which is to display why they are on the stage in the first place. Their performances are always memorable ones and inspire every musician in the audience to practice and attempt to achieve their level of talent. Between the Buried and Me has left me speechless for the 6th time and there definitely will be a 7th time for them to do it again. Witnessing them show off such skill will never get old. With complexity in their songs, frequent time changes, displays of calm emotion to aggressive screaming, and extreme musical prowess, they are a force to reckon with in the Progressive Metal world. I encourage any inspiring musicians to check them out or at least experience them in concert to see what the human body can do.

-Keith Just, Spring 2014

Malloy and Friends

         Dave Malloy’s latest: a song revue of Moby Dick at Joe's Pub. If you haven’t read Moby Dick, but really wanted to hear Dave Malloy’s latest and still know what was going on, you were in luck!
         Paul Pinto as Reverend Roy G. Biv explained all, but not without ranting on ideas of race and our natural scheme of things. He questioned in a frenetic style of spoken word with an avant-garde girl group accompanying him. His rant was infectious, which seemed to be him challenging difficult ideas, but with an open heart and without too much worry about tradition or correctness. The general spirit suggests we reword and recraft the lens by which we look at people and their situations; I liked this idea.
         Next, we met Pip in a dire situation, and what a contrast from the high energy Roy G. Biv. Pip seemed the lonely sort, almost defeated; the kind that seems to teach most when or if you can peer into their world. What a sweet moment as we listened to quiet query on the significance of his life. These questions with lots of time for wonder were filled in by jazz melodies on piano; I was especially fond of these, the silver lining in his dark moment. Were Pip’s questions answered? I don’t know, but he was not entirely alone as he pondered his fate.
         I think Malloy may have tricked us. We sat and were caught up in the charisma of these performers, were surprised by nods to various genres, and I think everybody in the audience at some point wanted to shake a tambourine (!), but really, we sat and pondered meaningful life questions. Whether potent and high-energy or sweet and sparing, these two characters each gave us their view of universal questions regarding our fate as well as our place with others.

-Sally, Spring 2014

East Bank Music Series - Jay Sorce

East Bank Music Series:

         As I sat and listened to Benjamin Britten played by Jay Sorce in an Episcopal church in Greenpoint, Brooklyn, I couldn’t help but think of Moonrise Kingdom by Wes Anderson. In that movie, the church scene showcases the performance of Noye’s Fludde by Britten; this is the moment when the two main characters meet and ultimately fall in love. The boy has a chance meeting with his future girlfriend in disguise; she is in a bird costume. He doesn’t let that throw him, but instead uses this as a conversation starter: “What kind of bird are you?” he asks. “I’m a raven,” she responds. While thinking of this scene, I realized I probably would not be meeting my future husband in this church scenario. Obviously, I mean, I wasn’t even wearing a costume, and so what would we have to talk about anyway?
         My mind wandered as I listened to Nocturnal after John Dowland by Britten. It is the perfect piece for this, since it is several movements of variations on a theme. The original is “Come, Heavy Sleep,” an old vocal piece with lute written by John Dowland, and it is a dwelling on death, or perhaps with a lighter mind, endings or seeking respite. I’m glad I did not know this because it would have hung a dark cloud over my more current dwellings on birds (wink and nod). Instead, I was able to listen to the beautiful plucking of an acoustic guitar within this resonant, quiet space. Every sound lifted up and each movement of Nocturnal after John Dowland telling their own perspective on the same story, perhaps on a raven? One was quick-paced and impatient, another one still and quiet, while another steady in its dream-like lulling. The final movement, Passacaglia, was the most catching with its rhythmic turns and groovy, downward-flowing melody. Differences told in part by the many color changes with the guitar: sometimes plucked bright and hollow with an ethereal delicateness and other times strummed heavy-like and grounded. All thanks to Jay Sorce, who was able to create these different characters and moods, and all with one instrument. I applaud in thanks, caw!

-Sally, Spring 2014

Brent Arnold - Night Exquisite

         To sit and dream with music as my guide, this I did during Brent Arnold’s album-release concert of Night, Exquisite at Rockwood Music Hall in December. My favorite way to hear music is live, especially for the first time. To sit naively and be greeted by something entirely new, a new sound, a new idea can be special and I consider these moments as one-of-a-kind and hard to forget. I wasn’t disappointed as four cellists joined Brent to create one dense cello sound; thanks to Raymond Sicam III, Isabel Castellvi, Meaghan Burke and Loren Dempster. Since Brent’s music is one cello that is looped and layered, it was interesting to hear and see it as collaboration among several performers. Neat that he recorded these melodies on various trips across the country and around the world to return home and put them together to create an album and then take them apart again for a live concert with friends. Between songs, Brent would briefly tell of his travels and inspiration for each song; the concert becoming much like sharing a scrap book of his adventures. Some songs were quiet and dreamy like the title track, “Night, Exquisite,” with its own hushed pulse, but others had a gentle groove like “King of May.” I was surprised by “A Ghost in the Library” when Brent sang a falsetto line with his cello- so sweet to hear a voice after all the bowing and plucking and such an ethereal moment, I couldn’t help but be a bit teary-eyed. As a whole, the concert had a contemplative feel with a touch of sweet melancholy, but not without its brighter, hopeful moments- much enjoyed! Kudos to the bread-making cellist/composer!

-Sally, Winter 2013

Drake at Barclays

         I finally fulfilled my greatest dream in life, to see my most loved and appreciated artist. I have been in love with Drake, since I was 11 years old, watching him on my favorite teen show, Degrassi. I felt as if I was growing up with him on the show, going through his crisis alongside him. When he quit the show to begin his music career, I fell in love with him even more. His lyrics were deep and heartfelt, something hard to come across in rap music these days. It seems that most artists focus on sex and drugs, while he emphasized finding love as well as finding yourself. So, when I heard that he was performing at the Barclays Center in Brooklyn, you can imagine my absolute exhilaration and elation.
         The venue was amazing. It was the biggest concert I've ever been to and will probably ever go to. The amount of floors seemed infinite and there were so many people; it was almost overwhelming. The only downfall was our seats. They were so tiny and close together; it felt like we were sardines. Also, we were so high, I could barely see my future husband, Drake, as we looked over the whole theater. This did not help me overcome my fear of heights at all. Although we were far away, there were speakers right next to us, so the audio made it seem like he was singing next to us. This made my heart soar.
         The audience was loving and kind; everyone was sharing drinks and cigarettes as if we were all long, lost friends. When he performed, everyone sang along and danced, knowing every word just as well as myself. The ages of the audience varied from 21 to 40. I guess you can never be too old to be a Drake fan. As for the attire, my friends and I went for the "ghetto fab" look, wearing Addidas, high-waisted leggings, a tummy shirt, football jackets and snapbacks that said, "party" in pink. Everyone else seemed to follow Brooklyn attire.
         Drake was a professional when it came to interacting with the audience. He brought a girl on stage and sang to her. It was mesmerizing. The whole time, I just kept screaming and wishing it was me. He kissed her right on the mouth after the song. My stomach dropped and the crowd went wild. There was one part where the stage elevated until it almost touched the ceiling and he pointed out to members of the crowd, acknowledging them for about half an hour. He'd point at someone and say, "I see you with the OVOXO shirt" or "I see you with the Yankees hat," among many other things. I thought that was unique that he took the time to make his fans feel special.
         He danced and hopped all over the stage, waving his arms around and thrusting to the beat. He is an extremely expressive musician. He played all or most of the songs from his new album, which I loved, along with some of his oldies. There were some songs I wish he would have played, but I think they were so old that only the die-hard fans would have known what they were. I knew every song he sang word for word, which I'm sure genuinely annoyed everyone around me. I tended to scream the lyrics loudly and obnoxiously; I think it was due to the cranberry vodkas.
         My favorite song he played was "Hold on We're Going Home." I literally cried when he sang it and imagined him singing it to me. The lyrics always cut to the core of me:

I got my eyes on you. You're everything that I see. I want your hot love and emotion endlessly. I can't get over you. You left your mark on me. I want your hot love and emotion endlessly. Cause you're a good girl and you know it. You act so different around me. Cause you're a good girl and you know it. I know exactly who you could be. Just hold on we're going home. It's hard to do these things alone. You're the girl. You're the one. Gave you everything I love. I think there's something, baby.

         As for extras in the performance, the stage was pretty wild. It was huge with a big "O" platform that lit up. The screen against the wall was gigantic and portrayed roses and fireworks and occasionally him singing. My expectations were definitely met. I think it was the best night of my life, finally achieving my life's goal. I would go every day, if I could. The best surprise was when he said, "This is the best night of my life." It was so beautiful to be able to share that with him and be a part of that. You could say I, as well as everyone else there was the reason it was the best night of his life. It was so touching. It was definitely one of the most memorable experiences of my life.

-Emily Mercado, Fall 2013

Blue Wizard/Black Wizard

         St. Marks Church-in-the-Bowery hosts a really cool, offbeat performance series: Incubator Arts Series, which calendars concerts like Blue Wizard/Black Wizard. After walking the church grounds and up to the concert entrance, you are invited to choose a Wizard, or who you came to support. I had no idea I would be on a team, so this was intriguing. You are asked this by two women dressed in shiny, futuristic outfits- also intriguing. What to make of it, I wasn’t sure, but I chose blue; that part was easy. I was then given blue beads of declaration and was ushered to a particular side of the stage, which was in the shape of a star with lights surrounding it, creating an atmosphere of a discotheque. As I sat with the blue team, I couldn’t wait to find out what was to come of this, but I hoped to be fighting the good fight.

         The show began with two hosts of some future time that welcomed us into their world of zany intellect, which included these two Wizards. These Wizards dueled with each other in order to determine the fate of the universe, but mostly just for fun, I think. As it turns out, these two were equal parts lovers and friends and were determining not the fate of the world, but their own fate with one another. It was sweet to see all this unfold: what began as a duel became a reconciling in the end. So, I couldn’t help but feel that we didn’t choose a fighting team of blue/black, but a friends and family team of bride/groom. We knew in the end that the future was not in their zany world of intellect, but us: those supporting a union of the two, a bride and a groom.
         Overall, I loved how fun the show was and I enjoyed being in their imaginary world of games fit for all of us. The beautiful commentary to all of this was the trombonist, who seemed to be mute, so he spoke only through his instrument. With two hosts, two Wizards, and a trombonist, this world was full of dance and song, not without really tall boots and shiny, otherworldly outfits. Nehapwa!

-Sally, Winter 2013