Yellow Ostrich Aim Out of This World w/ "Cosmos" Album REVIEW

When I first saw Yellow Ostrich perform live, it was back in 2012 when they were opening up for Los Campesinos. I remember that, in a whirlwind of excitement to see Los Campesinos!, I hadn't even bothered to check out the openers before going to the show. I remember even being a bit annoyed as Yellow Ostrich took the stage at Le Poisson Rouge, but those feelings of aversion didn't last long as I felt myself head bumping to the likes of "WHALE" and "Marathon Runner" which build up to groovy climaxes, a technique that Yellow Ostrich has proven themselves especially proficient in. Their latest release "Cosmos" takes a while to hit you. The first half feels very uneasy, like the entire band is just gaining its footing. The opener "Terrors" begins with drawn out chords that sound like they're being emitted from a broken amusement park ride in some scary movie. It's all a tad unsettling, especially when Alex Schaff kicks into high gear singing "I'm the terror in your eyes". "Neon Fists" has an irresistible beat in the background with pleading lyrics of last resort in contrast. Whereas the first half the album feels paranoid, with the guitars of "Shades" feeling like something off of OK Computer, and the epileptic guitars at the end of "You Are The Stars" sending you under the covers, the last five songs are slightly less abrasive, but just as melancholy. In "Things are Falling", a wary surrender in which Schaff sings "I'll never ask you to pretend or try to lie" the buildup creates a tension that becomes visceral, releasing itself in 30 seconds of guitar feedback with muffled voices of radio broadcasts that consume you. It is at that point that the title of the album becomes evident, everything feels very cosmic. The final track "Don't Be Afraid" placates some of the built up tension from this sonic slaughter, but it isn't long before you feel the sense of uneasiness return, as high out-of-tune synth keys burst over an otherwise hushed melody. You feel unaccomplished, like your quest as a listener is unfinished. But it seems that that is exactly how it is intended; there's an existential quality to it. Consensus: "FAVORABLE" Listen Below

"Midnight", New Coldplay Track Shakes Things Up

     I never thought that I would find myself compelled to write about Coldplay on my blog. While their music was certainly my first love, they the first concert that I went to, and they will forever hold a special, sentimental place in my heart, I thought that Mylo Xyloto their 2011 release, would be be the extent of their dabbling in experimental instrumentation and song structures. How wrong it seems I'm turning out to be.
     I write this as "Midnight" plays in the background for the fourth time in a row. I still cannot get a good grip on the song. Early comments have likened it to Bon Iver, which is certainly evident in Chris Martin's airy vocals, which, at times, borders on indiscernible. But the instrumentation doesn't even begin to hint at use of guitars, besides a non intrusive baseline that really just serves to highlight Chris' voice. At around the 2:50 mark, it feels as if the song is about to burst into a familiar Coldplay anthem, but it doesn't and for that I respect it a whole lot more. It takes some balls to be Coldplay, and to release a song this drastically different from say the likes of "Viva la Vida". A song that sits on the ears more like Four Tet than Radiohead. It takes some getting used to, but that is certainly a good sign for a Coldplay track.
     This is the most excited I've felt about Coldplay in a long time, and it will certainly be exciting to see what their next album will entail.

Virgin Takes on the Last Show @ 285 Kent w/ Fucked Up, DIIV, White Lung (PICS)

So, to preface this review, as the title hints at and I must admit, before last night, I was a 285 virgin. If you feel that totally eradicates any credibility I may have commenting on last night's historic show that ended an era, then stop reading. But being a virgin was a unique experience. I was certainly aware of the venue prior to last week, but not familiar with the lore surrounding it's D.I.Y. aesthetic. As the show neared, I could see the buzz surrounding this show and how momentous of an occasion it was set to become. The consensus was that this space would be sorely missed. For many, it housed some of their best memories, when they were either teenagers or twenty-somethings sneaking in alcohol, moshing and puking at Fucked Up, Iceage and JEFF the Brotherhood's show in 2011, one that is widely remembered as the sweatiest show in Brooklyn's history. The list of "had to be there" shows is extensive when it comes to the discussion of 285 Kent, and this last week has become a sort of reminiscence, a gathering of acts like Dan Deacon (Whose career organizer Todd Patrick or, P. is credited with helping develop) and Diiv, who had previously performed at the space and put on unforgettable performances, coming back to the space to bid adieu to the concrete rectangle that has helped shape their careers and many other's lives.

     Reading all of this before yesterday had me feeling nostalgic for days I hadn't even experienced and I felt sympathy for the select few who like not being patted down by security guards before shows and not feeling totally alienated from acts that they end up paying exorbitant amounts of money to see their favorite bands at other venues. If music is as much about the experience as it is the performance, 285 Kent was certainly the place that people had holistic musical experiences. Todd P himself in an NPR interview, that he prided himself in creating a space where people could meet future bandmates, friends, possibly kindle a romance. Basically, the aim of 285 Kent was to be a place with a semi-party, barely legal atmosphere where everyone felt welcome. 

     With all of this circling in my head, my expectations were really high for the long night that was ahead of me. I ended up asking the bouncer for Glassland's where Will Call was (Glassland's being a venue I legally can't even consider going to unless I have a fake from NJ, since its exclusively 21+ and I'm an untainted 18). Either from my dashing young looks or ignorant demeanor, he knew I was looking for 285 Kent, which sat smugly, proudly next to its antithetical neighbor, inviting people of any age inside to bask in it's stifling dungeon. Inside, my attention was drawn immediately to the wall mural, or rather murals, black spraypaint in ostensibly random circles and lines around the room. It looks fucking cool. What also strikes you is the temperature; it was toasty, which at first was a welcome solace from the cold breeze outside, but would turn out to be a pit of body heat that made my shirt feel fresh from the rinse cycle. Inside for a while, I made my way to the front and observed the room, a ritual I seem to do at every show. At first, there seemed an incongruity between what I had heard and the actual crowd at the show. They seemed fairly stolid, dotted with people taking photos for whatever music blog, some head nodders, a crowd gathered around the bar in the back. 

     I had just missed LORDO's set, frankly a band I hadn't heard of nor bothered to look up prior to yesterday (Fucked Up and White Lung were the pieces de resistance for the night). The second band to take the stage was Guardian Alien. The members each made sure to take a few hits of a joint before tearing into a two-part, almost 40 minute long epic, eardrum-shattering opus that may or may not have been the song/album "See the World Given to A One Love Entity". Nonetheless, the Greg Fox (formerly of liturgy) percussion driven wall of sound was interesting, albeit the sound wasnt well mixed, the vocals were unrecognizable over the cacophonous pulsation. The crowd at this point seemed pretty industry, and I was scared that it may remain so the entire night, hardly what I was expecting out of THE 285 Kent. 

     But once White Lung came on stage, the teenagers, the young at heart, the overall rockers, the lifeblood of D.I.Y. made their presence known with a gleeful mosh from the opening chords of "take the mirror" off of WL's brilliant 2012 release "sorry". White Lung are fast, but nothing is musically lost in their speed. If anything, guitarist Kennith Williams' proficiency is astounding, dishing out riff after riff to match tempo changes. It's lead singer Mish Way, who is simply captivating, with vocals that sounded straight from the studio. She's a powerful presence on the stage not just vocally but in her attitude. It's easy to see why she's constantly referred to as a riot grrl which she herself thinks to be a bit of an anachronistic label.(in one of her articles for Noisey, the Vice music division that trashed the hoopla surrounding this very night) Whatever you label her or her band, one thing is that they know how to put on a sweaty, well-oiled, set. They sought not to have much silent space between songs, banging out tinnitus-inducing songs one after another. It was enthralling and restored my faith in the night and venue. 

  DIIV was on next, the dreamy outfit fronted by Zachary Cole Smith (also of Beach Fossils), whose arrest this fall on heroin possesion I couldn't help thinking about as they took the stage. But tonight was about the music, and DIIV, the Captured Tracks cousin of Wild Nothing and so many bands trying to imitate their style were able to put on a memorable performance. 285 Kent's PA system wasn't too accommodating to DIIV's airy sound, the guitar riffs seemed to be absorbed quickly, unable to float the way they do on their record "Oshin". Still, they jammed, building upon riffs in songs in unison until they reached a point where it was impossible to resist the urge to sway, head nod, and groove, no matter how much of a Kurt Cobain wannabe this guy is. Kudos to bassist Deven Perez who was really the highlight of the set with the infectious grooves he played. A mosh found a way to form, and it did seem fitting for some odd reason. Between swaying and grooving to the jams, I looked on as teenage guys tried to use the mosh as an excuse to cop a feel on a teenage girl by me, epitomizing D.I.Y. ethos. 

     I could see Damian "Pink Eyes" Abraham peeking his head out from behind the stage to catch a glimpse of DIIV's set, before being interrupted by a slick photographer ready to bleed his ear about something he likely didn't care to hear (all speculation). Luckily, vanity wasn't in vogue at the venue, sweat was, and when Fucked Up took the stage at nearly 12:30, this became apparent. There is no entertainer out there who makes an audience feel more involved than Damian. It took him no more than two songs to find his way out into the crowd, carrying the microphone cord as if it were a lifeline. He split the crowd like the Red Sea, and found his was on top of a speaker in the back, where he put whatever people threw at him on his head. The band is adored, with a cult of fans that I see consistently show up at Fucked Up shows in the city. Damian turns their adulation into a cooperative effort in the show, allowing anyone to sing along. Maybe it's so he can save his voice for later screaming, but nonetheless it seems a friendly gesture. The other members of the band always seem aloof in comparison; Sandy Miranda a.k.a. Mustard Gas usually seems rather bored but I take that to just be a defining quality of coolness that I can't comprehend. The remainder of the band is vital and extremely talented; they allow Damian to get lost in the crowd while they don't miss a beat. Guitarist Mike Haliechuck provided beautiful backup vocals, and provided the rest of the band with alcohol that he was D.I.Y. drinking out of the bottle the entire set. Stage dives, dives off the speakers, lost glasses, stomped on hats all ensued. Brief gasps of especially rancid air, something similar to paper being burned filled the room from time to time. It was heady, dizzying, and awe-inspiring. My body was absolutely exhausted but I still hopped up on the stage during the cover of "Blitzkreig Bop" a wonderfully fitting finale, and attempted to crowd surf. Only my 230 pound body was not well supported by the exhausted concert goers, and I found myself on the floor within seconds. 

     Then, that was it. The last notes rung out, the hip hop came back on over the PA, and the bum rush to the exit took place. Sure some people stayed behind, the diehards, the ones who made the venue what it was, a place where people could hang out but it was all over. I searched for some sentimantality, some spilling of emotion. I tried to eavesdrop on a conversation, hoping to hear genuine expressions of emotion, of loss, but I couldn't. I was sure these people were aware of what was taking place, after all they were the select few out of thousands who had hoped to be within those cement walls that night. But the vibe was celebratory, like a victory lap. Sure, now that venue is closed, but an era wasn't necessarily over. The night had energized me. Damians words resonated in my head as I waited for the J train. We could all do it ourselves. It wasn't hard. On the cusp of 19 I don't know where it puts me, maybe I am a late-comer. Maybe there are 15 year olds already forming the next bands that are going to play the next had to be there shows. Or maybe time will grace me with a few more years to plunder youth in a venue like 285, to make my own memories that I will be melancholy over when the time comes, when the next venue shutters it's doors. 

     The landscape is hard to judge. How a place like 285 Kent survived for as long as it did in Williamsburg is hard to grasp. With the capitalization of cool, the future seems up in the air. Todd P, has been the spearhead of something that has changed the way we gather in the name of music. Plus, he's just opened a venue in the beautiful borough of Queens, Trans Pecos. Will that venue, or maybe the new Silent Barn eventually garner the same mystique that has surrounded 285 and Northsix before it became Music Hall of Williamsburg? Who knows? But D.I.Y. lives on. 

Pictures BELOWWW

     

Generationals, Sallie Ford and the Sound Outside @ Pier 84 (REVIEW & PHOTOS)

     Last night saw a slew of southern tinged rock take over Pier 84 as Asheville, North Carolina to Portland transplant Sallie Ford and New Orleans outfit Generationals filled the sweet summer air with some sweet summer grooves. Waxahatchee , the heartbreaking solo project of Katie Crutchfield, was also there, and played a set that was raved about by the other acts, but I was unfortunately too late to see. Any latecomers weren't allowed to wallow in self-pity for long, though, as Sallie Ford slapped everyone who wasn't familiar with her music with a surprising, powerful set.

     Sallie Ford and the Sound Outside is like Johnny Rockets gone badass. You would think that their music is meant for early American Bandstand, and in a way it is. Musically, they have that swaying 50's feel that is so easy to jive to. But don't be fooled by this seemingly innocent music, or Sallie Ford's harmless appearance, because when she takes the stage, she owns. Her voice is a confluence of old school women soul singers and has the power of contemporary singers like Amy Whinehouse, minus the melancholy. It packs a punch. Her whips of "Fuck that!" and "Don't gimmie no lip boy" are goosebump inducing, catching me totally off guard. Sallie's domineering stage presence is surprising and exhilarating, and the Sound Outside execute with the precision of a veteran band. Lead guitarist Jeffery Munger breaks off into surf rock style riffs with a deftness and nonchalance that epitomizes the coolness of a band that might get misinterpreted as nerdy. Jeffery busted out jokes as well as riffs, and took over as a candid entertainer when the band experienced technical difficulties. The Sound Outside is a well read band that knows their influences well, yet  they choose not to conform to any one label. They are Rockabilly but not totally. Sallie stretches her lungs for soul, but often tapers of to a nasally moan. Sometimes it seems like they are fully embracing the image that they maintain; at other times it all seems a satire.One label, however, is totally accurate no matter what genre they employ, humble and unassuming.

     Generationals is another band that must be full of music nerds because their music is flooded with a variety of influences. They incorporate heavy, layered synth patches into what would otherwise be cookie cutter pop-rock. They too flirt with nostalgic sounds, incorporating church organs and beehive hairdo baselines. Another band that eludes pinning down, Generationals have some songs in their repertoire that are dripping in synth and others that are straightforward indie albeit with bass that's so infectious, your hips will disobey your better judgement and start gettin' down. Their set got off to a slow start but by the end almost everyone in the crowd was shaking what their mama gave them. A cover of "Friday I'm In Love" fit in nicely with the overall sound of the show and gave some of the people who just stumbled onto the pier because it was free something to sing to. Even with so many apparent influences, Generationals copy none, they simply pick and choose. They have successfully crafted their own sound entirely and are not afraid to keep trying something new, the mark of a band that will have longevity.
     Pier 84 is a beautiful place to catch a show, and while it may not be in the "cool" part of town, the music that it continues to draw makes it worth switching from the L to have a nice night out. Best of all, the shows there are FREE! The Pier will have two more shows this summer: Foxygen with Thao and the Get Down, Stay Down on July 25, as well as Titus Andronicus with Ducktails on August 8th. Both shows are absolutely worth the money, or lack thereof.

See pictures of last nights show below and KEEP IT LOCKED!
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SALLIE FORD 

 Generationals 

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2013: The Year Music Embraced The Dark

With the year reaching its midpoint, many music blogs and pundits, including the beloved Anthony Fantano, are taking a second to look back on the first half of the year and all it had to offer. So far, 2013 has been a cornucopia of experimentally rich music, with established artists exploring new sounds and ideas. Artists of all kinds have gone out of their comfort zone this year to produce music that challenges listeners and grasps with themes of modern-day alienation and confusion. Case and point is the divisive, snarly, and downright abrasive Kanye West release "Yeezus". A complete 180 from the lushly layered orchestration of his 2011 release "My Beautiful Dark Twisted Fantasy", Yeezus embraces minimalism, glitch music and pounding tribal drums. Not to say that this release was out of Kanye's comfort zone, since as a producer he is always redefining what is considered popular rap, but it was so off-the-wall as a whole that it caused a huge stir. Those unfamiliar with the likes of Death Grips were questioning if this was even rap. No one was prepared for one of the most popular names in rap, the same rapper who released the bubblegum "Gold Digger", to release an album that seethes the paranoia that Yeezus does. Everyone was at least a little shocked and usually really excited. It provided everyone with the opportunity feel their personal and societal demons exposed in music and examine themselves within the comfortable confines of an artist whose music widely accepted and liked.

    Kanye is not alone. If I could think of any thread that connects the noteworthy releases of the year thus far, it's that the artists have all incorporated a certain degree of darkness into their sound. By darkness I don't necessarily mean  demented vocals, or Michael Myer-esque melody. I mean an application of grungy, grimey sounds and themes; as if these artists decided to adopt the life of a depressed teenager living in a rainy, smog filled 1990's London. These are the sounds I hear when I play the latest Sigur Ros release "Kveikur". Sigur Ros themselves pulled off a total makeover, throwing their years of airy, romantic ethereal music out of the window and instead replicating sounds of pounding heavy machinery and incorporating pulsating percussion. What about M.I.A , with her latest single "Bring The Noize", that after the pop and squeak of "Bad Girls" and "XXXO", refocuses on simple invigorating percussion and experiments with vocals and has a synth breakdown that makes you want to have a seizure. Talk about abrasive; the first listen  reminded me of the raw power M.I.A had on Arular.

     All of the aforementioned releases were just in the past month. Besides them, there's the extremely dark release by Baths, "Obsidian", whose themes deal with hurting himself and feeling hopeless. There's also the myriad of local punk bands fronting the reemergence of a scene that exposes dissatisfaction with life, society, government, and basically any establishment that has an influence on us. If 2009 and 2010 were the years of chillwave, 2011 the year of twangy dream rock bands like Real Estate and Girls, and 2012 the year of everything in between, including anthemic rock outfits Japandroids and Cloud Nothings, as well as Grimes (who could have fit in nicely if she had released Visions in 2013), then the year 2013 is the year of music waking up to reveal its true broken down, fractured, and truly fucked up nature. This is a year of mature music releases that do away with the fluff of dreamy riffs and stick to minimal, driving percussion, as they too drive their messages into the listener's skull.

     What caused this shift in the music being put out? If this is a continuation of the groundwork laid out by Death Grips, Grimes and Crystal Castles last year, is it going to continue to grow as a trend? What is it a response to? Are there any factors in society that are molding public discourse through music and the arts in general? How does this tie in with other forms of art currently being made? These are the talking points that are going to be discussed as we continue to move throughout the year and new albums are put out. 2013 has spoiled us so far, and there are still so many albums to be excited for.

Upcoming releases of interest -
Jay Z - Magna Carta Holy Grail (July 4)
Earl Sweatshirt - Doris (July 30)
Bloc Party - The Nextwave Sessions  (August 13)
Washed Out - Paracosm (August 13)
Porcelain Raft - Permenant Signal (August 20)
The Dodos - Carrier (August 27)
Grouplove - Spreading Rumors (September 17)
MGMT - MGMT (September 17)

Keep it locked!

Parquet Courts, Reigning Sound, and more at Village Voice 4Knots (PHOTOS & REVIEW)

By the time I arrived at South Street Seaport for this year's installment of the Village Voice's 4Knots Festival, my shirt was already showing damp patches and beads of sweat were racing each other down my face. The air was still and lacking the familiar breeze from the East River that the seaport is usually graced with. Still, there was a festival to be had, and while the day may have been hot, the bands were hotter. 

This year's 4Knots was a marked change of style from last years easy-going pop-heavy line up that included The Drums, Hospitality, and Nick Waterhouse. Gritty, dirty guitars and an overall unkempt sound was the highlight of this year's acts. Brooklyn based Parquet Courts who are touring in support of their 2012 release "Light Up Gold", stole the show. They brought their anthems of confusion, lack of direction and good ol Ridgewood, Queens wandering to the stage at the seaport where they delivered a dense, energetic set. The anti-establishment tinged "Master of my Craft" kicked off a small mosh and provided the perfect moment of irony. The satire of business interests praising the dollar played at the Village Voice's huge event, a weekly, whose parent company since last year Voice Media Group recently cleared the paper of its beloved writers to 'rebrand'. The end of Parquet Courts set featured front man Andrew Savage going off on a rant, which kept with the anti-conformist themes. All that could really be mustered over the cacophony of guitars was the last repeated line "sun bathing animal". Despite the apparent insult to all of us sun bathing animals soaking up tunes and rays, Parquet Courts seriously killed it.

Reigning Sound's set was almost ruined for me by a severely intoxicated 50-something year old woman, but was saved by their head-bopping jams and was a good way to cool down from the constant assault of power chords and angst. Bringing their glossed over, dance worthy, heavy jams all the way from Memphis, Reigning Sound had everyone, including the aforementioned drunk lady, grooving heavy. Frontman and well-respected musician Greg Cartwright crooned over melancholy songs of lost and broken love. The drunkard said we were all scared to love. Nonetheless, Reigning Sound really reigned in the day, and set the stage for what I'm assuming was a good Kurt Vile set (left early :P) 

SEE PICS BELOW

This Blog

Ah, I've always promised myself that I would start a blog, if not to become a famous writer then at least to document some of my experiences in this beautiful city of New York (especially the borough of Queens, after which the blog is named). Finally, I have mustered the willpower and fended off rampant procrastination to start this blog. So what exactly will I cover in 'Inquisitive in Queens'? As of now, mostly live music that I go to see, possible reviews of new music releases, and a constant stream about life in the borough of Queens. Queens in itself is undergoing a metamorphosis. The neighborhoods of Astoria, Long Island City, Sunnyside, and even Woodside have seen a 'gentrification' for lack of a better word. Transplants from Brooklyn and Manhattan as well as students from the world over are populating these key neighborhoods in the borough, bringing with them an appreciation for art, and the energy of 20 somethings looking for something to do. I personally live in the Rockaways, an area that in the year prior to Sandy was finally receiving the attention it deserved as an area with a ton of potential as a recreation destination. With the addition of the VW dome, however, Rockaway is starting to rebound, at least culturally, as the dome offers many cultural opportunities to the artistically starved community. So, throughout the summer, as I bask in the experiences of the city, hopefully meet new people, and discover new ideas, I will post to this site my findings. Cheers!