CMJ » Hugh Francis

WIM @ Glasslands: November 5, 2011

Hugh Francis — Mon, 07 Nov 2011 19:00:31 +0000

Photo by Hugh Francis

After a string of shows at this year’s CMJ Music Marathon, Aussie band WIM has been radiating a professionalism that can only come from a solid footing in songwriting and a long stint on the road. The recent Modular signee took to Glassland’s stage with a graceful nature that showed how comfortable the five-piece has become with its live show.

WIM plays a dense, melancholic style of indie rock. Lead singer Martin Solomon’s vocal style is most comparable to Paul Banks or Ian Curtis, and he performs with a stage presence of someone twice his age. His reverb-soaked lyrics are complemented by the fantastic harmonies of his bandmates. The guitar work from WIM guitarist Saul Wodak is also outstanding, and works only to build on the mature and tasteful songwriting style the band has developed.

WIM shone with its chaotic noise breakdowns, driving rhythm section and blissful keyboard work, which is also showcased on the band’s new album that’s set for release November 15. If this show is anything to go by, this band is only going to grow.

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Icebird, RJD2 @ Brooklyn Bowl: October 11, 2011

Hugh Francis — Wed, 12 Oct 2011 20:06:23 +0000

Photo by Hugh Francis

Icebird is the soulful collaboration between RJD2 and Aaron Livingston, but the duo kicked off the night at Brooklyn Bowl by performing as a five piece. The ensemble executed a dynamic set that flaunted its songwriting skills, even though the music was hard to hear over the conversations in the crowd.

RJD2 reentered the stage later on wearing a full-body suit and welding mask. He had harnessed a drum pad to his crotch and began playing some sample-based hip-hop tunes. Explaining this new technology came from “extensive upgrades to the cock and balls region,” RJD2 soon returned to his DJ decks, stripped the costume and began frantically juggling vinyl. For what is essentially a DJ performance, he is a fantastic showman. With live visuals, four vinyl decks and who-knows-how-many midi controllers, RJ was a blur on the stage. Around 15 minutes into the set, he was joined by a live drummer, and the pair jammed through the rest of the night with aplomb.

RJD2 wrapped the night by calling Icebird out to the stage for two more songs to finish the show.

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Monogold, Yacht @ Brooklyn Night Bazaar: October 9, 2011

Hugh Francis — Tue, 11 Oct 2011 20:48:08 +0000

Yacht - Photo by Hugh Francis

I arrived at Brooklyn Night Bazaar at Dekalb Market around halfway through Monogold‘s set. The Brooklyn-based three-piece was midway through delivering a tight set of reverb-soaked guitar work and powerful drumming. Monogold’s style is hard to pin down; the band has elements of tribal and tropical music in its sound, but these elements never dominate. With rich, textural layering, the band comes off sounding quite ethereal, often shamanic. Monogold has managed to cultivate somewhat of a unique identity and certainly has something new to offer to the genre of epic indie rock.

The danceable and charismatic Yacht took the stage soon after. Lead singer Claire Evans was never at a loss for energy. Her stage presence was enormous, and she held the attention of the crowd for what was almost an hour of quirky indie pop. The band was very tidy, even though each multi-instrumentalist member juggled synths and guitars between songs. Jona Bechtolt really stood out as a talent, taking turns on lead vocal, guitar, keyboards, sequencers, drums and bass. The band finished with the upbeat “Psychic City” to a comfortable crowd of 350 punters singing every word.

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Anamanaguchi @ Museum Of The Moving Image: October 8, 2011

Hugh Francis — Tue, 11 Oct 2011 18:05:14 +0000

Photo by Hugh Francis

The gallery at the Museum Of The Moving Image was buzzing on Saturday night, an evening curated by local taste-makers and internet sensation Anamanaguchi. Separated into a handful of different zones, there was room for every type of nerd in the space. The live music stage was surrounded by projections, the lobby was packed full of electronic beats, the main theater had a brilliant lineup of video installations, and the zombie rave room was showing goofy internet GIFs, animating in sync with bad Miley Cyrus covers.

The adorable Landlady opened the live music stage. Wearing bright orange headbands, the band members performed an engaging set of charismatic, mathy, indie pop. After a quick beer and brief gaze at some of the artworks, this reviewer returned to the live stage as MiniBoone started its set. More than a little reminiscent of Dananananaykroyd‘s shambolic party vibes, the band didn’t disappoint with its chaotic indie rock.

When Extreme Animals took the stage, things started getting intense. A little like chiptune crossed with metal crossed with internet humor, Extreme Animals’ performance was heavy but not without an element of delicacy.

The headliner finally took the stage at 12:45 a.m. Anamanaguchi opened with the line “Does anyone here watch Two And A Half Men and just wish it was five men? Double the fun!” and powered through 45 minutes of instrumental gameboy punk. By this stage, everyone at MOMI was watching the band, and the crowd was surging with sweat and bloody noses.

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Explosions In The Sky, Antlers @ Wellmont Theatre, NJ

Hugh Francis — Wed, 05 Oct 2011 17:00:50 +0000

Photo by Hugh Francis

The Antlers was midway through a synth-drenched set of haunting, melodic dream pop by the time CMJ reached Wellmont Theatre. Michael Lerner’s drumming was powerful and somber, cutting through the thick ambiance of Darby Cicci’s keyboard work. Lead singer Peter Silberman shone during the band’s final track, “Putting The Dog To Sleep,” leaving the room bewildered and heaving for the main act.

After a brief interlude of wildly out-of-place R&B music, Explosions In The Sky took the stage and ploughed through one and half hours of hugely dynamic, instrumental music. The band’s signature “soft/loud/soft” style was truly effective—arguably more so than on record. Some drum sections from the band’s new album, Take Care, Take Care, Take Care were surprisingly brutal and heavier live, proving the band’s mastery of dynamic range.

It was definitely the tracks from EITS’ 2009 album All Of A Sudden I Miss Everyone that got the most attention from the crowd. The band ended with “Your Hand In Mine” to a sea of hands in the air, and left the stage with squealing guitar feedback. As the mysteriously placed R&B music faded back in, the dazed and drained crowd spilled out onto the street.

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