CMJ » Zach Timm

Soundgarden @ Hammerstein Ballroom: January 22, 2013

Zach Timm — Wed, 23 Jan 2013 20:45:36 +0000

Ever since I started listening to music, I have wanted to see Soundgarden in concert. Growing up in the MTV generation, the “Black Hole Sun” video and the band’s breakthrough album, Superunknown, were my introductions to the group and were soon on full rotation throughout my teen years. The glorious meshing of heavy metal guitar riffs, psychedelia and the rasp of Chris Cornell drew me in, and though I always wanted to see them live, an opportunity never arose, and then all of a sudden, they were broken up. Fast forward 16 years and one reunion album later and I finally get the chance to satisfy my teenage dream of seeing Soundgarden live.

Probably one of the best parts of the show was there was no opener—just a solid two-and-a-half hours of Soundgarden. The band kicked off the performance with a raucous rendition of Badmotorfinger standout “Jesus Christ Pose,” which was a pummeling representation of things to come. The night’s setlist was an eclectic mix from the band’s whole discography, but it tended to veer toward the earlier, heavier stuff. Following “JCP,” Soundgarden tore into “Spoonman,” followed by “Let Me Drown,” an excellent start to the night.

Kim Thayil effortlessly shredded through the songs like he could do it in his sleep, while Chris Cornell’s signature growl, though weathered by the years, was still as commanding as ever. The band was a well-oiled machine of hard rock.

Highlights of the night included crowd-pleasers “Dusty,” “My Wave,” “Fell On Black Days” and “Outshined.” The new track, “By Crooked Steps,” also impressed, while early songs like “Flowers” provided a welcome blast of nostalgia. The absolute highlight of the night was “Hands All Over,” whose pummeling guitar riffs seemed louder and more in your face than anything else in the band’s repertoire. Soundgarden finished off the night with a huge bang, performing earlier classics “Rusty Cage,” “Ugly Truth” and “Beyond The Wheel,” which was a full-throttle early ’90s rock out that provided a triumphant ending to the show.

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Paradigm: San Cisco, Savages, Emma Louise @ Mercury Lounge

Zach Timm — Mon, 22 Oct 2012 17:48:18 +0000

Daughter – Photo by Ali Herman

Mercury Lounge was humming with activity Friday night with music fans waiting to see a lineup of bands ranging from the bubbly indie-pop hooks of San Cisco to the ferocious post-punk of Savages.

Emma Louise kicked off my night with a deeply emotive blend of acoustic rock. Following her was the infectiously upbeat Aussie band San Cisco, which tore through another killer performance of hook-laced indie rock aimed at the first-time-relationship demographic.

Taking the stage next was England’s Daughter, who put on one of the best performances of my whole CMJ. Lead singer Elena Tonra’s performance was absolutely stunning. She delivered her songs in such a commanding yet fragile manner that it added an intoxicating emotional density to all she touched.

Up next was Denmark’s Choir Of Young Believers who put on a performance ripe with emotion created by their dreamy orchestral mix of strings, guitar and Jannis Noya Makrigiannis’s precious voice. It was another beautiful set that kept the audience entranced with stunning songs. Standout tracks of the night included “Patricia’s Thirst” and “These Rituals Of Mine.”

Finally the most talked-about band of the night took the stage—and lived up to the hype. Savages were post-punk goddesses; their performance was a raucous, in-your-face pile driver of a show. They shredded through 30 minutes without any weak songs in the mix, led by Jehnny Beth, whose stoic yet intense performance was reminiscent of Siouxsie Sioux. You haven’t heard the last of this band.

Photos by Ali Herman

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Champion Showcase: Local Natives, SKATERS @ Bowery Ballroom

Zach Timm — Thu, 18 Oct 2012 15:05:56 +0000

Local Natives – Photo by Amanda Stockwell

The Local Natives hadn’t played any official shows yet in 2012, but Champion called them out of California to be the special guests at Bowery Ballroom last night. The band has spent the last three months in the studio with the National’s Aaron Dessner, working on tracks for a new album due out in 2013. New material previews were promised, as were performances of the stellar songs from Local Natives’ first album. But before getting to the night’s headliners, I had four other bands watch.

The night was kicked off with the melodic indie rock of Solid Gold, who performed dramatically soaring electro pop that was quite soulful and kept me engaged throughout the whole performance. Following them was SoCal’s Pacific Air. The band’s members dressed like they were in a Good Charlotte cover band, but thankfully the music didn’t follow that pattern as they played straightforward, melodic indie rock.

Aussie’s San Cisco put on a bubbly performance filled with songs about first relationships, broken hearts and all the dah–dah and do-do lines they could sing. The songs were super catchy and a lot of fun, with standout moments coming during the ecstatically happy “Rocket Ships” and the back-and-forth guy/ girl vocals of “Awkward.”

Next up was NYC’s SKATERS, who put on a pretty damn good performance with their energetic mix of Brit pop and punk rock. The lead singer had some stellar swagger tearing through killer tunes that at times were reminiscent of early Strokes and at other points the Libertines. Their track “Fear Of The Knife” was a reggae track with dance hall drumbeats that was an excellent ode to the Clash. They were fun and high energy, which was exactly what I needed to jump-start that second wind for the night.

Finally the Local Natives took the stage and went straight into some new mind-blowing tracks. Their new stuff had a completely different feel from the first album. These songs were more brooding and intensely emotional. They had a slow build to them, which usually went from a quiet solo by Kelcey Ayer into that explosive three-part harmony for which the Local Natives have become so well known. Along with the new tunes, they mixed in crowd favorites like “Wide Eyes,” “World News” and “Who Know Who Cares.”

Local Natives’ performance was an amazing mix of sing-a-longs to old tracks and patient listening to new ones that the audience had been waiting three years to hear. Although the tone of the new songs was much darker, they still were Local Natives through and through with their insanely intricate drumming and rich harmonies. Though I love the old materials, I was more impressed with the new and absolutely honored to be one of the first people to hear it performed live.

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Ben Gibbard @ Brownies: October 16, 2012

Zach Timm — Wed, 17 Oct 2012 16:31:14 +0000

Ben Gibbard – Photo by Rebecca Smeyne

For one night the HiFi was once again its music venue predecessor, Brownies, for what was an amazing night of stripped-down, mainly acoustic performances by Beth Wawerna of Birds Of Youth and Ben Gibbard, the voice and soul of Death Cab For Cutie.

Beth Wawerna kicked off the night with an assortment of new tunes from Birds Of Youth, which was shrunk to a modest three-piece for the night. She put on a great set filled with solid full-band harmonies, witty lyrical word play and a solid Elvis Costello cover of his classic song “Girls Talk.”

Soon after, the man everyone was waiting for took the stage. Gibbard, who was celebrating the release of his first solo album, Former Lives, stepped in front of the mic wielding his guitar and crooned the opening lyrics to his first song, which brought the crowd to a hush and set the mood for the rest of the performance.

Gibbard played for a solid hour and a half, performing a mix of songs from the new album and crowd favorites from both Death Cab For Cutie’s catalog and selections from Postal Service. Standout tunes included new tracks “Teardrop Windows,” “ Lady Adelaide” and “I’m Building A Fire.” Lyrically these songs were Gibbard at his best, painting pictures of relationships both failed and blossoming. These songs shined through even more during this show since it was literally just Gibbard and his guitar, which has given me an even deeper appreciation for him as a songwriter as well as a singer.

To finish off the show he performed some amazing acoustic versions of “Soul Meets Body,” “Title And Registration” and finished the night off with a simple version of Postal Service’s “District Sleeps Alone Tonight.” The acoustic approach on these songs in an intimate setting left Gibbard with nothing to hind behind—and as one of the most poignant singer-songwriters of his time, he didn’t it.

Photos by Rebecca Smeyne

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Virgin FreeFest @ Merriweather Post Pavilion: October 6

Zach Timm — Mon, 08 Oct 2012 16:01:38 +0000

This year’s Virgin FreeFest was an intriguing lineup that at first didn’t totally do it for me, but over time I realized the opportunity to see such big acts including ’80s icons ZZ Top, EDM poster boy Skrillex, the newly reunited Ben Folds Five and rock kingpin Jack White for the excellent price of free was a chance I shouldn’t pass up.

As per usual the Virgin FreeFest had three stages including the main Pavilion Stage, the West Stage and the Dance Tent. I started off the day wandering around and getting a feel for the stages, catching sets from Baltimore natives Future Islands at the West Stage, ’80s dance pop Brooklynites Penguin Prison at the Dance Tent and an impressive soul singer named Allen Stone at the Pavilion stage. From the beginning it was obvious how the stages would be split up: the Pavilion had all of the rock and Americana bands (Alabama Shakes, Trampled By Turtles and ZZ Top), the West Stage had an eclectic mix of indie acts including Santigold, M83 and Skrillex, and the Dance Tent had DJs… of course.

The early stand-out of the day was D.C. punk band the Dismemberment Plan who brought a little ’90s rock nostalgia to the stage. The pummeling hook-laced psychedelic rock of Portugal. The Man brought out an impressive crowd of fans who knew every word to their songs, and the always fun Santigold got the crowd grooving to her genre-hopping dance music.

Midway through the day the festival started to heat up a bit with a performance by Ben Folds Five, which got the whole crowd singing along to its extensive catalog of catchy, piano-driven songs. They were followed by the Brittany Howard-fronted Alabama Shakes who totally blew me away with their powerful, soulful melodies and some killer live renditions of songs like “Hang Loose” and “I Found You.” Last but not least Nas put on a spitfire performance that spanned his whole catalog and got the crowd moving.

By the end of the day the festival got pretty packed and decisions had to be made. Would it be M83 and Skrillex on the West Stage or ZZ Top and Jack White on the Pavilion? I decided to go with the beards and Mr. White.

ZZ Top put on an impressive show that hasn’t changed a bit since the ’70s and ’80s. They had a huge video screen behind them playing their cheesy music videos, their furry white guitars made an appearance, and of course, their gigantic beards were as lush as ever. They blazed through a set of blues-driven tunes about booze and women and made sure to play the crowd pleasers like “Sharp Dressed Man” and “Legs.”

Finally Jack White took the stage with the Peacocks and put on the best performance of the whole day. He came out with a furious rendition of “Sixteen Saltines” that established a level of intensity that he kept up for the rest of the set. As well as performing a number of tracks from his recent solo album including standouts “Love Interruptions” and “Weep Themselves To Sleep,” he also played classics from the White Stripes catalog like “Fell In Love With A Girl” and “Dead Leaves And The Dirty Ground.” His all-female backup band, the Peacocks, was filled with absolutely amazing musicians and added a refreshing twist to the old Jack White hits. He finished off his set with a rousing take on “Seven Nation Army” that had the whole crowd cheering along while he played his iconic guitar riff.

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Hundred In The Hands, Bikini, My Best Fiend @ Glasslands

Zach Timm — Mon, 30 Jan 2012 18:56:39 +0000

Hundred In The Hands - Photo by Zach Timm

In the heavily saturated world of DIY music venues in Williamsburg, there is truly no better space than Glasslands Gallery. With the help of Popgun, who does most of the booking at Glasslands, you are guaranteed to hear the latest and greatest in the indie music scene. Friday night was no exception.

One of the most impressive performances came from Brooklyn’s My Best Fiend. The group’s blend of ethereal rock ’n’ roll was as grandiose as it was melodic. Post My Best Fiend, the show went into dance mode starting off with the infectious sounds of Bikini. His performance was nothing mind blowing since it was just one dude with his computer on the stage, but that music pumping out of the speakers contained ecstatic party jammers bathed in dreamy fuzzed-out beats that got the dance party started.

After some sound issues were solved, the Hundred In The Hands took the stage. The band’s ever-catchy post-punk, avant-pop got the crowd dancing in a frenzy to favorite tracks “Commotion” and “Pigeons.” The band also played some new songs that were well received. Eleanore Everdell’s sultry, sweet vocals were a seductive listen that perfectly mixed with Jason Friedman’s electro-punk beats.

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Preservation Hall Jazz Band @ McKittrick Hotel: January 5

Zach Timm — Fri, 06 Jan 2012 22:26:26 +0000

Photo by Zach Timm

The traditional New Orleans jazz that the Preservation Hall Jazz Band performs transports you to another era from the first note blown. On any trip to New Orleans it is a must that you attend one of the band’s daily gigs at the legendary Preservation Hall, an intimate venue that is the size of a Brooklyn living space. Preservation Box would better describe the 40+ capacity venue, but the setting is the perfect way to see the band.

Preservation Hall Jazz Band is in NYC to celebrate its 50th anniversary as a group. The celebration continues tomorrow at Carnegie Hall with help from a star-studded lineup of friends and performers including My Morning Jacket, Mos Def, Allen Toussaint and many more. As expected this show sold out immediately and was a super hard ticket to get. Thankfully the band decided to come up a week early and do a set of intimate performances called the Crescent City Stomp at the McKittrick Hotel/Manderlay Bar, which I was fortunate enough to attend last night.

If you haven’t been to the McKittrick Hotel it is an astounding five-floor mansion, which is the setting of the interactive, theatrical performance Sleep No More. This event just took place on the first two floors, which included the 1920s speakeasy Manderlay Bar. With its old-timey décor, it made for the perfect setting for the Preservation Hall Jazz Band performance.

I was front and center for this show, close enough that I was dodging Freddie Lonzo’s trombone as he played. Once the band started to play, the space transformed into the sweaty club scene of New Orleans. Beers in hand, the crowd danced and grooved to that Crescent City swing as the band performed tunes like “Shake It And Break It,” “Tootie Ma Is A Big Fine Thing” and “When The Saints.”

Later in the show the band was joined on stage by My Morning Jacket’s Jim James for a couple of songs, and we were even graced with the presence of the “Burlesque Queen Of New Orleans,” Trixie Minx, who did a little performance during one of James’s songs. Later in the band’s second set, Tao Seeger added guest vocals on a song, and the intimate show wrapped with the gospel classic “I”ll Fly Away.”

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Hold Steady, Titus Andronicus @ Brooklyn Bazaar: December 17

Zach Timm — Wed, 04 Jan 2012 16:43:52 +0000

Hold Steady - Photo by Zach Timm

I have seen both the Hold Steady and Titus Andronicus live in concert, and both shows were just pure, energetic, rock ’n’ roll bliss. So when I heard they were playing together on the same bill, I had to partake. I was set for one raucous good time filled with punk-rock Jersey angst and the anthemic, verbose storytelling of Craig Finn. The night mostly lived up to my expectations, but there were parts of the show that definitely seemed off.

The show was at the Brooklyn Bazaar, a pop-up venue of sorts in a Williamsburg warehouse that was predominantly an indoor marketplace. At first I actually envisioned a stage nestled in the corner of the marketplace with the bands rocking out on it, but they ended up being separate entities within the huge building. The venue was a cavernous space with a half pipe, picnic tables with some choice Brooklyn-based food vendors and then the stage itself. All in all it was a huge space that was too big for its own good, especially for two bands that thrive in small venues.

I didn’t recognize Titus Andronicus at first when the band members came onto the stage; lead singer Patrick Stickles was baby-faced and clean cut, and Amy Klein left a void. The players seemed awkward together; their sounds were less abrasive and lacked the masterful precision that Klein added to their punk-rock sound both with her guitar work and fiddle. They got into a better groove when they started playing tracks from The Monitor, and ex-Titus member/Deer Tick guitarist Ian O’Neill rocked out with them for a few songs.

Thankfully, the Hold Steady was on point with its performance, as usual. The group played a killer mix of its whole catalog ranging from 2006’s Boys And Girls In America to the newer albums, Stay Positive and Heaven Is Whenever. The Hold Steady started off its set with a blistering version of “Sequestered In Memphis” and from then on plowed through hook-laced, bar-rock anthems. Standout tracks were “Chips Ahoy,” “Rock ‘N’ Roll Problems” and “South Town Girls.” Finn exhibited giddy joy as an astounding amount of fans sang back his every word. I get winded trying to sing along with his songs that read like short stories packed into three-minutes songs. That is why I stick to the choruses.

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David Wax Museum, Spirit Family Reunion @ Le Poisson Rouge

Zach Timm — Mon, 05 Dec 2011 21:00:16 +0000

Photo by Zach Timm

Every time I have seen David Wax Museum in the past it has been an absolute blast. The band’s blend of traditional Mexican instruments and the American folk tradition translates perfectly to its live performances in a highly energetic, joyous fashion that is impossible not to dance to. This is a band that performs with no boundaries, often ending up playing in the audience by the end of the show. Knowing this, I was a little surprised when I showed up to Le Poisson Rouge and found the usually open space in front of the stage covered with tables and chairs. Especially when I found out that the raucous, old-timey band of Brooklynites Spirit Family Reunion was opening.

Thankfully, the seating arrangements didn’t really get in the way. Spirit Family Reunion put on a solid opening set that had the audience stomping its feet and pounding on the tables. Highlights were the countrified barnburner “ When My Name Is Spoken” and the gospel-infused “Leave Your Troubles At The Gate.”

Photo by Zach Timm

The David Wax Museum opened its set with the emotionally intense song “That’s Not True.” From then on the band switched back and forth from mid-tempo folk tunes to up-tempo, Son Jarocho (traditional Mexican dance music) inspired jams that had Suz Slezak tapping away on the jawbone and David Wax playing the jarana, a small Mexican guitar. Stand-out tunes were “Chuchumbe” and new song “Leopard Girl,” which forced people out of their seats to dance, while songs like “Look What You’ve Done To Me” and “Night Was A Car” were perfect for the seated venue.

As per usual the second half of the performance was all up-tempo songs including “Unfruitful,” which had the band venturing into the audience and performing all over the venue, including on top of the bar and even in the bathroom. We were lucky enough to have the band come together in front of our table for the final part of the song. They also brought out Spirit Family Reunion for a raucous number and performed the hit “Born With A Broken Heart.” For the final song, we moved the tables out of the way and huddled around the band to help sing the classic folk song “Let Me Rest.”

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Givers @ Terminal 5 : October 20, 2011

Zach Timm — Fri, 21 Oct 2011 16:27:22 +0000

Photo by Kent Miller

Usually when I am experiencing a band for the first time in concert, Terminal 5 isn’t the venue on the top of my list. It’s hard to get to, way too big and usually pretty crowded. The biggest annoyance is the size; some groups that play there just don’t translate well to the cavernous midtown venue. Needless to say I was a little skeptical about seeing Louisiana’s Giversthere when I showed up last night. The skepticism was immediately wiped from my brain once this energetic group hit the stage.

Although most of the crowd was there to see Portugal. The Man, they were completely entranced and dancing like fools by the first note of the Givers performance. Terminal 5 was literally changed into one big Mardi Gras party for that 40-minute set. Although there isn’t much traditional Mardi Gras in the band’s music style, its blend of Afro pop and indie dance rock still evoked the energy of the festivities. It must be in that Louisiana water.

Givers’ performance was a buoyant, uplifting mix of percussion-heavy, full-band harmony jam sessions that were absolutely astounding. The sound was big and intricately crafted. The most fun to watch was percussionist and vocalist Tiffany Lamson, who played some of the most astounding drumbeats while also singing.

The stand-out songs of the night were definitely “Noche Nada” and the group’s insanely catchy single “Up Up Up,” which finished off the set with a bang. There wasn’t a weak song in the batch, and Givers kept the performance upbeat and 100 percent good times. It was definitely refreshing to see a band having as good a time onstage as I was listening to them. If there is any band that is a must-see this CMJ, it is most definitely Givers. You will not be disappointed.

All photos by Kent Miller.

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Low Anthem @ Music Hall Of Williamsburg: June 15, 2011

Zach Timm — Thu, 16 Jun 2011 21:41:38 +0000

Photos by Zach Timm

What separates the Low Anthem from all of the other old-timey, Americana revivalist bands is its distinct understanding of atmosphere and the emotional kick it can bring to a simple folk song. Each of the group’s three albums was recorded in a different location ranging from a cabin on Block Island (Oh My God, Charlie Darwin) to an abandoned pasta sauce factory (Smart Flesh), and each album is imbued with a sound that is connected to that location. The cavernous echo of the abandoned factory heard on Smart Flesh is an emotive tool that basks the band’s unique minimalist arrangements of angelic clarinets, acoustic guitar strums and wheezing pump organs in an emotional density perfectly accompanying Ben Knox Miller’s downtrodden characters of the past.

Music Hall Of Williamsburg was neither an abandoned spaghetti factory nor a cabin in the woods. But the group’s show there last night was a dynamic, awe-inspiring rendition of its three albums that was leaps and bounds better than the recorded versions of the songs. The lavish yet minimal orchestrations hushed the audience and left everyone entranced in the ghostly beauty of songs like “Matter Of Time,” “Apothecary Love” and “Smart Flesh.” Between each song the members effortlessly swapped between a unique array of instruments that were plucked and sawed to create an intoxicating atmosphere. The most heart-wrenching performances of the night were of the banjo-led “Burn” and the Rev. Gary Davis cover “Sally, Where’d You Get Your Liquor From?,” which featured a pulsating pump organ and full-band harmonies.

It was an amazing performance that was almost absolute perfection. Where the band faltered was in the reworking of some of its more rocking songs. The epic 9/11 song “Boeing 747” lacked the energetic punch of the studio version, and the usual barn-burner “Horizon Is A Beltway” was slowed to a medium pace and stripped of the raucous energy that made it a fan favorite. But those two missteps didn’t keep me from being blown away by the Low Anthem’s show. The band members are so insanely creative with their arrangements that I was left completely dumbstruck with how beautiful a trumpet, clarinet and a saw of all things could sound together.

To finish off, the band huddled around the mic and performed sparsely arranged versions of “In Ohio” and “Charlie Darwin” that were the perfect ending to one of the best shows I have seen this year. In the end what I realized was that the Low Anthem’s live performances are so heartfelt and masterfully done that its music will forever be better in concert than on album.

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