Review: Iceage @ First Unitarian Church (Philadelphia, Apr. 19)

Photo by Oda Edjar Starheim

The ruminations of one of Philadelphia's most well put together punk shows had a risk. Heading the formative billing of White Lung, Night Birds, and METZ was Iceage, the youngest of the four bands with easily the most buzz surrounding them. And with that favor came the band's less-than proud reputation of its listless live shows, which, given their youth, was somewhat unsurprising.

Preceding Iceage were three groups with consummate energy. White Lung, starting relatively early, ripped through last year's Sorry LP as guests leaked out of the earlier church ceremonies upstairs. Given the band's relatively surging popularity and the fact that the Vancouver group boasted the only female acts of the entire night (a welcome sign in the least), it was somewhat surprising that local band Night Birds were set to play afterwards.

The New Jersey punk band housed some of the nights best energy, which coincidentally featured a fellow Rowan University friend on guitar (awesome). Their self-branded American stylized punk wasn't much of a separator in terms of individual vision, but the piece-by-piece energy output of the foursome was certainly adept for the basement.

Which led to Toronto trio METZ, which had arguably the most proud reputation of ecstatic live displays. Each of the three acts soundly followed the last, showing its own merits and setting themselves apart from one another, with METZ coming out arguably as the night's best. They didn't meander through in-between song discussions, suffered little to no technical setback, and confidently strode through as a band that profoundly knew had to make a name for themselves.

As side-ways rain began to fall outside, making the floors even slicker than before from beer and sweat, Iceage quickly topped off the night. Still the biggest name of the four, the crowd stayed packed, and was more than admiring. The Dutch foursome still had some issues outside of lead singer Elias Bender Rønnenfelt commanding his own spot, but a more than anxious crowd helped deter what could of otherwise been seen as a standard quick performance. Which proved, more than anything else, that crowd command matters more than young artists might realize.

Review: Black Moth Super Rainbow @ Union Transfer (Philadelphia, Dec. 7)

The birth of Philadelphia's Union Transfer, the city's newest and most-inviting venue, served as a fresh middle ground between the celebrated, but somewhat underused Electric Factory and the fun-filled heat coffin of First Unitarian Church. One, in that keeps the large crowd-friendly style of the former, but with the consistent and more money-friendly bookings of the latter. Renovated from an 1800s-era building on Spring Garden Street, the surprisingly massive venue is a stylistic carryover from New York's celebrated Terminal 5; packed with a sprawling balcony, back bars, and a large crowd floor. The distinctions shouldn't be surprising, considering Philly's R5 Productions created the venue in partnership with NY's The Bowery Presents.

Walking in the unassuming floor level, Philadelphia's own Creepoid provided what ended up being the better of the night's two lead-ins to Black Moth Super Rainbow. The cavernous lo-fi psychedelic guitar romps fit well for the early crowd, lifting the band from filler to curious with surprising ease. I can't say the same for Ryan Graveface (of BMSR) side-project Casket Girls.

Parlaying a dubious middle ground between Dum Dum Girls and any miscellaneous dream pop obsessed with VHS-era music videos, the Savannah, GA band found an easy identity. The only particular problem with it is that it's not really an identity. Maybe it was the need for the Greene sisters to always cover their eyes that made their performance seem somewhat passionless, but every stage gimmick that happened between the two of them never seemed to feel genuine. Just a routine of a band that fits in with the time, I suppose.

After ditching is face-covering hood, Ryan joined BMSR for an efficient, bass-heavy show that many of the kids rolling on acid in the crowd were waiting for. One group in particular did their best to recreate Halloween, covered in DIY patterns of black paint and a few dragonfly costumes. If the playlist were to dictate dress code, those kids seemed to follow it aptly.

Frontman Tobacco positioned himself behind his vocoder, and the most ill-placed shirt decoration possible (see in photo), and cruised through an hour-plus of droning, glittery, and atmospheric tracks. There were only a few moments teeming with tense rushes, but there were hardly any lulls either. For a band so transfixed on its artful nature, it's pleasing to see them perform without muddling any of the live process. The only problem seemed to be with the more unfamiliar fans that even the most ardent BMSR die-hards can recognize - it's pretty hard to tell when the band is going through its early discography and the most recent album Cobra Juicy (sans the "Windshield Smasher" opening). But again, maybe a for a group with such clear and distinct aesthetics, those differences aren't as important. Rather, performing the collection as one piece, serving as a more visual course helps deliver the point clearer.

Review: Buke & Gase @ Kung Fu Necktie (Philadelphia, Oct. 11)

The collective description I've heard over and over again of NY duo Buke & Gase is how they can sound larger than the sum of their parts. Sitting calmly in front of a small crowd at Philadelphia's Kung Fu Necktie last night, Arone Dyer and Aron Sanchez moved through subtle rhythms and movements with every appendage. The floor beneath them was littered with peddles - many of which Sanchez makes himself, including his modified six string bass - a bass drum, and a cymbal to complete the illusion of a full backing band.

The more the short set went along, the more the extemporaneous pieces came into play, parlaying Dyer's vocals with harmonizing effects and other nifty gadgets that played the part of what seemed like a keyboard. There just seemed to be so much going on at once, despite the relative tameness of the parts sitting on the dimly lit stage.

And that, in itself, is an unfortunate fault. Despite the creativity and DIY approach, which is something you can really appreciate, there's a cataclysm of what can be done. The levels on Dyer's guitar and Sanchez' bass hardly change during the show, and the vocals - while pretty at times - become garbled in the scope of everything.  To the casual listener, there's not too much assurance of when their 2010 debut Riposte goes into their recently released EP Function Falls. But the result, more often than not, touches base with groups like Deerhoof and Dirty Projectors. Refined uniqueness, just borderline their own.

The band's tour continues tonight at New York City's Mercury Lounge. Tickets are still available.

Review: Patrick Watson @ World Cafe Live (Philadelphia, Sep. 6)

I think there was a misnomer in my Patrick Watson preview from two days ago; aimlessness. I assumed, unconvincingly, that Watson's catalog, all the while beautiful, was aimlessly wandering through ideas. As I sat idly along the sidelines of Philadelphia's World Cafe Live last night between University of Penn students and other likely academic newcomers to the area, Watson and his brand of truly exceptional musicians coasted through a very unassuming stage show.

For a venue with seating only, the intimacy was truly unsuspecting, while the visual display also exceeded limited expectations. Graced with minimal lights and cascading projectors of old footage that looked like it was exclusively shot in Sarajevo in the 1920s, the two hour-plus performance seemed even loftier than the already lofty Patrick Watson catalog was.

Early in the performance, Watson asked the crowd if they had seen Andrew Bird performance in Philadelphia last May (Watson was his opener). A few in the crowd jolted, with Watson jokingly pointing out the similarities between the two. Indeed there are: the hyper-romantic semantics, the multi-instrumentation, the fantastic supporting musicians. With Bird obviously sticking out as the more successful of the two (with reason), Watson does his diligence to make his name his own; which didn't help when he sang  "Big Bird in a Small Cage," a song about, yes, birds.

Still, having seen both, there's a clear difference. Watson genuinely loves to work within a crowd, something many accomplished musicians struggle mastering. He would casually joke with the audience, asking for requests, even performing with them during "Man Under the Sea." For someone with a discography so unassuming, there's something sincere to admire in the performance. It may not seem totally obvious from an outside source, but seeing it with a starkly attentive crowd, still from the awe, makes it seem bigger than it was.

You can still catch Watson in the area (sort of) tonight with his performance at the Bowery Ballroom in NY. Tickets are available here.

Review: Iceage @ Johnny Brenda's (Philadelphia, July 23)

Cast on a tiny stage, Danish punk four-piece Iceage made a more lasting impression last Monday night at Johnny Brenda's than fans may have anticipated.

Following a somewhat confusing short set from Brooklyn duo LAW, and a calmly chaotic performance from Dirty Beaches (Alex Zhang Hungtai), Iceage cast a fast-paced 30 minute set in front of a mixed audience. While most were clearly there for the headliner, some had stayed behind for Hungtai. So for some, the frenzy was a little centralized.

The band, although only a year or so into their post New Brigade LP careers, has earned a not so welcoming reputation for its lives performances. Lead-singer Elias Bender Rønnenfelt dictates a decent amount of energy on the crowd, although most seem slightly inaudible. His three counterparts, however, play through shorts jolts of energy some methodically that to them they appear almost completely separate.

Although only 30 minutes, the band has limited material to work from. That in its own gives the band a pass, because the more the show went along, the better and better the energy transferred around the room. The set's closer, "You're Blessed," seemed to resonate extremely well, despite its abruptness.

With more source material, the band should be bigger in a few short years. As for now, New Brigade will carry them as far as they can go.