THIS WEEK IN SHOWS

MON, DEC. 14

Keren Ann, Clare and the Reasons
Knitting Factory Brooklyn
8:00 PM, $15, ALL AGES

Funny, compared to 2009’s wave of bedroom pop with a melancholy undertow, artists like Keren Ann and Clare and the Reasons sound like such sparkling romantics. But let’s not forget that we need these, too – songs you can imagine slowdancing to, like Clare and the Reasons’ weepy “Pluton,” or classic pieces of seduction like Keren Ann’s “It Ain’t No Crime.” Maybe Monday at the Knitting Factory won’t push the limits of pop music to any new ground, but it should be a good showcase of tight bands with serious vocal talent.

TUES, DEC. 15

Cold Cave, Small Black
Music Hall of Williamsburg
10:00 PM, FREE, 21+

Go 18 Dummy at the FREE VBS.tv holiday party this Tuesday. Talk about a good end-of-the-aughts set; Cold Cave and Small Black have had a persistent presence in both the blog world and the real live world of shows this year, and they’ve really proved their meddle. Small Black’s more like the other sandy lo-fi bedroom stuff that the internet’s been hemorraghing lately, and Cold Cave is more of a crispy ’80s throwback, but they both exude a foggy longing that we can’t get enough of. The show’s sponsored by 1800 Tequila, which isn’t important really, but you should check out this cool special edition bottle Vice produced for the party. RSVP REQUIRED! If you wanna go, click here.
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FRESH BAKED
in NYC
Class Actress
Journal of Ardency
2009 | Terrible Records
B

Brooklyn group Class Actress’ debut album opens with an inviting electronic shimmer, drawing listeners into the polished pop of “Careful What You Say,” a perky dance track strewn with keyboard riffs mined from familiar ’80s territory. Fortunately, instead of a computerized drone at the controls, there’s Elizabeth Harper and her stunning voice, which soars breathily over the 808 handclaps and retro bleeps, smoothing out the rough bits for a mix of harmonies that sits comfortably above cheap imitators. Harper is also the band’s songwriter, and the seamless interplay of voice and instrument is no accident.

The title track is the album’s best, all ominous synthesizer bubbling and agile lyrical delivery full of defiant emotions from Harper that would otherwise be lost in translation if merely read off a lyrics sheet. The surging keyboard chords behind the chorus hint at a power that she’s only controlling with her voice because she doesn’t want to hurt you yet – like a cat toying with her prey, she’s simply waiting with infinite patience for the right moment to strike. In between verses, juicy keyboard interludes swell lushly in the speakers. What exactly is a “journal of ardency”? Just a pretty metaphor, but hearing her say the words conveys a spine-tingling thrill amid the icy beats and predatory sweetness.

“Let Me Take You Out” is a breezy, smooth ride, upbeat and poppy, but the breathy vocals start to grate quickly, especially during the chorus. Harper sings sweetly, but there’s no edge at all – the seductive whispers have turned sedative. Overproduction turns her blissed-out “oohs” into yawns, and the next track, “Adolescent Heart,” continues the downward slide. Pleasant, woozy lyrics and twinkly synth swirls are anchored by only the most minimal percussion track, with more elongated vowels piled on like shovelfuls of Ambien.
More on Class Actress | Journal of Ardency

Class Actress

LIVE JOURNAL
JezebelMusic.com @ Pianos
October 23, 2009 | Terrible Records CMJ Showcase

Brooklyn band Arms opened Saturday night’s Terrible Records CMJ Showcase with a breezy, blissed-out pop set, their casual tone clashing distinctly with frontman Todd Goldstein’s jagged movements and nervous between-song banter. Though clearly uncomfortable under the spotlight, his guitar playing was effortless; unfortunately, like the rest of the set, it was also somewhat passionless. The band seemed to be in a hurry to finish, neglecting to put emotion into the music – there was a lukewarm smiliness that persisted even through a song that was, according to Goldstein, “about the end of everything,” and while the lyrics were crisp and audible on the venue’s excellent sound system, they were delivered in a nasal monotone. The music was pleasant enough – barring an irritating excess of ooohs and aaahs in the backing vocals, sung in stock harmonies that wobbled off-tune occasionally to turn the dreamy pop into the stuff of nightmare – but quite bland, and easily forgettable.

Arms

The next set was all too brief. Toronto act Little Girls wasted no time in creating a stormy atmosphere, sending whorls of dark noise over ominously simple minor chord progressions that teetered on the edge of control. Frontman Josh McIntyre’s vocals wove skillfully in and out of the noise, shouting and singing with equal effect. The thrashing guitars piling up over the main chords threatened to descend into total anarchy at any moment but never did, drummer Anthony Gerace’s speedy yet metronomic percussion keeping them in line. Even when McIntyre started flailing around the stage, savaging the keyboard and then jumping into the audience, no one missed a beat, merely speeding up to match his convulsive dancing. The legendarily-jaded CMJ audience was surprised, to say the least, when this energetic tornado with his weird brillo-pad haircut landed in their midst, and he helicoptered around shouting his way through the last song all too briefly before crashing to an end and taking the set with him.

Little Girls
More on CMJ 2009: Terrible Records @ Pianos | 10.23.09

THIS WEEK IN SHOWS

It’s time for CMJ again, which means the same New York bands you can see all the time in will be playing alongside some touring bands – who would’ve all come to New York at some point anyway – in marathon-length shows full of semi-interested badge-holders and grumpy photographers who get angry when you accidentally bump into them while rocking out in the front row. (Except our photographers, who are very cool and friendly.) We tend to complain about CMJ, but since it’s here, we might as well embrace it. It IS really fun to see ten of your favorite bands in one night, and, exhausting as it may be, it’s fun to do that five nights in a row! As usual, these are my totally subjective and incomplete recommendations for the coming week. You can flesh this out by telling us who you’re going to see… Send us some photos if you go. Or boycott CMJ; that’s totally respectable too. As for us, we’re just excited for a reason to shirk our other responsibilities for a week and rock out in the name of journalism.

TUES, OCT. 20

PANACHE/NEW YORK NIGHT TRAIN CMJ SHOWCASE
Upstairs: Heavy Trash, Golden Triangle, Lovvers, Harlem, Surfer Blood, K-Holes
Downstairs: The Stalkers, Unnatural Helpers, Flexions Dinowalrus, Julianna Barwick, SCREENS
Santos Party House
7:00 PM, $10/$12, 18+
It seems that every other show I get excited about is somehow connected to Panache Booking or New York Night Train (or both), and Tuesday night’s bigass blowout is no exception – just check out the lineup!!! I just need to figure out how to be upstairs and downstairs at the same time. I’ve yet to see Heavy Trash, though I’ve heard good things about their show, but Stalkers deserve some props too. They don’t seem to get much press, but they’re one of my favorite live bands: their songs are totally fun and anthemic, and besides, I’ve seen them throw cymbals, get naked, dribble vomit, and last time I caught their show, lead singer Andy Animal was tossing firecrackers into the crowd with a menacing glee. Alright!
More on This Week In Shows: CMJ EDITION!