Archive for April, 2008

Count Ossie and The Mystic Revelation of Rastafari- “Grounation” 3xLP (1973)

Posted in music, records, Tom with tags , , , , , , , on April 17, 2008 by criticalreviews

Going to college in Charleston kinda left a bad taste for reggae with me…while Andolinis Pizza always played great old school stuff I was too blinded by all of the frat boys wearing Bob Marley t-shirts to notice the great music they had on. But reggae really hit me sometime last fall. I had been listening to Mystic Sound on East Village Radio and Tunnel One on WNYU, and really liked what I heard but didn’t know where to start with purchasing LPs. I had recently come back into contact with a friend of mine, Jay (formerly of Andolinis Pizza), who does a couple really rad internet radio shows out of Austin, TX. Jay started me off with some suggestions, and now when ever I have a question I tend to shoot him an email. My brother got me for X-Mas a copy of Soul Jazz’s Studio One Roots and the first song on it is a short little instrumental number by Count Ossie and the Cyclones (which I was living and dying with for most of January and February). I did some research into it, and didn’t come up with much so I sent Jay an email and he told me to check out Count Ossie’s classic album Grounation.

So I had heard that Jammyland, the great reggae shop in the East Village, had closed and stopped in to confirm this was just a rumor. While Jammyland was open I found out, and very sadly so, that they will be closing thier doors at the end of May. Jammyland’s rent was raised, and they are currently looking for a new spot, but the guy working the store didn’t sound super positive (I guess this will be a temporary end to Hospital Productions as well). One good thing that did come out of my visit to Jammyland was that they finally tracked down some copies of the currently out of print Grounation on LP.

So I was skeptical at first of the LP. I had read that Grounation was typically a scratchy sounding record, but I took my chances (after a little encouragement from klk). The album art is fantastic:

The records, and there are three of them, were housed in plastic bags (typical of reggae vinyl pressed in Jamaica from my experience thus far). I took care of that as soon as I got home getting them in proper dust jackets. While the records themselves have quite a bit of popping and crackling, especially when the needle gets toward the center, but this is just due to the press not the condition of the vinyl…. the music is amazing.

Count Ossie is known for bringing Nyabinghi culture (which is considered the strictest form of Rastafarianism) to reggae. Ossie is credited not only with creating many of the Nyabinghi rhythms as well as being the first to record Nyabinghi drumming, but many music historians credit his song “Oh Carolina” (a version of which is on Groundation) as being the first reggae record ever made.

Musically Groundation is extremely hypnotic, and this is mainly because of the drumming, and overall has more of a tribal feel(much more so than any of the other reggae records I have). The album lyrically is mainly talking and preaching over the music (there is a little singing), and chanting (which are characteristic of Nyabinghi Celebrations aka Grounations). The title track of the album is over 30 minutes long, and takes up the entire 3rd LP. This album is raw, and you can tell that it was recorded in the early days of reggae. I can see how reggae, overall, was greatly influence by The Mystic Revelation of Rastafari not only in Nyabinghi rhythms and drumming, but even in vocals and music, especially if you listen to “Oh Carolina” (this is the most traditional sounding tune on the album).

I think of this record as a cultural experience, and very few albums give me the feelings and chills that this one does…if you play it loud enough it almost feels like you are in the middle of the ceremony…like you are sitting next to one of the drummers (so much so that some of the drums are much louder at times than others), and the singer is preaching to you. Spiritual.

I can say it is really unlike anything I have ever heard, and I highly recommend it, if you have any interest in reggae music.

Although I can’t embed it…you can listen to “Oh Carolina” here (as well as many others)

Jay, mentioned above, helped me out with a bit of my history and currently spins roots and dub records on kvrx.org from Monday night/Tuesday from 12am-1am Eastern time, and on KAOS959 8-10pm on Tuesdays. Thank for everything Jay!

(Tom)

Lenora’s Way (formerly known as Wells Ales and Lagers)

Posted in alcohol, bars, restaurant, Tom with tags , , , , , , on April 16, 2008 by criticalreviews
303 Bedford Ave. (between South 1st and 2nd Streets)
Williamsburg, Brooklyn

So I started going Wells Ales and Lagers sometime last fall, and it has quickly become my favorite bar (I’ve been there twice in the past week, and that says a lot about it considering how far uptown I live). I was talking to a bartender on a recent visit and found out that one of the original owners was bought out, and that is why it is now called Lenora’s Way (the person who got bought out took the name Wells with him). There really hasn’t been any changes since the name has changed: same bartenders, atmosphere, and great beers (I still call it Wells, I just can’t used to saying the new name, and they still have the Wells sign). This has become our stand by in Williamsburg, and even though it is a little south we always hit it up before going to a show (a short walk to Musichall of Williamsburg, and a really short walk to Death By Audio or Glasslands).

This bar has a really new feel. A long wooden bar runs down the left side of the establishment and a couple tables down the right side (it is a very narrow space). There is one booth in the very front, and they have a largish garden area for when the weather is nice. Behind the taps there is some really nice tiling, and the lighting is dim and pleasant. Musically it is really diverse, but the thing that really attracted me to the place was that the first time I was in they had on some really chill roots and dub reggae. Other than reggae frequent musical selections are jazz, 90’s indie rock, and just once…Slayer.

Drink wise they have about 10 beers on tap (roughly 5 American Craft beers at about $5 per pint, and 5 Belgian or European ranging from $6-$9). One big plus is that one of the American’s is usually one of the higher alcohol Lagunitas beers (Lumpy Gravy from the Zappa series, and Maximus IPA recently). They also have over 100 bottles of beer, many extremely reasonably priced for what they are (most between $4-$6), and a carefully chosen wine list. Unless you exclusively drink hard liquor Wells will have something for you, and if you can’t decide the bartender can help you. Service has always been excellent

They have a small food menu of paninis and appetizers, all of which are a bit on the gourmet side. I have only tried the vegetable panini and the hummus…and they were both wonderful.

I highly recommend this bar…great atmosphere (never too loud, always good for conversation), music, and bar staff…unlike a several of the other bars I have reviewed I have visited this place many times, and have yet to have a bad experience…I hope it stays that way.

Oh and I almost forgot…if you are still thirsty on your way out they sell any of their bottles to go! So no need to stop on the way home to get more beer.

Photo taken by Uptick.

(Tom)

The Mountain Goats “Sax Rohmer #1” Music Video.

Posted in music, music videos, Tom with tags , , , , , , on April 15, 2008 by criticalreviews

So I was watching New York Noise on Saturday night, and low and behold the video for “Sax Rohmer #1” came on. To be honest I haven’t really paid attention to the videos for the Mountain Goats singles before this (and I didn’t even know that this song had one), but damn is it good. I was totally impressed with how the video was put together…placing the emphasis not on some dramatic theatrical preformance of actors in the video, but literally on the lyrics. For me John Darnielle is all about the lyrics (the music is great, but his words move me). I think this video captures the band extremely well, and it is my favorite music video since Scout Niblett’s “Kiss” featuring Bonnie “Prince” Billy.

Enjoy.

(Tom)

The Weakerthans & AA Bondy @ Musichall of Williamsburg. Friday April 11th, 2008.

Posted in music, shows, Tom with tags , , , , , , , on April 14, 2008 by criticalreviews

So this show is a really longtime coming for me. I have been a fan of the Weakerthans since Fallow, and consistently followed them through their various releases. KLK and I even had tickets to see them once at the Cat’s Cradle in Chapel Hill, NC (four years ago) but couldn’t make the 5 hour drive due to illness. I am always a little nervous seeing bands that I have listened to for a longtime, but have unfortunately missed live time and time again.

I did get to see Propagandhi on the Todays Empires, Tomorrows Ashes tour, but this was after John K. Samson left the band. I love Propagandhi, but when Samson left the band it marked two very important things: 1) the creation of The Weakerthans as a band and no longer just a side project, and 2) Propagandi getting heavier and faster as well as the end of the Less Talk More Rock(one of my favorite punk rock albums ever) era (as well as the permanent break up of I Spy, another great Canadian punk band whose singer, Tod, filled Sampson’s spot in Propagandhi). Overall I think this change was a good thing, because it let Samson develop his own voice, and his wonderful poetic lyrics (but at the same time let some of the things I really love about Propagandhi die). While some of the punk rock feelings remain lyrically, and somewhat musically, the Weakerthans are very much a rock band and they do it well.

We were hesitant about going to the show (the nervous anxious feeling of seeing a band you like…and the fear of disappointment), and almost decided to sell our tickets outside…but in the end we ended up going in…and it turned out to be really enjoyable, except for the opening act.

AA Bondy was the second of two opening acts (we didn’t get there in time for Christine Fellows). Bondy was a plays slightly whiny upbeat acoustic rock (solo), and seemed like he wanted to be a mix between Conner Oberst and Ryan Adams. Singing about emotions, relationships, and drugs just didn’t quite do it for me. One of his songs started out with the line “Sweet Sweet Cocaine,” and while this might work for some other artists to me it just came off sounding cheesy. I realize that Bondy may have been in an influential band previously, but I can’t say that I was moved at all by his set the other night. If the show hadn’t have been sold out we probably would have showed up right before the Weakerthans went on, but got there early to get a decent view of the band and had to endure Bondy’s set.

The Weakerthans came on around 11pm, and played for an hour and a half including two encores. We watched from the balcony, and The Weakerthans played a really tight set. While many bands today have a cohesive look, The Weakerthans are all individuals and presented to me just a bunch of friends in a band doing their thing. The four piece was joined on stage by Christine Fellows (playing keyboard and guitar), and overall had a very unpretentious vibe (as expected). I really don’t think of The Weakerthans as a punk band (but I guess I used to), and while there was very little moshing there was quite a bit of finger pointing and dancing. Overall a really fun show. They surprisingly only played a handful of songs from the newest album, Reunion Tour, while playing fan favorites from all of the previous albums. While I haven’t gotten super into Reunion Tour I can appreciate it, but I thought it was wonderful to see them playing songs that were released so many years ago. One or two off Fallow (hurrah for “Confessions of a Futon-Revolutionist”)and several off of Left and Leaving. And a whole bunch of Reconstruction Site (I was really happy to hear “Plea to a cat named Virtue” and “Our Retired Explorer (Dines With Michel Foucault In Paris, 1961)”).

Samson was actually really cute…he came out on stage before the second encore by himself and took pictures of the sold out crowd. This show really brought me back. We stayed until the end of the show, and headed out into the night with really positive feeling. I kept hearing people yell out “Anchorless,” but I guess John needs some back up to do that one live (see below). We left the show feeling so good that we ended up drinking until 5am….cheers to the Weakerthans and good friends!

Media:

Listen to “Plea from a cat named Virtue” off of Reconstruction Site:

While searching for photos of the show on flickr I came across one with the caption:

“JD joins JKS for a very impromptu duet version of “Anchorless”, as viewed through Weakerthans drummer Jason Tait’s camera LCD screen. “

Although the video isn’t the best it is worth posting: John K. Samson and John Darnielle playing “Anchorless” (thanks Lalitree!!!)

Weakerthans photo is from Anti-Records’ website

(Tom)

The Dirty Projectors and No Kids @ The Musichall of Williamsburg. Wednesday April 9th, 2008.

Posted in music, shows, Tom with tags , , on April 10, 2008 by criticalreviews

So there is controversy over whether or not this show was sold out…all I know was that I didn’t have to wait in line, and there was a huge line at the ticket window(it was really packed inside too, so I wouldn’t have been surprised if they stopped letting people in). I was pretty excited about this show, but even though The Dirty Projectors can fill a space this big, I’m not sure if it is the best thing for the band or the crowd.

First up was No Kids, and they went on right around 9pm. They were playing to a much less attentive crowd (than the other night) to the point where it was really hard to block out peoples conversations. I noticed a huge difference in No Kids between the show last night, and the Dodos show last Sunday. Last night I feel that the inattentive crowd had an a negative effect on the band. Nick seemed far less comfortable, and his dancing was almost non-existent (this made me a little sad). But none the less the band sounded great despite the talking, and Nick’s voice was as sexy as ever. Their set lasted only 45mins, but I was happy to see “The Beaches All Closed” live twice in one week. I wish the crowd would have been a little more receptive, but then again I think No Kids are a slightly odd pairing with the Dirty Projectors. I really hope No Kids come back to NYC…I dig them.

So I unfortunately had little experience with The Dirty Projectors previous work before Rise Above. Rise Above is the Dave Longstreth’s re-interpretation of Black Flag’s Damaged. He turns the seminal punk rock album into a groundbreaking, slightly abstract, experimental work of psychedelic rock. This vision that Longstreth fulfilled is not the complete album, but 10 of the 15 original Black Flag songs (it omits TV Party, Damaged I, Damaged II, Life and Pain, and Padded Cell), that were written almost entirely from Longstreth’s memory of the album (I wish I remembered Black Flag in the way that he does, but at least now I can share in his vision each time I listen to the record). I did pick up one of their older records at the show, an EP put about by Marriage Records called New Attitudes, and I plan on grabbing a copy of the Getty Address too.

I know the Dirty Projectors have a history of playing more unconventional spaces in the past (Death By Audio , and the Whitney for example), but while they played an amazing set, and sounded great …they seemed really detached from the crowd. It was almost like they were playing in a room by themselves. They rocked out for over an hour and all, but it just felt a bit sterile to me. As if the band was just in a different place (well they were up on the stage)…I don’t know what the other venues were like that the band had been playing in but MHOW is really big. The band has a never ending rotation of musicians, but they were playing as a four piece: Dave Longstreth (guitar and vocals), Brian Mcomber (drums), Amber Coffman (guitar and vocals), and Angel Deradoorian (bass and vocals). Their set up was Coffman on the right and Deradoorian on the Left…with Longstreth in the middle and Mcomber directly behind him. The stage symmetry was was really interesting with the women on the sides, and the men in the middle. While the all played wonderfully Longstreth steals the show as expected. He is just an intense figure, and even though the show felt sterile he was really interesting to watch. He was mainly focused on the music, and addressed the crowd very little. I also particularly took note of Mcomber who was a really impressive drummer and performer. This is really the first show at MHOW that I felt that the venue itself directly contributed to the show not being as good as it could have been (while we have fond memories of North Six, I really do feel that MHOW was put together really nicely). Again this band I think would have been all the more intense if the crowd just seemed a little closer (while people danced, and got into, I felt that the band might not have been able to tell). While I enjoyed every minute of the show, I long to see both the Projectors and No Kids again in a dirtier environment.

Media:

The Dirty Projectors playing some songs off of Rise Above in Washington Square Park:

Watch the Dirty Projectors playing “Rise Above”on NPR.

No Kids photo from Tomlab.

Dirty Projectors photo from Jonny Leather’s flickr.

(Tom)

Charlie McAlister – “Mississippi Luau” LP (Catsup Plate Records 1997)

Posted in Best of..., music, records, Tom with tags , , , , , , , , on April 9, 2008 by criticalreviews

Living in New York City you are kinda spoiled having so many great musicians right at your finger tips, but growing up in South Carolina there aren’t quite as many (but we do have some gems). That brings me to a musician and “living legend” from my home town, Charlie McAlister. McAlister started out, or at least people started to notice his work, in the mid-nineties when he was putting out a whole bunch of cassette tapes. McAlister continues to make music/art/whatchamaycallit, and ended up with a bunch of tapes, a couple proper albums (on Catsup Plate), and is still playing the occasional show.

While I lived in Charleston I started booking and promoting shows (originally punk rock), but I hadn’t done it in a couple years and while I was working at Fifty Two Point Five Records I booked (with the help of Clay) Charleston’s first ever Mountain Goats show. Years later I was involved with the album release show for The Sunset Tree. This show was booked at a really wonderful art space called REDUX. In the process of getting the show set up Charlie McAlister contacted me, and asks to play the show….I really didn’t know what his deal was(and this wasn’t my call…it was the Goats), but John Darnielle ended up being a really big fan. John had Charlie open for him, and it was truly amazing. Charlie’s band played a really unconventional and astonishing set with a really interesting collection of people, instruments, and tools (really I mean it…saws and hammers, ect). While talking to John at the show he told me if I could get a copy of Charlie’s Mississippi Luau (on Catsup Plate) to check it out, because it was one of his favorite albums of all time (and that is a really big statement for someone like John to make).

After the show Charlie told me that he would bring a copy of it by the record store for me, but that unfortunately never happened. This was back in 2005. Now this brings me to my personal experience with Mississippi Luau.

So three years later I no longer live in South Carolina, and I was record shopping at Academy Records in Brooklyn. It was a Sunday and I was waiting for friends to get ready for bagel brunch at Brooklyn Ale House. I was taking my time browsing the used LPs, and I finally got to the “M” section. Charlie McAlister wasn’t even something I was looking for (because I was pretty convinced that I would never find any of his records…even though I read that they are not that hard to come by), but I was flipping through all of the used records and I had one of those moments where I actually said “Holy Shit!” out loud. I had found a copy of McAlister’s Mississippi Luau on LP! The reason I was so surprised was that there are only 350-400 copies that were collaged/painted/screen printed. And this was one of them (there were only 500 copies ever made).

As a big fan of The Mountain Goats (and most things that are low-fi and folky ) this record has quickly become one of the prizes of my collection and all around favorite (I find when I listen to it I have to listen to it at least twice in a row), but I think that I will let others describe it for me (because their descriptions are so spot on):

PopSheep.com says about Charlie:

“So John Darnielle , Guided by voices and Daniel Johnston walk in to a bar. They hash it all out and create a large venn diagram. From this diagram they find the point that their three sensibilities intersect. They call this point Charlie McAlister, lyrics like Darnielle, exploring the possibilities of the 4 track like GBV and as crazy as Johnson.”

Secondly, as I said before, John Darnielle is a big fan and after he played the Charleston show with Charlie he wrote on his website:

“Charlie’s music could probably be described by any number of not-quite-right music terms: it’s back-porch jug band stuff, sorta, but it’s got a real affinity with guerilla noise warfare, and also with actual gorillas, who nine times out of ten will make the guerillas look like amateurs. It’s got that organic Neutral Milk Hotel feel, but its spiritual side isn’t the transcendent schtick that Jeff Mangum mastered and then put behind him; Charlie’s spiritual kin are the mediums who charge you a quarter for an hour’s worth of Ouija board in a shack down the highway near some southern beach town, and you think they’re maybe fulla shit but then they hit that huckster vein where it’s not really a con any more because everybody’s agreed to just ride the moment out even if it did start out phony. Charlie’s the wizard in Kansas without any MGM sanitization. He likes rum.”

Please read John’s full post about Charlie here at Last Plane to Jakarta!

Needless to say I think my best record find of the year was made on January 5th (only five days into it). I am excited to have this wonderful record in my collection, and hope you enjoy checking Charlie out.

I am also very excited. Charlie McAlister only has two shows scheduled right now, and one of them is August 8th at The Stone in the East Village (this night, I have been told, is being curated by Trevor Dunn of Mr. Bungle and Fantomas). All though not that many people know about Charlie he definitely fits into the freak-folk term pretty well…I hope people come check him out. I will definitely be there.

Here are a couple MP3s off of Mississippi Luau:

“Island of the Robot Building Monkey”

“Darla Comes Down From Jackson”

Download all of the CD-R I’ll See you in Hell. From Tape Mountain!

Charlie also does a really crazy zine called Sardine…which you can mail order from him for $3 or $4 dollars at Charlie McAlister P.O. Box 24, Johns Island, SC 29455.

his new address

Charlie Mcalister
(International Beachball International/Sardine Magozine)
PO Box 20095
Charleston,SC
29413

Photo of Charlie from Wolfie Whitman’s flickr

(Tom)

The Dodos and No Kids @ The Mercury Lounge. Sunday April 6th, 2008.

Posted in music, shows, Tom with tags , , , , , , , , , , on April 8, 2008 by criticalreviews

I am not sure when this show got announced, but it sold out fast. On Tuesday I went down to the Mercury Lounge Box Office to buy tickets for it. I got all the way down there to find out that the show had sold out the day before, and that they had not had a chance to update the website (bummer). I thought all hope was lost for this show…but I had a stroke of luck. I was ridding the 1 Train home from work on Thursday (which I don’t normally do), and my phone rang while the train was underground. KLK had called to tell me WNYU was giving tickets away for the Dodos show. I was like “I’m underground I don’t know what I can do” (she would have called but she had already won tickets from WNYU this month). So when the train stopped at 145th Street I ran out of the train and up the steps….my phone is ringing and ringing….WNYU answers, and I ask “Have you given the Dodos tickets away yet?” and she was like “No, what’s your name?” So we still got to go even though the show sold out(sorry Leah).

We got to the show while Silje Nes was still on stage. She played guitar and had a drummer backing her. Her music was pretty (as was she). She layered her guitar tracks on a loop pedal crafting her songs. Other than the song that she was playing when we walked in (which was pretty rocking, and although she was sitting down she was still thrashing), her songs were slightly anticlimactic, but very pleasant. The loops didn’t quite build up into something more…the songs remained pretty minimalistic, not that this was a bad thing, I was just expecting the songs to keep building rather than breaking back down (when I think about it though this concept of building a song and breaking it down before the finish interests me). I can’t say too much more other than I think I would enjoy seeing her play again.

Next up was No Kids.

So the first time I saw Nick Krgovich was at the live preformance of Worried Noodles by David Shrigley at the Knitting Factory, and he was preforming with Phil Elverum. I was instantly intrigued by him. Not only was he collaborating with Elverum, but he has a sweet soulful R&B voice (ala Prince). The collaboration between the two was amazing, and I immediately looked into his band, No Kids. No Kids is Krgovich (keyboard), Julia Chirka (keyboards) and Justin Kellam (drums), all of whom were formerly in P:ano (whom I am not all that familiar with but am eager to look into).

No Kids jumped on the Dodos bill on their day off from being on tour with the Dirty Projectors (both of whom are playing at the Music Hall of Williamsburg on Wednesday). So they might have been just another keyboard rock band, but this band is so entirely unique that there isn’t anything quite like them going on right now (and if we hadn’t seen Krgovich play with Elverum we probably would have missed it). Live Julia and Justin are great musicians, but I really feel that Krgovich steals the show…not only with his voice, but his dancing…which I can say is second only to Calvin Johnson when it comes to indie rockers that can break moves. I might even say that my dream dance off would be Krgovich verses Johnson (where they choose the songs for each other….but this is far off in my dreams where they are dancing on clouds).

No Kids were actually really funny in between songs…including talking a little about their bad experience with Princeton frat boys, and even noting to the crowd that their world music tinged songs were “written before you know who” and noting their “Ivy League” vibe (ohhhh Vampire Weekend).

I feel like a lot of the reviews that I have read of the recent No Kids record Come Into My House (on Tomlab) rely far to heavily on a comparison between the member’s old band: P:ano. It’s not that I think it shouldn’t be noted that they were in what all of these reviewers consider a really great band previously, but you can’t expect a band to reproducing something that they have obviously moved on from (hence the new name). I almost feel like this album would have went over much better with reviewers if P:ano hadn’t existed, but whatever…I’m loving it. I was originally a little disappointed when Come Into My House was released because the CD came out way before the LP, but I was happy to pick it up from the band last night.

It was clear by the end of No Kids set that some of the people that were there to see the Dodos were getting a little impatient, but that was Ok with me…some people just might not be ready for the sexy voice of Krgovich, but we were…and we will be happy to see No Kids again on Wednesday.

The Dodos were up next. We had been given a heads up about these guys by our friend Cat who lives in San Francisco…and then a week and a half later they get best new music on Pitchfork. So I kinda had high expectations, and I was not disappointed. The Dodos set up was, for the most part, a duo with Meric Long playing mostly acoustic guitar and Logan Kroeber on drums…the stage set up has Long on a chair on the left side, and Kroeber’s drum set pulled up the the front of the stage (equally in the spotlight). They were backed occasionally by another gentleman who played xylophone, and a toy piano among other instruments. The intense folk sounds of The Dodos were absolutely tremendous, and they play with the fury of a punk band. I haven’t see a band produce as much sweat as The Dodos did in a really long time. I am really glad that I got to see them at a place as small as the Mercury Lounge. This is one of those bands that I think is going to get really big really fast. They are great both live and recorded. And I believe they deserve this…they are accessible and extremely innovative at the same time (this band is going to find itself a huge fan base while keeping music dorks, like me, interested). Musically The Dodos pull from an extremely large range of influences from Animal Collective to more traditional folk (I personally see a bit of old Mountain Goats or Billy Bragg), punk (even if it is just the speed and energy that these two guys put into their live music), blues, and even to The Magnetic Fields(see the song “Undeclared” if you think this is a stretch). They played for about an hour, which included a three song encore. The set consisted mostly of songs off of the new French Kiss release Visitor, but there were several songs played that I was unfamiliar with (new or old not totally sure). I have seen quite a few shows this year so far, but the Dodos and No Kids put on one of the best so far.

I don’t think that anyone who could physically see the Dodos, which might have been hard for some people both Long and Kroeber sit down while playing, would disagree that this band is great live, and their intensity can be matched by very few other acts out today.

The Dodos also had copies of the limited press of Visitor that French Kiss put out on white double LP (it looks wonderful).

I look forward to seeing The Dodos play again, but I am sure that it will be in a much large space, and that this show (I say this very sadly) may be the best show I ever see them play. It was just that good.

Media:

The Dodos “Fools” video

NO KIDS “The Beaches All Closed”:

Photos from Drew Katchen/Pitchforkmedia.com

(Tom)