Iceage, A Place to Bury Strangers, Lower played Music Hall of Williamsburg

A mid-June evening in New York City doesn't sound like the ideal setting for a show featuring the dark brooding work of Iceage, A Place to Bury Strangers, and Lower, so it seemed rather fitting that unseasonably low temperatures, torrential rain, and driving winds descended upon Brooklyn for the first night of the 2013 Northside Festival.

I missed the opening local bands, but Lower got things off to a raucous start. Shrieking guitars echoed through Music Hall with serious force while the band's militaristic demeanor gave quite an intimidating impression. With matching shaved heads, the Danish punks blasted through their brief catalog at an alarming sound. Drummer Anton Rothstein playing as if he had channeled Thor to crash upon his kit with excessive vigor. The bleak lighting and minimal emotion from the band made it feel as if they were completing a civic duty, acting as ambassadors of their Copenhagen scene and proving their worth on their first American tour.

Between Danish hardcore acts, local Brooklyn mainstays A Place to Bury Strangers brought out their robust shoegaze drone for a visceral performance. With technicolor projects acting as the only source of light, the ear splitting tones and maximum energy have not been neglected by the band, despite their plateauing popularity. If anything, these guys proved that the only ones sleeping are the critics. Smoldering guitar and bass created a deafening haze and the drumming acted more as a metronome as opposed to the relentless rolls provided by Lower. With the hall shrouded in fog, it didn't take long for flying guitars (and amps) to become a part of the stage show and when the flashing strobes kicked in, the evening was taken to another level.

A little after midnight, the lights dimmed until only two sharp lights were illuminating the stage. Iceage ripped through forty minutes of pure adrenaline fueled chaos. Slashing guitars, hammering drums, and stentorian vocals from frontman Elias Bender Rønnenfelt displayed the band's aggressive attitude with maximum intensity. Highlighting material from this year's wonderful You're Nothing, the band's loose sound has been sharpened into focus without sacrificing any of the raw appeal of New Brigade. Ditching guitar about two songs into the set, Elias marched across the stage tossing the microphone stand and lurching over the crowd with serious passion matching the militia vibes of Lower. This wasn't a show with lots of onstage banter, and when the frontmen did speak it was barely understandable (I think the only words I understood were "Iceage" and "Morals" which wasn't even paired with "this song is called..."). While Iceage appear to be on a mission to spread their ferociousness, their ability to blend hardcore with some kind of accessibility allows the music to really speak for itself.

Liars played the Temple of Dendur

If you live in New York long enough and and are a dedicated enough music fan, you'll have the
opportunity to see some pretty awesome things. For example: Arcade Fire playing in Judson Memorial Church, My Bloody Valentine playing their first US non-festival show in 16 years, Daft Punk join Phoenix for a surprise encore, or Dinosaur Jr bring out their friends to celebrate their landmark You're Living All Over Me. Liars playing in the Met's Temple of Dendur was not the best concert I've ever been to, however the experience was one of the most unique live performances I've ever seen. With the temple behind the crowd, the band infront of the moat, and abstract projections on the stone walls behind, there was never a dull moment. "Welcome to the temple" Angus bellowed before the band dove into a fervent set of dense electronic noise rock. The band played a lot of new material, very much in the vein of last year's underrated and under-appreciated WIXIW, as well as a lot off that album. The sharp, heavy synths were accompanied by booming bass that bounced off the solid stone walls that enclose the room. Behind the band were striking visuals. 3D renders of each band member appeared amongst hieroglyphics, distorted shapes, and a spectrum of free-flowing graphics. The intensity of their past albums might not be as prominent on their new tracks, but in a live setting, everything is as ferocious and powerful as one could hope. Given the unusual setting, the sound traveled exceptionally well and the juxtaposition of ancient Egyptian artifacts and Liars was a pairing most probably never knew they needed to witness, but will never be able to forget.

Besnard Lakes played Bowery Ballroom

Following the release of their recent album Until In Excess, Imperceptible UFO, Canada's Besnard Lakes have hit the road to deliver walls of noise on willing crowds across the country. Carefully straddling the line of shoegaze and post-rock with a little bit of spaced-out psych-rock thrown in the mix, the band builds their sound to extreme levels before breaking down into a massive all out guitar assault. Olga Goreas' thudding bass blends perfectly into the group's dynamic and her dueling vocals with Jace Lasek were in perfect form. The gangly front man, dressed in a floral cowboy shirt and oversized glasses, unleashed his killer vocals through a ravaged mop of hair as waves of guitars crashed over the crowd. For better or worse, a lot of the tracks on their records can really get lost in the shuffle giving each album their own distinct feeling and while a lack of catchiness does make it difficult for songs to stand on their own, their live anthemic renditions brought each song to soaring new heights. Standout "Albatross" from 2010's Are the Roaring Night was played with such finesse and feature a My Bloody Valentine style whiteout noise breakdown with obligatory strobe lights. The band seemed particularly on point for the show as they flexed their muscular sound to highlight every groove and ooze out every last detail.

Sigur Rós played Madison Square Garden

Emerging to the stage masked in a rippling curtain, Sigur Rós brought a high impact show to their largest headlining performance in New York. Backlit, the band appeared as giants overlooking the monstrous Garden before the curtain fell during a thunderous "Ny Batteri". Abstract impressions with deep vivid colors were projected on a giant screen behind the band with each song getting its own unique display and rows of lights ebbed and flowed with the surge and force from the Icelandic powerhouse. Sigur Rós have often been called "a great band to listen to while taking a nap" each song slowly shifting and building to grand heights, however their earth-shaking live renditions did everything to squash that notion. While the band's latest album Valtari felt stalled and left many thinking that the band was unsure of their next move, a message and announcement of a new album Kveikur promised a more aggressive and heavy sound which is exactly what you get from first single "Brennisteinn". Performing as officially a trio for the first time, the band still sounded sharp and on-point, never missing a moment to make their music feel as epic as ever. Fan favorite "Hoppipolla" received a staggering ovation that brought the arena to it's feet. In the weeks leading up to the show, the band sent emails to their fans about their excitement of playing the famed venue and how their career had been building to this moment. It still is hard to believe that a band whose music you'd easily believe was something actually born out of the elements is capable of playing Madison Square Garden, but each song was a nail in the coffin of doubt as the band proved not only their breath-taking ability to produce these songs live, but they can dazzle and create a spectacle as magical as anyone who has played the world's most famous arena.

The Men played Bowery Ballroom

To celebrate the release of their latest effort, New Moon, Brooklyn hot rods Parquet Courts and Nude Beach supported the Men through a blistering night of surging rock and roll. A year ago to the date, the Men were unleashing their breakthrough record Open Your Heart at 285 Kent and while that show saw the band shift from the dark tones of Leave Home to a more structured sound, tonight the band continued their evolving dynamic. The past three years have seen 3 releases from these Brooklyn rockers and the progress unveiled is enough to make most bands jealous. In 2011, it would have been seemed as if these dudes could rule the post-hardcore drone scene and now I wouldn't be shocked if I learned that the band just covered some lost Crazy Horse demos. This is a not necessarily a bad thing. Despite the looser arrangements becoming even more exaggerated in a live setting allow feedback to swallow the stage for some dense noise jams, new stunner "Electric" still packs a Husker Du / Dinosaur Jr. punch and makes great company for solid jams "Open Your Heart" and "Turn It Around". These guys can still rock when push comes to shove and the pacing of the show did a great job of reminding you of that. "I Saw Her Face" can feel a little flat on the record, but it exploded on stage evoking Cortez moments and serious guitar sways. The Men aren't known for being a well-oiled machine and their crusty punk aesthetic still shines through on both their lo-fi recordings and fuzzed out performances and perhaps that spills over onto their records. Their almost frightening ability to shift sonic landscapes in only a matter of years could lead to some isolation or shake off some potential success, but the Men don't seem to care. Their 'don't give a fuck' attitude has been a motif from the beginning and even with acoustic guitars thrown to the front of the mix, the attitude remains the same. The band doesn't harmonize, but rather four of them just sing at the same time. It's rough, dirty and in your face. It is grungy-Americana at its best.

Desaparecidos played Webster Hall

Before Conor Oberst became an early indie/emo darling of the early 2000s under his Bright Eyes moniker, he was leading Omaha's Desaparecidos. With one album to their credit, 2002's under-appreciated Read Music / Speak Spanish, it never seemed like there would be much attention surrounding any kind of reunion of the group, but the masses spoke and as the band has slowly been making their way across the country, they've found fans eagerly awaiting to shout along to these tracks like they've been doing in their bedrooms for a little over a decade. While this band never really received critical claim, much like early Bright Eyes records, their resurgence has been welcomed with open arms by true devotees. There were even mouths moving along to the group's newer songs. Perhaps because their biggest fans were still in high school and college during the band's prime and not scoring their Pitchfork reviews, the recent reissues can help back-up the notion that the audience for which this music was intended was clearly not the ones behind the keyboards, it would be easy to forget that Conor was relevant before swooning teenage girls with his alt-country heartbreak. Needless to say, those waiting desperately to shout along with Conor at his most punk moments were overjoyed with "Greater Omaha", "Mall of America" and "Man and Wife, The Former (Financial Planning)" as the crowed swayed and swelled with each epic breakdown, each more intense than the one before it. Conor was still in typical fashion, ranting and raving over his wishes to free Bradley Manning, the terrible state of Arizona, and the 1%. Still overtly politically focused, the group is prepared to release a new 7" single next month tackling the issues of the Occupy Movement and Anonymous and proving that even with their age and "never having to work a day in their life" they are still one with the people. While reunions barely raise an eyebrow these days, the fact that this reunion happened is still a bit of a shock. Aside from Oberst, none of the members went on to any notoriety, the lone album never saw a deluxe reissue, and while another early 2000s indie/emo darling is about to embark on a full fledge arena reunion tour with his one album side project, it is hard to argue that this music doesn't seem a little dated. That being said, the band rocked with precision and brought the high intensity that these tunes deserve. Anyone who waited ten years to hear these songs shouldn't be disappointed in this reunion as long as they remember that they are no longer 15 and what might have at one time seemed brilliant and informant, might now be nothing more than a nostalgia trip at least until Bright Eyes tours Lifted or the Story is in the Soil, Keep Your Ear to the Ground in its entirety.

Widowspeak played Mercury Lounge

For the release of their second full-length, Almanac, Brooklyn's Widowspeak descended upon Manhattan's Mercury Lounge for an intimate performance of their latest bout with greatness. Highlighting tracks from the new album, Molly Hamilton and company unleashed breath-taking renditions of their classic style of breathy vocals and dream inducing guitar riffs. New tracks "Dyed in the Wool", "Storm King" and the live debut of "Thick as Thieves" were coated in heavy reverb, probably indebted to a mix of Television style guitars with the cries of Fleetwood Mac, and the compact sound of "The Dark Age' exploded with shoegaze power that spoke volumes about the song's magnitude and the band's songwriting capabilities. Older tracks "In the Pines" and the forever gorgeous "Gun Shy" were particular triumphs of the evening and while the newer tunes don't necessarily bring the group to a new level, there are always certain tracks that will leave one breathless. At this point, it seems irrelevant to mention the obvious influence of Mazzy Star, however even the Galaxie 500 inspiration is quite apparent through the group's hazed instrumentation. Seeing the band transform from a three-piece, to a four-piece, to tonight's quintet, has been a true pleasure as the band's aesthetic has truly erupted over the past few years. Their take on modern dream-pop is clearly in a class of their own. Despite the still noticeable stage fright of Molly, the group shimmers in their own glow of sun-soaked euphoria. Their encore was the lone "Harsh Realm" which welcomed even more praise from the hometown showcase (cries for Molly were forever abundant) and a bashful thank you brought the evening to an end.

James Blake played Music Hall of Williamsburg

"The great thing about New York is that people always seem to be on your side" stated James Blake shortly after easing his way into a spectacular show in Brooklyn and that statement never seemed so true. With the crowd hanging on every word, it seemed as if there was a cheer after every line he uttered kicking off with the opening lyrics"My brother and my sister" from "I Never Learnt to Share". Playing a heavy dose of material from his incredible debut and other EPs, Blake took a moment during some brief technical difficulty to let us know "the new record is almost finished" and some of the tracks from the forthcoming album even made their U.S. debuts. Carefully blending pristine vocals with tight beats that burst at the seams, Blake, with the support of two fantastic backing musicians playing live guitar and drums, unleashed a gorgeous display of crooning soulful vocals and concentrated dub blasts that hit you directly in your core. The dizzying early classic "CMYK" sounded as fresh and relentless as ever and his cover of Feist's "Limit to Your Love" brought the show to another level. He really seems to have made that song his own. For someone who has had a relatively quiet year, it was sensational to see people so mesmerized by a performance. His vocals can easily be compared to those of Thom Yorke or one-time collaborator Justin Vernon, but his ability to bend and manipulate them to fit snuggly within his deep hypnotic rhythms, displays a genius level of songwriting skills. Adding layers of warbled samples and rich textures only add to his craftsmanship  When he announced the final song of the evening, an astounding version of "Wilhelm Scream", the crowd responded with a heartfelt sigh to which Blake simply said, "I was hoping you'd do that". After a brief tease, he was back for more swirling textures that immediately transfixed the entire room. Yet with momentum building, the night came to a close with a delicate and much requested "A Case of You" which absolutely melted the crowd and ended an enchanting performance.

Animal Collective played Terminal 5

There was a lot riding on Animal Collective's make-up gig for their cancelled appearance at the Williamsburg Waterfront. My last encounter with the band was during their 2007 tour in support of the awesome Strawberry Jam. It was probably the most disappointing show I've seen in the past five years.

Playing a set of material mostly from the good (but not great) Centipede Hz, the group was surrounded by psychedelic claws and rainbow saturated teeth that hosted an outburst of warped images and television static. Exploding to life during new tunes "Applesauce" "Wide Eyed" and "Moonjock" the group was firing on all cylinders and seamlessly transitioned between each track. The slow burning "Crimson" got the night off to a slow start and lead single "Today's Supernatural" fell flat along with "Mercury Man" as Avey Tare donned his best Pat Smear hair style and sat cornered away while Deakin and Geologist kept the momentum at a high. Schizoid blasts of electric pulses were non-stop and throbbing bass lines echoed the cavernous hall; the band has never seemed so distant from their Sung Tong days. Panda Bear's booming "New Town Burnout" sounded as epic as ever and it was such a pleasure to see him behind a drum kit. As Merriweather closer "Brother Sport" began to take shape towards the end of the main set, the crowd reached a new level of excitement that had laid dormant for most of the new material. An epic sing-a-long from the crowd ensued during the monstrous hit as a wave of bliss overcame the audience. After what seemed like the culmination of sonic ecstasy for the evening, the song bled into "Peacebone" and Avey ditch his postion behind synths and boards for his traditional place in the front. His screams soared and his body lurched during each wail bringing the primitive nature of the band back into the mix. The encore kicked off with the under appreciated "Also Frightened" before the mega-sensation "My Girls" brought the crowd to a near frenzy. Things winded down with "Amanita", the closer from their latest release and probably the weakest track on the album. It was an unfortunate low to an evening of tremendous promise for a band not known to be crowd pleasers. Going into an Animal Collective show with any kind of expectation is a mistake and when you allow the band to take you on their magical journey with an open mind, you are far better off than hoping for them to play some sort of greatest hits set.

Setlist:
01 Crimson
02 Today's Supernatural
03 Wide Eyed
04 Applesauce
05 Mercury Man
06 Lion in a Coma
07 Moonjock
08 Father Time
09 New Town Burnout
10 Monkey Riches
11 Brother Sport
12 Peacebone
--
13 Also Frightened
14 My Girls
15 Amanita

Dinosaur Jr. played "You're Living All Over Me" at Terminal 5

Dinosaur Jr. playing their toxic fueled masterpiece You're Living All Over Me in its entirety is enough of a selling point on a show by itself, however add on a dream list of special guests, and it instantly becomes legendary. As the band catapulted into "Little Fury Things" they were joined by Lee Ranaldo who helped deliver extra backing vocals as the band celebrated the twenty-fifth anniversary of their immortal sophomore record. Played in near perfection, the trio ripped through the entire album busting out prime, oozed-out, renditions of "Sludgefeast", "In a Jar", "The Lung", "Tarpit" and culminating with Lou's lo-fi precursor "Poledo". And that was only the beginning. In the weeks leading up to the celebration, special guests were said to be joining the band onstage, but the onslaught of stars was nothing short of spectacular. Pixies leader Frank Black joined in on a new tune before sticking around for Doolittle classic "Tame" and that was only the beginning. Johnny Marr found his way to the stage along with Kevin Drew for perhaps the most epic version of the already killer "The Wagon" before leading the grunge pioneers into the Smiths classic "The Boy With The Thorn In His Side". And the hits just kept on coming. Kim Gordon pulverized "Don't" off Bug in what was one of the most thrilling and raw performances of the night. Seeing the queen of fuzzed out rock alongside the titans of Dinosaur is not something soon to be forgotten. Hell, they even through in a Deep Wound track. In someways it seemed like a fantasy. Dinosaur Jr. covering the Pixies with Frank Black and the Smiths with Johnny Marr is something straight out of a dream and being there to witness it in person will unquestionably be remembered for years to come. The encore kicked off with Fred Armisen taking on drumming duties and Tommy Stinson picking up the bass to cover the Stooges' "TV Eye" before bringing Kevin Drew back for "Start Choppin". Fittingly, the night ended with the forever fantastic "Freakscene", but not before the absolute annihilation of the audience. Sure there were some jams that lasted too long and some of J's solos were long winded, but that only made the classics shine through in  an even greater light and in some moments be down right captivating. It seems strange to be gawking at a Dinosaur Jr. show in 2012, but tonight saw the band in rare form as they were joined by other visionaries that without a doubt influenced almost all in attendance. There are sometimes when Dinosaur Jr. can seem on par with your friend's garage band that you've seen a million times throughout the years, and then there are moments when everything clicks and you are witnessing three men  unleashing some sort of magical power. The explosive guitar wails of J Masics and the locked in tight rhythms from Lou and Murph are certainly forces to be reckoned with and twenty-five years after the release of their magnum opus, it is clear that many other bands still have a lot of catching up to do.

Setlist:
01 "Thumb"
02 "Little Fury Things" (w/ Lee Ranaldo)
03 "Kracked"
04 "Sludgefeast"
05 "The Lung"
06 "Raisins"
07 "Tarpit"
08 "In a Jar"
09 "Lose"
10 "Poledo"
11 "Almost Fare" (w/ Frank Black)
12 "Tame" (w/ Frank Black) [Pixies cover]
13 "Alone" (w/ Al Cisneros & Kurt Vile)
14 "Don't Pretend You Didn't Know"
15 "Watch the Corners"
16 "The Wagon" (w/ Johnny Marr & Kevin Drew)
17 "The Boy With The Thorn In His Side" (w/ Johnny Marr) [Smiths cover]
18 "Training Ground" (w/ Dale Crover) [Deep Wound] cover
19 "Gargoyle"
20 "Crucified" [Iron Cross]
21 "Don't" (w/ Kim Gordon)
--
22 "TV Eye" (w/ Fred Armisen & Tommy Stinson)
23 "Start Choppin"
24 "Freakscene"

Neil Young & Crazy Horse played Madison Square Garden

My only prior experience seeing Neil Young, was in 2008 when he was doing a combination of his greatest hits and new pleasures. This was not that same show. This time around, Neil has taken Crazy Horse out for another wild ride and watching these guys jam for over two hours was surely a sight to be seen. It has been called the "Crazy Horse Huddle", where Neil, Billy Talbot, and Frank "Poncho" Sampedro stand in a close-knit circle and repeatedly blast each other with monstrous guitar solos so larger than life, it's a wonder any of them can still hear and that their guitar necks don't break on a nightly basis. Entering to the Beatles' "A Day in the Life", stage hands dressed as crazed scientists assembled ten foot tall amps reminiscent from the Rust Never Sleeps era and the legends launched into "Love and Only Love" before the classic "Powderfinger". Gargantuan licks erupted from the band and Neil's signature thundering guitar seemed to be just as powerful as ever. From here on out, the band alternated between some classics and new tunes from the recent Psychedelic Pill. "Walk Like a Giant" can easily be seen as the junior to Neil's classic "Like a Hurricane" and it definitely has an ego complex. Stretched out to an epic 16+ minute long jam, junior might not be appropriate, however the homage to its older counterpart is crystal clear. The juggernaut of a tune culminated with a five minute long noise jam that you would expect from Sonic Youth or Dinosaur Jr, but clearly the Godfather of Grunge is not ready to hand over his title any time soon. At this point in his career, Neil is privileged enough to do what he wants, such as recycle riffs that worked for him decades prior and in a sense, reinvent his own wheel. Midway through his two hour performance, the acoustic portion of the set kicked off with the onstage banter from Live Rust and fake rain poured down on the stage as Neil delighted the crowd with "The Needle and the Damage Done". After the brief acoustic stint, it was back to the rocking classics. Another new jam, "Ramada Inn" was followed by an enthusiastic "Cinnamon Girl" from the Crazy Horse time machine and really saw people rise to their feet. The night concluded with "Mr. Soul" from Neil's days with Buffalo Springfield before the droning closer "Hey Hey, My My". For many in attendance, the show did not feature enough of the classis, which Mr Young certainly has enough of to make up an entire setlist, however watching these four men jam out with brilliant guitar playing was definitely a treat. For almost half a century, Neil Young has been a pioneer in both his song-writing and colossal sounding guitar and his performance at Madison Square Garden certainly aided to the idea that this living legend has inspired countless acts over the years even well into his tenure, Neil can outplay many that linger in his shadow.

Setlist:
01 "Love and Only Love"
02 "Powderfinger"
03 "Born in Ontario"
04 "Walk Like a Giant"
05 "The Needle and the Damage Done"
06 "Twisted Road"
07 "Singer without a Song"
08 "Ramada Inn"
09 "Cinnamon Girl"
10 "Fuckin Up"
11 "Mr. Soul" (Buffalo Springfield song)
12 "Hey Hey, My My (Into the Black)"
--
13 "Roll Another Number for the Road"

Metz played Mercury Lounge

After obliterating the Knitting Factory during Sub Pop's CMJ Showcase, it was made clear that Metz was an act never to miss. As Mercury Lounge fell into darkness, the Toronto thrashers erupted in sonic furry that bubbled up into oblivion before collapsing into an absolute audio assault. In a year when punk has been resurrected to the indie circuit with bands like the Men channeling their inner Dinosaur Jr and Hüsker Dü and Titus Andronicus echoing the Replacements, Metz have angled their sound towards the more agressive and noise ridden tendencies of the Jesus Lizard and Big Black. Their striking and violent guitar is brought forth with sinister melodies and blood-curdling screams that are enough to give anyone an instant asthma attack, yet these guys still found time to joke aboot being from Canada. Jagged guitars rip at the pulsating bass lines and cymbals crash down like thunder; there was no stopping these three. They wrenched their guitar necks with such vigor and in such syncopation; their rhythms completely locked into a solid groove. "Get Off" and "The Mule" had some particular angst, but really there was never a dull moment. From the jolting opening until the ear bleeding finish, Metz were razor sharp delivering blow after blow to a masochistic crowd and a hyper-extended "Wet Blanket" delivered the knockout punch to end the trio's lightening set.

The Weeknd played Terminal 5

For a man shrouded in mystery, Abel Tesfaye better known these days as The Weeknd, had no problem packing Terminal 5 to capacity to deliver a stunning set of material from three mixtapes that will see an actual release next month. Within a year, The Weeknd went from a small bedroom project to playing headlining slots at major music festivals. Tesfaye's smooth as silk vocals have been reportedly unimpressive live, but he was in top form for this sold out crowd. Playing all the hits "Wicked Games", "Lonely Star", "High For This" the audience was in the palm of his hand shouting along to every word.  Backed with a sensational live band, every note was perfect, it begs the question of how big could this project get if everyone stays on board. He's already had guest appearances from Drake and it seems inevitable that he will soon reach a level many never would have imagined. "Loft Music" and "The Party & The After Party" acted as nice shout-outs to Beach House and the overdose of Siouxsie and The Banshees' "Happy House" had people losing their minds and made me wonder how many people knew what they were screaming along with. The technicolor pulsating orbs added flash and the breakdown into the second half of "Glass Table Girls" sounded rich in trip-hop nostalgia (hell Portishead's epic Dummy was the house music before the guy took the stage). When Trilogy hits stores in November, it'll be interesting to see how much of a shift there is in the momentum of his career and just how much bigger he'll get. "The doctors told me to cancel these shows" Tesfaye told us at one point, but 3 sold out shows in New York City was just something he couldn't pass up. Thursday evening he even dropped a new track "Empty" "for the fans that can't make it" in NYC which features a nod to The Smith's "Please Please Please Let Me Get What I Want". He knows his music and isn't afraid to acknowledge his indie indulgences something the R&B genre is not necessarily known for doing. His first mixtape "House of Balloons" showcased his strongest song writing so far, but he could still be on the verge of his biggest and best work to date.

Titus Andronicus played Shea Stadium

"We put together the longest setlist of the band's career, so everyone get comfortable. We have about twelve more songs to go." That's not something a band typically announces shortly into their set. For the release of their third record, Local Business, New Jersey punks Titus Andronicus annihilated Shea Stadium with an almost two hour long set comprised of material from all three of their excellent records. Before heading out in support of the new album, the band played a final local sendoff to many friends and family in the intimate loft space and ripped through a stunning display of power-pop riffs, swelling choruses, and Replacement style break downs. Phenomenal transitions between songs are part of what makes Titus' albums so great and the live renditions only amplify the band's talent. "Ecce Homo" into "Still Life with Hot Deuce On Silver Platter" kicked off the evening and "Food Fight" into "My Eating Disorder" really riled things up. Patrick announced at one point that the band had to relearn a bunch of their older songs and they even debuted a brand new song that doesn't appear on their new album. "I Gotta Date Tonight" blended into "In A Big City" which was probably the best received new track and "(I am The) Electric Man" transitioned into a stomping cover of "Do You Love Me?". The expanded line-up allows for a triple guitar attack and gives their new material a richer sound and heightens any of their previous material. Naming their record Local Business exemplifies the communal nature of the band which is a vital aspect of how they operate. The band brought out drummer Eric Harm's father Steven to join in on harmonica for "Tried to Quit Smoking" as he does on the record and former guitarist Amy Klein got down in the pit. While the new tracks sounded great, part of what makes their live show so special is the involvement from the crowd so it might take some time for these songs to see their full potential. The chanting of the lyrics back to the men onstage instills a connection rarely seen by bands and their crowd. Titus Andronicus is band by the people for the people. Their charged anthems are composed of definite political context beyond the Civil War analogies of The Monitor and perhaps the best part of Local Business is the directness of the lyrics. The grandiose song writing doesn't seem as abstract as it has in the past (Patrick Stickles actually has an eating disorder and wrote "(I Am The) Electric Man" after being jolted during band practice) and this could be some of their most accessible material to date. Since the beginning of their career, there have been countless claims that they've been inspired by Springsteen (a plague to anyone from the Garden State), however on this record it seems truer than ever. They are working class men from the other side of the river. Their themes are embedded in blue collar hometown roots. They themselves are their own Local Business.

Metz and King Tuff played Knitting Factory

Hot off the release of their self-titled debut album, Toronto noise punks Metz are in the midst of a busy CMJ week here in New York and took part in Sub Pop's showcase at Knitting Factory. The trio wasted no time as they began their shrieking attack before the house music even faded away. Their blitz style of a performance featured high swinging guitars and blistering energy powered by slashing riffs and heavy drones of fuzzed out bass. With their record clocking in just shy of thirty minutes, there wasn't any longevity to be expected from their show, but it certainly packed a punch as raucous shouts joined post-punk brood. "Wet Blanket" (a personal highlight from their album) brought their set to an end after a battering jam threw out one final punch.

After Metz's punishing attack King Tuff brought the vibes to a much more mellow setting as his party induced jams flooded the room. His recent release fell slightly under the radar, but there is no doubt his sing-a-long style is sure to be met with smiles. Following such a charged set, his tunes certainly felt more relaxed, but just as exciting and even pleasurable. Power-pop melodies were inundated with sugary sweet choruses and Kyle even dedicated a track to a moose he saw on the highway in Canada. Who doesn't love a cute moose? For over an hour, King Tuff blazed through one of the longer sets I've even seen at CMJ (especially for a non-headliner) oozing good times and positive energy even if he is a self proclaimed "Bad Thing"!

Fiona Apple played Terminal 5

After a few teases, the lights dimmed, a herd rushed on stage, and Fiona Apple launched into her stellar show at Terminal 5. Without hesitation, the songstress enveloped the building with "Fast As You Can" and never let up. Her sensational set list highlighted her entire body of work and each song was performed with such passion and emotion that you'd think she hadn't disappeared for years. Shadowboxer into Paperbag was magical and the follow up of recent stunner "Anything We Want" showcased her brilliant ability to transition between songs written so far apart. Every song was met with monstrous applause and cheers and it was evident that her devoted fans were out in full force. Some had probably waited over a decade to sing a long word for word with every lyric that was delivered with intense vigor by Apple. Such intensity that in some cases it resulted in her collapsing to the floor. While her newest album The Idler Wheel... is rather sparse in comparison to her past material, their live renditions breathed a new energy into each track that gave them new life and flaunted her band's talent. A year ago, no one would have predicted the number of chances New Yorkers would have to see their hometown darling and that might be what made this show (and tour) so special. For someone notoriously known for her erratic stage presence, Fiona Apple reappeared from the abyss not only with some of her best work to date, but with a rejuvenated live show that was light years better than anyone could have hoped for or expected.

Setlist:
"Fast As You Can"
"On the Bound"
"Shadowboxer"
"Paper Bag"
"Anything We Want"
"Get Gone"
"Periphery"
"Sleep to Dream"
"Extraordinary Machine"
"Werewolf"
"Left Alone"
"I Know"
"Tymps (The Stick in the Head Song)"
"Daredevil"
"Not About Love"
"It's Only Make Believe" (Conway Twitty Cover)

Crystal Castles played Roseland Ballroom

Despite recently sharing a lot of festival bills with big name EDM artists like Justice, Deadmau5, and Skrillex, Crystal Castles brought their actual live show to Roseland Ballroom and showcased exactly what sets them apart from other big name dance acts. HEALTH kicked off the night with a blistering set of electro-noise rock that saw insane amounts of hair flipping, warped vocals, and a slamming rendition of "USA Boys" all while straddling the line of hardcore noise and dance music that seemed to leave some a little confused as to whether they should be dancing or moshing. Crystal Castles didn't help solve that dilema as the electro-punks unleashed their unique blend of big beats, live drumming, and Alice Glass' ferocious attack on the crowd. Disorienting lights flashed in every direction as Alice walked on the audience as if channeling her inner Iggy Pop and while her vocals were almost absent, the rest of the mix was at a soul crushing volume. Bro-step fans were out in full force to groove along to the band's eccentric electric throbbing rhythms and while some fans crowd surfed above, the dancing was kept to a surprising minimum. However unlike other contemporary guy-girl electro-punk duos (Sleigh Bells I'm looking at you), the energy of the show never let up and there was a heavy dose of their hits ("Crimewave", "Celestica", "Alice Practice", "Untrust Us", and a main set ending "Not in Love") that were all met with relentless euphoria from fans. While people raged on the floor, it did seem like there was some distance between the band and the dance party. Even though there was somewhat live instrumentation, it seems like modern dance acts can't compete with the connection generated by a live band. However, where their peers (Swedish House Mafia, Tiesto, Calvin Harris) all stand behind huge decks far removed from their fans, Crystal Castles aren't afraid to get up in your face and make themselves apart of the experience.

Jay-Z played the Barclays Center

I have no doubt that if the Barclays Center popped up in my neighborhood, I'd be less than thrilled. However, when I descended upon the rusted monstrosity, I surrendered to its magnitude. It's alien like structure penetrated the ground and rose like a glowing orb into the night sky. Upon entering the arena, it became apparent that you were in a place unlike anything you've ever experienced in New York. The smooth concrete juxtaposed against sleek wooden panels made the area feel more like a lounge than an sports complex and upon entering the stands, the all black everything decor furthered that thought. If anything, Jay-Z has created the ultimate club at which he can play house band. For two hours the Jigga Man dazzled the crowd in the ultimate Brooklyn celebration. Everything from a "Juicy" cover to the constant acknowledgment of his hometown friends ("We're all from Brooklyn tonight!") made the purpose of the evening (and week) clear.  Jay-Z owns less than a percent of the Nets and yet if you ask anyone in Brooklyn "who runs this town?", there is a clear answer. HOVA assaulted the crowd with his bombardment of hits that have spanned his career, the forever epic "99 Problems" was an early evening highlight while brief bursts of "03 Bonnie & Clyde" and "I Just Want to Love You" reminded everyone just how many monster singles this man has delivered over the years. Stellar anthems "Big Pimpin" "Hard Knock Life (Ghetto Anthem)" and "(Ain't no Love) Heart of the City" were just as sensational as one could hope (hell, even "Empire State of Mind" was welcomed with open arms) and while some other tracks provided some perhaps necessary filler, Jay-Z earned his title as the self-proclaimed greatest rapper alive. There has been a lot of talk of just what this new establishment will do to the local community, but while we wait to find out, there will be plenty to keep us busy. He is New Yorker's favorite rags to riches story and with Beyonce by his side, he is on his way to becoming national royalty. Brooklyn, say hello to your once and future king.

Grizzly Bear played Radio City Music Hall

Let me take a stab at this, for those who watched Grizzly Bear arrive on the scene with Horn of Plenty, grow into a muscular cub on Yellow House and mature into amazing talent with the breath-taking Veckatimest and Shields, you have been apart of a special journey. What started out as a bedroom project from front man Ed Droste, has evolved into one of the most majestic and sumptuous bands of the last decade. Radio City marked their largest hometown show yet, and the band proved their worthiness of such an honor. Things kicked off with "Speak In Rounds" which cascaded beautifully into "Adelma" before an epic "Sleeping Ute" and then the band really hit their stride. The group was backed with pulsating lanterns that floated angelically throughout the evening and shifted into striking patterns as the quartet delivered awe-inspiring renditions of tracks from each of their fantastic albums. Complex rhythms were unleashed with impecable timing, slicing guitars slashed along arresting harmonies, and Chris Bear delivered spectacular drum fills that resonated to the top tiers of the theater. Everything from "Lullabye" to "Cheerleader" to "A Simple Answer" was performed with such confidence and dexterity that it seems rather surprising this is not one of the biggest bands in the world. When the opening notes of "Two Weeks" began to ring out, people lept to their feet and immediately vibed to the supreme melodies and the show rocketed to another level. The ability to craft such wonderful and dynamic songs was enhanced by their extraordinary raw talent and perfect flow from moments of thunderous crashes to times of suspended elation. For the encore, the band eased into their breakout hit "Knife" beginning with delicate warped vocals before allowing the song to burst into a magnificent eruption of colossal beauty. To close out the evening, Grizzly Bear stripped things down to their pristine acoustic essentials for a tear evoking version of "All We Ask" and proved that they will always, not just sometimes, make it look easy.

Setlist:
Speak In Rounds
Adelma
Sleeping Ute
Cheerleader
Lullabye
Yet Again
Shift
Gun-Shy
Ready, Able
A Simple Answer
Foreground
While You Wait For The Others
What's Wrong
Two Weeks
Half Gate
Sun In Your Eyes
--
Knife
On a Neck, On a Spit
All We Ask

* bottom photo courtesy of Emilysaur

Lightning Bolt played 285 Kent

For over a decade, noise duo Lightning Bolt have been massacring ear drums with their astounding records and even more relentless live performances. As always, the band was in top shape as they annihilated 285 Kent leaving heaps of sweat and fury in their trail. Behind the drum kit, Brian Chippendale is an absolute machine and his jackhammer style onsalught is unmatched by any other person in modern music. The sheer force and terror with which he plays is of a caliber all his own. Their live display has been likened to standing next to a demolition site or jumbo-jet at close range and three times during their set they blew a fuse leaving Chippendale to carry out frantic drum solos shrouded in blackness. You think you've seen some stellar pits until you're in the dark at a warehouse with that man pummeling away until Kingdom Come. Not to go unnoticed, Brian Gibson used his bass to spark the powder keg of pure energy unleashed by the band that ignited the audience into total chaos in just a matter of seconds. Without the slightest look of effort, Gibson's assault was pure distorted bedlam and the ear-splitting frequencies are nothing short of a jaw-dropping experience. The intensity of a live performance from these legends is an unparalleled experience that few will dare to replicate and while the magnitude and nature of their style is not for everyone, those who care to indulge will be converted to their brilliance. For over an hour, these two proved that they are true masters of their craft and are a sonic force to be reckoned with.

*Photo courtesy of Griffin Sandberg