HelloAngel
ONE love, blood, life
[SIMG]http://forum.interference.com/gallery/data//585/11265cmj2-sml.jpg[/SIMG]
By Carrie Alison, Editor
2006.11
Another two days at the races, and I think I’m getting the hang of this CMJ Marathon business. Thank heavens it’s over, for now I can rest my tired, tired everything. Until next year, that is. I’m sore in places I didn’t know I could aggravate, more hungover than I’ve ever been, crankier than a hungry cat and my ears are ringing like telephones at a telethon. (In case you missed it, Part One of my adventure is here.)
One of the most buzzed about showcases this year took place Friday night at Mercury Lounge. The whispers online and on the street told us to get there as early as possible to have a prime seat (er, floor spot, er, standing spot) for Albert Hammond Jr.’s (that’s right, the Strokes guitarist) grand New York City premiere as a solo star at midnight. Could he do it? Could he possibly win over a crowd still rabidly smitten with his band, and who were waiting with baited breath for him to either fail or bring out Jules and the boys for a surprise three-song set? Well that three-song set didn’t happen but that’s okay, because if you were there, you know how utterly fantastic he was. If you weren’t there, you’ll have to take my word for it (below). But take it from someone who had the best seat in the house—directly under his mic stand, front row and center—this guy, once called the Coolest Man in Rock, has the chops to break out if he wants to should the Strokes ever take a “break.” Despite an audience no doubt weighed down by a majority of loyalists, hipsters pretending they’re over the Strokes and those who just want to see “the afro’d guy from the Strokes,” this performance is certain to be one of the tops for CMJ 2006. Certain.
(Land of Talk, Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
This trio out of Montreal makes "Anti Folk Basement Rock,” according to its official website. Built around Elizabeth Powell’s lovely Liz Phair-ish vocals and pretty guitar melodies, Land of Talk banged out material from its debut album “Applause Cheer Boo Hiss” to a sizable crowd of well-wishers and folks captivated by a female lead singer after the noisy Drones left the stage. For more information on Land of Talk, visit the official website or MySpace page.
(Cloud Cult, Mercury Lounge, 11/3/2006. Photo by Carrie Alison for Interference.com.)
Before Minnesota’s Cloud Cult took the stage, an affable fellow tapped me on the shoulder and told me that it was indeed one of his favorite bands, and when asked to describe their sound, he replied, “I like to say it’s Modest Mouse on lithium. They’re amazing.” And so it was, and so they were. Cloud Cult are part of “a not-for-profit music centered environmental and philosophical movement,” and make funky, feel-good jams and joyful soundscapes that feature of all things a cello, jingle bells and two painters that tour with the group—Connie Minowa and Scott West—who at the end of every concert, auction off the paintings to benefit charity. Passionate environmentalists, Cloud Cult were formed in the early 90s by lead singer Craig Minowa, and have been self-releasing their own records since 1995’s “The Shade Project.” In 2002, Minowa founded Earthology Records on his organic farm where it was “powered by geothermal energy and built partially from reclaimed wood and recycled plastic.” Widely and highly regarded on college radio (where the band charts on a regular basis) and nominated for Artist of the Year at the Minnesota Music Awards, Cloud Cult’s latest release is the gorgeously epic “Advice from the Happy Hippopotamus.” For more information on Cloud Cult, visit the official website or MySpace page.
(Tokyo Police Club, Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
They’re bratty, raucous and have the bravado of The Hives, but the young men of Newmarket, Ontario’s Tokyo Police Club want you to know that they aren’t just another Strokes rip-off (although they sound a lot like the latter band). With short, snappy tunes, pure youthful energy, a xylophone and some crazed drumming by Greg Alsop, TPC played its “15th New York show” on Friday to a packed audience that lead singer David Monks to muse, “I love proportions!” Signed to Paper Bag records, TPC’s debut album “A Lesson in Crime” is out now. For more information on Tokyo Police Club, visit the official website or MySpace page.
(Albert Hammond Jr., Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
I was lucky enough to be front row and center for Albert Hammond Jr.’s debut New York City show on Friday, in support of his newly-released solo album “Yours to Keep.” With his fellow Strokes in attendance, and even singer Julian Casablancas and wife tending to the merch table, Albert was his own roadie, and displayed not a hint of rock star ego, even as adoring crowd members lavished praise and pledges of devotion to him. One guy even yelled out, “Albert, you’re my hero, man!” to which the genial Hammond would only sheepishly smile, and reply, “I don’t even know what to say to that, but thanks.” Granted I’m a huge admirer of the Strokes, and Albert could have been inebriated and slurring his words and I would have still clapped voraciously, but what actually transpired was magical. Commanding the stage with his effortlessly cool persona and Wayne Coyne-ish vocals, Hammond ripped through “101,’ “Call an Ambulance” and “Scared” and others to a unanimously appreciative audience. The lovefest was so palpable, Hammond said, “I intend to meet every single one of you.” Cue more screaming, more love, more devotion. Everyone’s rooting for you, Albie, but I love that you didn’t assume as much. For more information on Albert Hammond Jr., visit his MySpace page.
Whew! And that’s a wrap. Thanks so much to the hard-working CMJ crew for making all of this possible, all the bands that tirelessly played multiple gigs, and the inimitable BrooklynVegan for keeping it real and free at those day parties. Until next year, folks.
--With additional reporting by JCP for Interference.com
Carrie Alison can be reached at carrie@interference.com.
By Carrie Alison, Editor
2006.11
Another two days at the races, and I think I’m getting the hang of this CMJ Marathon business. Thank heavens it’s over, for now I can rest my tired, tired everything. Until next year, that is. I’m sore in places I didn’t know I could aggravate, more hungover than I’ve ever been, crankier than a hungry cat and my ears are ringing like telephones at a telethon. (In case you missed it, Part One of my adventure is here.)
One of the most buzzed about showcases this year took place Friday night at Mercury Lounge. The whispers online and on the street told us to get there as early as possible to have a prime seat (er, floor spot, er, standing spot) for Albert Hammond Jr.’s (that’s right, the Strokes guitarist) grand New York City premiere as a solo star at midnight. Could he do it? Could he possibly win over a crowd still rabidly smitten with his band, and who were waiting with baited breath for him to either fail or bring out Jules and the boys for a surprise three-song set? Well that three-song set didn’t happen but that’s okay, because if you were there, you know how utterly fantastic he was. If you weren’t there, you’ll have to take my word for it (below). But take it from someone who had the best seat in the house—directly under his mic stand, front row and center—this guy, once called the Coolest Man in Rock, has the chops to break out if he wants to should the Strokes ever take a “break.” Despite an audience no doubt weighed down by a majority of loyalists, hipsters pretending they’re over the Strokes and those who just want to see “the afro’d guy from the Strokes,” this performance is certain to be one of the tops for CMJ 2006. Certain.
(Land of Talk, Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
This trio out of Montreal makes "Anti Folk Basement Rock,” according to its official website. Built around Elizabeth Powell’s lovely Liz Phair-ish vocals and pretty guitar melodies, Land of Talk banged out material from its debut album “Applause Cheer Boo Hiss” to a sizable crowd of well-wishers and folks captivated by a female lead singer after the noisy Drones left the stage. For more information on Land of Talk, visit the official website or MySpace page.
(Cloud Cult, Mercury Lounge, 11/3/2006. Photo by Carrie Alison for Interference.com.)
Before Minnesota’s Cloud Cult took the stage, an affable fellow tapped me on the shoulder and told me that it was indeed one of his favorite bands, and when asked to describe their sound, he replied, “I like to say it’s Modest Mouse on lithium. They’re amazing.” And so it was, and so they were. Cloud Cult are part of “a not-for-profit music centered environmental and philosophical movement,” and make funky, feel-good jams and joyful soundscapes that feature of all things a cello, jingle bells and two painters that tour with the group—Connie Minowa and Scott West—who at the end of every concert, auction off the paintings to benefit charity. Passionate environmentalists, Cloud Cult were formed in the early 90s by lead singer Craig Minowa, and have been self-releasing their own records since 1995’s “The Shade Project.” In 2002, Minowa founded Earthology Records on his organic farm where it was “powered by geothermal energy and built partially from reclaimed wood and recycled plastic.” Widely and highly regarded on college radio (where the band charts on a regular basis) and nominated for Artist of the Year at the Minnesota Music Awards, Cloud Cult’s latest release is the gorgeously epic “Advice from the Happy Hippopotamus.” For more information on Cloud Cult, visit the official website or MySpace page.
(Tokyo Police Club, Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
They’re bratty, raucous and have the bravado of The Hives, but the young men of Newmarket, Ontario’s Tokyo Police Club want you to know that they aren’t just another Strokes rip-off (although they sound a lot like the latter band). With short, snappy tunes, pure youthful energy, a xylophone and some crazed drumming by Greg Alsop, TPC played its “15th New York show” on Friday to a packed audience that lead singer David Monks to muse, “I love proportions!” Signed to Paper Bag records, TPC’s debut album “A Lesson in Crime” is out now. For more information on Tokyo Police Club, visit the official website or MySpace page.
(Albert Hammond Jr., Mercury Lounge, 11/3/2006. Photo by JCP for Interference.com.)
I was lucky enough to be front row and center for Albert Hammond Jr.’s debut New York City show on Friday, in support of his newly-released solo album “Yours to Keep.” With his fellow Strokes in attendance, and even singer Julian Casablancas and wife tending to the merch table, Albert was his own roadie, and displayed not a hint of rock star ego, even as adoring crowd members lavished praise and pledges of devotion to him. One guy even yelled out, “Albert, you’re my hero, man!” to which the genial Hammond would only sheepishly smile, and reply, “I don’t even know what to say to that, but thanks.” Granted I’m a huge admirer of the Strokes, and Albert could have been inebriated and slurring his words and I would have still clapped voraciously, but what actually transpired was magical. Commanding the stage with his effortlessly cool persona and Wayne Coyne-ish vocals, Hammond ripped through “101,’ “Call an Ambulance” and “Scared” and others to a unanimously appreciative audience. The lovefest was so palpable, Hammond said, “I intend to meet every single one of you.” Cue more screaming, more love, more devotion. Everyone’s rooting for you, Albie, but I love that you didn’t assume as much. For more information on Albert Hammond Jr., visit his MySpace page.
Whew! And that’s a wrap. Thanks so much to the hard-working CMJ crew for making all of this possible, all the bands that tirelessly played multiple gigs, and the inimitable BrooklynVegan for keeping it real and free at those day parties. Until next year, folks.
--With additional reporting by JCP for Interference.com
Carrie Alison can be reached at carrie@interference.com.
