I’ve been trying to manage my outings a bit better. Not sure if I’m succeeding or not, but here’s what I’ve got on my calendar for May:
Friday, May 8 at 7:30 p.m. at Jordan Hall: Cantata Singers’ final concert concluding their Benjamin Britten season. Featuring songs written by 4th grade classes at a local elementary school and the same songs worked into Andy Vores’ “Natural Selection”. The full program is as follows:
Britten: The Company of Heaven
Was going to catch Junior Boys and Max Tundra at The Middle East Downstairs, but it’s this Friday and so it conflicts with the Cantata Singers concert. Drat. And now it looks like Certainly, Sir is opening for them. Ah well.
May 11-17: Boston Ballet’s Diaghilev’s Ballets Russes. Their description says: “This year marks the 100th anniversary of the Ballets Russes, established in 1909 by the Russian impresario Serge Diaghilev. Boston Ballet celebrates with classic works by Balanchine, Nijinsky and Fokine. Resident Choreographer Jorma Elo will premiere a new work, his sixth for Boston Ballet, to Igor Stravinsky’s ‘Le Sacre du Printemps'”. I’ll probably try to get 1/2-off tix through Goldstar.
May 27-June 1: Guerilla Opera premieres Boston composer Marti Epstein’s Rumpelstiltskin.
4th Grade Classes, Neighborhood House Charter School: 2 songs
Andy Vores: Natural Selection (premiere)
Benjamin Britten: Psalm 150
J.S. Bach: Cantata BWV 50, “Nun ist das Heil und die Kraft”
I’d really enjoyed Scarce when I saw them in duo form a few months ago at The Plough and Stars. So when my concert buddy M told me they’d be back last Wednesday I was psyched to go. The P&S site said the show was starting at 10:30, but apparently Scarce started more like around 10. I was bummed that I’d only caught the end of their set, but luckily after Mary Lou Lord‘s set they went back up for a few more songs, and then MLL finished up with a few more as well (although I didn’t stick around for her second set).
I’m not really into folk chicks with guitars, so I can’t really judge MLL that objectively, although like many folk musicians she draws from the well that is Bob Dylan a bit too often and too deeply. As is her wont she also included a fair number of covers, although none with a whole lot of distinction. During the majority of her first set she was accompanied by Dave Fischer on lead guitar who also provided lead vocals on the somewhat-out-of-place-given-the-otherwise-fairly-chill-ambience-of-the-intimate-venue cover of The Who’s “Substitute”. But when she went solo for a few songs at the end it became clear that she really doesn’t benefit from the beefier sound: the unique qualities of her voice and her playing become much more apparent, and for me much more enjoyable, when she’s on her own. The song “The Wind Blew All Around Me” stood out in particular, although there were a few others I liked as well.
Not a whole lot to add about Scarce other than what I said in my previous post about them. There are some people that I don’t really feel the need to see multiple times (e.g. Cut Copy who are hitting the new House of Blues on Sunday), particularly within the span of just a few months, but there’s something about the vibe of the duo and in this venue that would make me more than happy to see them again soon. Their music is unassuming, musically interesting, and evocative, and their performance is both committed and playful; they’re clearly people wholly enjoying themselves and each moment onstage. If you haven’t already checked out their MySpace page you should. And now I’m really looking forward to their new album, whenever that may be.
[The preview for this review can be found here.]
Ech, I know this is late, but I’m still catching up on the uphill backlog. So, I did make it out to the The Pains of Being Pure at Heart concert Upstairs at The Middle East a couple of weeks ago. I caught two of the other bands, The Depreciation Guild and Pants Yell!. The one I had been looking forward to was The Depreciation Guild and, as often happens, they eschewed the dreamier, layered electronics of their recordings for a more typical guitar-centric live set. The newer songs they played seemed to bring out this kind of blander U2-ish poppy side which I really wasn’t into, and their background projection, comprised of flashing squares of color, quickly grew tedious. But I still want to go back and listen to their album, which they have as a free download on their website.
And, as seems to also be happening often, the band that I hadn’t particularly cared for before the show was the one of the two openers I saw that I liked better live. Pants Yell! are from Cambridge and their songs are fairly light-hearted explorations in angst, a la Morrissey. The songs and hooks were catchy, although they did have a tendency to repeat their hooks verbatim a bit too often. But this may have just been due to the lack of supporting instruments, e.g. trumpet, that appear on the recordings. A laid-back and enjoyable set, despite what I believe on American Idol they call “pitchy” vocals, not to mention a guitar that could’ve been a bit more carefully tuned. Although I suppose both did add to the group’s charm, not unlike that charming man Morrissey’s perpetually sharp vocals. 😉
Similarly, The Pains of Being Pure at Heart also suffered from obviously uncentered vocals, although the boyish enthusiasm of the lead singer was also charming, and somewhat refreshing compared to the aloof moroseness one often encounters with too-cool-for-school indie bands. Their set was high energy, nice and new wave-y, and overall as enjoyable as their recordings. Speaking of which, they just put out their first album this month, and it looks like a good buzz has been developing. You can download a couple of mp3s from their official site and a couple other tracks on their MySpace page. And if you’re interested, here’s an interview from last December on Stereogum.com. Oh, and BrooklynVegan has some pics from a show in November if you need something to post over your bed. 😉
Because of the Boston Conservatory’s annual New Music Festival, this first week of February has ended up being jam-packed. So much so that due to conflicts there are some things I want to see but won’t be able to. Here’s what I’ve got lined up, and the ones I’m sadly going to have to miss out on:
Friday, February 6: Passion Pit, Paper Route, Cale Parks Downstairs at The Middle East (18+, $12). I’d heard Passion Pit’s track “Sleepyhead” and then liked their other tracks on their MySpace page. The way I’ve been describing them is, “Like MGMT, but much less annoying and more interesting.” Won’t be able to make this one, though, due to the conflict below.
Friday, February 6: Brave New Works: The Boston Conservatory’s New Music Festival, as usual, has a load of worthwhile concerts. This one features a new work by Andy Vores entitled “Objects and Intervals”. It’s immediately preceded by a “prelude concert” by the Ludovico Ensemble of Kurtag’s Kafka Fragments for violin and soprano. Their soprano, Aliana de la Guardia, has yet to disappoint, and after the publicity of the Sellars/Upshaw performance at Lincoln Center this past fall I’m guessing I won’t be the only one interested in this thorny work.
Saturday, February 7 (2 p.m., All Saints Parish, Brookline): Benjamin Britten Noye’s Fludde: David Hoose, Music Director; Lynn Torgove, Stage Director; Members of Cantata Singers and PALS Children’s Chorus; Alysoun Kegel, Artistic Director; Young instrumentalists from Boston area arts organizations. Part of Cantata Singers‘ Britten season. Should be fun.
Saturday, February 7 (8 p.m., First Church in Cambridge): Sarasa Ensemble, Music of Handel, Purcell, and Pergolesi’s Stabat Mater with Dominique Labelle, soprano and Michael Chance, countertenor: Part of the Boston Early Music Festival.
Sunday, February 8: Momenta Quartet: Also part of the Boston Conservatory’s New Music Festival. Featuring Glass’s Quartet #5 and a premiere by faculty member Dalit Warshaw for theremin and string quartet with the composer playing theremin. This evening also includes a prelude concert by the Ludovico Ensemble, Morton Feldman’s Crippled Symmetry.
Sunday, February 15 (3 p.m.): Chameleon Arts Ensemble “a tale that’s told in ancient song”. Especially looking forward to violinist Joanna Kurkowicz‘s performance of Ravel’s fiery crowd-pleaser Tzigane. You can get 1/2-price tickets from goldstar.com and if you register using this link I get a small commission. Whoo!
Sunday, February 15: The Pains of Being Pure at Heart, Pants Yell! and The Depreciation Guild Upstairs at The Middle East (18+, $9). Another show M wanted to go to, but I quickly got into The Pains of Being Pure at Heart’s shoegaze-y brand of pop as well as The Depreciation Guild’s dreamy electronics. If you like M83, you’ll probably like The Depreciation Guild, and in fact at the moment I actually prefer the latter.
Phew! Looks like it’s going to be a marthon two weeks. Hopefully I’ll have enough stamina to get through it all. Stay tuned …
I’ve been meaning to post about a dance night I go to regularly called “Heroes”. It’s an 80’s/new wave type of night, but don’t be surprised if you hear some newer retro tunes by the likes of Cut Copy or some classic helium-voiced Madonna thrown in. The tunes are courtesy of my favorite DJ in Boston, Chris Ewen, of Figures on a Beach and Future Bible Heroes fame, among other things. He used to spin at ye olde Manray, now defunct, which I used to frequent all too regularly in college, even on weeknights when I had a class at 9 a.m. the following day. I blame my less-than-stellar GPA entirely on him.
The 80’s night was homeless and floated around town when Manray closed, but has since found a semi-permanent home at T.T.’s where they put it on at least a couple Saturdays a month (be sure to check the website to see if they’re on for a given week). The music is as good as ever, although the crowd has definitely been a bit hit or miss at times. The crowd at Manray used to be pretty consistent, and although some regulars such as myself have made the transition and kept the scene relatively indie there are some nights that are almost painfully fratty and “girlfriends’ night out”. Which isn’t me being a snob, honest. I’m all for people appreciating good music, but it’s just that it kind of kills the dreamy Joy Division mood when drunk girls and guys are grinding on the dance floor and/or spilling beer on me. Anyway, I’m definitely not complaining too much and fully appreciate Heroes’ new home. Long live Heroes at T.T.’s!
And if you’re looking for some links, Heroes has a page at MySpace. I also came across this set of photos from maybe early last year at Boston.com.
[The preview for this review is here.]
On New Year’s I caught Cotton Candy upstairs at The Middle East. Their set was pretty good. The setlist was very similar to the performance I’d seen at The Plough and Stars, although there the duo benefited from the intimate setting. At The Middle East their quirkiness and sparse presentation didn’t quite fill the space, and it took awhile for the audience to really “get” their unique brand of humor. But M and I both enjoyed their set (although I found myself wanting to hear more of their own songs instead of the jingles and covers, enjoyable as they are), and the addition of a drummer on one song was a welcome surprise. We also both finally got around to looking up the origins of their closer song, which is actually entitled “Freelove Freeway”. Turns out it’s from the British The Office. A video of the uncut version of the song from the show can be found here. M also did some research and found a nice preview of Cotton Candy and the show at the Weekly Dig and a rough-around-the-edges-but-endearing performance of theirs from May 22 of last year for WMBR’s “Phoning It In”.
Part of the reason it took a while for the crowd to settle into Cotton Candy’s set was because they had been preceded by the much more rollicking and freewheelin’ group The Smittens, from Vermont. I’d heard a bit of them beforehand online and had found them to be a bit too twee for me, but live I was won over by their humor and easygoing stage presence. I’ve gotten a bit tired of boy/girl vocals, but I really enjoyed how the three vocalists in The Smittens work in tandem, at times trading verses within the same song, and the fun and memorable vocal arrangements they come up with. One highlight in particular was “Half My Heartbeats” which featured band member Dana Kaplan making the best of the circumstances and playing a single castanet, and ending up making it look like nothing so much as some strange sort of miniature Muppet. It was pretty great.
So that was a big win for the night, and it’s great to start the year with another band to add to my list of bands to keep track of. Their official site is here and there’s a fair amount of other audio on their Last.fm page as well. [Edited: Can I just say I’m totally digging their recordings now? I’m definitely going to pick up a CD or two when they’re next in town.]
Missed the first band and stayed for just a bit of the final band One Happy Island. Unlike The Smittens I was pretty much completely turned off by OHI live, who on mp3 sound fine, but live just came across as really fratty. Which is not to my taste, but if you’re a fan of bands like Neutral Milk Hotel or ones that feature trumpet you may enjoy them.
A bit worn out from the holidays, so don’t have much set for January. Tonight I’m going to the Cotton Candy concert I mentioned previously, part of their “4th Annual Indie Pop New Year’s Day Night”, upstairs at the Middle East. Here’s the schedule, courtesy of M:
8:45 Cathy Cathodic
10:15 Cotton Candy
11:30 One Happy Island
Doors 8:30, $9
The Cantata Singers is in the midst of a season focusing on Benjamin Britten. Hadn’t managed to catch any of their concerts in the fall, but I’m a pretty big fan of Britten and there are three concerts this spring that I’ll definitely be making an effort to get to. The first concert is being presented as part of The New York Times’ 2009 Arts & Leisure Weekend, and you can use the promotional code “NYT09” to get two tickets for the price of one. (The Times’ site also has other arts-related promotions listed in MA for that weekend as well.)
Here’s the info on the Cantata Singers concerts I’ll probably be checking out, taken from their website:
Friday, January 16, 8:00 pm – Jordan Hall
Roger Tapping, viola
Five Flower Songs
Janna Baty, mezzo-soprano
Serenade for Tenor, Horn and Strings
Michael Slattery, tenor
Michael Thompson, horn
Rejoice in the Lamb, orch. Imogen Holst
First Boston performance of chorus-orchestral version
Saturday, February 7, 2 pm — All Saints Parish, Brookline
Benjamin Britten Noye’s Fludde
David Hoose, Music Director
Lynn Torgove, Stage Director
Members of Cantata Singers and PALS Children’s Chorus
Alysoun Kegel, Artistic Director
Young instrumentalists from Boston area arts organizations
Friday, May 8, 8:00 pm – Jordan Hall
Benjamin Britten Psalm 150
Boston Children’s Chorus
Anthony Trecek-King, Artistic Director
J.S. Bach Cantata BWV 149,
“Man singet mit Freuden vom Sieg in den Hütten der Gerechten”
Classroom Cantatas Cantata
Student composers from Neighborhood House Charter School
and Boston Children’s Chorus
Andy Vores Natural Selection
Britten The Company of Heaven
Karyl Ryczek, soprano
William Hite, tenor
James Petosa, speaker
While I’m at it, here’s The Phoenix’s preview of the spring classical music offerings. Also, the Boston Metro has a pretty concise listing of the theater and special events for January.