07.28.12

Mother nature put a damper on day one of NYC’s inaugural Catalpa Festival, but couldn’t negate the blistering brilliance of The Black Keys and TV on the Radio. Hopes were high for the two-day event on Randalls Island, and festival promoters and High Times Reggae Stage dwellers couldn’t have been pleased with the rain on their parade and joints, respectively. Poncho-donning attendees trudged through the mud to glean proper vantage points of the eclectic lineup. By nightfall, the porta potty scene had devolved into a dark nightmare, with soap yet no water and a smell best left undescribed. Thankfully, for those who shelled out big bucks to attend, the day’s well-curated lineup cured much if not all.

Most of Catalpa’s gimmicky side attractions were a bust, with the notable exception of the Silent Disco Tent. “Those who were seen dancing were thought to be insane by those who could not hear the music,” read a Nietzsche banner adorning the entrance to the enclosed grassy dancefloor. Festivalgoers were given wireless headphones transmitting DJ sets directly to their skulls sans playback over traditional speakers. As Nietzsche predicted, passersby smirked at the sight of headphone-clad attendees busting a move to external silence, but properly-lubricated dancers caught in the moment swayed on, oblivious to the crowd outside the gates.

Somewhere beyond littered cans of Heineken and Six Points and kiosks serving everything from Jamaican jerk wings to $7 whiskey-and-Lucky-Charms ice cream sandwiches lay the main stage and its “Dance, Bitches” banner. TV on the Radio hit while Umphrey’s McGee was still playing a few hundred yards away at the Jeep Stage, with a noticeable amount of TVOTR sound bleeding into the latter band’s atmosphere. A respectable number of attendees inexplicably remained at the Jeep Stage while the opening notes of TVOTR’s “Young Liars” echoed in the relative distance.

TV on the Radio, possibly the best rock band to ever come out of Brooklyn, were firing on all cylinders at the behest of a pristine sound system carrying over the brisk air of Randalls Island. Having caught them twice last year in California in subpar, technically inept venues, it was a pleasure to experience their dense collage of noise in all its glory at Catalpa. With all respect to sing-along staples “Wolf Like Me” and “Will Do,” “Staring at the Sun,” taken from the seemingly ancient Desperate Youth, Blood Thirsty Babes record, may have shined the brightest on its commanding riffs and boisterous vocals. The band’s setlist highlighted 2011’s stellar Nine Types of Light, with fan favorites from Dear Science and Return to Cookie Mountain peppered in between. Keeping in tune with a host of New York musicians who have paid tribute in recent months, Tunde Adebimpe poignantly dedicated “Second Song” to the Beastie Boys’ Adam Yauch.

As a light rain fell over the black sky, The Black Keys took over the night with their no-frills two-man barrage. They were joined by a few nameless faces to start the show for tracks such as “Howlin’ For You,” but were far more impressive when their guests departed. Most acts in their shoes rely on a touring band to flesh out their sound, but Dan Auerbach and Patrick Carney get more from a guitar and set of drums than any backing ensemble could provide. The first two singles from last year’s El Camino, “Lonely Boy” and “Gold on the Ceiling,” were tackled with grit as flashing lights painted over the duo’s silhouette. The latter track, played to death during NBA playoff commercial lead-ins, recently received a video treatment from renowned weirdo Harmony Korine.

Skies began to clear about halfway through The Black Keys’ hour and a half set, as they shredded through “Your Touch” off of Magic Potion and the infectious “Ten Cent Pistol.” The band’s most recent records, El Camino and Brothers, dominated an evening featuring high-octane compositions and welcome downtempo inclusions such as “Little Black Submarines.” The aforementioned track drifted on mellow chords for two verses and choruses, before an emphatic crescendo shook the mud from drying boots across the island. Familiar whistles from the Danger Mouse-produced “Tighten Up” didn’t emerge until the tail end of The Black Keys’ headlining set, but rabid fans were thrilled when they did.

Weather aside, the tree-dotted terrain of Randalls Island was a great setting for the soulful blues of Akron’s garage rock kings and the pensive machinations of Brooklyn’s art-rock pioneers.

New York’s inaugural Catalpa Festival, taking place July 28-29 on Randalls Island, is shaping up to be something beyond your typical sweaty summer music fest. The two-day event features a wide array of over 40 musicians, large-scale art installations, and a host of quirky interactive events. The Black Keys headline day one, with support from indie favorites TV on the Radio and Zola Jesus. Snoop Dogg will be performing the classic Doggystyle in its entirety on day two, likely without hologram sidekicks, following sets from the likes of Girl Talk, A$AP Rocky, and Cold War Kids.

The sculpture-based organization Arcadia will be debuting The Afterburner, a military scrap spire that shoots 30 foot flames and has DJs spinning from within. Rounding out the spectacle is the Silent Disco Tent, where wireless headphones transmit DJ sets across the dance floor, and an inflatable Church of Sham Marriages, where festival goers of all inclinations can figuratively or literally tie the knot. I was personally sold on the prospect of catching the Black Keys and TVOTR on the same day, but the bedlam on the fringes could prove to be just as interesting.

As new year’s resolutions are quickly forgotten and the simple-minded prepare for the latest apocalypse, world-renowned music scholar and breakfast burrito enthusiast Brett Uddenberg (San Diego Reader / URB Magazine) has compiled his top ten album list for this foul year of our lord, 2011.

1. TV on the Radio - Nine Types of Light

2. Serengeti - Family and Friends

Channeling personal misery into catchy, compelling narratives with the assistance of WHY?’s Yoni Wolf made Serengeti’s Family and Friends one of the year’s surprise hits.

3. Iron and Wine - Kiss Each Other Clean

Sam Beam expanded his bare bones approach dramatically with the sprawling Kiss Each Other Clean, possibly the most beautiful album of 2011.

4. Bon Iver - Bon Iver

The biggest story in indie music this year was unquestionably Bon Iver. As “Calgary” and “Holocene” suggested, the self-titled second album was a haunting masterpiece.

5. Ghostpoet - Peanut Butter Blues and Melancholy Jam

Flying somewhat under the radar was the sensational debut from the UK’s Ghostpoet. Lo-fi beats and one of the most smooth, laid-back deliveries in hip hop made for an exceptionally-rewarding listening experience.

6. Astronautalis - This Is Our Science

The epic storyteller Astronautalis finally released an album that matches the king-hell brilliance of his live set. This Is Our Science boasts some of the finest lyricism in modern rap.

7. Buck 65 - 20 Odd Years

As the title implies, Canada’s Buck 65 has been making challenging, avant garde hip hop for two solid decades. 20 Odd Years included some gorgeous, emotive stanzas on songs such as “Whispers of the Waves” and “Paper Airplane.”

8. Death Cab for Cutie - Codes and Keys

Ben Gibbard and company continue to build on their signature mid-tempo melodies. From “You Are A Tourist” to “Doors Unlocked And Open,” Codes and Keys is hands down their finest release to date.

9. 13 & God - Own Your Ghost

Bay Area mainstays and Anticon veterans Themselves and Subtle combined with Germany’s The Notwist to form 13 & God and explore mortality in triumphant fashion.

10. Andrew Jackson Jihad - Knife Man

Andrew Jackson Jihad came out swinging with the folk-punk opus Knife Man. The lyrics on 2011’s most human album are raw, heartfelt and occasionally hilarious.

09.24.11

TV on the Radio’s second trek through San Diego in support of Nine Types of Light in the calendar year was a much tighter affair than May’s outing at 4th & B. Though the soundman once again had trouble with Tunde Adebimpe’s vocals bleeding into the overall mix, the Greek theater setting of Open Air was far more suited to the Brooklynites’ expansive art rock compositions. An intricate space-themed backdrop catapulted by shifting flourishes of light gave any synesthesia enthusiasts in the stands their money’s worth. The UK’s Arctic Monkeys, backed by some progressive drumming and intuitive riffs, were also crowd-pleasers with their opening act. That being said, the terrace was shockingly desolate and common sense would suggest Live Nation’s hefty fees were to blame. “Repetition” and “Second Song” highlighted a TVOTR set list as diverse as the crowd in attendance. Hipsters and drunkards alike marched down the half-empty concrete steps for a closer view of Adebimpe and Kyp Malone’s symbiotic vocal interplay. The band closed out their performance with the manic energy of “Wolf Like Me,” containing a soulful breakdown that sucked all the energy of the night toward the stage like a vacuum, then emphatically released it back onto the audience with a furious, guitar-driven climax.

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07.12.11

By the time the soundman got the mix right, which was about four songs into the set, a near-capacity crowd had climbed over numerous spilled drinks and filled every nook and cranny of the Belly Up to catch a proper vantage point of Saharan rebel rockers Tinariwen.

The band’s inspired journey from fighting in the Tuareg resistance against Mali and Niger in the early ’90s to captivating audiences with a barrage of guitars and hand drums in 2011 is reflected in their mantra “music is a weapon.” Like Bob Marleys occupying their own distinct time and space, the pure, peaceful message of these desert blues practitioners resonates with crowds who don’t speak a lick of Tamashek.

Tinariwen’s set began with the serpentine rhythms of “Imidiwan Ma Tennam,” the intro to their soon to be released Tassili, an acoustic album featuring contributions from Tunde Adebimpe and Kyp Malone of TV on the Radio as well as Nels Cline of Wilco. Through songs old and new, the absorbing call-and-response among the band members spilled into the fervent handclaps of the audience in a recirocal display of positive energy that defined the night.

Tinariwen are a musical collective from Mali who have gained wide recognition for their brand of desert blues thanks to excellent albums and acclaimed performances at some of the world’s biggest festivals. Incorporating Algerian rai, Egyptian pop and Led Zeppelin, their last album, 2009’s Imidiwan, won an Uncut award for being “the most inspiring and richly rewarding album of the last 12 months.” This year, Tinariwen release their fifth album Tassili, and the first single, “Tenere Taqqim Tossam,” debuts here. Built around an undulating bassline and a spidery guitar figure, it features TV on the Radio’s Kyp Malone and Tunde Adebimpe whose vocal interplay on the chorus blends perfectly with the backing, enhancing but never transforming the song into anything other than a Tinariwen track.

Tinariwen - Tenere Taqqim Tossam by V2 Music

via guardian.co.uk

Most current rock acts would be brought to their collective knees by a whimpering sound system. While the unflattering acoustics of 4th&B could have spoiled the evening, Tunde Adebimpe and his TV on the Radio cohorts are simply too talented to not put on a great show anyway. Their meandering set list featured classics such as “Wolf Like Me” along with newer gems from Nine Types of Light such as “Will Do” and “No Future Shock.”

The Brooklyn-based band’s energy peaked with a stellar rendition of “Red Dress” from 2008’s Dear Science. Adebimpe and fellow front man Kyp Malone powered through the dissonance and distortion and delivered the infectious melodies that the sweat-soaked dance floor demanded.

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TV On The Radio’s yearlong hiatus allowed its members to explore many disparate creative avenues. From Dave Sitek’s synth-heavy Maximum Balloon project to Kyp Malone’s eclectic Rain Machine record to Tunde Adebimpe’s first mainstream acting role (Rachel Getting Married), the band had a chance to grow and recharge their batteries. Once reunited, they shook off the dust and recorded Nine Types of Light.

Adebimpe’s soulful pleas on “Will Do” and crisp harmonizing with Malone on “Keep Your Heart” spill into refreshingly mature and honest love songs. The masterful falsetto-baritone interplay, always a part of the TVOTR formula, is delicately stretched over “New Cannonball Blues” and blanketed by distorted bass and subtle funk riffs. The album, recorded in Los Angeles instead of their native Brooklyn for the first time, is a warm affair that strays from the dissonant, minor key components of TVOTR’s earlier material.

For as much of a triumph as the new album is, its beauty is flanked by last week’s tragic passing of bassist Gerard Smith. TVOTR canceled five dates on the itinerary, but with heavy hearts the show goes on and makes its way to 4th & B on May 2.

Last month, we reported that TV on the Radio bassist Gerard Smith was battling lung cancer. He’s lost that battle. According to a statement the band’s website, Smith passed away this morning: “We will miss him terribly.”

On their website, TVOTR announce that they’ve canceled five dates. As far as we know, they still plan to play the other shows they have scheduled. We’ve got their dates listed below.

TV on the Radio:

04-29-30 San Francisco, CA - The Independent
05-02 San Diego, CA - 4th and B *
05-03 Los Angeles, CA - Music Box
06-22 Zagreb, Croatia - T-Mobile Inmusic Festival
06-23 Munich, Germany - Muffathalle
06-24 Berlin, Germany - Astra
06-26 Pilton, Englad - Glastonbury Festival
06-27 Manchester, England - Academy 2
06-28 Glasgow, Scotland - O2ABC
06-30 Werchter, Belgium - Rock Werchter Festival
07-01 St. Gallen, Switzerland - St. Gallen Festival
07-03 London, England - Wireless Festival
07-04 Amsterdam, Holland - Paradiso
07-05 Cologne, Germany - Live Music Hall
07-08 Bilbao, Spain - BBK Live Festival
07-09 Lisbon, Portugal - Alive Festival
07-13 Paris, France - L’Olympia Bruno Coquatrix
07-17 Chicago, IL - Pitchfork Music Festival
07-27 Manchester, England - Manchester Academy 2
08-28 St. Louis, MO - LouFest Music Festival

* with Glasser

via pitchfork

TV on the Radio - Will Do

“Will Do” is the first single from TV on the Radio’s forthcoming Nine Types of Light, out April 12 on Interscope. You can catch them on the road starting in April.

04-08 Philadelphia, PA - Electric Factory
04-09 Charlottesville, VA - Jefferson Theatre
04-10 Baltimore, MD - Rams Head Live
04-13 New York, NY - Radio City Music Hall
04-16 Boston, MA - House of Blues
04-17 Montreal, Quebec - Metropolis
04-18 Toronto, Ontario - Sound Academy
04-20 Detroit, MI - St. Andrew’s Hall
04-23-24 Minneapolis, MN - First Avenue
04-25 Denver, CO - Ogden Theatre
05-02 San Diego, CA - 4th and B
06-22 Zagreb, Croatia - T Mobile Inmusic Festival
07-03 London, England - Wireless Festival
07-08 Bilbao, Spain - BBK Live Festival

Kicking off a busy release day is Beans (of Anti-Pop Consortium) with his anticon debut End It All. The thirteen track album features vocals from Tunde Adebimpe (of the recently-reunited TV on the Radio) and production from Tobacco, Son Lux and Four Tet amongst others. You can listen to the record in its entirety over at Self-Titled Mag.

Released by DGC / Interscope

The self-titled debut release from Maximum Balloon, the artist better known as TV on the Radio’s Dave Sitek, plays out much like a TVOTR record albeit with a slightly different cast of characters. Bandmates Tunde Adebimpe and Kyp Malone are along for part of the ride and joined by the likes of Theophilus London, Holly Miranda, and Little Dragon. The synthy dancefloor funk of “Groove Me” gets things ignited and segues well into the horn-inflected, multi-tiered ambience of “Young Love.” “Absence of Light” (featuring Adebimpe) and “Shake Down” (featuring Malone) are classic, uptempo TVOTR tracks that tie the record together well.

The back-and-forth dynamic of male to female vocalists is also paramount to the album’s continuity. Karen O’s silky vocals carry the airy “Communion” and the beautiful crooning of Holly Miranda sits gently atop the downtempo drums of “The Lesson.” The explosive lead single “Tiger,” which features a serpentine feline chasing people through an endless sea of balloons in the excellent music video, is Sitek letting loose all the tools in his vast arsenal. The track leaps out of the frame thanks to the vocal stylings of Aku, whose delivery bears an uncanny resemblance to Adebimpe.

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