Last Friday, the Bowery Ballroom played host to an eclectic mix of excitable fans who gathered to bask in the pop vocals and electro beats of Will Wiesenfeld as Baths.  Will, who has also released tracks under the Geotic and [Post-Foetus] monikers, has become just as well known for his affable onstage banter and humble regard for fans as for his high energy shows, and this night was no exception.

First up  was musician and producer Joel Burleson’s Ki:Theory.  Embodying cut-n-paste music at its best, Ki:Theory’s original songs and remixes alike got the early birds in the audience moving.  Joel kept the audience enthralled with his captivating stage presence, frequently moving back and forth from his laptop and equipment to center stage where he sang, dripping with sweat, to his glitchy, beat-driven tracks.  Overall a great pump-up to prepare the crowd for the following dance-filled hours to come.

As more of a crowd accumulated, Brooklyn-based Dinosaur Feathers hit the stage with a poppy set reminiscent of fellow New Yorkers Vampire Weekend.  With smiles throughout the set and song dedications to crowd members, the band seemed to be thoroughly enjoying their first show on the Bowery Ballroom stage.  Although less electronic-based than Ki:Theory, Dinosaur Feathers still managed to entertain the audience hungry for Bath’s danceable techno beats.  What stood out most was the band’s often acappella sounding vocals for which the keyboardist and both guitarists were invaluable.

The crowd spared no energy as charismatic Baths took to the stage after spending the beginning of the night manning his own merchandise table, chatting with fans, and setting up his onstage lights.  He began with “Apologetic Shoulderblades” off his 2010 debut Cerulean, a choice met by many approving screams and a dance party joined in by the entire crowd.  He continued his set incorporating tracks from this year’s Pop Music / False B-Sides with Cerulean hits like the sample-filled “Animals” and the woozily sung “Indoorsy.”  He also managed to bring in a few of his newer explorations that, although unkown to most of the audience, still integrated the effortless tension between his heartfelt melodic vocals and head-nodding frenetic rhythms we have come to love and expect.

Also expected was Bath’s repartee with the audience, yet he went further than simply feeding off their dynamic energy and throwing in playful comments like “these next two songs are really really gay” and “I’m a professional,” as he incorrectly prefeced his next song.  Weisenfeld, upon returning to the stage for his much welcomed encore, provided the audience with options and asked permission to play more than his alloted two last songs – jokingly yelling at his fans, “Okay I’ll play three, so no bitching when I’m finished, just go!”  Needless to say, the crowd was left satisfied as they began their journeys home.

New Yorkers. Get excited. Tonight is finally here, Brainfeeder is presenting the long anticipated return of the West Coast’s, Flying Lotus. A recent press release for FlyLo’s newest album Cosmograma stated: It’s impossible to understate what Flying Lotus has created with Cosmogramma, since there is so much to unpack: The effortless musical cohesion of the historical avant-garde and the next chapter of futurism. The conversation at the post-hip-hop crossroads of two urban music traditions, American and British, and at the center of one of the most vibrant sound scenes on the globe today: the beat-and-bass-heavy corner of Los Angeles (of which FlyLo’s Brainfeeder is a mainstay). The uncommonly natural musical communication between the physical world and the spiritual, one made personal and given a cohesive form. Even the funny smells, without the slightest whiff of self-importance.

Playing alongside FlyLo will be Thundercat, Austin Peralta, Teebs, and Strangeloop. Doors open at 8, the show starts at 9. Unfortunately this show is sold out. However, you might have better luck catching these guys this Wednesday night, the 22nd, at the Music Hall of Williamsburg. We’re looking forward to seeing you there.

Click here for more information.

New Flying Lotus Track:
Flying Lotus// BJork//Shiver by Flyinglotus

I am always astounded by how quickly an artist can gain recognition and notoriety, and there is nothing more exciting than watching someone brimming with talent and voice make the journey from anonymity to acknowledgment. James Blake is one such artist. This time last year, I was just beginning to explore the deeper and more melodic side of bass music, and thereby became acquainted with James Blake’s work through his original foray into the realm of dubstep. The first time I truly took notice of his sound was when I discovered his remix of Untold’s “Stop What You’re Doing”, which was released on Hemlock at the end of 2009. The track was deep, heavy, and complex, and caused the blogosphere to erupt with chatter. Who was this young, pale, and unassuming Brit, and how was he creating this new sound, which was at once entirely addictive and slightly unnerving?

A short time afterward, the Polish Unsound Festival came to New York City, immediately preceding the release of James Blake’s first truly noteworthy EP The Bells Sketch in March of 2010. Untold had the prime time slot at the final Bass Mutations event at Public Assembly, and closed out his set at around 5am with James Blake’s remix of “Stop What You’re Doing.” It was the first time that most of us had heard this particular form of sound on a large scale soundsystem and in the environment of a party, and it was as if we together experienced a collective shift, not only in the tone of that particular event but in the understanding of what “club” music could be. This was not music to have meaninglessly soundtracking your alcohol consumption, drug use, or pick up attempts. It was emotional, it was cerebral, and it was not to be taken lightly, even as it kept you moving on the dance floor. James Blake’s productions allowed people to connect on a deeper level with the emotion and intent behind the track, and often served as a mood changing wake-up call mid-set, as if to remind you of the humanity of the shared unifying experience of listening to music at a club or event space.

The release of The Bells Sketch, and of CMYK a few months later, was clearly indicative of James Blake’s movement away from his more dubstep centered production and towards the stripped down and melancholy sound that would characterize his first full length album, which was released in February of this year. While the album still falls safely within the realm of the electronic genre, it heavily emphasizes piano, the first instrument that James Blake fully embraced as a child, and increases the integration of vocal elements, pairing this with the minimization of dubstep’s characteristic bass line (watch the video for the single “Limit to Your Love” HERE). After the release of the self titled James Blake, it is clear in hindsight that even as he was continuing to include a more bass heavy sound in his DJ sets, he was becoming increasingly disinterested in “party music,” and was progressing toward a more exploratory sound that invoked an increased level of emotional understanding from the listener.

Until now, James Blake has never played in the United States, and it is perhaps this fact that has assisted in crafting the almost mythological hype that surrounds him. Not only is his sound, even now, extremely foreign to American ears, but no American has actually had the chance to experience a DJ set or a live performance directly from the source on home soil. Due to this, his status as a groundbreaking artist has not yet been tainted by experiencing one of his sets at a party, which can often have the effect of normalizing and desensitizing it. It is in fact possible that this entire disillusionment that can frequently take place has been avoided with James Blake in the United States, because the tour on which he is now embarking will not only be one of DJ sets but will also consist of performances with a live band. This tour includes a just announced second date in New York City, so stay alert as tickets are expected to go on sale soon.

James Blake – 2011 Tour Dates
03/14/11 Music Hall Of Williamsburg – Brooklyn, NY
03/16/11 Stubbs BBQ (NPR Party) – Austin, TX, SXSW
03/17/11 Central Presbyterian Church (Pitchfork Official Showcase) - Austin, TX, SXSW
03/18/11 French Legation Museum (Other Music Party) - Austin, TX, SXSW
03/19/11 Fader Fort – Austin, TX, SXSW
05/08/11 Rock N Roll Hotel – Washington DC
05/09/11 Johnny Brendas – Philadelphia, PA
05/11/11 Bowery Ballroom – New York, NY
05/12/11 Le Poisson Rouge – New York, NY
05/15/11 Schubas Tavern – Chicago, IL
05/16/11 7th Street Entry – Minneapolis, MN
05/19/11 The Tractor Tavern – Seattle, WA
05/20/11 Doug Fir Lounge – Portland, OR
05/23/11 Troubadour – Los Angeles, CA
05/24/11 Masonic Lodge – Hollywood, CA
07/15/11 Pitchfork Festival - Chicago, IL

Listen to James Blake’s set from the Boiler Room in the United Kingdom on December 21, 2010 below.

It is seldom that such a visionary comes about; someone who at such a young age has already accomplished so much in contributing to pushing the evolution of music forward. I am sure that I’m not alone in saying that I am anxious to follow the progression of James Blake’s career as his perspective as an artist cannot help but have a profound impact on the future of electronic music, and furthermore in the development of our understanding as an audience of experiencing live music as a collective.

Fresh off the “All Hearts” tour with Robyn and Kelis, Dan Black is stepping out on his own with a headlining engagement at Bowery Ballroom on September 9. The British singer-songwriter has been on a bit of a hot streak lately – his new single, “Alone”, will be released this week with a remix by MJ Cole, and his video for “Symphonies” has been nominated for two MTV Video Music Awards.

CLICK HERE to buy tickets for his show on September 9th, and in preparation for what is sure to be a fantastic show, check out his Weird Science mixtape HERE and his VMA-nominated video for “Symphonies” after the jump.

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Last Thursday, Green Label Sound brought electro-funk pioneers Pee Thug and Dave 1, otherwise known as Chromeo, to the stage of the Bowery Ballroom in a spectacularly sexy display of light, energy, and sound. Native New Yorkers Telephoned and Holy Ghost! opened for Chromeo, warming up the expectant crowd with their individual flavors of party music.

In recent years, Chromeo has gained a stellar reputation for their cheeky brand of pop music which oozes sex and attitude through every synthesized note. The two French Canadian musicians have been known to describe themselves jokingly as the only successful Arab/Jewish partnership since the dawn of human culture, but the breakthrough of their second album Fancy Footwork demonstrated that their success is no laughing matter.

Taking the stage of the Ballroom to the roaring sound of the crowd chanting their name, the duo took their places behind their signature well heeled legs of light, accompanied by three backup vocalists in little black dresses. Playing the whole set with dark shades on, Chromeo exuded cool while maintaining a vibe of accessibility and fun. The crowd went wild for tracks like “Tenderoni” and “Needy Girl”, singing along with every lyric and seriously getting down to the funky bassline. Using an impressive array of keyboards, synthesizers, drums, guitar and a talk box, the artists each employed multiple instruments, demonstrating without a doubt that while their show may be flashy, their music is built on a foundation of serious talent.

Look out for Chromeo’s third album Business Casual, which is set to drop September 14 and features their new single “Don’t Turn the Lights On”. Check out the full photo gallery from the show HERE.

This summer, Chromeo will embark on a 23-stop tour in support of their upcoming album, Business Casual, slated for release on August 17. Mixed by longtime Chromeo collaborator Phillipe Zdar, their third studio album will carry on their trademark funky synth-pop jams with “sentimental-yet-electronic pop music”. The album’s ten tracks include “Night by Night”, which was released through Green Label Sound last fall.

The “Business Casual Tour”, presented by Green Label Sound, will also feature New York’s own Holy Ghost!, fresh off a four-night stint at Terminal 5 with LCD Soundsystem. The tour starts on July 26 in Washington DC and will hit NYC’s Bowery Ballroom on July 29 - tickets go on sale this Wednesday, May 26. Check out Chromeo’s video for “Night by Night” after the jump, then head to the Green Label Sound website for a free download of the song, along with remixes by Skream and Siriusmo.

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Last weekend, Miike Snow played three consecutive sold-out shows in New York City. Not bad, considering the Swedish trio formed in 2007 and didn’t appear on the U.S. music radar till the release of their eponymous album in May 2009. The trio – frontman Andrew Wyatt and production duo Christian Karlsson and Pontus Winnberg – may have been wearing white masks as they took the stage at Bowery Ballroom for their final performance, but there was nothing anonymous about who they were or to what they were delivering. This audience knew their music.

Extra sentiments of electro and syth added surprises to their familiar songs, while smoke and syncopated explosions of light flooded the stage. As Christian Karlsson and Pontus Winnberg took to electronic instruments that relied on their DJ and production skills, Andrew Wyatt went back and forth on the piano and guitar. On the microphone, Wyatt was an excursion of emotional bursts, using his voice as a juxtaposition to their long synth-based interludes between songs and switching his  range and tone with ease. While the group may have been familiar to the audience, they added a certain element that created a feeling of nostalgia, yielding an astonishing live set in both performance and production.

Check out photos from Miike Snow’s performance at the Bowery Ballroom by Kenroy George, and click through for their video for “Silvia”

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Starting the evening with two local bands from Brooklyn, we made our way to Cake Shop for the experimental pop/rock of The Depreciation Guild, then Hank and Cupcakes at The Delancey. Hank and Cupcakes took electronic beats and added the nice touch of bass by Hank, drums and vocals by Cupcakes – who showed the many facets of her voice along with her versatility on the drums.

At the Bowery Ballroom, Fanfarlo (from London) played with posture – executing simple good music without any complications in their act. With six members on the acoustic guitar, bass, electric guitar, violin and exchanging places between the horns and strings – the group has a great harmony on the stage.

The catch of the night goes to The Golden Silvers from London and South East, UK. The winners of Glastonbury’s 2008 New Talent competition perform with a warmth of fervent melodies, overlaid with poetry and uplifting lyrics – perfectly fitting for the Bowery Poetry Club. With romantically enticing sounds – it would have been a sore to have missed these guys. They will perform their last scheduled show in the States at the Bowery Electric on October 24^th.

At Le Poisson Rouge we took in the musical fusions of Ninjasonik. Wu-Tang had the shaolin, Ninjasonik has “Sonik Ninjas.” Now, whether that means really fast ninjas or ninjas killing with sounds as a weapon, or something completely left field, we have no idea. If one thing is for sure about these guys, they certainly know how to entertain. From crowd surfing, humping girls on the stage, chugging beers, starting mosh-pits, and admitting they love Devo and listen to Morrissey when they are sad, Ninjasonik is a mash of punk and rap infused with elements of crunk-music and pop – get it? With samples from the Lion King,  a live acoustic guitar and drums take on Major Lazer’s Hold the Line, and with lines like “we fuck girls, do drugs…” we pretty much got the idea that the unabashed, geeky and raunchy attitude of Ninjasonik can fuel any party, anywhere.  As one  may  suspect, it is probably what “Sonik” Ninjas do.

Click here for photos by Oliver Correa and Kenroy George

If there is a reason and cause behind every fire then The Fire and Reason certainly has one… Bella Saona. With titillating vocals from the Brazilian flame, provocative beats and riffs from Ecuadorean Steve Narvaez, the Electro Pop/Rock group have had quite a year. Dubbed as the winners of the New Now Next Awards in the “Brink of Fame” Category, the group beat out the likes of Ladyhawke, LMFAO, Lykke Li, Morningwood and Sam Sparro for the award that was last clenched by Lady Gaga. The fiery group from New York City will hit up CMJ at Rebel (251 West 30th Street) Thursday, October 22 at 9PM. In what will be a show not to miss, we look forward to their fresh act.

Click here for photos by Kenroy George from our last encounter with the Fire and Reason at the Bowery Ballroom.

Check out the Toxic Avenger remix of their track “NME” and the Roar remix of “So Electric” below.  Click through for a video of their debut television performance of “Do it Again” at the New Now Next Awards.

The Fire and Reason – “NME” (The Toxic Avenger Remix)

The Fire and Reason – “So Electric” (The ROAR Remix)

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