Fifth of July
I took the train into Manhattan yesterday and spent as fine a day as I’ve had in NYC in a long, long time.
It began inauspiciously, though, with the called-for rain starting almost immediately as my companion and I set out up Lexington Avenue. I’d brought along a $2 umbrella from a previous soaked visit to Brooklyn, but it wasn’t cutting it for the two of us, so I’m now the owner of two cheap disposable umbrellas. (::shrugs::) We meandered over and to and through Central Park and wound up at SummerStage in time for a set by Apollo Heights, who — for all the Cocteau Twins Mos Def TV on the Radio hype and indie music journalism love — completely sucked live. I mean, I get what they’re trying to do, and think it’s cool — wall of guitars meets soul-style vocal harmonies, or what some folks are calling shoegaze-derived Afrogaze — but the way they did it in performance was crappy piercing painful feedback for feedback’s sake and sounded nothing like their studio singles. In terms of musical genre, they’re loose cousins to TV on the Radio, who I like a lot, but with less polished vocals, and a guitar sound that can probably trace its lineage back through (very) early Catherine Wheel and Jesus and Mary Chain to the live portion of Pink Floyd’s Ummagumma. But still: when there’s no music happening between songs and you, Danny Chavis, are working to maintain that sustained painful nothing-but-feedback squeal for the umpteenth time and a substantial portion of your tiny audience is facing you with their fingers in their ears, it might be time to take the hint: dude, you’re just being a dick. They’re critical darlings, but their live chops and production are far from up to their studio sound — and that’s why they opened.
Fortunately, they opened for a far, far better band:
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