I don't know how to delete a post, so, instead of just having a blank entry, I'll say something.
The Do Make Say Think show was so fucking enjoyable. I'm not even completely into them, and they just made me smile. Jingling keys, thrifty basslines, walls of sound, violin that actually stands for something in rock music, sex in the form of music (i think we might as well call all 'post-rock' that), perfect encore song to end the show. they played from somewhere around 10:30 to 12:30...ah. Fuck. It was so good.
Wednesday, March 28, 2007
Sunday, March 18, 2007
Mute Math Show Review
By Chris Zakorchemny
For The Temple News (www.temple-news.com)
Being that I’d seen Mute Math twice before, there was really nothing front man Paul Meany could do that would surprise me. I anticipated him jumping over drum sets, on top of keyboards, and maybe even smashing some light bulbs at the end of the show. He proceeded to steal my notebook, knock over his keyboard three times, somersault over it, destroy the drum setup, and jump into a row of flashing fluorescent light bulbs. OK, I guess I didn’t think of everything.
The show began with two surprisingly good indie bands worth checking into. The first, Polyvinyl Records’ Someone Still Loves You Boris Yeltsin, pulls off a jangly Shins-pop sound quite effectively. The other opener, The Cinematics, deserve all the blog-hype they’ve gotten. Featuring a lead singer with vocal capabilities similar to the Killers’ Brandon Flowers, Moving Units/Franz Ferdinand styled guitar and drum conversation, and Interpol-inspired bass lines; this Scottish band has every reason to be huge in alternative rock.
The stage was set for Mute Math; amid the dark, an oversized light bulb glows above one of the band’s signature row of fluorescent lights. Meany’s feathery, ‘I’m having a dream in a movie’ keyboard comes in, establishing the tone. This allows Greg Hill’s sonic guitar to become the leading texture, bringing a minor quality of dramaticism. The final texture appears: Darren King’s heavy rhythms and cymbal splashes, and bassist Roy Mitchell-Cardena’s high hat smacks, and upright kick drum thumps. The build is somewhat like a faster version of the last 3 minutes of “[Untitled Track 8]” by Sigur Rós – minus the incredible finish.
This finish reaches a crashing apex and fades out, but sets the stage for the arena-ready “Typical,” which is one of the few guitar-centric songs Mute Math has to offer. As soon as the riff begins, Paul Meany is on top of his keyboard, and as soon as the drums kick in, he’s jumped off it, introducing the keyboard to the stage floor.
In terms of song structure and surpassing what’s on the record, “Plan B,” worked the best. It featured a different bass line that was significantly more groove-based, and instead of a guitar riff leading to the chorus by itself, it was accompanied by building drums, and synchronized white-lights flashing around the stage. “Control,” received the biggest reaction from the crowd, with Meany saying “I’m gonna need your help on this one.” The live version has an extended bridge, and escalates to the fanatical over the top ending.
However, among the high points, “Break the Same,” always surpasses everything else. The song already has a predetermined, partially improvisational, jam out, but to see it in action creates a sense of awe. It doesn’t help that during the course of this song, you snag a drum stick, your notebook is written in on stage, and get high fives from the lead singer and drummer.
Using whatever can create a projectable sound, King drums on Meany’s keyboard, microphone stand, and a feedback speaker, all while Hill fiddles with a wailing pedal effect. Meanwhile, Meany and Mitchell-Cardenas occasionally syncopate the rhythms at King’s drum set. After King’s slight jam out, he grabs a drum and places it on top of the keyboard, while standing on it, until he jumps off. (Part 2 of introducing the keyboard to the stage floor.) Wide eyes and incredulous feelings later, everyone but the guitarist is playing a rhythm section, creating a frantic heart-pounding ending with flashing and blinding lights, screaming pedal effects, and…a lot of drums.
Only to top that, they finished with their instrumental, “Reset,” which begins like a Radiohead-inspired song, but ends with a rhythmic overload – and the Atari, an instrument that Meany put together. Essentially, it looks like an metallic block with knobs and a neck, and creates warping sounds. Not to be outdone by any of the effects coming from instruments or lighting, Meany decided to end the song by jumping into the middle row of fluorescent lights, then running to the front row of the crowd, effectively pushing his keyboard over for the 3rd time. Honestly, I don’t know how he didn’t break anything, or hurt himself the whole show.
For Mute Math, the third time was a charm. Let's just hope that keyboard makes it if there's ever a fourth.
The show began with two surprisingly good indie bands worth checking into. The first, Polyvinyl Records’ Someone Still Loves You Boris Yeltsin, pulls off a jangly Shins-pop sound quite effectively. The other opener, The Cinematics, deserve all the blog-hype they’ve gotten. Featuring a lead singer with vocal capabilities similar to the Killers’ Brandon Flowers, Moving Units/Franz Ferdinand styled guitar and drum conversation, and Interpol-inspired bass lines; this Scottish band has every reason to be huge in alternative rock.
The stage was set for Mute Math; amid the dark, an oversized light bulb glows above one of the band’s signature row of fluorescent lights. Meany’s feathery, ‘I’m having a dream in a movie’ keyboard comes in, establishing the tone. This allows Greg Hill’s sonic guitar to become the leading texture, bringing a minor quality of dramaticism. The final texture appears: Darren King’s heavy rhythms and cymbal splashes, and bassist Roy Mitchell-Cardena’s high hat smacks, and upright kick drum thumps. The build is somewhat like a faster version of the last 3 minutes of “[Untitled Track 8]” by Sigur Rós – minus the incredible finish.
This finish reaches a crashing apex and fades out, but sets the stage for the arena-ready “Typical,” which is one of the few guitar-centric songs Mute Math has to offer. As soon as the riff begins, Paul Meany is on top of his keyboard, and as soon as the drums kick in, he’s jumped off it, introducing the keyboard to the stage floor.
In terms of song structure and surpassing what’s on the record, “Plan B,” worked the best. It featured a different bass line that was significantly more groove-based, and instead of a guitar riff leading to the chorus by itself, it was accompanied by building drums, and synchronized white-lights flashing around the stage. “Control,” received the biggest reaction from the crowd, with Meany saying “I’m gonna need your help on this one.” The live version has an extended bridge, and escalates to the fanatical over the top ending.
However, among the high points, “Break the Same,” always surpasses everything else. The song already has a predetermined, partially improvisational, jam out, but to see it in action creates a sense of awe. It doesn’t help that during the course of this song, you snag a drum stick, your notebook is written in on stage, and get high fives from the lead singer and drummer.
Using whatever can create a projectable sound, King drums on Meany’s keyboard, microphone stand, and a feedback speaker, all while Hill fiddles with a wailing pedal effect. Meanwhile, Meany and Mitchell-Cardenas occasionally syncopate the rhythms at King’s drum set. After King’s slight jam out, he grabs a drum and places it on top of the keyboard, while standing on it, until he jumps off. (Part 2 of introducing the keyboard to the stage floor.) Wide eyes and incredulous feelings later, everyone but the guitarist is playing a rhythm section, creating a frantic heart-pounding ending with flashing and blinding lights, screaming pedal effects, and…a lot of drums.
Only to top that, they finished with their instrumental, “Reset,” which begins like a Radiohead-inspired song, but ends with a rhythmic overload – and the Atari, an instrument that Meany put together. Essentially, it looks like an metallic block with knobs and a neck, and creates warping sounds. Not to be outdone by any of the effects coming from instruments or lighting, Meany decided to end the song by jumping into the middle row of fluorescent lights, then running to the front row of the crowd, effectively pushing his keyboard over for the 3rd time. Honestly, I don’t know how he didn’t break anything, or hurt himself the whole show.
For Mute Math, the third time was a charm. Let's just hope that keyboard makes it if there's ever a fourth.
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