What Makes Life So Sweet

PaperMag.com: Pretty Lights @ Bowery Ballroom 5.13.09

2009-05-14T11:51:00.000-07:00

PRETTY LIGHTS KEPT GOING AND GOING AND GOING AT BOWERY BALLROOM

BY NELL ALK

"Fuck that shit! This ain’t Wyoming; it’s New York!” Pretty Lights' live percussionist Cory Eberhard yelled last night to an adoring audience at Bowery Ballroom. It was just past 1 a.m. and he and his other half, indisputably the mastermind behind PL, producer Derek Vincent Smith, had broken it down for a solid hour and 45 minutes. Even though upon their departure from the stage admirers chanted “Par-ty Lights! Par-ty Lights!,” annunciating each syllable, Eberhard still sought louder shouting and applause from fans. He deftly coaxed it out of us and our second go at it seemed to please him; “Thanks for coming out on a Wednesday night!” 27-year-old Smith re-emerged and the dream team picked back up again for another calorie-crunching 30 minutes. Talk about stamina. This Fort Collins, Colorado-based duo is the musical equivalent to the Energizer Bunny!

Over the course of the evening, Smith and Eberhard plucked numbers from albums past, most notably the double disc Filling Up the City Skies (October 2008), which is, along with the debut record, Taking Up Your Precious Time (October 2006), available for free download at prettylightsmusic.com. Most praiseworthy, to my mind, is their sick remix of Etta James’ “Something’s Got a Hold On Me,” a rich, soulful jam made danceable thanks to these two wizards. Smith not only looks backwards, but also pays homage to more modern musicians, such as Ludacris (“When I Move You Move (Just Like That)”), Biggie (“Juicy”), and, more memorably, marries the music of M.I.A. and oldie-but-goodie Wreckx-N-Effect. This last track they performed post-encore, fusing “Paper Planes” and the early ’90s “Rump Shaker.” Step aside, Girl Talk. Competition has entered the Northeast, if only for one night.

A synth-laden, deep beats-boasting, booty-movin’ act like this seemingly belongs at Webster Hall. But truth be told, Bowery Ballroom seemed to instill in attendees (which ranged in age from maybe 18 to about 21 –- aside from a few “fogies” such as myself and date) a certain degree of respect and composure. What might otherwise have been another rager rife with unruly trippers, delinquent drunks and more than just partial nudity, this rock club swung the pendulum in another direction, towards communal love and deference. Peering down from the balcony, bobbing heads, waving arms and pumping fists could be seen sharing the space, swaying this way and that in an unthreatening and manageable manner. Flower children, hipster kids and bridge-and-tunnel types danced arm-in-arm, some decked out in glow-in-the-dark accessories. And I saw more ankle-length paisley skirts and bare midriffs than I ever care to encounter again. While the show supposedly sold out, the room remained an inviting environment, all things considered; it’s almost as if high school seniors got together and decided to get down with their fellow graduates. Every head seemed to know every other head, from the dreadlock’d to the afro’d to the New Era-rockin’ to the clean-shaven to the Janis Joplin-lovin’.

Per chance partygoers kept their temper in check in part due to the audible and visual stimuli surrounding them on all sides. Sensory overload demanded our attention, from the funk meets hip-hop meets techno music to the equally diverse visual imagery. Occupying the back wall of the stage there hung a large-scale digital display show of sorts, an oversized Lite Brite, if you will, timed to match the music. Images included psychedelic ’scapes, outer-space exploration, Tetris-esque cascading squares, geometric and abstract Mondrian-inspired designs, partly cloudy skies, falling rain and rippling water, to name a few. Strobe lights and disco-ball-like lights “flooded” carefully arranged areas throughout the room, also maneuvered in time to the tempo. Evidently, this was an interactive show. Though, fortunately for us, in my humble opinion, the young men spent little time engaging the audience in bullshit banter; as said, they kept going and going, one number flowing seamlessly into the next with little need or room for verbal interruptions.

Not that this was strictly business; oh no. Eberhard was visibly enjoying himself onstage, drumming his heart out and hitting the air with his sticks during breaks between cues. He’d sing along or lip-sync, mouthing deep vocals and flourishing choruses while sporting an ear-to-ear grin. One thing’s for sure, this dude has character and never took himself too seriously, yet never sacrificed delivery. The talented Mr. Smith also looked to be having a blast, his entire body bouncing. He stood tall, his six-foot-nine frame hunched somewhat as he lunged forward then backward (all I kept repeating in my mind was, “that’s torque, for real!”), his motion matching his rhythm as he manned his Mac and his Monome 128. That’s right, no turntables for this guy, which is another notch that sets this pair apart from other industrial, electro, breakbeat-bumpin’ artists.

The enthusiasm Pretty Lights exuded was matched and mirrored by their enamored Manhattan-and-boroughs fan-base and, while some ducked out before the end (is it finals time already?), by and large the venue remained at capacity till the last stroke. Though it was their “first time [they] played a show in New York City,” it most certainly will not be the last. Especially if these acid-dropping kiddies have anything to say about it. In the meantime, keep an ear out for Pretty Lights’ forthcoming release, due to drop this month. Oh yeah, and that too will be available for complimentary download. Just one more reason to love PL and get your ass out to a show. Peep their MySpace page for dates and locations. I assure you, you won’t regret it.

Photos by Pearse Daly

PaperMag.com: Fischerspooner

2009-05-09T06:42:00.000-07:00

Friday night's Fischerspooner performance at Webster Hall was, to put it mildly, off the hook. That phrase doesn't scratch the surface. This and my Moby experience (and perhaps Bon Iver, but in a different way entirely) take the cake for best shows I've probably ever seen.

Below are some photos from Fischerspooner's sick set, as well as some footage courtesy of yours truly. Hey, it's less crappy in quality than usual, no?

I had the honor of interviewing Casey Spooner Friday night before show time, and then again yesterday at Supercore in Williamsburg. Watch for it on PaperMag.com in the coming couple weeks. Time to transcribe...

"Danse En Franse"

PaperMag.com: Interviewing Fischerspooner Tonight

2009-05-08T09:32:00.000-07:00

So stoked for tonight's Fischerspooner performance @ Webster Hall. Different from my usual WH MO, I'll be attending for the early show (the legit artist set) and hopefully, temptation pending, departing pre-late night DJ dance party. Will power, Nell!

Also, and more so, stoked to sit down with Casey Spooner for an interview I pitched to PaperMag.com. Smile.

Tickets seem to still be available, so stop by if you'd like. Fisherspooner to take the stage at 9 PM, following openers Drop The Lime and No Bra.

TROUBLE @ The Studio @ Webster Hall

2009-05-08T05:16:00.000-07:00

Put it this way, I was on the fence due to my delirium from lack of sleep this week but, despite this setback, am so stoked I rallied and went last night to The Studio at Webster Hall. Truly a stellar set, as always. Some documentation of the event below, plus some mediocre video work by yours truly of the guys performing “Chase Money.” Much love for the Trouble Gang!

Masa, Trouble bass. Love this kid!

My hot date for the evening, Margaret.

Mister Mister in his "Buttwiser" cutoff...

Fonda of Team Facelift. Yes, I realize, he's really good looking. Ginger what what.

Fat Jew & Machine of Team Facelift breaking it DOWN.

Ow ow, Fat Jew on the floor.

Trouble!!!

Talented photographer Craig Wetherby in full force.

Jofo joins in...

Masa rocks it.

Such a sick set!

Trouble Guitarist Joao.

Da boys. Too bad we can't see Ian, the rad and adorable drummer.

My boy Michael Cohen, marketing man at SHUT NYC. Interviewing him next week for FormatMag.com's skate issue. Whoop.

77 Klash

My mediocre footage of Trouble performing "Chase Money."

Trouble Andrew TONIGHT @ The Studio @ Webster Hall!!!

2009-05-07T16:15:00.000-07:00

So, anyone who knows me knows how much I love Trouble. Been a fan ever since hearing a single solitary little track on ANewYorkThing .com. To be precise, I heard it here. Why was I peeping their site? Because about a year and a half ago I interviewed The Virgins and they've modeled for the brand before. That led me to their site and, duh, I had to check out the media player.

Trouble's catchy-as-anything "Chase Money" was playing and from then on there was no turning back. No more than a month later they were playing a $7 show with Group Home at The Knitting Factory. It was sick! Drummer Ian kicked ass on percussion, sporting an old school hockey jersey, Masa (the bassist) broke it down and donned a ninja mask, Joao rocked the guitar (no notable attire that I recall...) and Trouble commanded the mic like the pro he is, his getup comprised of his signature Oakley sunglasses and a flannel worn over a Wu-Tang Clan cutoff underneath. Oh and plenty of gold bling bling.

Since then, the boys have blown up. In November they were signed to EMI and their forthcoming record is due to drop in autumn. Next on the agenda? Touring this summer with Trouble's fiance, Santigold. They are scheduled to play NYC at Terminal 5 on June 17th. It's sold out but definitely not to be missed if you can cop a pair of tickets somehow.

In the meantime, check out their shiz on the various links listed below. And come tonight if you can! It's gonna be off the hook. Team Facelift, Jofo and 77Klash, among others, are also performing. This is all bound up with Peaches' record release, so all-in-all a win-win. Trouble is due to take the stage at 12. The Studio at Webster Hall. Be there.

LINKS:

TheCheapPop.com show review

TheCheapPop.com interview

FormatMag.com interview

PaperMag.com record release show/party write-up

Trouble MySpace

Trouble Gang MySpace

Trouble Official Site

PaperMag.com: Patrick Wolf Acoustic Set @ (le) Poisson Rouge

2009-05-07T12:37:00.000-07:00

"AN EVENING WITH PATRICK WOLF" AT (LE) POISSON ROUGE

BY NELL ALK

Goths, hipsters, the middle-aged, teenaged types and everything in between formed a line along Bleecker Street last night in anticipation of the 10 p.m. Patrick Wolf show at (le) Poisson Rouge. Finally, after much frustration (and some confusion created when the previous performance let out) attendees were ushered into the stage area and scrambled to secure seats.

Referred to on (l)PR's website as “An Evening with Patrick Wolf,” guests had to assume that tonight's event would be dissimilar from most shows. Lofty title, but assuredly accurate, as this was no ordinary, raucous, audible assault; Wolf’s hour plus-long acoustic set proved pure, raw and engaging. Different from his records, we witnessed something rare from Wolf -- an intimate and moving solo set, stripped of production beyond his multi-instrumentation. Solo’s a stretch, though, as indeed he shared the stage with his trusty -- and gifted -– violinist, Veronica. But, for all intents and purposes, this South London-based 6’4” 25-year-old peroxide-and-pomade-worshipping talent ruled the roost sans electronic contributions.

Over the course of the set, Wolf showcased his skills on the piano, the viola, the dulcimer, the electric guitar and, of course, he won us over with his vocal delivery and deeply personal, narrative lyrics. His emotive voice, with its remarkable range and power to mesmerize an entire room truly takes the cake. His singing and his eccentric fashion sensibilities (essentially, his overall aesthetic) combined with his gracious and appreciative not to mention downright hilarious personality (“Do I have camel toe?!” he at one point asked the crowd) won us over.

Among the numbers performed, many were plucked from albums past; “Pigeon Song” and “The Childcatcher,” off of his debut album Lycanthropy (2003), “Wind in the Wires,” title track off the disc of the same name (2005) and “Augustine” and “The Magic Position,” a rollicking track that invited clapping along from the audience, from, you guessed it, The Magic Position (2007). Perhaps more notable than looking back, Wolf focused on the future, giving us a sneak preview of his forthcoming release, The Bachelor, the first in a two part series due to drop digitally June 2nd and on CD come August 11th. Standout tracks included “Oblivion,” with which he opened, “Damaris,” “The Sun is Often Out,” “Theseus,” “Blackdown” (a bare-bones familial devotion-themed number) and “Who Will?” He reserved for the encore what few would dispute to be his most recognizable single of late. He and Veronica bounded back into the room and proceeded to play a song perhaps better known for its provocative, S&M-inspired video: “Vulture.” A bit disarming to hear without the mechanized details, it was still easily deciphered and met with ample accolades. He even sported his signature vulture cape complete with faux feathers and “shoulder pads,” the likes of which we haven’t seen since Designing Women went off the air.

Wolf returns to the States this summer for his headlining tour in support of The Bachelor and is supposed to pass through New York on June 23rd. Prepare to be impressed.

Photos by Kyle Dean Reinford

PaperMag.com: Lady Sovereign @ Highline Ballroom

2009-05-06T13:36:00.000-07:00

LADY SOVEREIGN SAYS "F*CK YOU SWINE FLU!" AT HIGHLINE BALLROOM

BY NELL ALK

Little Lady Sov returned to the states on May Day and spent Cinco De Mayo in New York. Manhattan fans could not have been more pleased, despite the fact that Highline Ballroom remained semi deserted the entire night. Even so, it was a welcome relief from recent sardine-esque experiences, providing a bit of breathing room and space to roam around. I know I was pumped perspiration remained at bay.

While the rear of the venue was spotty, stage-side proved quite the opposite, littered with underage girls and other representatives of Sov’s primary fan base. I had to combat chaperones just to take a few photos. Even with the abundance of teenagers accompanied by their ’rents, it was still a grown-up performance, rife with adult language -– and attitude.

Her maturity entails taking on a city crammed with critics, as her sophomore album Jigsaw was met with mixed if not mostly negative reviews. Says Sov, “I think a lot of people dismiss me before they’ve even had a chance to see me live, and that’s where people go wrong. Me as a performer, I’m fucking amazing. I give it my all. I completely go for it.” Unlike the last time she was in town, for her mid-April record release show at the Tribeca Grand Hotel, this time she brought her drummer, RJ, adding dimension and texture to her set. Like before, DJ Annalyze manned the turntables. “I haven’t been on the road with a band member for ages. That always adds a lot to my shows.”

The self-proclaimed midget MC flogged her guts out, approaching hoarse on some notes. She kidded about having the swine flu while pouring beer down the throats of those in the front row and at the end of “Love Me or Hate Me” screamed “Fuck you, Swine Flu!” She also bitched about Boston (the third stop on her month-long North American tour), explaining how she feared she might lose her voice while there and thus be unable to break it down once she reached the Big Apple. Evidently she places a premium on playing in the city that never sleeps. We’re comfortable with that.

What we’re not comfortable with, apparently, is singing along. The crowd deserves a big fat F in that department. Sov did what we said she’d do back on April 13th: shorty brought it! Unfortunately, the audience rarely mustered enough nuts to belt it out with her. Some songs we sang along, and certainly everyone was cheering with hands raised high, but when she’d point the mic at us, encouraging us to join in, on “Bang Bang” for instance, we dropped the ball. I felt mildly wounded on her behalf because this pixie puddle-jumper definitely deserves to get out of this shiz as much as she puts in, ya know? Before she skipped back to the stage for her encore, Annalyze scolded us and said we’d better make some [expletive] noise. I’m with her. A little effort, kids!

Also on the bill last night were Chicago-based Hollywood Holt and Chester French from, eek, Massachusetts. When Sov made her exit and the lights went up, Holt emerged from backstage and hung out for a while. With him came the one and only Million Dolla Mano, ginger-haired DJ Josh Madden (swoon) and the baby-faced darling DJArtie K. All in all. a solid night. Catch this same lineup tonight at the Music Hall of Williamsburg. And do some scales before you go; vocal contribution is mandatory. Consider it a public warning…

Selecciones: Folding

2009-05-04T09:58:00.000-07:00

Right on the heels of our big ASME win, Reader's Digest Association announces plans to close Spanish sister publication Selecciones. Definitely not awesome news. . . June will be our last printed issue. So much for Miami @ the end of June! : (

U.S. Selecciones Magazine to Close


NEW YORK, May 4 /PRNewswire/ -- The U.S. edition of Selecciones magazine will close after the June issue, it was announced today by The Reader's Digest Association, Inc. (RDA), its publisher, Eva Dillon, President of Reader's Digest Community, said the company had determined that the edition no longer is a viable long-term business. "Reader's Digest Community is committed to sustainable, long-term growth, and this move allows us to commit our resources to new opportunities that will have the most potential for successful performance in today's marketplace," Dillon said. The decision does not affect Selecciones in 17 other countries, where it continues as a powerful global brand distributed in Latin America and Europe. About The Reader's Digest Association, Inc. RDA is a global multi-brand media and marketing company that educates, entertains and connects audiences around the world. The company builds multi-platform communities based on branded content. With offices in 44 countries, it markets books, magazines, and music, video and educational products reaching a customer base of 130 million in 78 countries. It publishes 94 magazines, including 50 editions of Reader's Digest, the world's largest-circulation magazine, operates 65 branded websites generating 22 million unique visitors per month, and sells approximately 40 million books, music and video products across the world each year. Its global headquarters are in Pleasantville, N.Y.

SOURCE The Reader's Digest Association, Inc.

TheDeliMagazine.com: Home Video's EP "It Will Be Okay" = CD of the Month!

2009-05-04T09:02:00.000-07:00

Deli CD of the Month: Home Video

Comprising Brooklyn-based music savants Collin Ruffino and David Gross, Home Video is so much more than your average electronic-rock collab. Despite the fact that they’ve been breaking it down for over five years, it took the second season of the hit show Gossip Girl to unite my ears with their utter talent. Episode 20 featured “I Can Make You Feel It,” a pulsating number characterized by solid drumbeats, killer keyboard, tambourine accents, haunting harmonies and an eerie electro current. Peep the frenetic, white on black, mixed medium music video to help wrap your head around this stellar song.

Beyond their primetime appearance, in January Home Video released an EP, It Will Be OK, in advance of their second full-length, due to drop by the end of ’09. Visit their official site to download the EP for free. Bask in Home Video’s intoxicating tunes, which range in personality from somber and minimalist to hopeful and sublime. Capable of transforming mood with their downright depressing but unequivocally beautiful flourish of sick synth and ambient tones, listeners will either be elevated to a state of ecstasy and dance or driven to despair.

They recently played a gig at Mercury Lounge and, rumor has it, the boys will be back in action on May 7th performing with Max Tundra at the former Supreme Trading spot in Williamsburg. Junior Boys and Franz Ferdinand are also slated to deejay. Fingers crossed this circulating buzz isn’t just fluff.

Sure to give you nightmares and dominate your dreams, Home Video may not be America’s funniest, but they are among New York’s finest. - Nell Alk

Published on Mon, 4 May 2009 11:51:10

PaperMag.com: The Sounds Secret Show @ Santos Party House

2009-05-01T12:59:00.001-07:00

Shhh! The Sounds Play Secret Show at Santos

By Nell Alk

The place was packed, absolutely brimming with hipster kids, prepsters, sophisticated folk and every other form of fan you can think of. It was more than a little trying to navigate the sardine-can-stuffed Santos Party House, struggling to stay afloat while swimming in vain amidst a sea of people vying for the ever-coveted front-and-center spots. I myself got caught in the current and was elbowed on more than one occasion.

Once one secured an acceptable coordinate on the dance floor, huddling by the bar or leaning against one of the columns, there they hopefully copped a decent view of the spectacular Swedish new wave outfit, The Sounds. The female-fronted quintet was in town celebrating their forthcoming record release, Crossing the Rubicon, due to drop June 2nd, and played for a packed house where invite-only guests gathered in droves.

Led by sexy lead singer Maja Ivarsson, these Swedes performed a solid set, consisting of 14 tracks delivered with great energy and enthusiasm. They plucked numbers from all three of their albums, Living in America, Dying To Say This To You and Rubicon, which, based on last night’s showcase and the crowd’s subsequent response, promises to be a winning disc.

Twenty-nine-year-old tatted blonde bombshell Ivarsson sported expertly torn fishnet tights, black satin hot pants and an oversized ’80s-esque tee featuring gold lettering reading “New York.” Talk about paying homage to the Big Apple. Delicious. Beyond this, the beauty brought it. In other words, she not only boasted the look of a quintessential leading lady, but also embodied the exact attitude one would expect from a punk-pop-rock group. She fist-pumped the air with Rocky-inspired fervor, dropped it like it was hot (bouncing down and back up again as though workin’ a stripper pole) and even managed to squeeze in some high kicks. If I didn’t know better, I’d say she and Semi Precious Weapons’ Justin Tranter traded fashion and stage presence tips backstage. They definitely share a striking resemblance as far as core auras and outward appearances go.

This isn’t the first time we’ve seen a pretty young thang with platinum locks rock the mic, commanding guys and gals alike with her sex appeal and vocal faculty. As you may recall, fellow foreign honey Mette Lindberg of The Asteroids Galaxy Tour turned us on back in March at (le) Poisson Rouge and, not long before that, the The Ting Tings were in town (Katie White), not to mention The Duke Spirit (Liela Moss). This won’t be the last time we witness sensual, pin-up girl power either. In fact, The Sounds are gearing up to tour the entire summer with No Doubt, supporting what few would dispute to be the original fair-haired, female-fronted band in recent history. We expect great things from Gwen and have complete confidence that together she and Ivarsson will leave audiences weak at the knees.

DJ Paul Sevigny greeted the evening and post-show DJ Daniel "rekLES" Casanova brought everything full circle on the turntables. But, as soon as The Sounds exited, so too did the bulk of the excitement. Evidently kicking things off with an open bar at 8 p.m. can potentially send otherwise all-night partiers packing earlier than expected, especially for a Thursday in New York. Remaining attendees formed clusters, catching up with old friends and making new ones whilst rekLES spun. The gradual exodus revealed an alcohol-drenched surface littered with bottles and plastic cups. At least I could now traverse the space with ease, despite my shoes getting stuck now and again to the newly laid down sugary booze finishing.

Photos by THE CULTURE OF ME

LISTEN:
"Dorchester Hotel" - The Sounds

Reader's Digest: We Won an ASME!

2009-05-01T12:27:00.000-07:00

So, we won! RD is where I spend my days, the 9-5 so-to-speak.

It's true, in addition to all my galavanting about our burroughs, interviewing this band and that, I hold down a steady paying job as marketing and promotions/events coordinator at one of the oldest and most widely read pubs on the planet. Gee whiz.

Granted, I'm an editorial/writer gal at heart, but gotta pay the bills somehow, right?

2009 National Magazine Awards Winners and Finalists

Recognizes overall excellence in magazines in six circulation categories. The award honors the effectiveness with which writing, reporting, editing and design all come together to command readers attention and fulfill the magazines unique editorial mission.

Winner: Reader's Digest: Peggy Northrop, editor-in-chief, for June, August, September issues.

Finalists:

Martha Stewart Living: Martha Stewart, founder; Michael Boodro, editor-in-chief, for August, October, November issues.
National Geographic: Chris Johns, editor-in-chief, for May, July, September issues.
Real Simple: Kristin van Ogtrop, managing editor, for February, September, December issues.
Time: Richard Stengel, managing editor, for April 7, September 15, September 29 issues.

Additional Press:

New York Times

New York Post

Washington Post

Women's Wear Daily

Folio Mag

Media Week

Min Online

Gawker

Pesh & June Jump-Off @ The Player's Club

2009-04-29T15:55:00.000-07:00

Heading to this tonight. Wish me luck. Gonna make it rain with my boy June, who recently did an interview with me for FormatMag.com.

Check it out here.

FormatmMag.com: Interview with Hip-Hop Artist June

2009-04-29T15:51:00.002-07:00

You may not yet have heard of him but hip-hop artist June has been makin’ moves for some time now. This South Bronx based sensation has been spittin’ rhymes since he was a wee thing (think kindergarten wunderkind on the mic) and has stuck with this passion ever since. A sought-after songwriter, as a teenager he ghostwrote lyrics for bigger names in the game, then transitioned into singer extraordinaire, vocal expression never far from his heart. When he met music producers the Soundmen, June’s sound really took off and it’s been hits and no misses ever since. June’s latest single with Remo the Hitmaker, the catchy, Auto-Tune heavy “Watch My Moves” recently leaked to local radio stations in New York and soon found its way onto the Internet; look for it on iTunes soon. With his giant smile, infectious laugh and winning attitude, it’s difficult not to fall for this complete package comprising personality, talent and drive. Beyond his solo success, June has collaborated with several well-known’s, among them multi-platinum producer Ron Browz and platinum DJ Webstar. Read on to learn more about this educated, opinionated and entertaining up-and-comer.

For complete Q&A please click here.

InterviewMagazine.com: Interview with Moby now live online...

2009-04-28T08:58:00.000-07:00

So they changed my intro. Again .(As with my Machinedrum piece from last week.)

Whatevs. Read on. . .

Moby Discusses His ISSUEs

By Nell Alk

Photos by Thomas Cantley

The month of April marks the six-year anniversary for ISSUE Project Room , the performance space that opened in the East Village in April 2003, and has moved twice, most recently finding itself in Gowanus, Brooklyn. The address is changing yet again, this time to Downtown Brooklyn, but renovations and funding needs slow this transition significantly. Founder and creative director Suzanne Fiol, Moby, and I sat down to talk about past performances at ISSUE that failed and why toxicity is great for real estate. Moby's also supporting a forthcoming record release, Wait For Me, due out at the end of June, and he showed a disturbing, beautiful music video for recent single "Shot in the Back of the Head," directed by David Lynch. Afterwards, guests including Steve Buscemi gathered in an oversized, candlelit garage where Moby performed his first ever live solo ambient/electronic set. He played and swayed, eyes shut, against a montage of projected images—from a bizarre animated ballet to houses that whiz by as if driving a suburban street and looking out the window to trippy, psychedelic color patterns.

NELL ALK: So this is your first ever ambient or electronic show. That's surprising.

MOBY: Yes. I've been making electronic music for twenty some odd years but, because I grew up playing in punk rock bands, when I started touring, I thought in order to be a viable touring musician I had to do it with a band. I would DJ or tour with a full rock band. When Suzanne [Fiol, founder of ISSUE Project Room] asked me to be involved in this, I realized I'd never done a solo electronic show, which is strange, being an electronic musician.

NA: What's specific to ISSUE that brought it out in you?

MOBY: Maybe it's a form of overcompensation, but whenever I've toured, I've always needed a huge performance component. One of the things I love about ISSUE is that it's so focused on the music. You come here and you sit and you listen. There are visuals sometimes, but it's not like a traditional performance where there are people running around onstage. The show I'm doing tonight is something I've never done before; I'm just presenting the music, not singing and not talking and not stage-diving and not climbing scaffolding.

NA: So tonight is solely audio?

MOBY: There's projections. It's amazing.

NA: So no body-surfing. Would you mind talking a bit about your forthcoming album?

MOBY: It's a lot quieter and more mournful and more melodic than some of the records I've made in the past. The last record I made was a really fun dance record and this record is more like Sunday morning, 9 AM, laying in bed when it's raining outside. It's called Wait For Me and it's very pretty. With this record, when I was making it, I wasn't concerning myself with any of the commercial ramifications; I just wanted to make a really pretty record that I liked. And, if other people like it, great. And, if they don't, that's okay.

NA: Do you have any guest artist appearances?

MOBY: I do, but no famous people. Can't do any work with a rock star; you have to go through their lawyers and their agents and their managers and you have to book them hotel rooms. When you work with your friends, you just call them up and they come over and you record and then you go out to see a movie.

NA: How often do you sing on the record?

MOBY: On this record, there are sixteen songs, and I only sing on one of them. I don't think of myself as a singer; I usually end up singing when I can't find anyone better to sing, or when I'm too lazy to find someone better. I like singing, but it's certainly not my strong point.

NA: So, Suzanne, how did ISSUE get started?

SUZANNE FIOL: It was something that felt really necessary. A lot of music spaces and art and performance spaces were closing. It was in the East Village, which is a neighborhood of artists and no art spaces, so everybody was really happy to see it. Then, like most art spaces, we got kicked out. We moved to Brooklyn. We got a great silo that we did work in for two years. Then, we got kicked out of there and now we're here.

NA: You're celebrating six years this month.

SF: Six years [it was, on] April 11. It's crazy.

NA: And how long have you been involved, Moby?

MOBY: I'd known about ISSUE since its inception. I started coming to events. Now I'm on the advisory board, and the focus right now, in addition to putting on performances, is raising enough money to renovate the new space. There's this beautiful space in downtown Brooklyn and, in order for it to be a home for ISSUE for twenty years, we need to raise enough money to renovate it.

SF: One of my main reasons for having a space is that artists get paid properly; they get paid what they should be getting paid. That's important stuff.

NA: Isn't Gowanus a terribly toxic place?

MOBY: I love the Gowanus area, but if you google "Gowanus" and "toxic," about 500,000 things will pop up. I believe this is one of the most polluted areas in the United States, which, I guess, to some extent, contributes to its charm. It's been an industrial area for such a long time. And, in a weird way, the fact that it's so toxic is actually preventing gentrification. People have wanted to develop stuff here and they just can't.

SF: It's like Williamsburg. That's built on a toxic waste dump too.

MOBY: One of the wonderful things about the new space is that it's so easy for everyone to get to. A lot of my friends who grew up in Manhattan have a strange phobia about Brooklyn. It's big and scary and they get lost. Even a provincial, phobic Manhattanite won't have a problem going to the new space.

NA: When are you moving?

SF: As soon as the space is ready.

NA: What does experimental culture mean for you?

MOBY: By it's very definition it can mean myriad different things. For me, primarily it's artistic expression that's not bound by commercial constraints. The artist or the musician or the writer is given free reign to express themselves however they so choose without worrying about the market viability of what they're doing. Sometimes I love the marriage of art and commerce; I love Donald Summer; I like the Rolling Stones.

NA: What are some of your favorite ISSUE performances over the years?

SF: We had a wonderful performance last week. It was Steve Buscemi and Tim Robbins and Richard Hell and Sean Lennon. We've done like 1,500 performances. We've had maybe 15 not-so-great ones. I would never say who they are. They were not great because they were artists who were willing to come here; it's called "Project Room" for a reason. It's important to have a space where you can try something new and, if you don't succeed, you don't succeed. I have issues with artists who are afraid of failing.

MOBY: Whenever I've had success, I never learn from it. Success usually breeds a degree of hubris. When you fail, that's when you learn. Musicians who come here and it hasn't worked, I'm sure they've gotten a lot out of it.

NA: That's a very New York mentality. Can you expand on your earlier comment about gentrification, or lack thereof?

MOBY: One of the downsides of gentrification is that, as rents have gone up, in general, it's made people a lot less inclined towards experimentation. New York is such a competitive place; it tears people apart. People come here and, if they can't make it in the first month, they get torn apart and they have to go back to where they came from. I don't think that's terribly healthy. It can be invigorating at times, but there has to be a balance between competition and support. When the balance skews so far toward competition, the city becomes packs of hyenas running around tearing each other apart.

New York Daily News: Rudo y Cursi Movie Premiere & After Party

2009-04-26T23:02:00.000-07:00

Last night was actually really neat. After running late as per usual, I met Sean right outside of the AMC theater at 66 3rd Avenue (the NW corner of 11th) where he was waiting and we hustled to coordinate with press check-in. Reporters lined up along the red carpet, behind grates. I stood between Us Weekly and New York Times, essentially. Not bad company to be in. Sean hung back, but was with me, shooting photos and making general observations. I was prepping to talk to Diego and Gael. I also spoke to Carlos, who was super cooperative. Diego, too, he was great. A little greasy and possibly intoxicated, but adorable and charismatic nonetheless. Gael bypassed printed press people for the most part; oh well. He looked great too, cleancut and sober. Hipster hot.

The film soon commenced. In the end, Rudo y Cursi turned out to be so-so. The characters were really convincing, their acting was on point, but overall the script was pretty predictable; formulaic. This was Carlos' first go as director, and for that I five him props. Not like I could have done any better, right? Not terrible, not notable. Too bad because I love Diego and Gael. Whatevs.

Sean and I then made our way to Bar Artisanal in Tribeca for the after party. Thankfully, my contact at the Daily News had the foresight to put my name on the list. (Too often wires get crossed or people just get crazed and something or someone messes up regarding list spots, so this was a refreshing, hassle-free entry.) We mingled with fellow party-goers and watched on as the stars spoke to reporters with over-sized recording equipment; I never got the chance to talk to them again, as they soon sat down with the rest of the film crew and by then there was no way I would interrupt their evening. So, Sean and I just sipped on complimentary cocktails and ate the delicious passed hors d'oeuvres. We departed prematurely, he because he had yet another Tribeca Film Festival movie to see and I because I'd still not completed the infamous Moby piece for interviewmagazine.com. Oh, and I had to transcribe the red carpet recordings and the post-showing Q&A. Whew. It's been a weekend. Yawn.

New York Daily News: Rudo y Cursi Movie Premiere & After Party

2009-04-26T10:36:00.000-07:00

So, yet another semi-last minute movie premiere coverage opportunity has arisen. It seems I am off to interview Gael Garcia Bernal and Diego Luna on the red carpet tonight for their roles in Rudo y Cursi (screenwriter and director Carlos Cuaron). After party at Bar Artisanal a must according to the editor at New York Daily News. Will I ever catch some shut eye? I still need to write the intro for the interviewmagazine.com ISSUE Project Room Moby piece. Gonna be a long night. At least I have my filmmaker friend Sean Glass along for the ride. He'll know what needs to be asked and answered, being the movie buff. I'm more immersed in the music scene, so this is a little nerve-wracking! Wish me luck!

New York Daily News: Was SUPPOSED to Interview Kobe Bryant. . .

2009-04-25T15:55:00.001-07:00

So, a PR friend texted me and said something along the lines of: "Interested in covering Tribeca Grand tonight for Daily News?" I was surprised Daily News would need someone at the Saturday parties at the Tribeca Grand, but, hey, I could always use the additional outlet exposure, so why not? So I call her friend at DN and it turns out wires were crossed and what she needed from me was coverage of the Tribeca Film Festival. Namely, she needed me to attend the premiere of Doin' Work, Spike Lee's new joint about Kobe Bryant. My mission? To interview Kobe. Easy enough. Sure, it was last minute, but I've rallied before, why not one more time? I'll tell you why not.

I was ready to work the red carpet and watch this basketball documentary downtown, all they way on Chambers Street, when my filmmaker friend Sean Glass tells me there's no way in hell Kobe will be in New York tonight. It's Game 4 of the Playoffs. Come on. He's in Utah. I communicated this to the girl and after some back-and-forth she confirmed that indeed he's playing in Utah tonight. At least I did my homework.

Then, I was supposed to go to this OTHER red carpet affair, Handsome Harry, starring Steve Buscemi (met last night) and Aidan Quinn. Okay, that's cool. I'll do some research and come up with some questions. Then, I do a little digging and various sources imply it isn't tonight. WTF? Finally, my contact confirms it is indeed tonight but by now I've already psyched myself out of it, so-to-speak, and am still in need of a shower after my six mile Central Park run earlier today, so am so obviously not able to make it to West Chelsea by 8:30 PM. Thus, I killed the movie premiere plan.

That's my story. Maybe it's lame. Go ahead and say so. (Nell, don't you know no one reads this shit? Besides, you've only told, like, 6 people you're beginning to blog.) I'm going to take care of some shiz here at home tonight. Sorry, Dan Mims. This entire evening has been a clusterfuck and, although I would like nothing more than to come out to The Yolk in BK and support the shit out of your new live venue space, I need some me time. Yes, I said it, me time.

Until later. . .

InterviewMagazine.com interview with Moby @ ISSUE Project Room

2009-04-25T06:47:00.000-07:00

I don't know where to begin or even really what to say, but. . .

Last night I trekked out to Brooklyn for this phenomenal opportunity; I was invited to interview Moby at ISSUE Project Room. Thanks to my good friend Ed, who hooked it up. Contrary to what people may think, Moby was nothing if not gracious and lovely. We talked about everything from New York City and the arts scene here to his electronic/ambient music to his forthcoming album (due to drop June 30) to veganism to how he recently sprained his ankle.

During the month of April, IPR is celebrating its six year anniversary as an avant garde art space. So this was bound up with that and I also had the chance to speak with IPR founder and artist Suzanne Fiol. She was absolutely sweet in all ways. She even called me, "the cutest thing." I blushed.

In addition to the three-way interview with them, my friend Thomas Cantley came along to photograph. I pitched the entire thing to interviewmagazine.com and they went for it. And why wouldn't they? I think we hit a home run with this one. Even got a few words in with Steve Buscemi, who is also intimately involved with this project.

Beyond this, the evening consisted of a VIP private listening party with the video screening of this dark but beautiful music video directed by David Lynch, set to the song "Shot in the Back of the Head." Amazing. On top of this, and this is the real winner of the night, all attendees were invited to attend Moby's first ever ambient/electronic set downstairs from the studio space in this oversized, pillared candle-lit "garage."

Pardon my effusiveness, but this was by far the most incredible experience I've had the privilege of being a part of in all my memory. Grizzly Bear performing with a 40+ piece orchestra at BAM a couple months back was right up there, but this showcase of Moby's new

material as he swayed and did his thing, set against this psychedelic video projection, was a fully immersive installation; sensory overload in the best sense possible.

There was so much more to it than this, but I feel like you can only appreciate this post so much without having been there to witness yourself.

Watch for the write-up on Interview's website next week.

Thanks for reading!

PaperMag.com Semi Precious Weapons & Shiny Toy Guns Blog Post

2009-04-24T09:52:00.000-07:00

“It’s like Sesame Street!” is perhaps the last thing you expect to hear come out of Justin Tranter’s mouth. Lead singer of Semi Precious Weapons, Tranter is more of a Triple X kind of guy. Mind you, his hilariously incongruous statement, accompanied by a casual shrug, followed his insistent but adorable demand that everyone at Webster Hall had better scream at the top of their lungs, “That’s kunt!” Really?Is it like Sesame Street? Did I miss an episode? Was I preoccupied with Captain Kangaroo, or Mr. Rogersmaybe? Jesus. For the record, Tranter has told us in the past that Kunt (spelled with a K) translates to a cross between “…awesome and daring…”

The high-heeled-boots-sporting, platinum blond bombshell belted it out and left little to the imagination last night as he let loose beneath the colorful flashing lights of the newly renovated Webster Hall. Tranter literally bent over backwards, crawled on his hands and knees, showed off his high kicks (high kicks that rival those of even the most flexible Rockette) and slowed down only once, to lock lips with an underage strumpet humping the stage. Needless to say, their set shaped up to be another routine SPW performance (note: this is a compliment, not a criticism) and a typical day in the life of New York’s very own J.T. (If you think he doesn’t do high kicks on his own at home…)

Tranter made explicit the fact that no show should be taken too seriously; at one point he even put guitarist Stevy Pyne in a chokehold, pummeling him to the ground and wrestling with him for a good minute or two, all the while Pyne continued to strum as Tranter sang. All in good fun. Lovingly attacking Pyne has supposedly become ritual for Tranter, the badass band equivalent to the playground bully/pipsqueak scenario.

The Midwestern-born beauty (he’s originally from a suburb of Chicago) proves perpetually appealing. What might otherwise be considered crass comes across as charming when exiting Tranter’s lips. “Do you like my shoes? Do you like my face? Shut up.”

As for songs, SPW performed eight tracks, including two new numbers. SPW showcased both “Put A Diamond In It and Bite Down,” which Tranter tells me is “the greatest song of all time,” (fans seemed to agree) and “Blond.” The latter features a line that goes: “The whole world has gone blond since they turned my mic on.” Drummer Dan Crean, wearing a torn up tee hit his heart out, his stunning upper body glistening in the concert hall glow. Let’s just say the live venue suits him. Cole Whittle, the schizo bassist, went wild as usual, instrument held high above head and intermittently break-dancing. This was my first experience where Pyne performed rather than former member Aaron Lee Tasjan (admittedly, it’s been too long since I’ve seen SPW) and, I must confess, I was taken aback by his execution. Impressive as anything, Pyne was seriously on point. But what’s with the wig?

As for Shiny Toy Guns, they put on a stellar show as well. The floor shook as they sang, vibrating beneath our feet. The pulsating current of energy contributed to the overall aura (that and the fog machine), bringing the evening full circle. The young woman standing in front of me showed her love by forming a heart shape with her baby-blue-polished fingers. My date reacted differently to their sound: “They can't figure out if they want to be The Killers or Muse, but they should be trying to be Siouxsie Sioux and the Banshees and just let the girl sing.” He said this with a lighthearted laugh, but clearly I was significantly more smitten. I was just pumped they played “Don’t Cry Out,” off their debut album We Are Pilots from 2005.

Photos by Roger Kisby

Going to this tonight to interview & enjoy Moby

2009-04-24T09:35:00.000-07:00

ISSUE Project Room & Moby invite you to attend
A PRIVATE LISTENING PARTY, VIDEO SCREENING, AND RARE CONCERT PERFORMANCE
Special Fundraising Event for ISSUE Project Room

Friday, April 24, 2009
6:30 pm VIP Private Listening Party with Artistic Advisory Board member Moby + David Lynch Video Screening + Admission to Moby’s Ambient/Electronic Set at 8:00 pm
21+ over w/ ID

Help support ISSUE Project Room’s continued growth as New York’s foremost venue for avant-garde performance and art. Come celebrate ISSUE’s recent selection as occupant for the glorious McKim Mead and White theater space at 110 Livingston Street. Join us at 6:30 pm for an intimate pre-performance cocktail party with award-winning recording artist, Moby. Hear advance tracks from his forthcoming album, meet and talk with the artist, and enjoy a sneak-preview of his new music video directed by David Lynch. Enjoy Moby’s first ever ambient/electronic set at 8:00 pm.

Benefit tickets for VIP listening party + concert are $100.00 ($80.00 tax-deductible) and include:

Admission to 6:30 pm VIP listening party and 8:00 pm live concert
Sneak preview of Moby’s new music video directed by David Lynch
Advance preview of Moby’s forthcoming album
Open Svedka cocktail bar
Delicious hors d’hoeuvres from S’Nice vegetarian eatery
ISSUE gift bags