Unlike most of the blogs and music critics out there we liked the Luke Temple solo stuff more than his music with Here We Go Magic – proof is the fact that his debut CD "Snowbeat" was honored with our CD of the month back in 2007. Hence, we are thrilled to hear he’s back with a new solo effort entitled "Don’t Act Like You Don’t Care" under Western Vinyl. Evidently learning from the Here We Go Magic experience that refined production doesn’t necessarily help sell more records, Temple recorded this album in a few hours live with friends on a 4 track recorded. Of course, this new material sounds less produced, more raw, but not necessarily less sophisticated – even though some tunes are as folk as folk gets. As usual, Mr. Temple lends his melancholic and detached alto to beautiful melodies, but the songs here are more upbeat and luminous. All electronic ornaments present in the debut have disappeared, replaced by maracas, shakers and other ornamental percussions, leaving the acoustic guitars and drums in the spotlight.

I’ve noticed a consistent theme in much of Brooklyn’s music over the last decade. A rediscovery of ritual, where the music is meant to be understood as an event in and of itself. No external references or signposts needed. Bands like Animal Collective, Yeasayer and Tanlines have adopted this minimal, repetitive style as their own, reducing an internet’s worth of ideas to a tribal, almost religious "primalism."
Brooklyn’s Yvette channel this tradition, but they do it like badasses, carving out their tribal energy with religious devotion and knife-like intensity. Their debut self-titled EP is a primal meditation without all the psychedelic trappings. Making no apologies to analog originalists, their construction of LOUD, grinding, sawtooth synths is all digital; which works well for them. Yvette’s approach is so immediate, I doubt anyone will mind how they’ve built their saturated, washy textures. The same can be said of their vocal chants. Most of the time when duo Noah and Rick are singing, you really can’t make out any of the lyrics, but really… what does it matter? The way the earsplitting drums, laptops and vocals are thrown into the fire, the need for narrative detail is entirely discarded. The four songs on their EP weave an intense journey without using verses, hooks, or even chord changes to tell it, trading in these usual placeholders for a deeper sense of continuity… one droney shout at a time. In a town blanketed in beach bands, Yvette is a much needed wake-up call. Stream and purchase all tracks on their ">bandcamp, and see them play live as part of the Deli’s NYC Best of Emerging Artist Fest next Wednesday, May 25 at Glasslands. – Mike Levine

 

Some people can’t handle being rocked to their core. Many can’t handle it on a Tuesday night. Are you one of the chosen few? The brave, the proud, the probably unwashed may want to head to Electric Bowery on Tuesday (tonight) for a show involving Brass Knuckle Evangelists‘ rock’n’roll and and The Nuclears‘ certifiably loud and dirty brand of garage – these guys (in the picture) just released a full CD in April. (Unfortunately PISSER had to cancel.) Also featured will be burlesque by Go Go Army, a fashion show by Stella Zotis, and more things than I have the space for. (Check out Bowery’s website for more info.) Doors are at 8pm, $10. -allison levin

Illuminated on stage by projections of vintage Muppets and cult films, The Living Kills play echo-y, strong and plowing psychedelic rock’n’roll with simple variations and classic structure. They could be described as a version of The Velvet Underground with a little extra weight in the form of a bolder guitar and a more prominent organ – often replaced by droney strings on record. Last week, the band threw a celebration for the release of their newest album “Faceless Angels” at Public Assembly. The event was planned with readings, even a raffle, run and emceed by the lovely Jennifer Bassett, Living Kills keys player and co-vocalist. Their next show will be at Bar Matchless in Greenpoint on June 11. – Caitlin Clive

Mp3 – The Living Kills: "Wires of Copper"

Jeff Allyn Szwast’s avant-indie rock project Giving The Table A Name specializes in angular guitar progressions punctuated by thumping, crashing percussion, and vocals leaning towards the slithering and cerebral side. Titles like "epiglottis" and "harpies" may not make immediately clear what the intended subject matter is, and often parts of the lyrics are so distorted/quiet in the mix that entire sections can be made out by the listener – something that actually applies to a huge catalog of rock music. "Anything can happen now, I’d be too far gone to tell" is as good a lyric as any, but the band’s real focus is on creating atmospheric textures that flirt with ambient music and quality, vintage prog-rock of (think King Crimson rather than Yes). On one of our favorite tracks, "snowpack", a deeper, more bass-heavy guitar tone is incorporated. The voices are doubled in harmony for emphasis and depth. A bright tambourine takes the timekeeping duties, while tom toms are free to roam outside the structure. The band’s latest LP titled "Pillbug" is out now and can be purchased from a variety of sources. – Dave Cromwell