(Photo: Kristin Knoll)
“I can’t believe we’re here,” said Kurt Feldman on stage at Glasslands on Saturday. Considering the rapturous, slightly disbelieving response of the crowd, they couldn’t believe it, either. They’d gathered for what was billed as The Depreciation Guild’s first show in more than two and a half years.
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Depreciation Guild’s Facebook.
FAREWELL TO MAXWELL’S
When Maxwell’s opened its doors in August of 1978, no one could have guessed the inconspicuous corner restaurant/bar would eventually fit into the same pantheon of iconic NYC rock clubs as CBGB, Max’s Kansas City, and the Bottom Line — definitional venues that instantly conjure a specific sound, in a specific place, during a specific era. At Maxwell’s, that was the Hoboken sound: jangly, blue-collar guitar rock, as played by Yo La Tengo, the dBs, the Bongos, the Feelies, and countless other working-class bands that made Maxwell’s their home base, and a leading stop on the independent rock tour circuit since the ’80s.
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The sleep-away camp we told you about last month has come and gone, but fear not: you can still revisit your summer camp experience in the honeyed glow of nostalgic reverie.
The Wild Honey Pie, a live-sessions-oriented music blog, is teaming up with Consequence of Sound to launch Summer Camp, a day of live recording sessions in the wilderness of northern Westchester County. (The specific location of the property is a secret.)
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Big Snow (Photo: Lauren Carol Smith)
Sad news: on Saturday morning, Bushwick DIY venue Big Snow Buffalo Lodge tweeted that it was “closed for good.” The venue’s co-owner Yoni David now tells Bedford + Bowery that he was “caught in the line of fire” of a shooting outside the venue.
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After getting a shoutout from Questlove and being called “the most brutal sixth grade metal band ever, ever, ever, ever” by Noisey, Unlocking the Truth has seen their preteen profile rise over the summer.
So anticipation was high when the 11- and 12-year-olds hit Cameo Gallery last night to unlock their crushing fusion of metal and hardcore, highlighted by thick heavy metal riffs, assaultive hardcore drums, and brutally epic breakdowns.
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THERE’S SOMETHING GOING ON THAT’S ACTUALLY QUITE RIGHT
U.K. band Wire came of age in the first wave of punk, but they’re perhaps more responsible than any other band for pushing punk beyond its three-chord, rude boy roots into something more artful and articulate. Released between 1977 and 1979, Wire’s first three records — Pink Flag, Chairs Missing, and 154 — are as genre-scrambling, legacy-certifying, perfect a run you’ll see from any band. Their would-be fourth record, Change Becomes Us, never got recorded, as the band splintered and broke up until reuniting in 1985. Most of what they’ve released since then has been mediocre.
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Self-portrait of Elbrecht as a child (from the new 7″).
Jorge Elbrecht’s introduction to the music industry came in the early 2000s with the success of his band/art collective, Lansing-Dreiden, which reissued its entire catalog this past spring. During its heyday, the group received two favorable “Art in Review” write-ups in The Times.
Following Lansing-Dreiden, Elbrecht went on to form Violens and earlier this year joined Ariel Pink’s band as their new guitarist. The Costa Rica-born artist has also become an in-demand producer, most notably making the new Au Revoir Simone record, whose single “Somebody Who” was released in June.
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(Photo: Scott Lynch)