Nostalgia about the ’80s is a weird thing. For some reason, the “kids” of today will talk endlessly about going to see Modern English at Cafe Du Nord, hoping they’ll play both “I Melt With You” and “I Melt With You ’88.” They’ll go see endless cover bands of their new wave heroes. But the modern story of this decade always seems to forget one of the singular songwriting talents, someone with several hits up his sleeves, someone whose “one person and a synthesizer” sound was once revolutionary and is now common. That someone is Howard Jones. Continue reading “Show Review: Howard Jones at The Mezzanine, 7/12/2012”
Instead of boring you with a typical “review” of the show, Spinning Platters is opening the fourth wall, and allowing you into the personal lives of these two legendary journalists. This is a transcript of a private chat between the two, discussing the show on Google Chat.
After the jump, you will learn how a writer thinks.
It is frequently said that when you have a formula that works, it is safe to stick with it, but only to the point where you continue to be successful, and not past the point where you’ve entered a realm of dangerous repetition. In 2010 I stated that a popular trend was for a band to go on tour and, as their setlist, play one or more of their classic albums from start to finish. Some acts, such as the Melvins or A Perfect Circle, took up this concept and played multiple albums over multiple nights, and it was a true test of stamina for their fans to make it out for two or three nights in a row to see the entire collection of songs from their catalogue. However, when bassist Peter Hook and his band The Light returned to the Mezzanine in San Francisco to perform Joy Division’s posthumous classic Closer in its entirety, it was quite clear that a nearly-one-year-long wait was a brilliant decision, as it brought a new collection of energetic fans, an explosive performance from Hook and his band, and the reminder that the power and majesty of Joy Division’s music is still fiercely present over 30 years after the release of their final record.
I was fully aware of what was potentially in store for me when I purchased tickets to see Lauryn Hill play The Mezzanine. Tales told of showing up unremorsefully late, being inebriated during the show, and heckling the crowd just to name a few things. However, when it was announced that Lauryn Hill would be performing a Bob Marley tribute at The Mezzanine in a week, I snatched up a ticket like Cookie Monster devours his favorite treats. I’m a Bob Marley fan as much as the next person, but it was mostly imagining seeing one of the seminal artists of my youth in such an intimate setting. The Miseducation of Lauryn Hill was on constant rotation on my Panasonic portable CD player, as I would attempt to learn the rap in “Doo Wop (That Thing)”. Continue reading “Show Review: Lauryn Hill at The Mezzanine, 5/18/11”
Today’s electronic music scene seems to be filled with performers that emphasize minimalism to the point of frustration. These days, an electronic performance can consist of a single person with little more than a laptop, a mixer (maybe), and some sort of interface to allow quick manipulation of the instruments on the fly — despite the fact that said person could simply just hit “go” and then bob their head to their beat-laden wall of sound. Therefore, excitement comes in the form of performances involving tables worth of analog gear thrown pell-mell across a stage, with wild projections and snarling, harsh noises created from both. This was the case on Friday evening, when the Mezzanine welcomed Swindon’s electronic veterans Meat Beat Manifesto for a night of furious bass, hyperactive beats, and brilliantly-crafted visual effects.
2010 has been a year for a different kind of performance: the full-album gig. While not necessarily filled with the same wonder and anticipation that your more common setlist will contain, a full-album set guarantees the kind of rapt excitement that comes with knowing that your favorite songs from that record will all be played, and the surprises at the end of the set become that much more exciting. There have been a few artists who selected the albums that truly defined their careers — Weezer performed their classics, the Blue Album and Pinkerton, and Roger Waters recreated The Wall with modernized visuals and ideas, capturing much of the same excitement and wonder that had accompanied the album upon its release in 1979. In the case of Peter Hook, co-founder and bass guitarist of the seminal post-punk masters Joy Division and New Order, Friday night’s performance at the Mezzanine was truly the best time and place for a full performance of Unknown Pleasures, the album that began Joy Division’s career, and the only record to be released before the death of their singer, Ian Curtis, in 1980.
When it comes to the category of music known as “industrial rock”, there are a wide variety of definitions and interpretations. One constant seems to be an influx of heavy analog synth pulses, machine-gun-precise drumbeats, snarled vocals, and a collection of black-clad, morose musicians, often pounding away at keys or writhing to the underworld rhythms. Being that industrial bands often share these similarities, it is reasonable that one could go to an industrial show with little prior knowledge of the main group, and still enjoy themselves as they were mostly certain of what the evening would be like. With the Essex EBM trio of Nitzer Ebb, however, the darkness and somber attitudes are shrugged off, in favor of a minimalist but wildly energetic performance that got even the moodiest rivetheads in the audience up on their feet and defying gravity in favor of the industrial masters’ performance.
On Monday night, the city celebrated (and rioted a bit). And on Tuesday night, some of those people celebrated (and rioted a bit) at The Mezzanine for another energetic show by The Bloody Beetroots Death Crew 77, the in-your-face live version of the noted Italian DJs. And while the audience was pumped and ready for the show, the venue itself had no idea what they were in for. And it showed. For a mosh pit was about to happen at The Mezzanine, and not a soul seemed to be prepared. Continue reading “Show Review: Bloody Beetroots with Pance Party at Mezzanine, 11/2/2010”
It’s not hard to see why Spin magazine calls Neon Indian one of the top ten bands most likely to break in 2010. There’s nothing to dislike. Beats that demand dancing and vocal melodies that layer with funky 80’s synth so well, you’d have to be a regular Principal Belding not to like the energetic romp of Neon Indian. Continue reading “Show Review: Neon Indian at The Mezzanine, 3/26/10”
Added Bonus: Q & A with Stephin Merritt, Claudia Gonson and the Directors
The film Strange Powers, Stephin Merritt and The Magnetic Fields opens with Stephin Merritt being interviewed by one of the directors. She asks “What are you reading now?” and the question is greeted with a dark stare and stony silence. This is how genuine the film is in its portrayal of this iconic songwriter, which is demonstrated in the Q & A after the movie. Stephin Merritt doesn’t waste words. Much like his song lyrics, his responses are concise and thought out. The good news is, for the most part, so is the film. Continue reading “Noise Pop Film Review: Strange Powers Stephin Merritt and The Magnetic Fields at The Mezzanine, 2/28/10”
