Frightened Rabbit, Augustines @ Webster Hall: October 25, 2013 – CMJ.COM

Feb 06 2014

Getting personal with Augustines
October 28, 2013

Webster Hall’s marquee lit up the New York City sky last week showcasing its offerings for a special stint. Augustines, a Brooklyn trio responsible for some catchy growl-pop melodies, and everyone’s favorite Scottish slow-dance dance-jam kings, Frightened Rabbit, played together there Thursday and Friday nights. Augustines’ sophomore LP will be out in early 2014, and Frightened Rabbit released the Late March, Death March EP last month. So both acts have been busy, but not too busy to put on a stellar live show. Our photographer Chris Becker was there Friday night and snagged some shots of Augustines hanging out pre-show and Frightened Rabbit tearing through new and old tunes on stage.

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“They Were Sobbing”: We Talked to Some Hardcore Neutral Milk Hotel Fans – VILLAGE VOICE

Jan 31 2014

God! Sex! Death! Reincarnation! Paying $45 for a ticket only to wait in arctic conditions!

These were the themes of the night for some 1,500 people Tuesda night at Webster Hall. They were paying their pound of flesh–braving the elements, though New Yorkers love nothing more than using inclement weather to stay home–to the grandfathers of obscure horn- and saw-based indie rock, gods-at-large Neutral Milk Hotel.

See also: An Interview With a Girl Who Has a Neutral Milk Hotel Tattoo

You could reproduce any number of the articles written about the band’s second coming with a series of bracketed, bald clichés. Reduced to buzzwords, they look something like this: Salinger-like, Jeff Mangum, profound, inscrutable, [something about a comeback], Anne Frank, rabid fans.This regurgitated liturgical style gives up on the possibility of gleaning anything new from the tight-lipped and camera-shy Mangum–but forgets that Neutral Milk Hotel is a band that’s been defined by its disciples as much as by any of their compact discography.

Standing by the bar at Webster Hall Tuesday night, twenty-something mustachioed Adam, who refused to give his last name (likely out of fear of being outed as a purely casual fan), expressed what came across as pure apathy, tinged with disdain: “I mean, like them, I saw him at Coachella whenever that was. But there were people like, sobbing…. I was like, man, I wish I liked something as much as these people like Jeff Mangum.”

People don’t just like Jeff Mangum; they love him. They idolize him. Many of the people I talked to called him just “Jeff”; for most of the rest, the appellation was simply a singular “he,” no explanation needed [note: he or He?].

What the standard Neutral Milk Hotel live review refuses to communicate effectively is the deeply personal bond many people have with the (or even just Jeff). Outside Webster, attendees waxed poetic about lyricism, the genuine emotion and emotional genuineness, the turbulence of young adulthood. You could populate a small country with the number of people who felt like In the Aeroplane Over the Sea helped them get through high school, or the first year of college, or whatever other time in their life, but maybe that’s the beauty of Neutral Milk Hotel: While the band may have closed itself off from the world, its music was always there, and it was always for everyone, no matter how rough the time. “And don’t you worry now, the world will open up its arms to you,” Mangum sings in an early version of “In the Aeroplane Over the Sea” before veering off into characteristic unintelligibility.

This sort of comforting, universal love is Elephant 6 canon. As bandmate Julian Koster urged in the 33 1/3 book on ITAOTS: “I think what Elephant 6 meant for us is very simple: there’s something pure and infinite in you, that wants to come out of you, and can come out of no other person on the planet…. And that’s what we need: we desperately need you.”
 Here’s you.

Adrienne Gilbert:
I first heard “In the Aero”–No, no, that’s a lie. I heard “My Dream Girl Don’t Exist.” What happened was, I forget what band I was listening to on YouTube, but like, you know how you’ll find the related videos and stuff? So I saw this and I loved the song title, and I clicked on it and it was all grainy or whatever, from a show recording. And I loved it so much I put it on my Facebook, and I remember like, not a lot of my friends were into that type of music so no one liked it or anything like that. I was thinking about it and I was like, I can’t believe people are passing this by, you know? I wonder if all the other stuff sounds like that. I have an addictive personality so I went online, and yeah.

To tell you the truth, to this day–I saw a book that tries to decipher the meanings to the lyrics and I was going to buy it, but I like not knowing in a way, you know? In the way I can relate–some words I can relate to more than others because I know what they mean to me, you know–sometimes it’s just the mood of the song, or the way he’ll sing something, that just like feels emotional. In the Aeroplane Over the Sea is a pretty depressing record, for me at least. It helped me through stuff.

Becky Bowman, NYU student, formerly of Maryland:

My friends and I performed Aeroplane, like the first three songs, for our high school talent show when we were seniors and it sort of just devolved into a big dance fest, and it was so fun. It was towards the end of our graduation…That cemented it for me. The intro to that album is like, senior year of high school.

Lara Winterkorn:

My sister gave me the album as a high school graduation present 10 years ago….So the first time I listened to the album I was like, this is super weird, I wasn’t into it, but it’s one of those albums where the more you listen to it it grows on you. It’s funny because she had a really different experience, she listened to the album first with her husband and they were hiking and she told me this story about how they were driving down some highway in, like, the Midwest in Kansas or something really scenically beautiful but not interesting, and how his [Mangum's] voice had just filled this really large space. It’s funny because I didn’t connect to it at all, but now [...] I have gone back and been like, “Thank you,” and now it’s kind of a family thing–I’m actually waiting for my sister here because she’s coming to the show with me.

WIll Oliver
I was about 12 or 13, which was about 2003–I’m a 90s kid. It was a very emotional listening experience, very different from what was on the radio when I was on the radio. I connected to it more… I think people can just tell when something’s coming from the heart. It bleeds through the music. You can just sense it, you just hear it. You may not understand what it means, necessarily, but you can feel it–understand the pain or anguish or lust or whatever. 

Kathryn Herskivitf (there w/ Rebecca Taylor) Herskivitf ):
I was really glad that I got to know it [ITAOS] when I did because it’s so much of an album. One song sort of flows into the next and this day and age, all your listening tends to be just one song and it’s more discrete and not as part of a whole album. That was 1997. I saw them way back in the day, I wanna say at Irving Plaza maybe? Somewhere around these parts and, yeah, I guess pretty close to when he stopped touring altogether.

When we saw him last year, it was, like, this is your one chance…. But we were in Chicago at Lollapalooza when the tickets went on sale, so we were on the L trying to buy tickets. But yeah, they sold out so fast, it was like,

Yay eBay!

“Two-Headed Boy” is one of my favorite songs of all time and it’s just about these two fetuses floating in a jar, but it’s beautiful. It’s all this beautiful, twisted imagery but it’s gorgeous and I love it. 

Brendan Jones
Right when I got into them I started dating my first girlfriend. And one time I was going home from her house in the snow and I listened to the whole album and that was probably my favorite listen ever. 

Bret Hirsch & Lizette Resendez, NYC:
Lizette Resendez: We bought our tickets on August 1st.

Bret Hirsch: 2013.

Resendez: When the date finally rolled around we were like, wait did you buy the tickets, did I buy the tickets? And we had to go through our email and figure out when and who bought them and where do we pick them up, and so it’s nice that the day finally came.

Hirsch: Some good memories when you hear the songs, you know where you were the first time. I think it was Austin, TX. Summertime, lakes, drinking beer. It was good.

Resendez: You think about all the time that’s passed since then–[to Hirsch] you were delivering pizza, right? And we were living in Austin, and since then we’ve lived in San Francisco and he’s an architect and I’m a copywriter. Now we’re living in New York and all this time has passed since then. You listen to the music and you’re like, “Ahh, the simple times.”

Mike Marotti
I am here because my fiancé thought she bought tickets to last night’s show and she messed up and they were actually for tonight. We’re huge Neutral Milk Hotel fans. We’ve been huge NMH fans for a while… It helped me negotiate a whole druggy phrase that I went through and, like, kinda took me through that. I just did a ton of hallucinogens and that shit, parents getting divorced, problems with my brother, things like that. Just like carried me through. It was the one album I always listened to every time I was tripping or any of that stuff, and it always centered me.

Mendel Rabinovitch (older, not with the other two)
Connor Curfman, student, Houston 
Matt Tinkleman, student, from here

Mendel Rabinovitch: I feel like they were the archetype for everything interesting in indie rock that came after that. As a musician, I listened to it and always thought to myself, I don’t think I’ll ever write anything as good as that, but I’m OK with that.

Matt Tinkleman: I feel like it’s kind of soundtracked my life. There are just so many moments I can relate many of the songs to. Whether it’s just like driving around in my car or a kiss, or something like that, I can associate so many moments with so many of the songs.

Connor Curfman: I just think of driving in my car and screaming “I love you, Jesus Christ.”

Rabinovitch: [bursts into song/caterwauling] I LOVE YOU JESUS CHRIST 

Curfman: I LOVE YOU… I love doing that. I’ve done that this week, I’ve done it too many times. I think the album is such a good growing album. You listen and you learn more. That’s how it was for me, going all through high school, there’s so much talk about adolescence and all this like, sex stuff in it. In “Oh Comely,” and I don’t know, it’s just one of those albums that it helps define you. That’s a bit much–but it’s true though. 

Rabinovitch: I always think back to chemistry class and I think of the mold that was sitting there, in the double-refined spheres of alcohol, and I think of the two-headed boy.

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Webster Hall’s 2nd Annual ‘East Ville Des Folies’ Event Review – JOONBUG.COM

Jan 21 2014

Monday, January 20th, 2014 at 12:00 am | Gina Chung

Overflowing booze, jazz and entertainment, what more can anyone ask for?

Monday, January 20th, 2014 at 12:00 am | Gina Chung
On a chilly Saturday afternoon, what seemed like an endless line of people wrapped around the block were waiting in flapper dresses and dapper suits to enter Webster Hall for their magnificent second annual ‘East Ville Des Folies’ event.

Once inside, the entire venue was themed after the Prohibition era and it felt as though you were taken back in time to the 1920s. Jazz music filled the halls and the dark lighting accomodated to the enigmatic feel of the caberet show on the main floor. Guests were each given a small, plastic beer glass and a pamphlet to accompany their whiskey and beer tastings.

The main floor and the lower floor hosted all the whiskey stations. With an ongoing cabaret show on stage by the female-led Brothel Blues group, Miss Ida Blue, there was a plethora of whiskey selections to choose from. The type of whiskeys ranged from Scotch, Corn, Bourbon, Tennessee, Canadian, Rye and Irish whiskey. For a second it was easy to get lost in the speakeasy-type setting and the guests were soaking it all in.

As soon as we headed upstairs to the Grand Ballroom, we made it just in time to catch the trapeze act by the duo, Double Lyra. The enticing show had everyone in the room captivated. In skintight burlesque outfits, the trapeze dancers moved effortlessly, floating in thin air. You can watch a clip from this act below. Once the trapeze act was over, people were hollering and clapping in delight but quickly went back to their main agenda: beer tasting.

Beer stands were lined up in the grand space, and the entire venue was packed with guests and their plastic beer cups in tow. The beer selection was just as impressive, if not, maybe even more than the whiskey selection. Ranging from pale ales, IPAs, lagers, stouts, ciders and even milk beer, it’s no wonder why craft beers has seen such a significant rise in popularity over the years. Beers were overflowing, people were dancing, and overall, the entire festival felt like one big Prohibition era themed mixer.

A live jazz band soon came up on stage, once again leaving people in awe. The band consisted of charming older men, who surely eased the crowd with their crooning jazz tunes. It was an amazing spectable hosted by Webster Hall, which boasts a rich history in itself. Oscar Wilde once called Webster Hall, ‘The jewel of the East Village’ back in 1898, and this event fully proved Wilde’s statement. But then again, when was Wilde ever wrong on society and culture?

Check out a clip from the trapeze act below:

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Goings on About Town: Above and Beyond EAST VILLE DES FOLIES – NEW YORKER

Jan 14 2014


Webster Hall, which was founded in 1886, has hosted everything from a labor-union rally with the anarchist Emma Goldman to a masquerade ball with the artist Marcel Duchamp. During Prohibition, it was rumored to be owned by Al Capone, and the Jazz Age is being celebrated at this second annual gathering. It features four floors of whiskeys and beers from around the world, burlesque dancers, swinging jazz bands, “Burning Man”-like circus acts, and speakeasy-themed drinking areas. There’ll be a d.j. with a phonograph, and also a photo booth, so that partygoers can memorialize their period attire. Proceeds go to the Third Street Music School Settlement, a nonprofit organization that offers music and dance instruction. (125 E. 11th St. 212-353-1600. Jan. 18 at 2:30.)

January 18 2:30 p.m.

125 E. 11th St., New York , N.Y.

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globalFEST 2014 – TIMEOUT.COM

Jan 07 2014

Time Out says
Wed Nov 27 2013

This übercosmopolitan music event will likely be your only chance to hear “subversive Ukrainian punk-folk,” “North African gnawa trance” and a host of other genre-spanning international acts in one night (at least until next year). The bash features a dozen musicians across three stages in Webster Hall. Represented locales range from Mauritania to Arizona; acts include Australia’s the Bombay Royale, Jamaica’s Brushy One String and Appalachian-Chinese folkies the Wu-Force.

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Nokia Music and Wooshping offer NFC playlists at NY music venue – NFCWORLD.COM

Jan 02 2014

Nokia Music and Wooshping offer NFC playlists at NY music venue

By Karl Dyer

Nokia Music and UK-based NFC specialist Wooshping have teamed up to offer exclusive music playlists via NFC posters and stickers to gig goers at New York’s Webster Hall.

Playlists provided by Sony Music and refreshed on a weekly basis through Wooshping’s cloud-based platform are offered via NFC tag or QR code while Nokia Lumia users also receive mixes prepared by the US Nokia Music team through Nokia Music Mix Radio as part of the campaign.

Wooshping is also providing analytics data to Nokia Music detailing the breakdown of devices used, the chosen interaction method and number of hits, to help tailor future content to the audience.

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East Ville des Folies – NYDAILYNEWS.COM

Dec 10 2013

East Ville des Folies
1:30 PM | Saturday Jan 18, 2014

Tickets on sale now!

EVDFWebster Hall will host the 2nd annual East Ville des Folies, Prohibition themed Beer and Whiskey tasting festival on Saturday, January 18th 2014. Featuring four floors and over 40,000 square feet of beers and whiskeys from around the world, the event will take place again at Webster Hall from 2:30PM – 5:30PM with a VIP-Only Preview Hour from 1:30PM-2:30PM. It will once again incorporate the rich history of Webster Hall as the original burlesque hall and as speakeasy reputedly run by the infamous Al Capone. There will be 1920′s entertainment including burlesque dancers, trapeze artists, and swing jazz bands. Guests are encourage to dress in their best Gatsby garb!

Event Details:
Saturday, January 18th, 2014
1:30 PM – 2:30 PM- VIP Session $55
2:30 PM – 5:30 PM General Session $45
Official Website:

Admission: $45 – $55

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Hunter Hayes Is Living His Dreams – CMT.COM

Dec 09 2013

Best Country Solo Performance:

“I Drive Your Truck” — Lee Brice
“I Want Crazy” — Hunter Hayes
“Mama’s Broken Heart” — Miranda Lambert
“Wagon Wheel” — Darius Rucker
“Mine Would Be You” — Blake Shelton

Hunter Hayes Is Living His Dreams
He’ll Be Honored on the 2013 CMT Artists of the Year Special

November 23, 2013; Written by Staff
Hunter Hayes – “2013 CMT Artists of the Year News: Hunter Hayes”

Since being crowned the CMA’s best new artist in 2012, singer-songwriter Hunter Hayes has more than lived up to the title. In fact, the 22-year-old has not only achieved chart-topping success, but he’s also garnered several award nominations including three Grammy nods for best country album, best country solo performance and best new artist.

On Dec. 3, the Louisiana native will be honored with Jason Aldean, Luke Bryan, Florida Georgia Line and Tim McGraw during the 2013 CMT Artists of the Year special.

Despite his relatively quick rise to fame, the talented artist remains grateful for the opportunity to make music for a living. He’s got a good answer when people ask him what he’s learned during the past year.

“My favorite thing to say is, ‘Hey, you know what’s really cool about having dreams when they come true? It’s still that much fun,’” he said. “It’s pretty magical, and it hasn’t lost its magic. Not that there’s any reason it would, but you would think some of that would wear off eventually. And it just doesn’t. It gets better, and it gets better and it gets better. Just the fact that we’re still getting to play every night, you couldn’t ask for any more than that. And all this other stuff, it’s kind of mindboggling.”

In fact, living the dream started at an early age for Hayes. A video featuring the 5-year-old future star singing in front of 200,000 people with Hank Williams Jr. has already reached almost 6 million views online.

All that early practice paid off for Hayes, who spent half of the year opening concerts for Carrie Underwood before embarking on his first-ever headlining tour. He also headlined a performance at Webster Hall in New York City as part of MTV’s Artist to Watch series. He’s quick to point out that performing live is the favorite part of his job.

“When I’m onstage, that’s what I live for,” he said. “I write the songs. I make the records. They are all part of the thing, but being onstage is when it all makes sense. I guess I want people to know that, and I want to give them every ounce of everything I’ve got — and then some.”

Hayes certainly struck a chord with fans this year as his album became one of only four debut country albums to go platinum in the past five years. What’s more, his last three singles have all reached platinum status including the smash hit,”Wanted,” that went quadruple platinum in October.

“My favorite music — the music that I attach myself to and repeat on my playlist — are the songs that I’ve lived,” he said. “They’re a part of my life. When people come and sing along and have value in those songs, that’s when it all comes together. That’s the circle. That’s the complete perfection of getting to make music. That’s what it’s all about.”

The star’s latest single “Everybody’s Got Somebody but Me,” a collaboration with pop singer-songwriter Jason Mraz, has already become a Top 20 hit on Billboard’s country airplay chart. The track is featured on the deluxe edition of Hayes’ debut album.

For the first time, the CMT Artists of the Year special will premiere live on CMT and The show airs Dec. 3 at 8 p.m. ET.

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Continental Flair, With an Aggressive Edge – NYTIMES.COM

Dec 07 2013

Continental Flair, With an Aggressive Edge
Gesaffelstein, a.k.a. Mike Levy, at Webster Hall

Published: December 5, 2013

The shtick is simple, as obvious as they come: handsome guy in a well-cut suit with pompadour held aloft by ample hair product, standing on an elevated platform behind D.J. gear and shaking vigorously to the music he’s playing. A little visual dissonance goes a long way.

Mike Levy gets that. Under the recording alias Gesaffelstein, he makes music that melds the certain sensuousness of French disco and electro with the sometimes severe abrasions of industrial music. It spans the considered and the immediate, the head and the body.

So there he was on Tuesday night at Webster Hall, a cigarette-inhaling French sophisticate playing straightforward, almost dense dance music that was, on average, more aggressive than that on his first album, “Aleph” (Bromance), which was released earlier this year.

Often — too often — masculinist urges were winning out. A few young men were standing on speakers, shirtless and pumping their fists. A young woman took a break from dancing to lean over and whisper in my ear: “Have you noticed the ratio of men to women? It’s very high. I love it,” and then danced off.

In a way, this was a surprising outcome. “Aleph” is meditative in places, and, more important, uses texture as a tool to complicate rhythms that are in and of themselves straightforward. Mr. Levy’s drums are there for power, not elegance, and in this live setting, at least, he prized the intensity of a four-on-the-floor beat, and did less meddling with it than on “Aleph.” In places, his set had the primal urgency of early Chicago house music, but without the sweat.

It’s possible that Mr. Levy’s turn to the physical was shaped, at least partly, by some high-profile collaborating he did this year. He contributed production to two songs on Kanye West’s “Yeezus” — “Black Skinhead” and “Send It Up,” which both pull off a similar balance of directness and idiosyncrasy, as the music on “Aleph” does.

About midway through his set, he played the signature five-alarm-intense shrieking noise that cuts through “Send It Up” and gives it an air of incipient terror. You could tell he delighted in it: He returned to it a handful of times over the course of his set, at one point blending it into “Hellafornia,” one of the most disruptive songs on his album, with its similar stern peals that sound like fossils from the era of the Bomb Squad and N.W.A.

The crowd ate it up, and Mr. Levy, his suit crisp and his hair still voluminous, lifted his right hand and gestured toward the crowd to get even louder.

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SPIN’s Best Live Photos of 2013 – SPIN.COM

Dec 05 2013

Arctic Monkeys

Palma Violets

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