Dungen
4
(Kemado)






Dungen, roughly pronounced "DOONG-un," is a Stockholm-based band that prides itself for its combination of the finer points of psychedelic rock, progressive, indie, classic rock, and Swedish folk music. Dungen's latest release titled 4 is a little pill of music that slow-releases cathartic melodies into the musical vein. The band's frontman, Gustav Ejstes, can be credited for 4's palatable compositions as well as the lead vocals. Omnipresent in Dungen's work, Ejstes is also behind most of the instruments on recordings despite the fact that Dungen plays as a live four-piece. Is this a case of "if you want something done right, do it yourself?" Perhaps so, however there is little evidence to deem Ejstes's micromanagement as 'poorly spent.' While the entire album is in Swedish, the instrumentals speak the universal language of Rock and Roll. "Fredag" expertly combines the light sound of a piano with the edge of a head-tripping guitar with what sounds like a shuck-and-jiving xylophone. Whatever the combination, Ejstes and his band have put together a fine album worthy of any day-tripper. The only shame of the album is that it's not long enough to accommodate the stamina of what the band really is: a Swedish jam band.

Nicole Velasco


Shahrokh Yadegari, Azam Ali, Keyavash Nourai
Green Memories
(Kereshmeh Records/Lila Sound Productions)





Sound designer Shahrokh Yadegari, an intellectual composer with a Ph.D. in music and a Master’s degree in Media Arts and Technology, and took on a pair of fellow Iranian-American collaborators in order to create an aural portrait inspired by late Persian poetess Forough Farrokhzad’s “I Pity the Garden.” Yadegari compliments Keyavash Nourai’s tense, scraping violin and Azam Ali’s ethereal voice with a self-invented instrument/computer program called Lila, which manipulates acoustic sounds into a dense weave of textures. The resulting compositions, like the opening soundscape “Vidya,” occasionally recall for the lay Western listener ambient recordings like Brian Eno’s Music for Airports and that Boards of Canada song used in David Firth’s “Salad Fingers” flash animations. At other moments, the digitally manipulated frenzy of string sounds and soaring vocals are entirely insular.

Yadegari’s source material was chosen due to its early foresight into impending environmental devastation and call for humans to reconsider their relationship with the natural world. The concept, and its result, is a fascinating exploration of not only the overlapping of Western and Middle Eastern musical modes, but the synthesis of electronic and organic sonic elements.

Toney Palumbo


Stephen John Kalinich
A World Of Peace Must Come
(Light in the Attic)







In a single night in August 1969, poet Stephen John Kalinich got together at Brian Wilson’s house (yes that Brian Wilson) and recorded A World Of Peace Must Come.

Kalinich had already contributed songs to a Beach Boy’s album and Wilson was known to associate with a wide variety of artists on the CA scene, so Wilson producing this collection of 13 songs comes as little surprise. Of the ‘tunes’ here, most bemoan the state of the world with occasional deep pleas to god, like the sprawling “I am Waiting/Birth Of God.” Personally, I like the tracks that have some light instrumental backing; Kalinich’s voice isn’t truly the best to deliver some of the longer works (sorry, but it’s true, he has a slight lisp that can get tiring when it’s all you hear in a tune). Medieval flavored tries like “Lonely Man” and “Walk Alone With Love” are probably the best. “If You Knew” has a really cool percussion backing, almost a Middle-east flavor with what might be Kalinich’s best poetry and in “Be Still” we get the added aural treat of hearing Kalinich talking with Brian Wilson, a real moment-in-time little snippet of studio chit-chat.

The closest we get to any real Beach Boy’s moment-and when we really know Brian Wilson is behind A World Of Peace Must Come-is on the title track; all the various voices and harmonies of this one make it a nice Beach Boy-like opening.

A World Of Peace Must Come is not going to be hitting the top 40, most downloaded on iTunes anytime soon, but it’s a nice piece of history.

Ralph Greco, Jr.


Steve Lawler
Viva Toronto
(Ultra Records)






Viva Toronto is a two disc compilation hosted by house music producer and DJ, Steve Lawler, featuring several artists including Miss Fitz, Mathew Jonson, Alex Tepper and Joel Mull. Extremely airy and not so big when it comes to overall sound, “Viva Toronto” could possibly be the most enjoyable yet minimalist house production to date. Amongst almost 30 tracks, an element ties each song to the next. Nina Simone-esque vocals lift up Miss Fitz’s sunny “Drifting On,” that continue into Nivek Tsoy’s sci-fi “Time & Space.” Both discs, one titled “Inside,” the other, “Outside,” barely rise to any element of surprise and that is its own beauty. “Viva Toronto” simply unfolds as a tapestry of ambient glides consisting of small-minded synthesizers, beat machines, soft padded kick drums and flighty keyboard. There is the occasional enticing wind of club-style bass riffs over the sound of water drops and sunken echoing snare taps. The absence of a more boastful sound allows the songs to expand and softly complement late night solitude or even a club atmosphere.

Chanda Jones

Location: Midtown West, NYC
Bands: Blonde Redhead Get Tickets Here
Show time: 8 PM
Venue: Terminal 5
Food: Zip Burger
Drink: Subway Inn
Miscellaneous: Kinokuniya Bookstore

2009 is just a few hours away and if you still don’t have big plans you may be screwed! One downtempo option to ring in the New Year is to hang with Blonde Redhead at Terminal 5, where they will be playing their catalogue of mellow melodies as 2008 comes to an end. By the way . . . HAPPY NEW YEAR! At Zip Burger they offer farm-raised, organic, and grass-fed meat and poultry, letting you build your own burger with plenty of gourmet toppings. The first time I went to Subway Inn I thought it was completely strange that there was a dive bar off Lexington Avenue, especially in this neck of the woods, but somehow it works. Born in the 30s, this bar has somehow remained, and thank god, as it’s easily the cheapest place in the area for a drink. For fans of Japanese pop-culture, Kinokuniya Bookstore has a large selection of Japanese themed books, videos, CDs, magazines, comics, and stationary.

His music has been compared to Tom Waits, Bob Dylan and many other great singer-songwriters of the last 50 years, but Tom Freund creates a folksy blues-tinged genre all his own on his newest album, Collapsible Plans. As a fan of Tom's music beginning with the Pleasure and Pain LP he made with Ben Harper in the early nineties, which was the first record I ever bought, I was psyched to have a chance to ask Freund about his new album, what is was like working with Jackson Browne, and his own songwriting process.

If someone listens to your music from your work in the early nineties with The Silos to your most recent album, Collapsible Plans, they see a great evolution as an artist. How do you think you have evolved as an artist?

Well, I think subject matter changes in terms of lyrics: new relationships, new scenery, new times globally on the planet etc. The biggest inspiration in my life too has been my 5-year-old kid, lots of new emotions and it even inspired a kids record called, Hug Trees. Musically, I would hope I have progressed in terms of melody and different grooves. The Silos days were a great break-in period for me, lots of touring and lots of indie cred, cult audience. I started writing and recording my own records during this time and I was influenced by all sorts of people we were listening to on the road and seeing live too at venues across America and Europe. From the Jayhawks, to Victoria Williams to The Breeders . . . I think utilizing the upright bass gave me an ability to write more unusual funky and/or jazzy grooves with vocals which wasn't really being done by anyone.

You're sound reminds me of Tom Waits among many other singer-songwriters. How would you describe your own sound?

I do love Tom Waits, I like that he can go from growly blues and jazz to a beautiful simple ballad with potent words. I always believe him whatever genre he is in etc. Sometimes my pork pie hat walking bass line stuff gets compared to him and I suppose I've heard I can have a similar "growl" - this is always taken as a compliment to me. I always say I was raised on a steady diet of Joni Mitchell and Led Zeppelin, with some Charlie Parker and some AC/DC thrown in, so I love a lot of different shades . . never saw the boundaries, it was more about what mood I was in. I feel my sound is very personal to me, I can get very Neil with my harmonica and acoustic or get more Meters jammy on the upright bass etc. but I'm hoping that what comes out is my own thing, I am pretty turned off when I go to a club and find something contrived, I can listen to polka music as long as it feels original to me.

How do you approach writing songs. Is it a process or does it just happen organically?

I always say I take it however it comes. Sometimes words come to me, sometimes an idea on the piano, bass or guitar will spark something. Sometimes I call my voicemail with an idea for a second verse, and sometimes it comes out all in one sitting. It’s great when this happens but it is rare. I think it's organic in the sense that I tend to use what feelings are around me, environmental and people. Different places evoke different themes.

You're new album, Collapsible Plans came out in July. What was your favorite aspect of making that album?

I feel like Collapsible Plans really feels like a time and a place, we did it rather speedily, eleven days in its entirety, recorded and mixed. It was focused and concentrated and we never looked back. Having the team in place was great, Ben producing, Danny Kalb engineering and Michael Jerome drumming etc., was something I haven't done for an entire album since my debut record, North American Long Weekend. Also, to record in such an auspicious place as the Village was inspiring. A big highlight was Jackson Browne playing two songs with us, singing and playing piano, on "Copper Moon" and "Why Wyoming" - I am a big fan and his presence brought up a whole history of California Sound for us. I see that’s kind of the next question too. Ben was very inspiring too, his enthusiasm was contagious, so actually pushing the record button, so to speak, was done eagerly, rather than reluctantly.

You worked with some great artists on your album, among them Jackson Browne and Victoria Williams. What was it like collaborating with them and how did you come to work together?

I met Jackson a couple of times over the last three years, mostly at benefits and other outings that often called for some jamming or sitting in. There was one time in particular at a benefit for our friend Wally Ingram who has beat cancer, where I was playing "Why Wyoming" and after the first verse, I hear this awesome piano and background vocal and I soon realized it was Jackson - almost a pee-in-the-pants moment! When we were scheduled to go in to the studio, I threw it out to Ben about whether Jackson would guest on my record etc, Ben emailed him right away and he came in the next day, it was a real treat to say the least. Working out harmonies for the songs with Ben, Jackson and I in the control room was definitely a highlight and pretty surreal. Genius

The song, "Why Wyoming?" is a deeply personal track. What is the story behind it?

"Why Wyoming" came directly from a life experience that has moved me beyond any other or anyone for that matter. It was my first tour with The Silos and we were headed across the U.S. from Jackson Hole to Portland, Maine. The van hit some black ice, we rolled, and we lost our dear friend, genius musician and singer, Manny Verzosa. He was the only one who somehow slipped out and didn't make it. We were all in complete shock and the way it felt was as if everything in my life before was erased or pointed toward that instant and the future felt like a scene from outer space. This song was inspired while going on the same highway ten years later, coming from east to west. I was driving alone, it just started coming out, and I grabbed my road guitar and drove with my knee etc.

You're albums always include a vast array of instruments. How did you as a performer become so versatile?

I just love being inspired by different instruments. They cause me to play and think differently on each and therefore the creative sphere is enlarged, more points of your brain are being used etc. The mandolin, the piano, the double bass as well as the guitar are all engaging to me and still somewhat of a puzzle I am always trying to figure out. I also like when I see bands exchange instruments on stage, put something down and grab another. It looks cool and creates good theatre as well.

Which artists past and present would you like to work with?

I would love to work with Joni Mitchell, she has made me cry the most. Wilco would be great, I always felt like a 5th member of Crosby, Stills, Nash and Young, even though they didn't know it! I'd like to jam with Bright Eyes, and I would have loved to have been schooled by Mingus. Ani Difranco would be awesome . . . oh yeah Feist too and Jim Hall...

Collapsible Plans was co-produced by your friend, Ben Harper, whom you recorded the Pleasure and Pain LP with back in the early nineties. What was it like being back in the studio with him?

It was a true comfort being in the studio with him. We had a past together and we knew we came from a similar sensibility and desire to reach people like our heros, everyone from Taj Mahal to Jackson Browne to Dylan, Young and Zep . . .and of course a steady dose of Leadbelly and Robert Johnson thrown in for good measure. I am used to having all the decisions and "how was that take" questions directed to me and it was a real treat to have Ben, whose ears and vibe I trust completely, give me the skinny from the control room. Especially on vocals, he was good with me! It was also of course very special to have him lend his background vocals or slide guitar or Mandocello on something. His studio sensibilities were right on and inspired. We gelled very well, neither of us really wanted to go home at the end of a night . . or morning.

Corey Crossfield

Location: Williamsburg, Brooklyn
Film: Joy Division: The Atrocity Exhibition
Show time: 9 PM
Venue: Glasslands
Food: Relish
Drink: Radegast Hall & Biergarten
Miscellaneous: Zebulon

For all you Joy Division fans who haven’t had enough of them since Control came out, you can now rejoice as music video director Grant Gee’s documentary on the band will be screened. Afterwards Djs spinning JD’s back catalogue include Chuby242, Shred, and Raymi7. Though Relish looks like a 50s diner or an even larger version of an L train car, this restaurant offers up some gourmet treats for dinner. With influences from all over the globe, Relish features diner classics like burgers and onion rings, and step it up with the likes of Blackened Yellow Fin Tuna ($21). Williamsburg’s first beer garden, Radegast, has a beautiful all-wood interior, an enclosed outdoor backyard, and 12 German/Austrian beers on tap and more than 30 bottles. Another great bar in the area, Zebulon offers free live jazz and afrobeat. The drinks here are inexpensive, and I’ve never seen a bad show here before.

I only just made the switch from an electric razor to manual shaving for my face. I kept away from manual razors due to the multi-step commitment involved, as a consequence of wanting something quick and convenient. I exhaustively researched the techniques of manual shaving when I came upon Esquire Magazine’s 2007 pick for the best shave cream: Billy Jealousy Hydroplane Shave Cream.

This novel, foamless shave cream uses silicon beads to promote the slick, non-drag hydroplane feel. Your razor will effortlessly slide over the curvatures of your face while leaving it free from burn, nicks, and irritation. Hydroplane is alcohol free and has the texture of hair conditioner. It has a hint of citrus and mint aroma due to the natural oils in the product. Billy Jealousy Hydroplane may cost somewhat more, but the investment is in your face… your most noticeable body part.

Ashkan

Location: West Village, NYC
Bands: DJ ?uestlove Get Tickets Here
Show time: 8 PM
Venue: S.O.B.’s
Food: Ear Inn
Drink: Village Lantern
Miscellaneous: Jacques Torres

The Roots one and only drummer and sometime DJ, Ahmir “?uestlove” Thompson will be spinning vinyl live rather than drumming live. With a sound as deep in the history of music as the Roots, expect lot’s of rare gems to be played. Being that it’s S.O.B.’s, you can also expect some world vibes. One of my favorite places for food, Ear Inn is a 200-year-old bar with a small menu featuring burgers, sandwiches, and a chalkboard with specials including Jerk Chicken that’s under $10. With $3 pints Monday thru Friday 12pm to 7pm along with comedy and music performances, the Village Lantern is a great bar to chill at after work, especially now that it’s finally getting warm outside. Watch some of the best chocolate in the world made right in front of your eyes or browse through the store and sample for yourself the fruits of this master chocolatier’s labor.

The Smashing Pumpkins
If All Goes Wrong
(Coming Home Media)






In the world of popular music today there is little room for the artist to be creative. That being said, the creative process itself is not always a smooth evolution and with change there is often a price to be paid. This sentiment might be the thesis of the new 2-disk documentary If All Goes Wrong by the Smashing Pumpkins. The film follows the band as they embark on musical residencies at the Orange Peel in Ashville, N.C. (8 nights) and the Fillmore in San Francisco, C.A. (11 nights) writing during the day and performing for sold out crowds at night. The package includes a 105-minute documentary along with a 115-minute concert film showing the highlights of the performances including seven new songs.

The documentary, directed by Jack Gulick and Daniel E. Catullo III, is an interesting look into the Pumpkin’s creative songwriting process and gives the viewer insight into the world of Corgan & Co. The band’s decision to embark on the residency project so quickly after “reforming” (2 original members- James Iha and Darcy Wretzky didn’t participate) was a set-up for discord and rejection; fortunately these emotions seem to be a breeding ground for Billy Corgan’s best new material. Hearing the new songs in their infancy gives a bit of perspective into the Pumpkins musical canon and the stripped down acoustic versions carry a very different but powerful weight to them.

The documentary is an interesting look at the creative process of an artist taken out of context. The main tension in the film centers on Corgan’s lack of the big picture because of his deep self-involvement and his conflict with the immediate world around him. The rest of the band’s participation appears to be strictly musical and the three new musicians seem a bit stressed and detached from the process.

The concert film is a bit conventional, like a visit from the ghost of concert films past notably Woodstock with its split screens and The Song Remains the Same. In reality the concert is a bonus to the documentary more than a piece by itself. One interesting point is “Gossamer,” a goliath 37-minute composition which is musically virtuous but essentially melodious masturbation borrowing notes from every decade of rock music.

The real highlight of the film is really in observing the process of the musicians and showcasing their new songs. The musicianship, even early on in the process, is top notch and songs like “Peace + Love” and “99 Floors” are terrific even in their infant stage. After witnessing the songs development in the documentary the audience has a greater appreciation for them in concert. Overall, the package is a very personal look at the band, for better and worse, and is absolutely worth checking out.

Tim Needles

Volk: Dead in Trbovlje
Laibach
(Mute)





If you've ever seen Laibach in concert, you know they can put on a show to say the least. Using film projections, costumes, spoken word, and choreography along with an intense musical presentation, they rock the shit out of you.

Laibach hails from Ljubljana, Slovenia. They've been known to stir controversy over the years, and they certainly don't shy away from it on this DVD. In the first half, they target several nations in variations on a theme approach to their national anthems including the United States, Great Britain, Russia, Slovenia, and several others. The second half is not specifically targeted at any countries, but is equally entertaining.

Laibach has a special way of incorporating different elements of art into one grand presentation. The DVD is particularly adept at focusing on one element at a time. Close-up shots of the projection screen, the musician’s faces and expressions, and the audience reactions all convey exactly the mood and vibe of a Laibach concert. If I hadn't already had the privilege of seeing Laibach in concert, this DVD would inspire me to do so.

Marc Amigone

Broadway goes Green! Pictured: Sutton Foster as Princess Fiona. Photo by Joan Marcus





Based on the William Steig book and popular 2001 DreamWorks animation motion picture (voices by Mike Meyers, Eddie Murphy, and Cameron Diaz), this monstrosity of a musical makes its trudge to the Great White Way. I mean, monstrosity, in the nicest way possible. Fortunately, Shrek the Musical, which clocks in at an agile 2 hours 25 min, earns the affection it requires to make this contemporary-fairy-tale-love–story-of-“inner beauty” digestible without the indigestion. Speaking of, there is plenty of flatulence and ogre burps to make the kids laugh while making you just about to feel uncomfortable in your seat.

Early on, we meet a cavalcade of fairy tale creatures who arrive in a swamp land having been expelled from their familiar region of Duloc. Among the characters, insert a strangely falsetto-voiced John Tartaglia (Avenue Q) as Pinocchio. In Duloc, Farquaad’s magic mirror has convinced him that he must marry one princess Fiona who lives at the top of a tall tower guarded by a fire-breathing dragon. He hires Shrek to do the deed, and when Shrek saves Princess Fiona, an onion-layered courtship ensues. Add to that a cast of 30, extravagant costumes, high-tech effects, a cavernous set designed by Tim Hatley, and $24 million dollars later, you have an entertaining romp for the whole family.

Like its predecessor, using rude humor and pop culture references, Shrek the Musical, has a concise book and lyrics penned by David Lindsay Abaire (Rabbit Hole). Along with an impish wit, Abaire’s ability to guide laughter into silent wonder is primarily why this production works. There is a steady stream of “Oh, no you didn’t” campy behavior performed playfully by Daniel Breaker (Passing Strange) as Donkey. A tad juvenile, if slightly “limp hoofed,” it is because of Breaker’s comedic chops that make this potentially ass-making role enjoyable. Much can be said of his sidekick, Shrek, played honorably by Brian d’Arcy James. He is camouflaged by impressive green prosthetics, but we are drawn to d’Arcy’s rich baritone voice that can summon a wide range of emotions. In the song, “Who I’d Be,” d’Arcy performs with warmth and understanding, showing that beneath the repulsive green exterior is a lonely creature longing for love and acceptance.

Potentially, the most comic role is that of Lord Farquaad played with enthusiasm by Christopher Sieber (Spamalot). Sieber spends the entire show on his knees to convey the dwarf sized Farquaad, and his opening number, “What’s up Duloc?” which channelling a Vegas night club act, is the highlight of ACT I. The story and the dancing pick up the pace at the top of ACT II with “Morning Person” sung beautifully by Sutton Foster (Thoroughly Modern Millie). Sort of A Chorus Line meets Saturday Night Fever this showstopper complete with a row of tap dancing rats is a reminder that Broadway magic is still possible.

Jeanine Tesori (Caroline, or Change) composed the earthly poppy score with roots in bluegrass and gospel, but in retrospect it sounded more like Muzak at its most forgettable. Jason Moore’s (Avenue Q) brisk direction helped to match the diligent yet otherwise un-magical choreography by Josh Prince. This is the first collaboration for DreamWorks Theatricals and Neal Street Productions (Sam Mendes), and it rivals the highly successful Wicked that also tells the story of a misunderstood and green-skinned outsider. It seems that having green skin is a natural ingredient for a smash hit on Broadway, but does Shrek have the “green thumb” needed to keep it growing in today’s economy? If the theatre seats can’t stay filled we may not be surprised to hear Shrek singing instead, “It’s not easy being green.”

Check out discount offers from Playbill.com HERE

Kila Packett

Spending time in DUMBO is like being in a village. With a neighborhood hardware store, a friendly dry cleaner and boutique clothiers, walking into the local dive bar, Superfine, feels no different. Nestled under the noisy Manhattan bridge, this cozy, retro furnished, old brick warehouse feels like you're walking into your favorite pub.

At lunch you might find eight construction workers enjoying a Brooklyn Lager alongside local office workers eating a chicken and pancetta sandwich or a pork chop with a side of mashed potatoes. In the evening the atmosphere evolves to a hot happy hour hot spot with incredible drink specials and a friendly staff.

The point is, Superfine tries to be everything to everyone: inexpensive drinks, an excellent and flavorful menu, addictive shoestring fries, an orange felted pool table, a mini art gallery…but in trying to be everything to everyone, they actually manage to pull it off. In a village, like in DUMBO, you sort of know everyone there: a pick-up game of pool might pit you against a guy from the elevator in your office building. Nothing makes a dive bar greater than cheap beer, excellent food and a place where everyone knows your… face.

Superfine, 126 Front St., Brooklyn, NY 11201 (at Pearl St.), (718) 243-9005. Lunch Tues–Sat: 11:30 AM–3 PM, Dinner Tues–Sun: 6 PM–11 PM, Brunch Sun: 11:30 AM–3 PM. Bar open Sun–Thurs: until 2 AM; Fri–Sat: until 4 AM. Happy hour: Mon–Fri: 4 PM–7 PM; $2.50 bottled beer/well drinks.

dear greer

The New York Dolls are the godfathers of sass and glam

Friday December 26

Location: Upper West Side, NYC
Film: Scorsese Classics: Mean Streets
Show time: 3:50 PM
Venue: Walter Reade Theater
Food: Josie’s
Drink: Candle Bar
Miscellaneous: Emack & Bolio’s

Part of Scorsese Classics, featuring six days and nights (starting tonight) of Martin Scorses’s finest films. Tonight’s feature is Mean Streets, with one of Robert De Niro’s earliest performances in this gritty story of a small time hood trying to move up in the local mafia in Little Italy. Dairy free, organic, and free-range are things that come up often on the menu at Josie’s, offering dishes like the Warm Macadamia-Crusted Natural Chicken Breast Dinner Salad ($17.75), several tofu and seitan specialty dishes and the Freshly Ground Char-Grilled Brandt Natural Beef Cheeseburger ($15.75), so everyone here will walk away happy. Comfortable and dimly lit, the Candle Bar has a pool table in the back and drink specials daily. For some of the best and most interesting ice cream in the city, Emack & Bolio’s offers some eclectic flavors like Deep Purple Cow (Black Raspberry ice cream with white and dark chocolate chips and blueberries). This place thakes their ice cream serious.

Friday December 26

Location: Lower East Side, NYC
Bands: Kimya Dawson Get Tickets Here
Show time: 8 PM
Venue: Bowery Ballroom
Food: Clinton Street Baking Company & Restaurant
Drink: Verlaine
Miscellaneous: Gus’s Pickles

Anti-folk superstar Kimya Dawson, whose music many of you know from the movie Juno, recently put out a children’s album called Alphabutt and is touring in support of it. Collaborators include Third Eye Blind’s guitarist Kevin Cadogan and several other of her musical friends and their kids. For din-din, check out Clinton Street Baking Company & Restaurant. Serving up sandwiches, omelletes, and baked goods for breakfast and lunch, for dinner expect the likes of Pan Seared Halibut with sweet corn succotash, herb roasted tomatoes, and summer squash ($19). Named after the poet Paul Verlaine, the bar offers an asian food and drink menu. While you can’t order the absinthe that probably helped kill the poet, you can order drinks like the El Chupacabra, which is better tasting with a kick of its own. If you like pickles, Guss’ Pickles has been around since 1910, it’s a landmark spot, and still makes a great pickle.

Saturday December 27

Location: Union Square, NYC
Bands: New York Dolls Get Tickets Here
Show time: 9 PM
Venue: The Fillmore at Irving Plaza
Food Chat N’ Chew
Drink Beauty Bar
Miscellaneous Max Brenner: Chocolate by the Bald Man

Though most of the original members have passed on, singer David Johansen and guitarist Sylvain Sylvain soldier on bringing original late 70s New York swagger back home and even with a mostly new lineup, they still sound fantastic. A good drink spot that will be as interesting as this show is Beauty Bar. This former beauty parlor is one of the most happening bars in the city. Where else can you get a manicure with your drink (seriously, drink/manicure specials on weekends $10). Chat N’ Chew is a down-home comfort food spot with plenty of faves like meatloaf, Mexican, and milkshakes. If you’d prefer to just escape the cold, head over to Max Brenner and cool off with a variety of hot and cold chocolate drinks that will blow your mind.

Saturday December 27

Location: East Village, NYC
Bands: Gogol Bordello Get Tickets Here
Show time: 8 PM
Venue: Webster Hall
Food Minca
Drink Ace Bar
Miscellaneous Le Gamin Café

Lead singer and provocateur Eugene Hütz leads this high-energy gypsy punk band that fuses theater, dance, punk, dub, and klezmer. Gogol Bordello shows are always audience interactive, meaning that at some point Eugene will be in your face singing. Not bad for a holiday weekend! Close by is the ramen noodle bar called Minca. After recently trying this place, I’d highly recommend it. The ramen noodles are made fresh and way better than those you’d buy and boil. What makes the soups here great is the broth. Take the Minca Ramen, a mild broth with pork, chicken and dried seafood ($8.50), it has impeccable flavor that hits the spot. Plus it’s way less expensive than other ramen specialty restaurants and just as good. Right across the street from Minca is the Ace Bar. Sort of divey, it’s also where you’ll find people playing skeeball and shooting pool, while drinking some decent beers on tap. For dessert and coffee, Le Gamin Café is the place for crepes.

Sunday December 28

Location: Tribeca, NYC
Bands: Bustle in Your Hedgerow Get Tickets Here
Show time: 10:30 PM
Venue: Knitting Factory
Food: Ear Inn
Drink: Village Lantern
Miscellaneous: Jacques Torres

Not your normal Led Zeppelin cover band, Bustle in Your Hedgerow (a line from “Stairway to Heaven”), is made up of Joe Russo, Marco Benevento, Rana's Scott Metzger and WEEN bassist Dave Dreiwitz who perform instrumental versions of Led Zep songs. One of my favorite places for food, Ear Inn is a 200-year-old bar with a small menu featuring burgers, sandwiches, and a chalkboard with specials including Jerk Chicken that’s under $10. With $3 pints Monday thru Friday 12pm to 7pm along with comedy and music performances, the Village Lantern is a great bar to chill at after work, especially now that it’s finally getting warm outside. Watch some of the best chocolate in the world made right in front of your eyes or browse through the store and sample for yourself the fruits of this master chocolatier’s labor.

Descent into Chaos
by Ahmed Rashid
(Viking)






Descent into Chaos is a timely and critical book about the ongoing turmoil and degeneration in Afghanistan and Central Asia, written by acclaimed veteran Pakistani journalist Ahmed Rashid (Taliban and Jihad). He surveys this region to reveal to us the failure of U.S. policymakers' (both past and present) at nation building because of their refusal to commit the forces and money needed to rebuild after the invasion of Afghanistan.

Rashid also shows us the powerful extremist forces at work in that region of the world and explains how U.S. policy makers made corrupt alliances with warlords to impose a superficial calm while continuing to ignore the Pakistani government's support of the Taliban and other Islamic extremists, instead choosing to focus on Iraq. Afghanistan and Pakistan, he argues, are greater threats to the West than Iraq.

The material in the entire book is extremely detailed and significant, and it is revealed to us by such a qualified writer. Rashid walks us through the history of Afghanistan and explains the relationship between the U.S. and Pakistan, laying out past events clearly and chronologically. He explains how U.S. ally Pakistan has armed and financed the Taliban. He also outlines future scenarios of where we may be headed, so it's a good wake-up call for our future policy-makers and the ill-informed public in the West.

Although this book is not an easy read, it begins to clear up a lot of the confusion, and I'd recommend it to anyone.

Christine Thelen

Location: Union Square, NYC
Band: Jelvis Get Tickets Here
Show time: 10:30 PM
Venue: Highline Ballroom
Food: Oyama
Drink: Bowlmor Lanes
Miscellaneous: The Virgin Megastore

Jelvis–the Kosher King-presents a “Jew-El Tide Christmas” (say it fast). That’s right, the Jewish Elvis impersonator kosherizes the holiday and Presley’s songbook, like “Blue Suede Yamulka.” Seriously dude? My favorite 50% off sushi joint, Oyama serves good and cheap sushi including inventive rolls like the Oyama Special Hand Roll, which includes lettuce, tobiko, cucumber, avocado, shrimp, and mayonnaise ($5.95). For drinks, sitting at a table in Bowlmor lanes is a good way to enjoy watching people fall on their behinds trying to bowl in this rather large bowling alley. What better way to waste anywhere from a few minutes to several hours than at the Virgin Megastore. With two floors filled with CDs, DVDs, books, games, and plenty more, you can catch up on what’s hot and figure out what’s worth buying.

Jay Reatard
Matador Singles ‘08
(Matador)







Jay Reatard has a knack for getting to the point. He crafts two to three minute stomps that burn to the core of the rock ethos: loud, fast, and snotty—not to mention his softer side as well; but not so much on this try. Apparently, Jay has a back catalogue that adds up to about 15 albums, and Matador Singles ‘08 is a cherry picking of some of his recent stuff.

I’ll start off by saying that I definitely prefer 2006’s Blood Visions, but I digress. “See/Saw” starts the collection off well as a moderate tempo rocker with a Dinosaur Jr. feel to it, but I’d say “Screaming Hand” and “Dead on Arrival” are my favorite tracks on the album. They drive a little more and remind me of his earlier stuff. Another track I like, and always seem to get the chorus stuck in my head, is “Always Wanting More;” mainly because it’s just catchy: “Always wanting more/you’re such a useless bore,” and it seems to sum up Jay’s perspective for me.

Overall, this is a decent collection with some good songs and a couple of misses (“Flourescent Grey”). I was really excited about the prospect of this record, and it’s not necessarily a letdown, but I think my sights were aimed just a little high. Check it out if you like his older stuff, or if you’re interested in seeing what the hype is about.

Dave Levin


Curumin
Japanpopshow
Adrenaline Records






Japanpopshow, the new album from Curumin on Adrenaline Records, could be the best samba-funk album of the century. Hailing from Sao Paulo, Brazil, Curumin embraces the many sounds to which he has been exposed to create an eclectic but consistently funky sound. Hip-hop, reggae, bossa nova, funk, and rock are all abundantly prominent throughout the album with certain songs featuring one sound more than another.

Curumin has been making music from a young age. He started his first band at 8 and was gigging regularly as a drummer in clubs across Sao Paulo at 14. At 16 he learned to play keyboards. Eventually he enrolled in music school and formed his first band, Zomba, which focused on Brazilian classic funk with DJ accompaniment.

Chief Xcel of Blackalicious heard Curumin's last record, Achados e Perdidos, while touring in Brazil and brought him into Quannum Projects. Japanpopshow is the result. This album has one of most inventive, funky sounds of any I've heard this year. Curumin's playing at BAM December 4th; if you like funky, original music, check it out.

Marc Amigone


Underoath
Lost In The Sound of Separation
(Tooth & Nail)






Underoath's anticipated Lost in the Sound of Separation is a return to the bands blended screamo/metal sound. Similar to Define The Great Line, the bands progress since They're Only Chasing Safety is clear. The first track, “Breathing in a New Mentality,” is the perfect starting track. It's a tease--leading you into the album only to knock you down. The track screams about "being in over my head again" and that's exactly what it does to the listener. The furious and belligerent drumming of Aaron Gillespie is a high point in the album. At no point is it not the driving force on the album. Tracks like “Coming Down Is Calming Down” are driven holistically by the high-caliber drum work he brings to every track. Vocally, the song is also the strongest on the album, easily bringing references to bands like Saosin. "The Created Void" is another high point in the drumming on the album. Overall, the album is another strong show by an already strong band. Fans of Underoath's prior albums will not be let down by these more progressive hard songs. Those looking to mosh will be pleased. Those looking for melodies-however-should look elsewhere.

Tania Katherine


ENUR
Raggatronic
(Sequence Records)







Even if you detest the discotheque, chances are you've heard the saxophone riff and heart-reviving beats of ENUR's chart-topping biddy, "Calabria." Featuring the vocal tendings of reggae all-star Natasja Saad, "Calabria" is the tip of the iceberg for the DJ duo's full album appropriately titled Raggatronic -no false advertising here. As expected, ENUR delivers track after track of electronica-boosted reggae beats that gyrate alongside infectious vocals with the likes of Beenie Man, Greg Nice, Natalie Storm, and others from the ragga-elite. Raggatronic is reflective of the duo's personal history: On one hand, you have Rune Reilly Kolsch (aka Rune RK--please note the ENUR is Rune backwards) who produced beats for "lazy" blunt-smoking rappers just before he channeled into electronica and teamed up with his brother Johannes Torpe. Since then the duo has worked hard to create tracks that have a bit of something for everyone (cue international success). With regard to Raggatronic, it may be best to remember that the foundation for this album is reggae, not dancehall. While the album may induce a dance party immediately, there are clear roots in the ragga. A particularly choice track is "Gwaan," featuring Natalie Storm and a clever manipulation of that universal reggae beat. "Ucci Ucci" is an ode to ENUR's hip-hop roots with lyrical stylings by The Chopper City Boyz. Overall, the album is consistent with what you'd expect from the team that mastered that get-on-the-floor-and-dance feeling with "Calabria."

Nicole Velasco