Retroselective: The Best of October 2009

“I Think I Need It Too” by Echo & the Bunnymen: Ian McCulloch’s soaring, penetrating vocals are in fine form, and Will Sergeant’s guitar is as catchy as ever on this redemptive rocker from the lads from Liverpool. It’s an uplifting, triumphant single from a band, proving that the Bunnymen still has the ability to craft a fine song, despite losing some of their core members while also getting on in years themselves. The chorus is absolutely massive, and it’s hard not to get swept up in the searching sentiment found in McCulloch’s resounding vocals. This lead single heralded the arrival of another strong Echo & the Bunnymen album, The Fountain, which finds the band continuing to add to their decorative and glorious past with another spirited release. Erik Thompson]

Echo & the Bunnymen perform “I Think I Need It Too” on Jimmy Kimmel Live
Echo & the Bunnymen perform “I Think I Need It Too” on Later with Jools Holland

[photo courtesy of Leslie Plesser]

Why? plays the Triple Rock: Why? came to town this month in support of their excellent new album, Eskimo Snow, and played one of the best shows I have seen this year. Yoni Wolf and crew relied heavily on material from the new release as well as the band’s last album Alopecia, which was just fine for me, as they are two of my favorite records from the last few years. With a different touring band than the last time Why? was in town—including Andrew Broder from Fog—Wolf’s avant pop/rap songs sounded even stronger than their last show at the Triple Rock and played a highly memorable show. It was great to hear Wolf’s interesting, dense and wildly experimental songs in such able hands before an adoring crowd that helped to make it a great evening of music. [Josh Keller]

Why? @ Triple Rock Social Club

Moby plays the Fine Line Music Cafe: The balance between musicians that I really want to see and musicians I do is abnormally one-sided, with the unfortunate reality being that the majority of the time a show is just a show. I’m spoiled. I know this. But seeing Moby perform live shifted that balance ever so slightly closer towards a balance between the two sides. Moby’s one of the few artists I’ve listened to since I still had one foot in my Dance-Mix phase growing up, and one that still sounds as good to me now as he does then. His show at the Fine Line was the smallest venue on his tour (having moved the show there after the Myth went kaput), and from new songs like “Shot In The Back Of The Head” to surprises like a rendition of “Walk On The Wild Side” to classics like “Feeling So Real,” the little idiot never failed to impress. [Chris DeLine]

Moby @ Fine Line Music Cafe

[photo courtesy of Luz Gallardo]

Hope Sandoval and the Warm Inventions play the Music Box Theatre: Shrouded in darkness, yet bathing the audience in her gorgeous vocals, Hope Sandoval and her band (which featured My Bloody Valentine’s drummer Colm Ó Cíosóig) delivered a stirring set that combined both lush musicianship with the theatricality of the movies played on a screen behind them during the performance. It was a warm, intimate show in the confines of the Music Box Theatre, and even though Sandoval could hardly be seen during her captivating performance, that doesn’t mean that the impact of her songs couldn’t be felt by all who were there. She eschewed the typical on-stage banter, and chose instead to let her music and her vocals do the talking for her. It was a rare treat to see Sandoval perform (she hasn’t played Minneapolis since 2002), and was an evening spent swirling amidst her angelic voice and the brooding music created by her band. [Erik Thompson]

Hope Sandoval & the Warm Inventions @ Music Box

Converge release Axe To Fall: Though I missed the review at the time it was published, Pitchfork kicked things off by making a comparison that is almost always out of line, “Converge are this generation’s Black Flag.” I love Black Flag. I love Henry Rollins. I still want the “bars” tattoo, but am shy to the fact that so many goddamn people have it nowadays. Well, that is until they cover it with a Converge tattoo. Because as much as it grinds my gears to say it: the comparison isn’t outrageous. Converge are creating music that is raw in a time when music isn’t. Wait, you’re not blown away by Norwegian death metal? Compare it to the velocity with which Converge annihilates the listener’s ears and I’d be a dummy to say it does. Then again, I have been known to enjoy the hell out of Moby, so maybe I’m way off base here. [Chris DeLine]

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