4Knots Fest - July 12, 2014

Saturday July 12, 2014 was about as perfect a day for an outdoor music festival as you can get. Under clear blue skies dappled by the occasional puffy white cloud, an array of diverse rock music acts filled the air for some seven plus hours in New York City. Although there were a number of events happening on this day, you’d be hard pressed to find a better one than the fourth annual 4Knots Fest at South Street Seaport.

With the event securing its best headline act ever, the whole day served to build towards a grande finale monstrous show from legends Dinosaur Jr.

The full recap of "Mascis-Fest" closes out this blog, however there would be plenty of great music (and other things) to check out throughout the entire day.

Joining me for the 4th consecutive year (if you also count The Ravonettes at Beekman Beergarden show) was fellow music aficionado (and sport cycling enthusiast) Rob/drid.

First band up was good friends Dead Stars

Who hit the ground running (as they say) and kicked off the early afternoon in glorious style.

And a lovely afternoon it was.  Like I said, perfect blue skies with just a hint of cloud cover for a splash of color.  Those early to arrive were treated to a set of perfect music.

The boys throttled out tracks from their latest release "Slumber"

Someone told me later on that none other than J. Mascis was listening to the set from a hidden location, and nodded his head in approval of what these guys are doing.

Things I've previously written about Dead Stars:

DCW Live Show Coverage

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4Knots Preview on The Deli Mag and here also on DCW

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Had to go grab my credential, if I was going to have any fun at all on the party boat.

Which was a thoroughly re-energizing experience with all the complimentary food and beverages.

All served up with a smile and in style!

Delicious sandwiches with exotic sauces on top

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The first band on the Main (Pier 16) Stage was the three piece brother act from St. Joseph, Missouri called Radkey.

Dee, Isaiah, and Solomon are all self-taught musicians who are still teenagers.

They point towards bands like the Misfits (who’s Danzig-like vocals very much reflect their own) as well as classic punk and rock bands like the Ramones and Who as inspiration.

Check out their song "Feed My Brain"

This photo stream with an alternate song can also be found posted by yours truly Here on Dingus as well.

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Next up were Northampton, Massachusetts' Speedy Ortiz

Frontwoman, Sadie Dupuis added the first bit of feminine touch to what had been (up to this point) at complete dudes-only fest.

I had caught one of their shows earlier this year at Brooklyn Night Bazaar, and although they came off very well at the time - here on this much bigger stage (and soundsystem) they sounded HUGE.

Speedy had the crowd jacked up and going, and the view (and sound) from the boat was super sweet.

Get to know more about this band via their Bandcamp link (above) and their Facebook page here

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Already familiar with members of the next bands prior work in noted Canadian band Women, the set delivered by Viet Cong presented a more evolved and experimental sound.

Having had the opportunity to get to know a number of tracks via their debut EP release titled "Cassette," I found the live delivery of these songs even more impressive.

"Throw It Away" drives along an oscillating bassline, while extended guitar breaks recall the early math-rock structures of Yes and the late great Peter Banks.

“Unconscious Melody” builds around a straightforward drum pattern, as angular guitar structures pierce through falsetto vocals.

The incorporation of keyboard synths at points throughout the performance added the right amount of diversionary textures to an otherwise predominantly guitar-bass-drums approach.

An impressive live set, and definitely a band to watch for future releases.

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The dual female fronted roots-rockers Those Darlins made the most of their prime time slot.

 Taking the whole festival to an even higher level, they chunked out raw rock'n'roll that felt at times like Exile On Main Street Rolling Stones.

Vocals delivered alternately in tandem or individually captured the right vibe for this stage and venue.

Particularly tasty was the tone and texture of the guitar leads.

This track captures their sound as good as any.

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It's been a relatively quick rise from obscurity to the level that one-time image manipulating Mac DeMarco  now inhabits.

Positioned in the just-prior-to-headliner slot, there certainly appeared to be more than a few "DeMarco heads" in the audience.

Back in October of 2012, I had previously caught his act during CMJ at Pianos and wrote These Observations

His shtick now appears to be considerably more laid back and slacker than that more entertainingly dynamic show during CMJ.

Though some might applaud the "bold move" of attempting to bring back the bucket hat as the ultimate in casual hipster attire - one wonders if greasy gas station attendant pants might be taking the I-really-don't-care attitude just a bit too far.

Props must be given to his-Mac-ness for popping a trucker hat on over the bucket hat - when someone tossed it up to him from the crowd.

The most exciting thing DeMarco did all afternoon was to dive into the crowd on his last song.  (Unless someone actually thought his mellow synth tunes were thrilling).

Bright red sneakers (now there's a positive fashion statement) bobbing up from the crowd - while angry security men look on with concern.  Hopefully nobody attempted to Iggy Azalea him!

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Finally it was time for the legends to take the stage.

The music of Dinosaur Jr has made the kind of indelible imprint on my life that truly cannot be overstated.

The fact that this band is now more popular than ever (getting back together in the mid-2000's after many years of solo projects) is a testament to the universe getting at least some things right.

My long-time perception of J Mascis has always been one of wonderment, worship and apprehension.  It has been well documented over the years (and especially in their early days) that he could be difficult to interact with.

Though to be fair, at a show in the early 1990's a friend and I chatted with him out front before he played - and although it was somewhat strained and awkward - he did attempt to converse with us in a friendly way.  A recent encounter with him a few months ago presented an even more personable experience. My sense of it all is simply that J has a low tolerance for nonsense.  Which is why he'd mess with industry types (who's motivation for interaction weren't entirely sincere) while being more accommodating to actual fans.

Founding member and long-time drummer Murph is an amazing, accomplished percussionist.  He has managed to not only cope with the difficult task of playing in a band where the principal songwriter also writes all the drum parts - but has actually excelled in that scenario.

On this afternoon Dinosaur Jr played a set that spanned their entire career that as one would expect included some personal all time faves.

The high point of the show (for me) was the inclusion of "Out There" - probably my all time favorite songs of J's - from 1993's brilliant Where You Been




“Out There” encompasses everything that is so brilliant about music. From the rough distorted guitar tones of the intro – with J riffing madly out of the gate – displaying a dazzling skill and multiple note dexterity all the while establishing this unforgettable melody. How can one be “jam band” and alterna-slacker at the same time? It’s in the lyrics. And what amazing lyrics these are. A universal song to “everyone” – “out there” – out in the world. Trying to get by and cope with every single day. The need for friendship - but – at what cost?  J delivers the words in a conversational manner. “You can’t say that’s fair” – “can’t you be wrong?” and “maybe you weren’t on my side all along” – yeah – it’s kind of on the downside. But isn’t this life so often filled with sadness and disappointment?  Yet – we’re still all “out there.”  “You’re still a case, it’s still the place – weren’t you invited?”   Ultimately “it’s what you can spare.”  “Whatever’s left just hide the rest” – and then “bring it right in.”  However far too often it’s all just “sick.” “A game – a trick” 

Musically, one incredible hook leads to another. The bridge buildup leans hard on drum accents, while the chorus is a swirly headtrip uplift into Maestro Mascis guitar solo ecstasy.   In the end its about sharing – or not sharing. About caring – or not caring. Or wondering if anyone actually truly cares at all. The balance between knowing that everything is ultimately pointless – and our human need to carry on like it isn’t.

Or maybe its all about the delirious euphoria of crowdsurfing

Or the power of Lou Barlow's bass

We live to rock one more day

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DeliMag Features: Haunted Hearts, Dead Stars, Baked, Maggie Rogers, STRNGRS + 10th Anniversary Issue #39

A musical collaboration between Brandon of The Crocodiles and Dee Dee Dum Dum Girl has given birth to an art project they are calling Haunted Hearts. Having recently released their first full-length album “Initiation” on Zoo Music, a video for the song “Up Is Up (But So Is Down)” provides playful gender-bending visual imagery to this overall concept.

Presented like a psychedelic dream, boys in lipstick and other garments typically associated with the feminine side lip-sync much of the track. Credited as a dance performance collective called Chez Deep, they are joined by Brandon and Dee Dee in further glam trash attire. The track itself benefits from a dominant bass guitar line, fuzzed-out guitars and brassy synths, as the in-tandem vocals meld Brandon’s tenor with Dee Dee’s vibrato. The feel is similar to something Love and Rockets circa their mid-90’s “Lift” period would have produced.




The album was recorded by Jon Greene at Electric Orange Studios in San Diego, mixed by Jorge Elbrecht (Ariel Pink/Violens) at Static Recording in Brooklyn, and mastered by Joe La Porta at Sterling Sound in New York City.

Haunted Hearts on The Deli by Dave Cromwell

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For the fourth time in as many years, lower Manhattan’s South Street Seaport will host the day long free entry 4Knots music festival. Happening on Saturday July 12 from 1-8 pm, the event is rain or shine, and as in previous years bands will perform on two alternating stages.

An eclectic assemblage of artists is scheduled to appear this year, running the gamut from legendary status, those solidly established over the last year all the way through to fresh and emerging acts.

One noteworthy band on the rise who has recently released their first full length album titled “Slumber” is Brooklyn’s Dead Stars. Currently embarked on an east coast and midwestern tour, the band will wrap that up with a homecoming appearance at this event. The new collection of songs takes what was already appealing about this band and multiplies it exponentially. Opening track “Someone Else” grabs hold with the chorus hook a mere 50 seconds in, and memories of every uptempo, Americana band you ever loved runs wildly through your head. The timely “Summer Bummer” leans heavily on the solid backbeat dropped down by master sticksman Jaye Moore. Cousin Jeff’s playful lyrics echo Joey Ramone’s casual nonchalance towards negativity, while John’s bass lands squarely on Lou Barlow’s groove.




Another up and comer performing who proudly represents the borough of Queens is Juan Wauters. Though he claims his songs represent an evolving search for that specific sound which will never come to be, the 60’s era folk groove of his first 7” single “Sanity” belie such nihilism. While the track's lyrical subject matter may explore darker corners of human psyche, its rhythmic groove evokes original British invasion folk-poppers like Peter and Gordon. The vocal delivery and overall vibe conjures up images of Austin Powers leading a line dance down Carnaby Street.

This year’s big name headliner is 90’s legends Dinosaur Jr, who reunited a few years ago and have consistently put out new material ever since, and are clearly one of the most influential band in Brooklyn's current 90's rock revival. Other acts scheduled to perform are Mac DeMarco, Those Darlins, Speedy Ortiz, Radkey, Viet Cong, Nude Beach and Re-TROS.

4Knots Preview on The Deli by Dave Cromwell

Additional Live Show Coverage of Dead Stars on DaveCromwellWrites can be found Here

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Brooklyn psych-rockers Baked present their official lead single “Don’t Trip” as a teaser for the full-length album “Debt,” scheduled for an August release.

The track emerges via a slow, languid pace, as casual pitch-bended guitar chords meander over loose, live-sounding drums. Boy/girl tandem vocals tell a tale of how “It’s a second coming Christ, and the kids they are screaming.” A well placed minor chord throughout the verse cycle holds the listeners interest by avoiding predicable sonic patterns. The whole thing is capped off with nearly a minute of extended coda early 70’s Pink Floyd guitar textures.

Imagine Dean Wareham and Galaxie 500 having a taco with Stephen Malkmus and The Jicks on a sun-drenched afternoon. If you’d like to get further “baked,” head over to their Bandcamp and pre-order the album.

Baked on The Deli by Dave Cromwell

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With the release of her latest full-length album “Blood Ballet,” singer/songwriter Maggie Rogers crafts an impeccable collection of folk songs that convey an elementary charm.

Opening track “Resonant Body” is built around banjo accompaniment, giving it an Americana feel reminiscent of Neil Young’s more rural tracks.

Her voice is seductive, drawing the listener into a world of lyrical imagery with a clear gentle delivery. Additional songs (which can be heard Here) “James” takes the storytelling further with a three-quarter time waltz progression and heartfelt sentiment. “Drift” adds synth strings and soft percussion to the mix, underscoring strong-yet-tender vocals. Contemporary artists like The Pierces, Wilsen and Courtney Barnett all come to mind as kindred souls.

Maggie Rogers on The Deli by Dave Cromwell

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The three piece blusey thrash-rock outfit STRNGRS continue their weekly residency at Pianos this month.

Their 2013 release “5 Dynamic New Tunes!” emphasized a hyper blues energy that drew comparisons to the White Stripes/Black Keys axis. Stand-out tracks like “Subtle Reminder” channeled Jack’s vocal inflections, while “Settle Me Down” went heavier with an angular start/stop progression that leaned more towards early Led Zepplin.


2014’s “Magic Boy” showed the band dialing down its frantic pace on the slow burn intensity of “Running Dry.” While that track emphasizes a bluesman’s harrowing wail, “17 Letters” finds the band streamlining their sound into a pop-friendly two and a half minutes. “Never Can Tell” smolders with a “Voodoo Child” vibe, while "Outta My Mind" bursts out on a harmonica enhanced rave up over a rabid psychotic beat.

STRNGRS on The Deli by Dave Cromwell

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Also out this month is the 10th Anniversary Issue of The Deli Magazine, Issue No. 39.

Which can be viewed and acquired in various formats Here

In that issue I analyze how the band Animal Collective influenced the Brooklyn music scene.

It would be difficult to overstate the influence and reach of freak folk innovators Animal Collective on the DIY recording scene. Their 2004 breakthrough album “Sung Tongs” displayed a level of creativity and imagination previously unexplored by their contemporary generation of bedroom recording artists.

Finding their own inspiration from diverse yet psych-centric artists like Syd Barrett’s Pink Floyd, The Orb, Grateful Dead and albums like The Beatles tripped-out classic “Revolver,” the collective served as a model for others to follow. You can hear in the vocal machinations of songs like “Kids On Holiday,” “Sweet Road” and “Visiting Friends” how current artists like Tame Impala, Beach House and even Foxygen have run with that audio palette. Their song "Winters Love" (which was featured in a Simpsons episode) captures the spirit of that time best with the lyrics “a false snow fall could ruin my day, its mask hung from the street wire - and winters love, where could she be? She's warming in my pocket.”