INTRODUCING - Coasting

*originally posted on thegirlsare

New York bands are cool. C’mon, there’s no denying this. From the nonchalant swagger of The Strokes to their punk predecessors, The Ramones, the Big Apple is responsible for a plethora of hipsters who all know their way around a great melody. Coasting are no exception to this, despite their small geographical placement a few miles or so west in the NY borough of Brooklyn. But as the Sex and The City starlet, Carrie Bradshaw proudly states ‘Brooklyn is the New Manhattan’, yah?

Geography aside, Coasting are comprised of Fiona Campbell (drums) and Madison Farmer (guitar). The band’s sound is an eclectic and invigorating mix of everything from surf rock to riot grrrl greatness to a lo-fi ambiance not too dissimilar to NME darlings, Warpaint. An obvious comparison in style for Campbell’s primal drums is Sleater Kinney‘s Janet Weiss and this is not a likeness doled out on a mere whim. Hell no, Campbell can drum. The intense and frenzied tom rolls of ‘Same Old Same Old‘ are reminiscent of Weiss’ spine tingling tom work on Sleater Kinney single, ’Entertain’. Campbell’s ‘other’ band, Vivian Girls, would make for another lazy reference but there’s a spray of surf in Coasting’s sound and even a sense of twee pop in their bitter-sweet girl group vocals.

The all girl duo met while working for DIY godfather Todd P building stages, taking door money and tending makeshift bars late into the evening. There’s certainly an undercurrent of his DIY approach to their recordings and song writing structures too. The group’s method of composition is centred on hanging out, jamming and intuitively running with what sounds right. With tracks titles, like ’Snoozefest’ and ’Hots for Teachers’, this pair ultimately excel in youthful exuberance and FUN. Their Cramps-esque guitars stylings are soaked in New York grunge cool but also, from over the waters, angsty grunge strums that are not a far cry from Male Bonding‘s similarly raw riffs.

Both the Dalston trio and Coasting share a sound that makes for a welcome retreat to yonder days of abrasive drones and slacker pop hits and that’s certainly a sound worth riding the wave of…

 

Male Bonding + Papier Tigre @ Fleche d'Or, 06.11.10

It feels as if Papier Tigre need some sort of introductory paragraph all to themselves being A) a French band and B) a GREAT French band. Sounding like some happy collaboration between post-hardcore New Yorkers, Rival Schools and the growl of Welsh alt-rockers, Mclusky, Papier Tigre are certainly not what their quirky, almost Twee, name might suggest. In fact, they are loaded with dynamics and innovative time signatures, not to mention a hefty percussion section. To wit in game form: the Paper certainly has the rock wrapped up.

Self-confessed Fugazi and Q and not U fans, Papier Tigre display an unorthodox approach to a lot of things much like their heroes: with no bass player [both guitarists using an impressive selection of effects and sounds to create a huge sub octave out of nowhere], their unusual song formats and their inventive approach to the art of live performance. Stationed in a linear form across the stage here tonight at Fleche d'Or, drummer Pierre Parois of the group is a tour de force of poly-rhythmic complexity and power and Eric Pasquereau's snaps and cries out over the beats in twisted rhythms. Yet it is the bewildering and bearded lead guitarist Arthur de la Grandiere who is arguably the most dazzling component of this trio. Dabbling between an onslaught of Sabbath style riffs to delicate prog rock intricacies, he is caught hammering harmonics one minute only to then pick up a drum stick in order to beat an extra snare drum the next. He even grapples with a maraca to double up on percussion at one point and one can't help but wonder how many band members one man can represent?

With a will-they-won't-they reunion for Rival Schools looming, fans of the post-hardcore group would do well to cease checking up daily on the bands myspace page for news of their forthcoming record and instead head over the Atlantic Ocean to Nantes, France. Papier Tigre's name may suggest that they are harmless but, in fact, they are a threat to bands everywhere with killer riffs, relentless touring and a winning hand; the one holding the maraca, that is.

Someone once said [or, indeed, branded the term] Grunge is Dead. 16 years on from the days of Cobain and co, it would seem though that the sentiment of the lo-fi, hazy fuzz of the Nirvana era is still rife in the form of Dalston trio, Male Bonding. The bands set is a whirlwind retreat to yonder days of abrasive drones and slacker pop hits. They may not carry the charm of a polished pop group or the guts of a heady rock act but Male Bonding excel in raw, no nonsense grunge greatness.

Their set boasts the majority of their recent full length record, Nothing Hurts, which not surprisingly was released on the infamous US label, Sub Pop just this year. The melancholy hook of 'All Things This Way' and spiky gem 'Crooked Scene' dash back and forth from intense feedback to poetic trills and chorus coos. 'Year's Not Long' is a frantic blast of angsty strums and bounding bass lines charging through horse canter style fills. The sentiment of the melody is a resounding one too; this band have certainly made a mark on the music scene in the brief time they have been performing together.

No, Male Bonding don't offer banterous quips or 'a new sound' but the one they've brought back from the shoe-gazing and dirty days of the 90s has been sorely missed. This band are a refreshing change from NME tartlets and asymmetric haircuts, knocking out a fresh rock energy which they do shockingly well and with a nonchalance that is both admirable and drenched in punk [or should that be teen] spirit.

As line-ups go, these two groups of males bond very well here in the city of light, ce soir.

www.myspace.com/malebonding

www.myspace.com/papiertigre