Alan! Astor! is quite possibly the future of music as we know it– just don't call him a laptop gigger. Skirting the rails set to the best backbeat we've heard in ages, A!A! hops from MC, to composer, to DJ (plus producer) and back again. He's steered the most blase crowds to fever pitch, establishing him as a true showman amongst live electronic acts. And there's more to it than the raw enthusiasm combined with electric sax and mp3 ghetto blaster: it takes a real man to sing along to Lionel Richie.

Special thanks to Club 205 and the Music Sluts

Math Rock is as complex as its name implies. But have no fear. If the
principles are followed, the asymmetrical rhythms and lyrics
(secondary to the incongruent chord structures) will align in the
indie cosmos and render logical crystal clear compositions.

Foals, a 5-piece group out of Oxford,
are being hailed as the new incarnation of Math Rock. Playing an
intimate gig in the basement of Union Hall, the audience prepared to
"geek out" for a good ol' fashioned post-rock revival. Pandemonium
ensued upon the opening chords of "Cassius," as lead singer Yannis
spun uncontrollably and collapsed on the floor, knocking the amp onto
someone's foot.

Such is the contradiction of a Foals gig: the band members play
facing each other, if only to communicate how they plan to burn the
house down, and they charge into the audience, rendering their
guitars like weapons. Their echoing melodies-- best demonstrated on
'Electric Bloom'-- make it clear they've absorbed the rules of Math
Rock and made it their own.

Their new album Antidotes is out on Subpop now.

Thanks to Subpop and Union Hall in Park Slope, Brooklyn.

In a market flooded with the infinite reverb of lazer-bass booming out of Paris, Brooklyn the band couldn't come at a better time. Their appearance at the Annex was their first gig in NYC, and they played it like their last. Taking the 3 chords-and-a-bridge garage aesthetic to new heights, this youthful quintet dove head first into such songs as 'Clandestine' and 'A Car In A Tree' with a vengeance. Alarmingly wise beyond their years in songwriting, their enthusiasm and showmanship elevate the sacred and classic genre of pop-punk to fresh new heights. Perhaps this is best demonstrated by the thundering drumrolls and fist pump worthy chorus of 'Volcanology' which hits it straight outta the park. Rock and Roll will indeed save the day, if these guys (and a girl!) have anything to say about it. Revenir bientôt!

Riding high on the release of their debut LP, Blood Moon, Apes and Androids took the stage in front of a tightly packed audience at Hiro Ballroom. Anyone familiar with the NYC band’s live show can tell you that the inimitable experience is a bit like rolling a rave, Studio 54 circa 1978 and an art camp sing-a-long all into one. More often than not glitter, glo-sticks and loads of sweat, thanks to gyrating bodies, abound; and, without a doubt, lead vocalists Brian Jacobs and David Tobias can be seen sporting their respective staple green skeleton tee and black and white ensemble. All this was the case, with a few masked dancers thrown in for good measure, as Apes and Androids lit a figurative fire under the asses of all in attendance at the aforementioned Hiro show. The eclectic crowd seemed so convinced by the band’s flawless performance of soon-to-be hits like Golden Prize and Nights of the Week, you got the feeling most were meanwhile perfecting their ‘I knew them when’ claim-to-fame.

If there is one thing we are a sucker for, it's a killer live gig by an electronic band. If there is a second thing we are a sucker for, it's French disco. Both things materialized at Studio B when Joakim, our fave uber producer/composer extraordinaire, took the stage with his merry crew of tricksters, the Ectoplasmic Band. We are obsessed with the single "Lonely Hearts," yet it was the track "I Wish You Were Gone" that kicked off his epic 8-bit jam session that made the audience fall head-over-heels into the groove. Joakim exists in a dimension where Simple Minds meet Ray Lynch, shag Sheila E, and share a post-coital cigarette with Michael Nyman in some modern-art installation. Hearing his songs in their entirety, rather than incorporated into DJ sets, has taken our respect even higher.

The album 'Monsters and Silly Songs' is out now on K7! Records.

Neimo is a 4 piece Parisian outfit that produce multi faceted dance pop spiked with wicked guitar riffs. Add just the right amount of keys, fiery drumming this side of Topper Headon, and a frontman prone to slithering onstage. It isn't rocket science, yet when done right the result is sublime. Charismatic frontman Bruno d'Allesandro spins 5 tales of women, egos, and lost time. The pulse quickening 'Hot Girls' is spurred by Camille Troillard's wielding his guitar pedals as weapons. The downtempo shift into 'Peter and the Wolves' harkens back to early New Order, yet it is the blusey ballad 'Hourglass' where they really shine. As Neimo hits it out of the park with the INXS undertones of 'Vicious' one thing is clear: this band has no brakes. Keep an eye peeled for their full length debut on Shangri-La Records and a gig near you.

What better way to spend hours on Valentine's day than in a cramped basement decorated with twinkle lights, anxiously awaiting a buzz band ready to debut their new lead singer? Well this low-ceilinged cavern just happened to be below a vegan bakery slash record store, and the buzz band in question happened to be DC based rockers the Apes, so we were in luck. The invisible wall between band and audience dissolved upon the opening riffs of 'Beat of the Double' as vocalist Ape Breck hurled himself into the crowd. Not to be outdone keyboardist Ape Amanda did backbends while pounding her Korgs, and bassist Erick and drummer Jeff followed suit by joyously attacking their instruments. For a band so spastic onstage the Apes have successfully harnessed a raw energy in accordance to their namesakes, but as demonstrated on the new LP 'Ghost Games' their primal urges are polished and delivered in brilliant wallops. After soaking in their single 'Doctor Watcher' we surfaced onto Ludlow street into the winter air, but only after nabbing a cupcake. Happy Valentine's day indeed.

Free Blood is the aural equivalent of a slamming basement party in the depths of Brooklyn. Dim the lights, turn up the mics, and hand them over to seemingly mild-mannered John Pugh and Madeline Davy. Amped up on 8-bit blips, old school basslines, hand claps and string samples, these two possess the power of snake charmers when it comes to turning the stiffest room into an undulating mass of bodies. It was only natural then that the duo would grace a Todd P event in the shadow of the Williamsburg bridge. Infamous for his all-ages policy, there is no bar- just the stage and a crowd bursting with unbridled enthusiasm. What is lacking in lights is most definitely made up for in the sound system. Free Blood made the most of the situation, unleashing classics such as 'The Royal Family' and 'Quick and Painful' alongside new tracks. You won't want to miss their gigs opening for Hot Chip on the upcoming North American tour.

~Text and film by Abbey Braden

Special thanks to Todd P and Death By Audio

In a world dominated by DJs’ personal remixes of 'Around the World' and 'D.A.N.C.E.' it's refreshing to encounter an electronic artist that can stand on his own two feet. Enter Boys Noize, a producer straight out of Berlin that helms a record label by the same name. Known as Alexander Ridha by day he released his debut album 'Oi Oi Oi' in September 2007. He then hit the circuit with a vengeance and has been leaving a trail of exhausted audience members in his wake.

His last gig at Hiro Ballroom in NYC felt like a homecoming of sorts. Take a couple hundred kids in a steamy venue, have them dancing like maniacs, but all facing in one direction—the stage. 2007 most definitely marked the return to the dance floor, complete with full-on DJ worship, and Boys Noize was on the receiving end of much deserved adoration that night. In addition to remixing Feist's “My Moon My Man” shockingly well, Ridha has likewise whipped up the hottest rendition of Depeche Mode's “Personal Jesus” this side of 1990.

~Text and film by Abbey Braden

Special thanks to the Hiro Ballroom

We Are Wolves operate on a spectrum of lovely extremes (keep in mind their best song is called 'Fight & Kiss'). They're bad boys who can steal your heart and charm your parents. Alternating between straight-up howls and polite 'merci beacoups,' this dashing French Canadian trio obliged the crowd at the Knitting Factory in support of their release Total Magique (Dare to Care). Gigging sans their trademark skull costumes due to the size constraints of the stage, Alex, Antonin and Vincent unleashed their trademark high-octane crashing synths and choruses to grand effect. Think classic Suicide jacked up on a healthy dose of gritty garage, smash in some electro-punk and the entire crowd will get moving. And considering they typically play to crowds in the thousands in their hometown of Montreal, the intimate gig was even more incredible. Having tucked some hot 7 inches under their belt, keep an eye peeled for their collaboration with ninja mixmaster Ghislain Poirier, set to take over the dance floor in 2008.

~Text and film by Abbey Braden

Special thanks to the Knitting Factory

Looking forward with pitch perfect electro-pop sensibility, while looking back to Brit Invasion harmonics, Walter Meego taps into that sweet spot of audio perfection (sure to send the stiffest audience member into squealing-school-girl mode). Thus it’s little surprise that topographically they're straight out of the Chicago dance scene - also home to Kid Sister and Flosstradamus.

After witnessing the band’s set opening for UNKLE at Webster Hall, jumping at the chance to take in an intimate Cakeshop gig the following day was a no-brainer. After doling out such Korg-rich treats as 'Romantic,' and our personal favorite 'Girls,' the crowd was hypnotized. The band's rendition of 'Through a Key Hole' paired 8-bit blips with an antique piano chorus, and the electric guitar solo that polishes off the song hit it out of the park. Essentially, they take what we loved best about the Smashing Pumpkins then pixelate the melodies.

The boys are currently hard at work on their debut LP, so be sure to look out for it on Almost Gold records (home to Peter, Bjorn and John and Calvin Harris) soon.

~Text and film by Abbey Braden

~Download free MP3: Walter Meego - Wanna Be A Star (Walter Sees Stars remix)

On a recent weeknight an eager crowd squeezed into the basement of Union Hall to see Sydney's latest export, Dappled Cities (or Dappled Cities Fly). To note, Tim Goldsworthy of DFA remixed their single ‘Fire Fire Fire’ this spring, which means there is a strong chance the band has already made its way off the dance floor and into your heart. Once onstage the band may have looked a bit surprised and humbled by the packed room, but they immediately launched into an amazing performance. Occasionally referred to as the 'Australian Shins' in the American press (ugh), they set the record straight before the first song was over (having jammed together for a decade DC has mastered the live performance). A captivatingly falsetto 'Holy Chord' revealed that the crowd knew the lyrics by heart, but it was 'Vision Bell' that confirmed Dappled Cities is here to stay.

~Text and film by Abbey Braden

Special thanks to Tag Team Media

Supposedly Deerhunter’s Southstreet Seaport performance was the first time that the Atlanta-based band played without original guitarist Colin Mee, forcing lead singer Bradford Cox to strap on his six strings and make the best of it—but, were you in the tightly packed crowd that night, you would never know. Fans came out in droves to see the band perform one of the last Southstreet Seaport shows of the year. Deerhunter’s overall vibe was perfect for the balmy pier - as the sun set over the New York skyline they unleashed their post-punk shoegaze upon an adoring crowd. It’s clear that Deerhunter are the heirs apparents to first-generation no wave bands like Liars and Magik Markers, and, unlike Battles (for whom Deerhunter opened at the Seaport) they never slide into meandering, pseudo-intelligent mush. They’re just a good band playing good songs, which is somewhat hard to find these days. And, if we’re to believe the rumors, Mee has already rejoined Deerhunter on their merry way to legendary indie band status. It would be a shame to sit this one out.

~Text Cameron Cook and Film by Abbey Braden

We are happy to report that VHS or Beta's new endeavor Bring on the Comets (Astralwerks) has dissolved any thoughts one may have harbored about these boys from Louisville in their absence. Craig Pfunder and company (which includes a new member) have rendered an inspired album amped up with guitar solo worthy riffs and a whopping dose of keyboards. These 12 seamless tracks are just like heaven - hints of XTC's Andy Partridge, especially in their single 'Can't Believe a Single Word.' Coupled with Joy Division reverbs, songs like 'She Says' layer sweet vocals over that unmistakable VHS or Beta backbeat that makes any classic influence completely their own. Others are tripping over the pleasingly mature title track, yet the real peak of the album falls under the guise of 'Burn it All Down.' It highlights the best of what made us fall for the band in the first place - an invincible chorus to sing along to, punctuated by insane, yet concentrated, rhythms that render it impossible to stand still. Whether or not the quest for the perfect pop song is intentional in their growth, VHS or Beta have reached new heights with this release.

~Text and Film by Abbey Braden