They could’ve named this show “The Bands With Unnecessary Names” Tour ’06. New York-cum-Philly “indie” success story Clap Your Hands Say Yeah, Australia’s Architecture in Helsinki, with Brooklyn-based Takka Takka opening took Chicago by storm early this October before actual weather took Chicago by, well, storm.
Venue? One of my faves.
Ticket price? A bit exorbitant.
Playing a two-night stint? Er, probably not a brilliant business plan.
Tickets were a-plentiful at the box office as the show was going on. Small, apologetic girls were selling their tickets for under face value on Sheffield. “I just don’t want to go anymore,” she explained. Fair enough. Maybe she had a Yom Kippur hangover. Does that exist? Well, if not, it was a crappy Tuesday in general.
Takka Takka got things going off to a… start, I guess. Simple, sweet-sounding tunes, pleasing, catchy, but not incredibly anything. Their studio tracks sound tight, but the pop charm that they exude on-record didn’t come off so well live. Nevertheless, a band to keep your eye on when they come through town again next month, playing at one of my fav venues in the city.
The headliner of the show, Clap Your Hands Say Yeah, returned fairly recently from their sold-out show at The Metro earlier this year, ennui intact and ever-growing. The stage lighting creeped me out, but I’m always pleasantly surprised that lead singer Alec Ounsworth’s nasally voice isn’t nearly as obnoxious live as it is on the album. Let’s get this out of the way: A.O.’s voice sounds like David Byrne. I’m sorry if this angers people. There’s nothing wrong with sounding like David Byrne. Ounsworth insists otherwise. That’s okay, I’ve heard my voice on tape and it sounds weird too — all hoarse and occasionally lispy.
Annnnycrap, the hits were played. Oh, were they ever played. The highlight being an extended loopy keyboard and guitar jangle intro that jumped excitedly into “Is This Love?” with drummer Sean Greenhalgh tight on the beat. CYHSY speckled their show with some new material that keeps their “sound” but stretches the band’s legs a bit. I made a mental note to call a song “Krautrock Satan”, but I’ve since learned the song is called “Satan Said Dance.” A pretty catchy tune with one exception: The band’s pre-planned crowd-participation in which we were expected to chant “SATAN! SATAN!” back at them during the chorus. Neh. Problem is, 1.) not everyone (me) had heard this song before and 2.) I’d rather not chant “Satan” in general… that’s just me.
Elsewhere in the set, between-song downtime seemed a bit excessive, and I also took issue with a torturously long applause for an encore, in which most had given up and started talking to other concert goers while patting their hands together. (I learned that the man with the hoodie-inside-sportcoat combo next to me “knows you girls from somewhere… maybe Bank of America?”). Regardless, ’twas a good set. You can’t deny CLYSY propensity for catchy hooks, their tireless work-ethic and self-promotional savvy. The young band sounded fresh and confident–a great sign for a group that’s been touring incessantly.
Sandwiched between the two NY rock bands were the delightful Architecture in Helsinki. The eclectic group dressed the part–six members (an abridged touring lineup) took the stage looking like a mishmash of high school sterotypes… spaz, jock, hippie, Cure fan, etc, etc. Shirking the deliberately childish sounds of their first release, Fingers Crossed, AiH’s entire set was blissful, endearing and downright danceable (fittingly, as an In Case We Die LP “remix” album is in the works).
Swapping vocal duties and instruments between nearly every song, the band bounced through newer material and brand-new material, smooshing genres and song structures as they went. The abrupt endings and mid-song tempo changes which make their albums a peculiar experience created an exhilarating live experience–keeping the audience guessing… and clapping… and jumping around a bit.
The extended segue into a funk-friendly “Do the Whirlwind” got people bouncing, while the delightfully quirky Kellie Sutherland (right) stole the show belting out her vocals on “Wishbone” – the hap-hap-happiest pop gem you may ever hear.
Clad in a well-loved Ryne Sandberg jersey (a move Belle & Sebastian’s Stuart Murdoch has pulled in Chicago before), singer Cameron Bird delivered his so-called “love ballad from the Outback,” “Maybe You Can Owe Me” with the equal parts whimsy and sincerity.
But before it could get too cute Bird got back to groovin’–hitting the drum machine and rocking out with such abandon that the instrument was knocked hard to the floor. Overall, the new stuff sounds great, one sounding an awful lot like Rusted Root (ha, in a good way) and the whole set giving off a exuberant twee-meets-Stop Making Sense rumpus.
Takka Takka – “Coco On The Corner”
Architecture in Helsinki – “Do The Whirlwind (Metronomy Mix)”
Clap Your Hands Say Yeah – “Upon This Tidal Wave of Young Blood”
(Photos by Pegs. Thanks Pegs.)