Uncovering the Sonic Pleasures of Wise Blood With Chris Laufman

Pittsburgh native Chris Laufman’s work as Wise Blood doesn’t really sound like much else you’ve encountered—and that’s something a music critic rarely gets to say. Next week, he’s set to release id, a densely layered and slippery, soulful debut, and will play a June 25 show at Glasslands Gallery in Williamsburg to celebrate the occasion. We had a chance to ask Laufman about vocals, vibes, samples and sweat. Check out his answers, plus the killer single “Alarm,” below.  

You’re playing a record release party at Glasslands. Just how sweaty is it going to get?
We’ll see, may be less so than previously. The live show has changed a bit, or at least i’ve sort of made my mind up I’ll be approaching it differently when we perform. Louie and Andrew have made this record sound better in a live setting and I’m going to help accentuate that instead of pursuing some bullshit antics.
 
"Alarm" features what sounds like a newscaster interrupting. Where else do you like to find your non-musical samples?
The most interesting live samples that are non-musical usually come from videos people have uploaded of themselves on YouTube. A lot of them are either acting auditions or something a long those lines, they usually have a strange affected quality to them which I really dig.  Also local news stations from around the country that upload all of their evening news segments, I like those too.
 
There are also a lot of classical instruments in your work. Any background there?
No, really don’t have any background. I just decided to pursue that sound a bit, it’s difficult to make it work so I’ve been steering clear of it when I’ve been putting songs together recently.
 
"Rat" instantly put me in the mind of off-kilter hip-hop like cLOUDDEAD. Do you consider yourself at all a rapper?
No not really, I just suit a song with vocals that I think it needs. Kanye does a similar thing, I think, where the vocals are suited to whatever it is he’s approaching at the time, I don’t know personally though. With someone like that the vibe is always intact, it has a distinct feel that I guess in broad terms is considered R&B but experimental and unconcerned if it strays.   
 
Really though, id is a thrillingly original album—how do you stay true to your particular vision?
Just make music. There are a lot of people right now who have achieved that in their music, where they clearly have a well-articulated distinct vision and I’m working towards that too. I think if I just keep tweaking it I’ll get there sooner rather than later.
 

When Saints Go Machine Unleash ‘Infinity Pool’

Copenhagen-based electro-pop outfit When Saints Go Machine returns to record store shelves today with their second full-length, Infinity Pool. And it’s awesome.

A sonic departure from 2011’s Konkylie, their latest effort sees the foursome—comprising vocalist Nikolaj Manuel Vonsild, Jonas Kenton on synth and backing vocals, Simon Muschinsky on keys, and drummer Silas Moldenhawer—paying homage to ’90s rave as well as hip-hop. Despite the audible shift, which features songs significantly more electronic than tracks past, Vonsild’s signature falsetto remains an obvious constant, luring listeners in with its velvety, tremulous sound.

The album mesmerizes, with standout numbers such as the percussion-heavy “Iodine,” the ominous and eerie “Mannequin,” and the hard-hitting rapper-tapped “Love and Respect.” The latter contributes something unexpected to the mix, namely Atlanta-based artist Killer Mike, whom the Scandinavian dudes were stoked said yes to their request for a few bars.

I caught up with Saints’ sweet-as-can-be 32-year-old lead Vonsild last week, an overseas call that revealed several interesting tidbits about the unique group. Read on for more and, come June 24, catch them live in the U.S. for the first time ever at Brooklyn’s Glasslands.

Congrats on your second record. How does it feel to finally share it with the world?
We’re excited. What are people going to say? It’s a bit nerve-racking. Now we can go play a lot of gigs.

How do you like life on the road?
I like touring, but you don’t have any privacy. That’s the thing. If you want privacy, it’s a set of headphones and a computer. But, we love playing concerts. And, as long as there’s good food, it’s cool. [Laughs] As long as you get your vegetables, that’s okay.

Have you always wanted to make music?
Yeah. I don’t remember ever wanting to be a fireman or something. I wanted to make music from a very early age. First I played bass, but I never rehearsed. At some point my teacher said I had to rehearse, or she wouldn’t teach me. So, that stopped. Then I got into early ’90s rap music. I had this friend—we were making music together—and I asked if I could use his equipment. He said I had to get my own. I was like, You fuckin’ asshole. [Laughs] You know? So, I got my own. That got me started. I have him to thank, maybe.

Blessing in disguise. What rappers were you into?
Souls of Mischief, Nas, OutKast, Goodie Mob, N.W.A, Scarface, Geto Boys, Del the Funky Homosapien, Bone Thugs … almost everything.

What inspired Infinity Pool?
To us, it’s reminiscent of ’90s rave culture. We grew up during that era, so that’s a big part of our music. We try to do something else with it. Lyric-wise, everything I’ve experienced the last couple years; personal experiences and what’s going on in society. But, the greatest inspiration is just working with each other.

Aw. What was the process like and how long did it take?
Around two years, a year-and-a-half maybe. When we finish an album, I start writing the next one right away. Only because I’m afraid I might forget how to write. It feels like you have to keep working, so I keep working. And then, at some point, the rest of the band takes it up as well. Then we work together on finishing it. And, when we make music, we produce the record as we’re recording. More than anything, we’re producers. We don’t sit down with a guitar and write songs.

So how exactly do you write songs?
Sometimes it’s just a thought, something I thought about for a week or a month or a year-and-a-half. [Laughs] I sit down in front of my computer and start playing with chords. I start producing while I’m writing. I’m always sitting with a microphone beside me. I like to put down lyrics and start producing at the same time.

How do you collectively select songs that make the final cut?
We don’t all have to have the same understanding of a specific song. As long as we all have a strong feeling for a song, that’s what we want. We have a lot of discussions, sometimes arguing, because it’s so important. But, that’s what ends up on the album: stuff we think has a special sound. An original idea. Something we think has a classic signature or something you would pick up in five years and say, I want to sample this. If we think a song has [these elements], then it’s on the album.

I expect it’s still difficult to narrow down. Who in the band cracks the whip?
All of us. We’re all cracking the whip. We’re all perfectionists. We just keep working. We don’t stop. That’s why it’s so hard to make an album. We’re all hard on ourselves. We have the goal of making something we think is special, that we really feel for. We like to stay inspired and, to do that, we have to keep moving forward.

What would you be doing if not this?
I would be a chef. That’s meditation to me. Listening to music and cooking. We eat a lot of food in our band. Every time we play a concert outside Denmark, we try to figure out what restaurant we’d like to visit and what kind of food we’d like to eat.

How long has it been since you’ve been to New York?
We’ve never been with the band! But my brother used to live in New York.

What do you enjoy doing when you’re here?
I used to like sitting on the stoop in Bed-Stuy by my brother’s apartment. That’s the best thing to do in New York. I eat a lot of food when I’m in New York, always. And go to a lot of concerts. Everyone’s playing there.

Your songs are frequently remixed, often to great effect. What’s your take?
It’s makes you see your own music in a new light. People listen to a remix and they go back to the original. It works to our benefit.

You must feel blessed to be able to earn a living making music.
We do feel blessed. We’re fortunate. We have a lot to be happy about. I’m just glad it’s possible for us to keep working and to live off what we do.

Any expectations for Infinity Pool, reception-wise?
We were really surprised by how people reacted to the [first] album. Now, people are calling it a breakthrough album. But, when it came out, no one said anything. For us, it’s a natural progression, like making music: slow and then it takes shape. Hopefully people will like this album, get something from it. Or a lot of people, hopefully, will think it’s a good album and it will make them feel something. That’s what I hope for, at least. 

[More by Nell Alk; Follow Nell on Twitter]

Itinerary: Highasakite Take Over New York City’s Lower East Side

Yesterday was the first Spring day: a time to leap forward into new beginnings and shed all the crap we have both physically and metaphorically been holding on to for the last few months. The vitamin D was shining heavily, which was a nice break given the shitty weather we have been forced to deal with these last few days. In what was my first social experience outside of the office in about three weeks, I headed down to the Lower East Side with a photographer, a publicist, and a gaggle of foreigners. The foreigners I am referring to are Norwegian quintet Highasakite, whose debut EP, In and Out of Weeks, is the perfect accompaniment to the changing weather pattern. It’s light and airy just like your clothes soon will be.  Weaving in and out of the ever-changing neighborhood which has some remnants of the past intermixed amongst all the newness, band member Kristoffer Lo narrates the groups experience before gearing up to play Mercury Lounge later that evening.

Ludlow Guitars

We got one tip regarding guitar pedals and New York: Ludlow Guitars. They’ve got everything you need for every situation. This is the kind of place you wished you had two to three days to dive into. And the guitars and amps there! Beautiful Jaguars and Mustangs. We basically just spent time glancing at the different pedals, wondering what they could do to Ingrid’s voice, or the keys, or the guitar. It did look like the guys in the shop had a hard day at work, but it didn’t change our impression.

An Choi

Lunch time! After strolling the streets of Lower East Side, nothing sits better than a vegetarian noodle soup or some spring rolls. Dominic guided us to this little pearl of Vietnamese food. A friendly staffer showed us the menus, while Dominic was bouncing around snapping photos of us. Our table got served with vegetarian soup, beef spring rolls, and salat rolls, perfect for a cold, but sunny day on the Lower East Side. The food was really good, and a lot of it. Hardly anyone managed to finish their plates, which is a good sign. Happy and full, we stumbled out of An Choi on our way to get a good cup of coffee, a must after a good meal.

88 Orchard Coffee

We’re always looking out for good coffee. Back home in Norway, we always buy our coffee at Tim Wendelboe, so every time we’re out of the country, there’s a race to find the best coffe shop. 88 Orchard has a great vibe, wooden chairs, and good pastries. We had our coffee outside at the bench, and had serious problems leaving the place. Too full of food after An Choi, none of us had any room for pastries, but it was seriously tempting. They were playing "Just a Girl" by No Doubt, an old favorite for many of us. And the baristas were singing along as well. Four Americanos later, we moved on to the last stop of our guided tour!

Economy Candy

If Ludlow Guitars has everything for guitarists, Economy Candy has everything for the sweet tooth! There’s a lot of things you don’t see in Norway, one of them being a big, over-filled candy store packed with people of all ages shopping for candy. All the way in the back, there’s a big rack of Jelly Beans. We don’t have that in Norway, so just the mere smell and sight of it is pretty intense. We didn’t buy any candy—probably too full and too synthetic for our taste—but what a rush. You should go there, you really should!

Be sure to catch Highasakite at GlassLands tonight ,March 21st, at 10 PM. More info here.

 

All photography by Dominic Neitz.

Follow Lorenna Gomez-Sanchez on Twitter.

Electronic Pop Duo Javelin Push Their Own Limits

For new fans of Javelin, a quick, comparative listen to the electronic duo’s most recent records may leave them in a dizzying state of sonic confusion. The samples looping throughout 2011’s Canyon Candy were culled from a collection of vintage records that could easily provide the soundtrack for any given Western picture, complete with lap steel licks, jangling guitars, organs, and the cavernous baritone voices of a handful of cowboys. Hi Beams, which drops today, couldn’t be a more drastic foil to the antique static George Langford and Tom Von Buskirk wrestled with and repurposed on Canyon Candy: lead-off track “Light Out” is ready for the dance floor, and “Nnormal,” Hi Beams first single, is a slow jam that rolls with inventive plays on Autotune and hip-hop percussion.

These records sound like they come from two very different bands (let alone two very different epochs), but Canyon Candy and Hi Beams have more in common than one can necessarily glean through their earbuds. “If you listen to the records side by side, it’s so funny,” says Von Buskirk. “Someone tweeted at us, ‘I like the new Javelin single and I’m excited about their new direction, but I’m going to miss the way that you could almost hear the limitations.’” Limitations? “We used to have these arbitrary rules for ourselves,” elaborates Langford. “We set limits for the body of work we could work with and the tools we could use. We sampled records only [on Canyon Candy], and only a certain subgenre of ’40s and ’50s cowboy music—not country, per se. It’s a very specific aesthetic. I guess with Hi Beams, the exercise was to work with the aesthetic of a pop album but not necessarily in the framework of current pop.”

It may not be intentionally poppy, but Hi Beams achieves this of-the-minute modernity effortlessly over the course of its ten tracks. The synth-ed out, built-up breakdowns of “Judgment Night” wouldn’t sound out of place in a DJ set that features Passion Pit and Foster the People (who Langford and Von Buskirk opened for when the “Pumped Up Kicks” chart-toppers spun at a National History Museum’s planetarium party earlier this month) and unlike Canyon Candy’s soundscapes, the new songs give listeners the chance to sing along as their songs include lyrics this time around—and catchy as hell ones at that.

“There were some new areas that we explored with this one, a different approach overall,” says Von Buskirk. “There are more lyrics; there’s more singing. Right when we first made it, we came home from the studio and there was some shock—like, ‘Holy crap, is this what it is?’ That was the biggest surprise with this record for us. It’s similar to if you’ve made a painting, and you’ve made this external thing that you know came from you, but maybe it’s a self-portrait when you look at it, and you’re like, ‘Did I really make that? Is it really me? Am I going to take that out into the world as me?’ We test ourselves in that way sometimes.”

Whether or not they can put a name to these self-portraits in MP3 form or categorize them according to genre isn’t of the utmost importance to Javelin, either. The variety present in their set list—which does include selections from Canyon Candy, despite how foreign “Estevez” and “Colorado Trail” seem when shuffled in with Hi Beams—speaks to this, especially considering the fact that Langford and Von Buskirk perform with little more than an electronic drum kit, a bass, a kazoo and a couple of microphones.

“It’s interesting that genre is still a constant topic, because I feel like people are so much more open to a wider range of music than ever before,” replies Langford, when asked about what genre Javelin identifies with. “I think the internet has a lot to do with that. I also feel like there’s a whole world of electronic live music and performers where it’s totally accepted to just have a table and some stuff and just be a dude standing there. That’s an artist performing live, but there isn’t a lot of energy onstage, and when you bring that to more of a rock audience, that does not fly. When we open for a lot of different kind of bands, we see crowds that understand what we’re doing. You need to find your niche audience that understands both worlds.”

Western soundtracks, EDM, experimental ambient, whatever: as demonstrated by their new record and the album that came before it, it’s clear to see that one can’t expect a forthcoming release from Javelin to sound a certain way. The good news is that it’ll introduce you to sounds you never saw coming—and that, though unclassifiable, their beat will keep you moving. 

Check out Javelin’s upcoming record release show on Friday, March 8 at Glasslands. Doors at 10pm and Hard Nips and Chances with Wolves are opening. $12 adv/$14 doors.

Photo by Tim Griffin.

Follow Hilary Hughes on Twitter.

Alt-J Bring Their Melodic Tunes to Brooklyn

Alt-J’s debut album is called An Awesome Wave, a fitting title for a record that’s home to some of the year’s more interesting melodies. At the Glasslands Gallery in Brooklyn, the Leeds, UK psych-pop quartet showed off their ability to make a splash on this side of the Atlantic.

This was the second visit to New York for Alt-J (∆), and their first jaunt across the river to Brooklyn after another sold-out date at Mercury Lounge the night before. Their songs flirt with both the minimal and maximal, sometimes even on the same tracks, like "Breezeblocks." Buzzing synths lay the foundations on “Fitzpleasure,” while “Matilda” is pure delicacy. Frontman Joe Newman’s unique voice carries the longing-ridden “Tessellate,” and the band’s harmonies sound as crisp live as they do on record.

Though Newman expressed the requisite “I-can’t-believe-we’ve-come-here” sentiments of an international artist’s early days in America, he’s going to recognize that he’s earned it sooner than later.

An Awesome Wave will see American release in September. Stream the full album here.

Bands You Should See in New York This Month

Here are our recommendations for May shows with a few videos for your perusal. 

TIMBER TIMBRE (opening for Feist)
May 5

Radio City Music Hall ($40)
Show: 8:00 p.m.

Feist fans will have the chance to discover Timber Timbre at Radio City Music Hall on Saturday, when the Canadian blues-folk band (who recently supported The Meat Puppets) takes the stage opening for the fellow Arts & Crafts-signed-singer-songwriter. Timber Timbre, composed of Taylor Kirk, Mika Posen and Simon Trottier, have been on the road since the release of their fourth record, Creep On Creepin’ On, in April of last year. Their atmospheric sound is dark, haunting and worth a listen.

 

SPIRITUALIZED (with Nikki Lane)
May 7

Terminal 5 ($30 Advanced/$35 Day of Show)
Doors: 7:00 p.m./Show: 8:00 p.m.

The Englishmen are back on tour following the April release of their seventh studio album Sweet Heart Sweet Lights. “I always shy away from anything I write that sounds like a pop song […] This time I’m embracing songs like that and seeing what happens. I’m not fighting it any more,” Spiritualized mastermind Jason Pierce told NME during the making the new record. Critics have praised the results, calling it the band’s best work since 1997’s acclaimed Ladies and Gentlemen We Are Floating in Space. You be the judge.

 

TY SEGALL AND WHITE FENCE (with The Strange Boys, The Men)
May 16

Webster Hall ($15 ADV/$17 DOS)
Doors: 7:30 p.m./Show: 8:30 p.m.

Don’t miss your chance to catch garage and psych rockers Ty Segall and White Fence (Tim Presley) when the Californians present their Drag City collaboration Hair, a brilliant 60s lo-fi psychedelic revival record that’s begging to be heard live. The LP features Presley on lead guitar and bass, while Segall plays drums and rhythm guitar.

 

THE DIG (w Taurus)
May 20

Glasslands Gallery ($10 ADV/$12 DOS)
Show: 8:30 p.m.

Brooklyn’s The Dig have all the elements of a power-pop band; they’re four guys – David Baldwin, Emile Mosseri, Erick Eiser and Mark Demiglio – on guitar, bass, keyboard and drums. Their new record Midnight Flowers comes out May 29th, following their catchy debut LP Electric Toys, released in 2010. Give them a listen and check them out, so you can say you “saw them back when they played Glasslands.”

 

THAT DOG. (with Kurt Braunohler, Baron Vaughn)
May 25

Music Hall of Williamsburg ($20 ADV/$25 DOS)
Doors: 8:00 p.m./Show: 9:00 p.m.

The L.A.-based punk-infused power-pop band known as “That Dog.” (Anna Waronker, Rachel Haden, Petra Haden and Tony Maxwell), who formed in 1991, dispersed in 1997, only to reunite in 2011, are playing their first NYC shows in 15 years on May 24th and 25th at the Music Hall of Williamsburg. As expected, their first show sold out, but wait – there are still tickets available for the second night.

Watch Lee Ranaldo’s ‘Off the Wall’ Tribute to NYC

Sonic Youth’s Lee Ranaldo has released a music video for "Off the Wall," the first song off his upcoming solo album, Between the Tides and the Times. It’s split between live footage of Ranaldo jamming out at Glasslands, along with video he shot himself. "Other footage by me: Battery Park trees, Holland tunnel, Frey in Walt Whitman’s forest, girl fr Calgary, MP3 experiment in Hudson River Park, David Linton installation at the Clocktower," he writes in the video’s official description. As you can imagine, it’s a kaleidoscope adventure through Ranaldo’s impression of New York City, surely to tug the heartstrings of anyone who’s already begun to miss his old band. 

As I previously wrote, this is Ranaldo’s big shot to break out following the probable dissolution of Sonic Youth. "These days, I’m all alone and in the middle of the world," he sings, and it’s hard not to read autobiography into his alt angst. But the song is as much of a tribute to NYC as it is to himself, with lyrics like "Explosions in the city, explosions deep in me." This, too, is how most of us feel when walking home across the Williamsburg Bridge at 2 A.M., assuming we’re lucky enough to be able to do so. Between the Tides and the Times will be released on March 20, via Matador. 

Gig Guide 2/8 – 2/15: NYC’s Top Indie Rock Shows

For some, this week marks the start of Fashion Week, a time when “front row” means sitting stiffly next to editors and celebrities as a barrage of waifs cascade down a lit runway. For music lovers, “front row” this week will mean getting sweated on by The National, Huey Lewis and the News, and Theophilus London. Here’s the best of the week’s musical acts.

Tuesday, February 8th

Who: Deerhoof, Ben Butler & Mousepad, Buke and Gass, Nervous Cop @: Europa Tickets: $15

Who: The National @: The Studio at Webster Hall, 8PM Tickets: Sold Out Details: The “MTV Live in NYC” show sold out in 1 second. Good luck scalping at the door!

Who: Gang of Four, Hollerado @: Webster Hall, 7PM Tickets: $37

Wednesday, February 9th

Who: Nicole Atkins & The Black Sea, The Gay Blades, Mon Khmer @: Bowery Ballroom, 8PM Tickets: $16 advance, $18 door Details: After making some adjustments in her band, which now features Christopher Donofrio on drums, Brad York on guitars, and Anthony Chick on bass, Nicole Atkins has changed the name from “Nicole Atkins and the Sea” to “Nicole Atkins and the Black Sea.” On top of the shuffling, Atkins has severed ties with Columbia Records, and has released her newest album, Mondo Amore, on Razor and Tie Records.

Who: Huey Lewis And The News @: Gramercy Theatre, 8PM Tickets: $49

Who: Soft Landing @: Matchless, 8PM Tickets: Not Listed Details: Here’s a little live bit when Soft Landing played Lit Lounge. Thursday, February 10

Who: Free Blood, Lymbyc System @: Brooklyn Bowl, 8:00PM Tickets: $5 advance, $7 door Details: Brooklyn New York’s Free Blood formed in 2003, and is in the RCRD LBL family. Their catchy dance tunes are more arty than poppy, and are almost sinister in some effect. Bonus point: Their music is featured on the 127 Hours soundtrack, and in this trailer:

Who: Titus Andronicus, Care Bears On Fire, Toy Sugar, Deux Chattes @: Mercury Lounge, 7:30PM Tickets: $20 Details: Shoegaze/Punk rockers Titus team up with the teen rock group, Care Bears On Fire (who started their band before they were 12 years old) for the Willie Mae Rock Camp for Girls Benefit tonight.

Friday, February 11th

Who: Josh Joplin, Jill Andrews @: 92Y Tribeca Tickets: $12 Details: Josh Joplin’s crooning sounds nearly identical to REM’s Michael Stipe. It’s a little creepy.

Who: Javelin, High Life, Monster Rally @: Glasslands, 8:30PM Tickets: $10 Details: Pitchfork accolades for Javelin, the “Punk/R&B” Brooklyn band, include: “Rising” artist, one of the “Albums of the Year” and has been mentioned under Pitchfork’s “Best New Music” category. They headline Glassland’s “Stuff Hipsters Hate” party.

Who: Colour Revolt, A Great Big Pile Of Leaves, Your Skull My Closet @: Knitting Factory Brooklyn, 8:00PM Tickets: $12 Details: The Mississippi band, Colour Revolt, play pretty, expressive indie rock widely considered to be underrated, which has earned them an enthusiastic following. This is their “music video” for “Mattressess Under Water.”

Saturday, February 12

Who: Sun Airway, Nightlands, Warm Ghost, Dinowalrus @: Glasslands, 8:30PM Tickets: $8 advance, $10 door

Who: Screaming Females, Laura Stevenson & The Cans, Shellshag, Lemuria, Byrds of Paradise @: Music Hall of Williamsburg, 7:00PM Tickets: $10 advance, $12 door Details: Don Giovanni Records Showcase

Who: The Forms @: The Rock Shop, 8:00PM Tickets: $10 Details: Mac Randall of The New York Observer described the band as “aggro-artsy trio fond of awkward time signatures, sly rhythmic manipulation, curlicuing vocal lines, and giving one song two separate track numbers for no obvious reason.” This is their album release party for “Derealization + Icarus.”

Who: Josh Ritter and the Royal City Band @: Webster Hall, 7:00PM Tickets: $25

Who: The Library Is On Fire, The Party of Helicopters @: Tliofhq Loft Space, 8:00PM Tickets: Not Priced Details: Loft party alert! See the swaggering, concrete punk rockers, TLIOF at their head quarters: The Tliofhq Loft Space at 114 Forrest St. 3c in Brooklyn!

Sunday, February 13th

Who: Wild Nothing, Abe Vigoda, MINKS @: Bowery Ballroom, 8:00PM Tickets: $13 advance, $15 door

Who: Bear Hands @: In Vino Wine Bar, 7:30PM Tickets: $25 Details: Tickets to see this post-punk/experimental/indie rock act includes 4 glasses of wine.

Monday, February 15th

Who: Theophilus London, PoPo, New Look @: Music Hall of Williamsburg, 8:00PM Tickets: $13 advance, $15 door Details: Theophilus London is a mixtape man (This Charming Man tape mashed up The Smiths and Elvis Costello) and joined Mark Ronson to form the band Chauffeur.

Gig Guide: This Week’s Top Indie Rock Shows

The Decemberists play a couple of gigs to show off their shiny new album, White Lies performs at Highline Ballroom, Peter Bjorn and John throw a late-night throw-down at The Rock Shop, and Real Estate sidles up to Andy Rourke of The Smiths at Union Hall — my list this week’s not-to-be missed indie shows.

Tuesday, January 25

Who: The Decemberists, Wye Oak @: Beacon Theater, 8:00 PM Tickets: $39.50 Details: Touring with a spanking new album, The Decemberists will also play Beacon on Wednesday night.

Who: Suuns, Takka Takka, Milagres @:The Rock Shop, 8:00 PM Tickets: $10 Details: Secretly Canadian’s Suuns play electronica/shoegaze alongside Takka Takka’s gorgeous, melodic indie rock. Highly recommend the show—either band could be headlining, so don’t be late.

Wednesday, January 26th

Who: Yuck, Total Slacker, Fergus & Geronimo @: Glasslands, 8:00 PM Tickets: $10

Who: Liz Phair @: Music Hall of Williamsburg, 8:00 PM Tickets: $25

Thursday, January 27 Who: Cloud Runner (Comprised of Matisyahu and friends) @: Bowery Ballroom, 8:00 PM Tickets: $17 advance, $20 door

Who: White Lies, Asobi Seksu @: Highline Ballroom, 7:00 PM Tickets: $20 advance, $22 door Details: White Lies, an indie trio that sounds like Tears for Fears and Echo & the Bunnymen, has been making all sort of toplists in London since 2009. They’ll pair nicely with opener Asobi Seksu’s dream pop sound.

Friday, January 28

Who: Peter Bjorn and John @: The Rock Shop, 11:00 PM Tickets: $10

Saturday, January 29th

Who: Mission of Burma, Grandfather @: The Bell House, 8:00 PM Tickets: $20 Details: Can’t miss 80’s post punk rockers, Mission of Burma, take the stage at one of Brooklyn’s best venues.

Who: Beach Fossils, A Place to Bury Strangers, Caveman, Guards, ARMS, Dreamers of the Ghetto (I Guess I’m Floating 5-Year Party) @: Glasslands, 8:00 PM Tickets: $12 advance, $14 door

Who: Baby Dayliner, Five O’Clock Heroes @: Mercury Lounge, 10:00 PM Tickets: $10

Who: Iron and Wine, Edie Brickell @: Radio City Music Hall, 8:00 PM Tickets: $51.55

Who: Real Estate, Andy Rourke (The Smiths) @: Union Hall, 8:00 PM Tickets: $15

Sunday, January 30

Who: The Hold Steady, The Gay Blades @: Music Hall of Williamsburg” title=”Music Hall of Williamsburg”>Music Hall of Williamsburg, 8:00 PM Tickets: $25