A Sound-Check Chat With Eternal Summers

Though they’ve been favoring the road for the past year in support of Correct Behavior, that ballet of beautifully choreographed noise of a sophomore record they put out in the middle of 2012, Eternal Summers are looking forward to keeping that up for the foreseeable future—and it’s because they’ve got a brand new record that they haven’t even named yet and that they’re dying to share with you live and in the flesh.

Currently on tour with The Presidents of the United States of America (of “Lump” and “Peaches” fame) and previous show mates to Nada Surf, Eternal Summers have been perfecting the art of the uplifting rock song in good company as they hit some major milestones in between records. With Correct Behavior, Nicole Yun and Daniel Cundiff expanded their endeavor to include bassist Jonathan Woods, and they enlisted the help of Sune Rose Wagner of The Raveonettes when it came to mixing the final product. Now, they’re putting the final touches on its to-be-titled follow-up with Doug Gillard of Guided by Voices, making this the first time they’ve ever worked with a producer.

I feel like Correct Behavior hadn’t been out too long when we were like, let’s start thinking about our next record,” says Yun. “Honestly, we waited nine months for Correct Behavior to come out. It was like a literal baby; there was a gestation period. There was some overlap time there. It’s not that soon for us to put out another album, even though release date-wise it looks like that. I feel like we’re always thinking about the next record.” Before taking the stage at Irving Plaza last night, Eternal Summers brought us up to speed on big changes afoot for the Roanoke, Virginia-based indie power trio—and bigger, bolder moves we’ll get to hear long before this album’s got a title.

Welcome back to New York, guys! You’re no strangers to the road. When you’re opening for someone like this with such an established fan base, how is that for you? Does this feel like rock school every night?
Nicole Yun:
With The Presidents of the United States of America, they play their self-titled album front-to-back, which has “Lump” and “Peaches” on it. The second the first chord drops, people just go insane and jump around. Late 30-year-old people moshing … it’s awesome. (laughs)
Daniel Cundiff: No matter who you’re playing with, hopefully you’ll learn something from them that you can benefit from and understand how to perform. They’re definitely a different band than us—and at the same time, they’re great performers and great musicians, too. We did a tour with Nada Surf not long ago, and it was the same thing where we were with a band that’s been around for twenty years. It’s really inspiring that they’re not just doing the same set every night. They’re all great, and great musicians.

NY: I think also, it’s clear that these are both bands—Nada Surf and The Presidents of the United States of America—that are so involved with the fans. It’s like, they’re always doing special stuff to meet their fans and do something above and beyond. There’s so much energy! They don’t just play a show and that’s it; they do meet-and-greets and play special acoustic songs after the show is over for whoever’s left. It’s definitely inspiring to see people who work so hard in every aspect. It’s definitely like going to rock school, for sure.

I think the timeless nature of Correct Behavior—especially considering it’s barreling chord progressions in 4/4 time and the hooks that go along with them—makes a lot of sense on a bill with The Presidents of the United States of America and Nada Surf. Y’all love guitars! (laughs) How has this leg of the tour in particular breathed new life into these songs?
DC:
For me, it’s about being as tight with it as we can be. We’re playing so many new songs off of what will be our third album on this tour.
NY: It’s a bit of a transitional tour for us. We’re trying to play what we consider the most memorable songs on Correct Behavior, but we’re trying out new material. I think it’s uncomfortable to do that on this tour, as opposed to a small tour by ourselves. I think it’s really fun to test it out on random people. As far as the older stuff, it changes because it’s definitely more dynamic. When you play a song so much, the nuances come out, as far as how to make it more gentle or driving at certain parts. It’s definitely more fun to play now because we know it so well, so we can just let the chemistry of the three of us take control and read each other and just play it how we want.

What’s an aspect of Correct Behavior that you’re looking to embrace or replicate on future releases?
DC:
I don’t think we ever think about direction; it just kind of happens organically. What happened on Correct Behavior, the songs that are rock songs, we’re still doing those rock songs but they’re even more defined as rock songs. The really pretty, soft delicate songs are even more soft and delicate. Everything is just becoming more defined I guess. It’s dreamier; it’s more rocking.
Jonathan Woods: I think we were more confident in doing those things than we were on that record. Some of the new songs, there’s one called “Windows” that’s been really good live—that and “Never Enough.”
NY: The last record was the scariest jump. We went from a two-piece to a three-piece, and we went from a homespun production to having outsiders involved. This next record, I’m excited to be like, “Okay, we’ve made all the jumps we’ve wanted to make. Let’s feel comfortable enough to express what we want and not feel like anything’s holding us back.” I think this next record is going to rock.

Do you have a name for the new record yet?
NY:
We’ll unleash the beast soon, I guess. Unleash the Beast! There’s a name!
JW: What was the one we came up with the other day? Savage? Savage? But in French?
NY: We met up with the guy who was going to mix our album, and he was like, “What are the themes of the album?” and I said, “Well, savageness, but, like, struggle that’s … good?” “Say all that in French and you’ve got a record.” I was like, “I don’t know man! I don’t know if we’re that band.”

I know that you worked with Sune Rose from The Raveonettes on Correct Behavior, and you mentioned the transition you made between working on your music entirely on your own and bringing other people into your creative process. What did you take away from that experience? What was it like, bringing people in on your creative endeavor? 
NY:
As hard as it is to give up control, you just have to trust yourself. No matter what, this is a record that I know we did a good job on. I’m not going to let this album come out if I’m not proud of it. Therefore, when we work with other people, we can be like, “Cool! They’ve got talents and the cumulative product is going to be awesome!” it’s just using everyone’s talents in the best way. I felt like we were a lot more open with this next record. 

The Raveonettes Go ‘Into the Night’ On Gloomy New Song

It was just a year ago that the Raveonettes released their last album, making it ripe time for some new material. On April 24, the Danish rockers will put out the Into the Night EP, from which they’ve released the title track. Evoking their characteristic blend of gloomy night owl allure, "Into the Night" clangs and hums with a healthy sense of romantic fatalism, enough to make you feel sort of bummed about everything in general. You can listen to it on a widget after the click, via Prefix.

A press release describes the EP as "a delightfully damaged ode to the letdowns of lost love, with dreamy harmonies that only Sune Rose Wagner and Sharin Foo could create." What better sentiment to be communicated through layers and layers of reverb?

From Rubik to the Raveonettes, Spring’s Best New Music Hails from Europe

Much as New York bands from Interpol to A Place To Bury Strangers have tried, the American indie scene’s taste for music that aesthetically favors Europe seems insufficient to challenge the guileless, rumpled Americana dominating the airwaves. Still, this spring’s music release schedule is chock-full of some of the strangest, most deliciously enigmatic masterstrokes from those across the Atlantic.

Firstly, now that Finland has snagged top prize in Newsweek‘s 2010 Best Countries survey, perhaps the cognoscenti will come to see Helsinki as more than a flight connection on the way to Moscow — even spend a day or two soaking up its design and music scene. Hot export Rubik release the unashamedly proggy Solar this spring, and that distinctly multifarious Finnish spirit makes it a consistently startling listen. The Sgt. Pepper horns of the album’s intro lead into the soaring, jubilant strains of “World Around You,” which then lead on to the magnificently bizarre Medievalism of “Sun’s Eyes.” Radiohead’s stamp is all over it, especially in the eerie anxiety of “Not A Hero,” and the pretty, melancholic “Storm In A Glass of Water” sounds rather a lot like Peter Gabriel’s “Solsbury Hill” — that estimable chap also apparently an overriding influence. It’s wonderfully, singularly madcap.

Both members of The Raveonettes might call America home now, but their latest and tellingly titled album, Raven in the Grave, is like all your favorite 4AD bands gathered for a summit on the ethereal possibilities of sound. With the guitars set to “Slowdive” rather than “J&M Chain,” rock & roll’s sexiest Danish duo glide through eerie, echo-drenched elegies and mystical, gossamer love serenades (“Can’t I fall awake now?” they earnestly but mysteriously entreat on “Forget That You’re Young”). Easily the most romantic, proudly gothic record ever given a springtime release, if you’ve ever thought of picnicking amongst the spires of Elsinore Castle, this is your soundtrack.

Emilie Simon isn’t goth, but she certainly holds no small amount of appeal for those who’ve spent time navigating the darkest recesses of the human psyche. Enormously popular in France but currently residing in Brooklyn, the Kate Bush comparisons have likely become tiresome to her. But, with her affected, beautifully operatic trill and staccato piano attack, they’re pretty much unavoidable. Yet where Bush was probably more of a harm to herself, psychologically, Mlle. Simon just might be a danger to the rest of us. In fact, her astonishing voice is perfectly suited to the anxiety ridden tales on her astonishing new album, The Big Machine. When she howls “Welcome to Chinatown!” you’d think she was the gatekeeper of Hell itself; and at the conclusion of “Cycle,” as she sighs, “No one came to me and took my soul,” you wonder if she’s expressing relief or daring you to be the one to do it. A riveting album by a truly magnificent eccentric, her live show, where she dons a “bionic prosthetic” is also strongly recommended for a full dose of her brilliant outlandishness.

Finally, no one would ever mistake a song by The Horrors for a lost Wilco track. So that Le Chef L’Horreur Faris Badwan would take a break from his grimly fiendish bandmates to do the musical mating dance with Italo-Canadian soprano Rachel Zeffira (who has already graced the stage at Milan’s La Scala) seems perfectly reasonable. A singular marriage of 60’s girl group pop and Mitteleuropa etherea, their new duo Cat’s Eyes (debut album due in May) is sort of like Martha & The Vandellas by way of the Cocteau Twins. Badwan proves, like Nick Cave before him, that behind every gruesome murder balladeer, there’s a hopeless, dark-hearted romantic. They’ve already played (would we kid you?) The Vatican in Rome–so check your local church listings for tour information.

Eye of the Beholder: Visionaries Share Their Takes on Surveillance

We tapped four visionaries — Juergen Teller, The Raveonettes, Jennifer Lynch, and James Jean — for their takes on surveillance. The works of art they created are, well, out of sight.

Above: Juergen Teller “Ed with camera, Il Pellicano,” 2009. Teller’s exhibition, Juergen Teller, Paradis, is on display at New York’s Lehmann Maupin gallery until October 17, 2009.

image The Raveonettes “The Eyes Have It,” 2009. Sune Rose Wagner and Sharin Foo will release their fourth studio album, In and Out of Control, this month.

image Jennifer Lynch “Put Your Stuff In The Drawers And Watch This,” 2009. Lynch’s second feature film, Surveillance, was released in 2008. She is currently at work on Hisss.

image James Jean “Sasha Grey Twice,” 2008. Jean’s latest book, PR V3: The Hallowed Seam, was released last month by AdHouse Books.

Giuseppe Cipriani & Socialista’s Extended Holiday

imageA new generation of young professionals are making their way up the club ranks and will — in the not so distant future — be running things. Jonathan Schwartz comes to mind over at Strategic Group, as well as today’s girl on the spot Ms. Lindsay Luv. For a very long time, creative types were locked out of nightlife as the business boys broke down fun into pie charts and spreadsheets. For many, it was indeed the fun that broke down. Lindsay Luv is upwardly mobile, and as my good friend Voula would sometimes say: unstoppable. But before we get to Lindsay, I’d like to comment on a very big story that’s percolating around town — the “continuing closing” of Socialista.

On the surface, it seems like a minor violation from the Health Department, which would normally be handled quite routinely so people could be spilling Grey Goose on their Christian Louboutins in a matter of days. But it’s not happening, and that little not happening says a lot.

Now, I don’t pretend to know all that’s going on, but there are people hinting that there is a lot more to it, involving the Andrew Cuomo investigation on Giuseppe Cipriani and how he managed to get his liquor license despite the fact that he’s no longer qualified to have one. The cover story floated that it would put all these people out of work, and nobody wants that, etc. etc. But with Caroline Kennedy’s Senate bid floundering in a sea of “you knows,” Andrew Cuomo, the next guy in line, is dying for a headline. But Socialista can’t open, according to a pal who quoted the great Armin, “because Giuseppe can’t come back into the country, so the problem can’t be cleared up with the violation, and the club will remain closed.”

My source says that it’s not the government that Mr. Cipriani has the problem with, because he “played ball” with them. My guy says the people that were mentioned in these conversations between Cipriani and the government are not happy, and they very much want to “discuss” this matter with Cipriani in private — so he’s opted to stay far away. Now, people whisper things in my ear all the time, and often it just doesn’t make sense — but damned if this doesn’t sound real. It could be a cool movie depending on who writes the ending. Anyway, to Lindsay.

What do you do, Lindsay Luv? I’ve worked in marketing and the music business for about seven years since I moved to New York from Boston. My parents were both teachers, and I decided I wanted to go to New York and be a big music industry hustler and DJ and do all this crazy stuff, and they were like … “OK, just pay your bills.” So I came out here, and I originally wanted to do comedy writing on the side, so I worked on Chapelle’s Show the first season.

As a writer? No, I was in PR. I was doing my first internship at Comedy Central, and then I randomly got hooked up with the Raveonettes and their producers and so forth.

Tell me who the Raveonettes are. The Raveonettes are a big rock band. They were on Columbia for a number of years, and they’ve put out five or six albums now. They’re an amazing band — they’ve toured with Depeche Mode, they kind of sound like the White Stripes, and at the time they weren’t as big as they were. They’re playing at Webster Hall on Friday. I met their producer — who was the old producer from Blondie and the GoGo’s, Richard Gottehrer — and he kind of became my mentor. He was the reason I worked in music … he was this old school music producer, and he wrote the songs “I Want Candy” and “My Boyfriend’s Back.” He kind of took me under his wing, and we started working on the Raveonettes. I was helping with the management team for a while. That’s how I started off in the music business, and since then I’ve worked for a number of lifestyle and marketing agencies, throwing big events in New York with top talent like Chromeo, Justice and the Raveonettes. Castles was my last big show with this agency I just worked with. So the Raveonettes kind of started me off, and then I started working for marketing agencies as a business development events-planning kind of guru … booking big talent at venues all across New York for a different brand.

So now you do Tuesday nights over at Ella, one of my favorite places — designed by Carlton Varney, an old school guy, who did the green room at the Oscars last year. And I guess he’s famous because he did Joan Crawford’s house. I’m kind of doing two halves of all these clubs. On one side I’m a resident DJ at some of these places — for example, we just got hired to be the resident DJ at Cain on Wednesdays. I’m going to be doing Saturdays at Webster Hall in the Studio, and then Tuesdays at Ella, and then a lot of other gigs are falling in between. So I’m throwing two hats — one side of it is I’m DJing these parties, and I’m promoting and hosting and all that, and the other side is that I’m actually being hired by a lot of these venues to do marketing consultation, promotional things, booking of the talents. So not only DJing the nights, but also helping them run the nights, hire the talent, and really do the whole campaign.

And what has attracted you to club business — are you in it for the money, the boys, the combination of these? I think a little bit of both. I think I just really like the hustle. I love hustling, I love just moving quickly, I love the speed of the nightlife business. I’m definitely not a daytime person, I sleep until 11 o’ clock every day. But I really like the hustle and I like the idea of traveling. Nightclubs, they’re all over the world.

So where are you going with nightclubs? Where can you go? Are you going to be an owner one day? Or PR, is that something you would do? I don’t really like PR. I hate girls in PR — PR girls are just way too girly and intense, especially the fashion PR girls. They all sit around and just squawk all day. I can’t deal with that. I think I’d like to be a nightlife entrepreneur, just opening lots of nightclubs and running the show. More on the marketing and promotional side than anything else would be my ultimate goal.

And the music industry? I would want to work with venues that are really involved in music, not venues that are just there … not that this is a bad club, but like Tenjune is a little more just about selling bottles. I like the clubs that are really focused on music. I’d really want to be booking great talent, that’s why I like it at Webster Hall.

I was surprised when I first became aware of you, which about six or seven months ago. I hit it off with you, I liked your energy, and when I started talking to people about you, trying to do my research, I found out that everybody knows who you are. You’re this girl about town, and you’re branding yourself — is that something you’re very conscious of? Very very conscious. I think that perception is reality, meaning it’s important for me to just keep my face out there. Sometimes people think I’m way more fabulous than I am; they’ll call me and ask, “Can you get me Madonna tickets?”. And it’s funny to me because a lot of it is perception, and I’m OK with that, as long as it keeps moving me in the right direction. A lot of it is reality too. I have worked with some great artists and done amazing things, and some of it is me just throwing myself out there and getting my picture up all the time, and calling people like you and just hustling hard. I’m up every day taking meetings, doing interviews, scheduling photo shoots, whatever it is I have to do to keep getting to the top.

An example of this is this interview — you were non-stop. I told you that today I’m completely booked, and then I had about 15 minutes between 2:30 and 3 p.m., and you said, “Let’s do it!” No matter what, you’re unstoppable. Yea, I remember I watched Alicia Keys’ True Hollywood Story, and I don’t want to be famous like that. It’s more that I just see the people that are really driven make it the best. I’ve had at least ten really top-trained DJs saying, “Lindsay, can you manage me? How are you getting all these gigs? You’re not as good of a DJ as me.” And I said it’s because I’m up every day, I’m hustling my shit, I know people, I work my contacts. All these people, they sit around waiting for stuff to happen, and I don’t think you can wait for anything to happen. You have to really keep on people and keep yourself out there without being obnoxious and annoying. You have to be likeable, but you have to work hard.

You’re unstoppable. I have a lot of energy. I don’t sleep. I’m probably like you — I sit up all night downloading music, listening to tunes, and making music and doing weird shit. It’s like you can’t stop for a minute in this business, or you get walked right over and somebody else is taking your spot.
The Raveonettes Tickets Music Hall Of Williamsburg Tickets Brooklyn Tickets

The Raveonettes’ Sune Rose Wagner on Batali, Beatrice, & Bono

Sune Rose Wagner, the raven-haired member of Danish rock duo The Raveonettes, was without his blonde songbird Sharon Foo when he called the BlackBook offices for a chat. Having released their last LP Lust, Lust, Lust, over a year ago, Wagner didn’t have much to promote save for a slew of upcoming performances including a show this Friday at Webster Hall. Instead we talked about Jack Kerouac tattoos and Helena Christensen dinner parties. You know, the usual.

When you were in elementary school, what did you want to be when you grow up? A tennis player. I was a semi-professional tennis player for awhile.

Do you have any tattoos? Yea, I have two. I have a picture of Jack Kerouac, and then I have a small little anchor.

Why did you get Jack Kerouac? I used to enjoy his books tremendously, and there was a certain restlessness and energy in his books that I liked when I was younger, and that’s when I decided to travel a lot.

Are you superstitious? I am, yeah.

Can you give me an example? Every time I fly, I have to do this certain motion with my hand, like a cross, otherwise I think the plane is going to fall down.

Have you ever been arrested? No I haven’t been arrested, but I have been interrogated once in connection with some graffiti stuff that we got caught for in Denmark.

If you could have one superpower, what would it be? Teleportation. It would make traveling so much easier. I hate traveling … I can’t stand it. Well, I like driving, I don’t mind taking trips, but I hate flying. I hate going to the airport, I hate everything about it.

Have you ever been starstruck before? I’ve been starstruck many times with many different people. When I met Jay-Z I was pretty starstruck. With Q Tip I was starstruck because I love him … Bono from U2, I was pretty starstruck right there, Julianne Moore, Gwyneth Paltrow.

Where do you tend to meet these people? I met most of them at this little Christmas dinner party that Helena Christensen was throwing. Sharon and I, we went there and it was basically a lot of these people, and it was a pretty surreal experience at first, but after a while it’s not a big deal. You’re just standing in the kitchen with Bono drinking a glass of wine, and he’s just a guy.

What would you always watch that’s on TV if you’re channel surfing and you come across it? I actually don’t have TV. When we’re in hotels and stuff, I’ll watch it, but I decided not to watch it at home because I know that it’s such an easy thing to fall into, especially over here with all these channels. I mean, I miss it sometimes because I like to watch documentaries a lot, and it’s nice to have the news on, but when you have the Internet, you can pretty much do everything online anyway.

So do you spend a lot of time online? Yeah, I probably spend too much time online, like most people do. I should go out a little bit more I think, because I tend to think that the Internet is sort of my eye into the outside world, but I should just go for more walks.

Do you spend a lot of time on Facebook? No, I don’t, and I’m lucky in that way because I know other people spend way too much time on there. I don’t really use it that much, mostly for checking out events. Because there will always be friends DJing. Sometimes I use it for just catching up with people in Denmark, or anywhere else in the world, friends I don’t see that often, all of a sudden they’re online and you just chat with them.

What are some of the places in New York that you like to go out to either party or eat? I have a lot of favorite restaurants here. This town is so good for food. I like Mario Batali’s restaurants a lot, I go there all the time, to Lupa or Casa Mono or Babbo, and I like the French bistro style of eating, so I’ll go to Balthazar. And sometimes I’ll go to a place called Jack’s Luxury Oyster Bar in the East Village; it’s a very nice little place to sit and eat … they make the food right in front of you. There’s a little Spanish place on the corner of where I live called Tía Pol, which is a little tapas bar. They have good wine there.

What is it about Batali’s food that you like? I like the simplicity of it. It’s just really a simple, almost rustic kind of food, and it’s incredibly tasty.

What kind of nightlife do you have in New York? I don’t have that much of a nightlife. I like to go restaurants a lot, and we’re party smokers, so if we go out, we need to find places where we can smoke, and unfortunately there are not a lot of those places left. So we’ll go to a bar called Motor City for instance … they’ll let you smoke there usually. Yesterday we went to Lit. I was DJing at the Glasvegas after party.

And what about the Beatrice Inn? You can smoke in there too. The Beatrice Inn … I go there a lot and you’re right, it’s good for smoking. So I mean, there’s some places you can find, but I don’t really explore a lot of new places, and I don’t go to clubs or anything like that.

Quoth the Raveonettes

imageSune Rose Wagner and Sharin Foo of the Raveonettes have been flirting with billboard notoriety since they were first “discovered” by Rolling Stone editor David Fricke in 2002. Chain Gang of Love, their full-length debut—inspired more than anything by Danish avant-garde film purists—was made of abbreviated sonic experiments entirely in the key of B-flat major. Impossibly, it might seem, the album was listenable and gimmick-free. (The title track was even featured in a television spot for K-Mart, “the ultimate low culture Americana,” Foo giggles.) Their follow-up, 2005’s Pretty In Black, was a winsome interpretation of neo-noir via the Ronettes (in fact, Ronnie Spector added vocals to the project). Chain Gang Of Love was not, as it was hailed at the time, the “breakout” album to put the Raveonettes on the map (or the charts)—predictable in retrospect.

This month, the Danish duo is set to release Lust, Lust, Lust, what Foo calls “a psychedelic album.” “There’s a minimalist, drone feel, a monotonous thing. It’s our most personal album yet,” she explains. And she’s right. The album’s monotone notes act as a foil to its often explicit carnal themes. Says the blonde siren with the banshee wail, “We love songs that sound really sweet, but are really about a girl who kills herself.”

And this time around, she adds, it’s about re-focusing. For one, the Raveonettes won’t be on the cover of their new album, as they have been, to great effect on hipsters and more fashion-centric music fans, in the past. “We didn’t want big, luscious lips on it,” Foo laughs. “Too many people focus on our image. We were almost in the way of our own music.”

“During Pretty in Black, we were a little lost. Our musical motivation wasn’t at its highest point. On Lust, we’re now ready to be more honest—instead of writing little screenplays or B-movies, we’ve chosen to be autobiographical.” But, at their core, these are Wagner’s confessions, not hers. “It’s been difficult to connect to these songs [all of which are written by Wagner]. It’s about the balance between desire and knowing better. That isn’t something I’m going through at the moment.”

image

The duo is typically unabashed, sometimes bordering on silly, when they make public appearances, giggling and fawning and being downright Danish. In spite of any impressions to the contrary, Foo and Sune are not lovers or siblings (helpful to make clear in the shadow of the White Stripes, who are dogged to this day by the “relationship” question). But Foo confesses their rapport isn’t always so carefree. “I’ll tell you something most people don’t know about us,” she says, near whisper. “When we get really serious with each other, we can’t even communicate in real time. We have to e-mail each other. I’m sure there are lots of interpretations about how fucked up we are when we can’t even have a conversation about the problems in the band, but that’s how we work.” But wait, what about that dream of making it big? “This album is so not commercial,” Foo says proudly. “We’d be happy to have a lot of commercial success, but this just isn’t our year.”

Photography by Shawn Mortensen

Blonde Redhead and the Raveonettes at Terminal 5!

Click here for more great photos from the show!

imageSharin Foo of the Raveonettes.

The Raveonettes walked on stage towards a crowd of over 3,000 fans at Terminal 5 on Saturday night, picked up their guitars, and jumped right into their set—emotionless save a sly smirk from siren Sharin Foo. We had heard the buzz about the garage rock duo’s stripped down performance, and with their lax retro image, sweet harmonies, and fuzzy guitar riffs, the Danish duo certainly didn’t need any bells or whistles. Instead, their opening act was nearly pitch-perfect, showing off affected melodies without a hint of swagger, or a single word spoken—aside from a simple coo from Sharin introducing Blonde Redhead, at which point the awe-struck crowd erupted in applause.

The members of Blonde Redhead took their places on stage, opening with “Heroine” from their album 23. The set was punctuated by dynamic chemistry and layered vocals (layered with a backing track that left the complacent crowd a little confused). The confusion was quickly forgotten, however, when Paul Banks from Interpol slunk onstage. “Oh, look! It’s Paul” exclaimed band member Kazu Makino, feigning surprise, as Banks joined in on guitar for “23.”

Photo by David Waldman courtesy Kidwithcamera.com