"Yuck" and "U.S Girls" at Hudson RiverRocks

Hudson River RiverRocksConsidering how beautiful the surroundings were, the organization of Hudson RiverRocks at Pier 84 on the Hudson River was a bit disappointing. But that's for another time. The music--which is why the crowd took advantage of this free event in the first place--was pretty good. 

Yuck, a quartet hailing from London, was the first to take stage, though better name for them might be, "Too Cool For School." They remained mostly immobile throughout their short set, and the audience mimicked their stoicism. Though, what the audience lacked in movement they made up for in screaming their song suggestions. 

Yuck did eventually warm up, and the occasional floppy dancer made himself known. Lead singer Mariko Doi wore her sunglasses at night, and a fannypack stuck out from her back pinned with silver studs. The rest of the band consisted of three skinny people playing gritty guitars and a happy drummer in the back, Jonny Rogoff, who looked a bit like Seth Rogan. 

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Harry Partch's Delusions of the Fury at Lincoln Center Festival


by Robert Leeper

Harry Parch's Delusion of the Fury, Lincoln Center Festival, 7/23/15
Maverick American composer Harry Partch is revered in modern musical circles, but due to the difficulty of presenting his mammoth works on the unique instruments he created, his music is rarely experienced. In 2010, German instrument builder Thomas Meixner decided to spend three years replicating the sole remaining set of Partch's original instruments for the Cologne-based Ensemble Musikfabrik, of which he is a member. 

Last week, Ensemble Musikfabrik brought their Partch instrumentarium to New York City Center, where the Lincoln Center Festival presented Partch's 1964 theater work Delusion of the Fury. It is impossible to separate the unique sound of Partch's music from the beautiful instruments on which it's made. They seem to be performers in their own right, keyed to a 43-tone scale of Partch's own creation. Most visibly striking were the elegant Cloud-Chamber Bowls, painted with the numerical value of their precise resonance. The most visceral sound came from the Marimba Eroica: its notes reverberated throughout the hall at such low frequencies that they were felt as much a heard.

Partch also wrote the libretto, choreographed dances, and made costumes for Delusion, but while everything had to be done his way, his music was neither overly esoteric, nor inaccessible. Indeed: Delusion is a primarily tonal work with a regular, driving rhythm.

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FREE TICKETS: Cut Copy's Ben Browning at (Le) Poisson Rouge

Ben Browning

As the bassist for Australian synth-poppers Cut Copy, Ben Browning has been a part of the some of the most effervescent dance music of the last decade. Next Thursday, June 30th at (Le) Poisson Rouge, Mr. Browning strikes out on his own with the debut of his live set up and DJ sets from Moullinex, Ayer, and Powerslug DJs.

Catch the show with a pair of free tickets, courtesy of FoM. 
For your chance to win:

1. Email free@feastofmusic.com    -OR-

2. Tweet #FreeTickets @feastofmusic @_BenBrowning  @lprnyc -OR-

3. Head to our Facebook page and COMMENT on our giveaway post! Note: "Likes" on their own will not be considered valid entries.

The Punch Brothers Play With Lightning at Celebrate Brooklyn (7/9/2015)

punch brothers, celebrate brooklynAlthough the weather gods could not be appeased Thursday night by the sounds of bluegrass (as banjo player Noam Pikelny joked), the crowds certainly were as the Punch Brothers put on a striking performance at Celebrate Brooklyn under heavy rain and lightning. 

Playing selections from their latest album “The Phosphorescent Blues”, the band played with an incomparable warmth and energy, effortlessly weaving through flawless vocal harmonies and virtuoso instrumentals. Always-entertaining lead singer and mandolin player Chris Thile took every opportunity to dance around, most notably during “Next to the Trash” where Thile stumbled around on stage as if he were conducting an orchestra while drunk.

Thile’s singing was unsurprisingly brilliant, stretching the upper and lower limits of his range without ever compromising his intonation or personality; his voice, like his mandolin, was bright and vibrant. Especially beautiful was his take on Debussy’s “Passepied”, which the audience reacted to by wooing, cheering, and screaming - a reaction rarely heard during classical performances.

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