Emilie’s shows are quite the spectacle: a sexually charged mix of Victorian and Gothic, Burlesque and Vaudeville, Metal and Electronica, backed by all-female backup singers “The Bloody Crumpets.” Autumn also runs her own clothing, accessory and perfume lines via the company that she co-owns with “Lee Queen of Tarts,” Lee Ann Helmer, WillowTech House. The absolutely riveting Emilie was awesome enough to spare Glide a few moments backstage at her recent Williamsburg, Brooklyn Music Hall performance. The show did not disappoint.
Director Anton Corbijn recreates Curtis’ struggles in Control, basing the script on the autobiography, “Touching From a Distance,” by Curtis’ widow. The urban decay and paranoia of late 1970’s Manchester, England is conjured vividly from the film makers black and white imagery, which later gave birth to the “Madchester” scene a decade later.
Though now living in New York, The Stills are, in some ways, in an (un)enviable position: they hail from Montreal, the latest “buzz city” and home of The Arcade Fire, among others. While undoubtedly proving a useful boost to young, hungry bands, the current popularity of their hometown also means heightened expectations for all who hail from Montreal. Fortunately for The Stills, their live show is proof that some buzz is justified; they bring it, and bring it good.
With its mopey vocals and multi-layered arrangements, the second EP from
mellowdrone – go get ’em tiger – is what would result if Radiohead and the Cure had a jam/writing session for a locked away weekend – or maybe an
hour. In fact, the influences are so obvious it’s hard to pin point you’re
actually listening to mellowdrone, the alter-ego of singer/songwriter/musician Jonathan Bates.