with cmj coming up (and all the trappings of free music that go with it), frugality is definitely in vogue. but why?, the oakland folk-hop trio, played their hand wisely: instead of getting lumped in with the torrent of music that commences on tuesday, the shot their load early, playing a surprise show just for new yorkers. the nearly free ($1) show had been announced late on friday, but word got around - why? played to a full house earlier, an interesting mix of stingy voyeurs, hardcore fans, and, yes, every blogger in nyc (or so it seemed with all the flashbulbs exploding). a one-off show to build excitement for their new ep, the hollows, why? rocked, soothed, and then rocked again in what turned out to be a bummer of a short set, though the trio played many old favorites as well as exciting new songs.
opening for why? was the parisian quarter neimo. the post-wave imitators sounded more like their age-old enemies from across the channel than they might comfortably admit (especially with france's home-turf upset over the weekend) as they postured and strutted through their set. in town for cmj and clearly out to make an impression, neimo played with universal dance-punk energy, singer brunojoedallesandro (probably not his real name) throwing himself on the floor of the stage at every possible opportunity. even though they sounded like every other band on radio 1, neimo played well, cranking fans at the foot of the stage into what could pass as a frenzy in new york. sounding dreadfully alike, most of neimo's set blurred into sounding like one long song, though single "hot girl" stood out for two reasons, the most notable being its abysmal lyrics (the chorus was "hot girl hot girl!"), but also because neimo dropped a couplet from "daft punk is playing at my house" right into the middle of the song, jerking me out of my rather vacant daydreams. unfortunately, neimo's set dragged on and on, hitting at least the forty minute mark, but seemed to take much longer, thanks to brunojoewhatever's penchant for talking way too much. obviously, neimo isn't for me, but, hey, if you like athlete - take note.
half an hour after neimo left the stage, full of gallic cheer and thanks, why? was barely halfway into their setup. as frontman yoni wolf joked once their set had gotten underway, we had gotten the chance to see the behind the scenes footage - fifty five minutes of shifting drums, keyboards, mics, and all of why?'s other gadgets, of which there seemed to be at least four hundred thousand. by the time they were finally set up, utility fielder doug mcdiarmid's station was cluttered with an array of indescribable music thingys, with just enough wires and antennas to broadcast the entire concert on a ham frequency. despite the mess, the men of why? played with a happy efficiency, though they never ventured out of the few feet of space they had cleared around them.
highly idiosyncratic, why? were just as stylized as subtle had been a week ago, albeit in entirely different ways. doseone and yoni, brothers in cLOUDDEAD, obviously used wildly different tools to forge their individual sounds. incarnated as a three-piece just two years ago (why? operated as a solo yoni wolf project for two albums), mcdiarmid and the two wolf brothers performed together flawlessly, and (more commendably) equitably. while there is no doubt that yoni fronts this band, why? shared vocals, both harmonies and melodies, across the board. they worked together with an almost unrivaled fluidity, each man sticking to his own instruments, but drawing no such lines musically. i was often impressed by the license josiah wolf took on the drums - his crashing assault of skins and cymbals, to say nothing of the dexterity with which wolf intertwined his xylophone parts with his regular kit, frequently upstaged his brother on vocals. yoni was the only contributor of the raps that blur why?'s definition, but both mcdiarmid and the other wolf occasionally took lead vocals on choruses, and yoni and mcdiarmid traded leads on keyboards, bass, and guitar with a casualness that belied its uniqueness.
why? is firmly an anticon band, but their music frequently strays from the collective's mold. only a few new songs reflected the anticon aesthetic of sinister monotonic verses and eerie harmonic choruses, backed by offbeat drums; why?'s general attitude was one of positivity. wolf's lyrics rarely communicated emotion, but the group's music often sounded nearly twee, though without the cutesy connotations. the mind-boggling number of gadgets why? employed were used to make their sound cheerful, like a roomful of r2d2s whistling with pleasure, instead of thundering with anxiety.
why?'s set was nearly perfect - yoni candidly joked and interacted with the crowd, but never at the expense of the music, which was succinct without feeling quick. i found the new songs to be more appealing than why?'s older ones - more dramatic climaxes and electronics - but both were performed, and received, well. the night's probable highlight was a guest spot from james mcnew, who is probably more famous for his work with yo la tengo than as a why? coverer. credited as dump, mcnew's cover of "yoyo bye bye," from 2005's elephant eyelash, is set to appear on november's the hollows, and we were treated to a sneak peek of what it would sound like. basically, it's why? without yoni rapping. but mcnew did the song justice and the crowd was obviously thrilled to have him there, though his introduction by yoni was nearly drowned out by repeated calls for "stockholm syndrome."
there's no publicity like $1 publicity, and why? definitely earned themselves some earlier tonight. they delivered a solid, to the point set, to a crowd that came to hear something new. not an avowed why? fan before tonight, i will certainly pay more attention to this band in the future, and why bother with anything more than that?
buy all why? releases directly from anticon.
Monday, October 15, 2007
why? @ knitting factory, 10/14/07
Friday, October 12, 2007
red sox w. the indians @ fenway park, 10/13/07
kismet
fate is a funny thing, if you believe in it. chance occurrence, random happenstance, the bizarre and wonderful sense that the universe is colluding in your favor - a belief in fate can give a life direction and purpose. perhaps, if you believe in your destiny strongly enough, it can take you from a strict mormon upbringing to a life as a performer. i don't know if jesca hoop believes in fate, but her fairy tale-like history, as well as the title of her debut lp, kismet, certainly suggests that she does, and is grateful for its blessings.
an anglicization of the turkish word for portion or lot, "kismet" carries meanings that synonyms like "fate" do not, a sense of exoticism and mystery. "fate" and "destiny" have real-world application, but "kismet" is a concept firmly rooted in the preternatural, ethereal realm, a world where genies grant wishes and beggars become sultans, a world where the only limitation is imagination. kismet summons these ideas from the beginning, songs swirling and twisting, two, three, four disparate melodies all seamlessly crammed together. early album highlight "seed of wonder" is grounded in a seesawing cabaret guitar line, upon which hoop adds a m.i.a.-esque chorus and a harmony-heavy bridge, while internet fave "intelligentactile 101" is defined primarily through hoop's athletic voice part, an unexpectedly dynamic bass line, and a cascading harp. kismet is astoundingly diverse, building upon elements from handfuls of genres without ever descending into a mold.
hoop's history is important to understanding her music, borrowing, as it does, from styles ranging from reggae to folk and everything in between. hoop's mormon parents raised her on a steady diet of 60s folk, mainstream radio, and church hymns, though her teenage rebellion led her to artists like tom waits, kate bush, and bjork. fleeing her strict upbringing to california, hoop was offered a job that undoubtedly changed her life: a nanny position for the waits family. impressed by her precociousness and obvious talent, waits gave a demo to kcrw, and the rest, they say, is history. hoop likes to say her style is a natural result of her skewed musical upbringing, and that "when you strip down to raw elements, you actually can conjure up an original viewpoint," and she has nothing if not that.
kismet is both an amalgamation and a creation, a collection of songs so startlingly different that one nearly wonders whether hoop is schizophrenic - there are far too many ideas in these songs for one person to think up alone. though kismet's production does add a great deal to its ingenuity and mystery, its best quirks are hoop's own, whether it is the hushed scatting emanating from the left speaker on "out the back door" or the shape note harmonies on album opener "summertime." more often than not, her songs are illuminated by tangential guitars and ethereal choirs, to name but a few of the tricks up her sleeve, especially on the absolutely stunning "money." "money" is also one of the few tracks on kismet with understandable lyrics; hoop, more often than not, tends towards lyrical non sequiturs, preferring to value the rich sounds of vowels and consonants over any cogent sentences.
though at times disappointingly hit-or-miss, kismet tends to err on the side of brilliance. hoop's "mad music," as she calls it, is a bizarre and wonderful collection, tantalizingly abstracted and complex, imagined by a mind unhindered by conventionality.
jesca hoop - "out the back door"
purchase kismet from a fine local retailer.
jesca hoop w/ the ditty bops - live on kcrw 9/19/07
1. summertime
2. intelligentactile 101
3. enemy
4. money
5. seed of wonder
6. love and love again
Thursday, October 11, 2007
subtle @ warsaw, 10/5/07
this show was a new experience for me, the first time i went to a gig purely to see an opening band. but what an opener! subtle, "the alpha band of doseone & jel," the masterminds behind mr. mammoth faces 13 & god, cLOUDDEAD, and themselves, brought their twitchy, spastic rap-rock to warsaw last friday night, supporting seattle's minus the bear on their national tour. still touring in support of last year's for hero: for fool and yell & ice (their upcoming remakes and remixes collection), subtle may also have dropped some songs from the forthcoming exitingARM. i was worried that subtle would have difficulties adapting their studio sound to the live environment, but they navigated those waters most successfully. fronted by doseone, a charismatic rap maniac, subtle ferociously tore through their forty-five minute set, doseone's rhymes blasting and the music churning.
i was (and remain to be) sincerely perplexed at subtle's spot on this tour. the college-rocking post-emo popsters in minus the bear bore no musical semblance to subtle's sound, and, were it but for subtle's far-too-infrequent touring schedule, i imagine most of their fans would have skipped this show. bookended by ela, a band that can be best described in the words of one audience member ("i think you're ok!") and minus the bear, subtle's inclusion in this tour can only be called bizarre. i got a chance to talk to doseone after the show, and he said he really appreciated the chance to get to meet new people, and, indeed, i overheard a passerby asked "who is that?" despite for hero: for fool's brilliance, it's critical reception was lukewarm at best, and subtle's desire to branch out is justified and understandable. however, minus the bear? i couldn't understand it at all.
subtle opened the show by paying suitable homage to brooklyn, to which the crowd reacted with expected positivity. while brooklyn is home to every other band in existence, it seems, and crowds enough to match, few expected the guest who came onstage for "deathful," a leaked track from yell & ice. maybe doseone needed to introduce tunde adebimpe, since so few people cheered when he announced the tv on the radio vocalist. adebimpe appeared and disappeared without a word or a wave, but their collaboration spoke volumes.
subtle's mystique is all-encompassing. from the eerie skull bust (painted with black and white stripes) at the front of the stage to doseone's velvet sash of plastic forks, subtle is stylized. enigmas permeate their live performance, their recorded work, their artistic presentation. yet, despite their seeming inscrutability, subtle (especially doseone) were accessible and friendly, chatting with fans before and after the show and manning the merch table, filled as it was with a half-dozen subtle releases, three or four solo efforts from doseone (including a book of poetry), and a solo album from jel. so rarely has prolific seemed such an understatement. killing time, i flipped through doseone's poetry, finding an image of the fork there as well. doseone was happy to explain the significance of one of subtle's most universal props, a piece of iconography cherished by fans. "the fork is the spirit animal of the american consumer," he explained, after having pelted the crowd with fistfuls of the utensil.
subtle's black and white aesthetic is visually profound and arresting, visible on both for hero: for fool's cover and doseone's chest (and, of course, the skull). less complex than the fork mythology, doseone explained subtle's preferred color scheme in a typically enigmatic fashion, calling black and white "the only real colors." though patently untrue, the stark juxtaposition of the two accentuates and emphasizes their aural dissonance. the skull is said to be of hour hero yes, a character who appears on both subtle LPs.
necessarily different from their studio work, due to the crippling injuries programmer dax pierson received several years ago, subtle's live performance is nonetheless captivating. with the exception of cellist alexander kort, every player in subtle multitasks, whether it is jordan dalrymple's triple duty on drums, guitar, and vocals, or marton dowers' mix of synth and sax. it was exciting to see subtle trade instruments every few minutes, let alone every song, but what was most compelling about the show (unsurprisingly) was doseone, and his seemingly endless array of props. the forks were really only the beginning. he frequently interacted with the bust of hour hero yes, going so far as to mime cutting its throat with a knife during one song. he toyed with a set of false teeth, another skull (this one resembled yorick), and a handful of other toys and gadgets too small for me to see. doseone twitched with an energy that could not be human - even cokeheads aren't this spastic. his veins standing out on his forehead, doseone continually vaulted from one side of the stage to another, rapping with incredible energy. in fact, getting pictures proved to be something of a challenge, as he rarely stayed still long enough to get a shot off.
subtle is art. you can disregard the mystery, the enigmas, the self-wound mythology, and you'd still have a fantastic band, but it would be only half of the band. subtle traffics in appearance - they really put on a show, an act for the viewer. it winds its way around your head, asking questions and posing hypotheses that are as much a part of subtle as their music. the live performance should always give you something more than a copy of an album; that's why you bother to see a band live. subtle brings everything they have to the table, throws it at you (along with a fork or two for good measure), and let you work it out. subtle is as much a visual and intellectual stimulation as an aural one, a provocative aesthetic they vehemently believe in. it's not a stretch to say that subtle stands alone - the only bands that sound like them have subtle's own members in them. if this tour is directed at new fans, and i don't doubt that it is, then subtle certainly deserves them.
subtle (feat. tunde adebimpe) - "deathful." buy all subtle merchandise direct from their store.
nina nastasia & jim white @ mercury lounge, 10/3/07
when you live in new york, the best part of being over 21 isn't being able to drink - it's being able to go to any concert you want. i suffered through high school and most of college, barred from a number of venues simply because i wasn't old enough to drink, and i hated every second of it. one venue i was most bitter at for its age restriction was mercury lounge, 21+ all the time. i couldn't begin to list the shows i missed there. but now, that time is over, and though i've been over 21 for a bit now, my first visit to mercury lounge was earlier this week to see nina nastasia & jim white, who recently released one of my favorite records of 2007, the stunning and unsettling you follow me.
nina nastasia has been flirting with the fringes of popularity for seven long years, since her first release, dogs. dogs became an underground sensation, attracting the attention of legendary dj john peel, who subsequently asked her to record four peel sessions. despite her echelon of respected admirers (among them is steve albini, who has recorded all of her albums), nastasia didn't really begin to take off until touch & go re-released dogs in 2004, on whose success came on leaving, released by fatcat, a stylized yet simple musical collection of everyday vignettes. despite her clear talent and songwriting gift, as well as on leaving's critical success, nastasia remained very much a dark horse in fatcat's stable. nastasia changed tack for you follow me, stripping away her usual accessories and adornments and giving longtime collaborator (and ex-dirty three drummer) jim white equal billing. the result is a record that is deeply unsettling while being characteristically beautiful, white's forefronted drumming dynamic and subtly sinister. though you follow me was released in august, the mercury lounge show on oct. 3 was the album's release party.
the show's original slate featured the band telepathe as nastasia and white's first opener, but, mere days before the gig, they were replaced by castanets. while unfamiliar with first light's freeze, castanets' most recent album, i was excited to see them perform. despite the theft of much of their gear earlier in the year, castanets completed two albums this year, in the vines and an as-yet untitled work, with the former being released october 23 on asthmatic kitty. touted as a herald of the "freak folk" movement, castanets' live show is most often distinguished by the impressive array of guests appearing with mastermind ray raposa. he brought five friends along for this show, including close friend phosphorescent on backup vocals, for a hastily cobbled together set. castanets' thirty minute set was played without a single break, the songs tied together by raposa's guitar, though the set's continuity was so seamless that i nearly believed that they had only played one thirty-minute long song. despite their manifest fluidity, raposa bemoaned the looseness of the arrangement after the show, though a crowd unfamiliar with castanets merely believed it to be a cornerstone of their stylistic approach.
unburdened by conventionality, castanets play songs that soundtrack dreams. ethereal yet grounded, directionless yet focused, i caught myself yawning several times throughout the set, though not from boredom - castanets made me want to become an adventurer in my dreams. raposa's voice carries southwestern inflections which echo through his music, which is homey and comforting, a woolen blanket of sound. from what i understand of castanets' modus operandi, no two shows are the same, since they rarely feature the same instrumental assemblage, and no doubt the next time i see castanets, it will be a different show entirely.
the next opener was secretary feat. big boss, a pseudo-office duo that would have been ridiculous if they hadn't been so good. office music is rapidly becoming trendy, or at least what passes for a trend in the indie scene. while not nearly as popular as "white" this season (white rabbits, white denim), office music is making a respectable showing so far, with chicago's aptly named office leading the way. a little more off the beaten path, we find secretary and big boss, playing a new kind of drum n' bass for the suited generation, except that it's more of a drum 'n bari (sax) kind of thing. formally titled secretary feat. big boss, the duo heavily play up the office theme, secretary dressed in a skirt suit and fishnets while big boss rocked a bowler, three piece suit, and lapel pin. their music also sounds appropriate for an wall street bachelor party, secretary's dark, sensual sax melodies fitting neatly on top of big boss's beats. performing songs from secretary's new release, the secret life of secretary, the duo's appeal was not only owed to their office gimmick; their tunes were deft, trading on the disparity between secretary's smooth sax notes and big boss's glitchy beats. the music is unmistakably secretary's (a.k.a. "moist" paula henderson of moisturizer), it owes much of its appeal to big boss. blending styles from glitch to rumba, his carefully chosen beats perfectly complemented secretary's sax appeal.
at least it beats a liquid lunch as a way to relax.
the same force that transformed nina nastasia's songs from wispy vignettes to unsettling elegies was also the best part of the show. seemingly disengaged and apparently bored, jim white was simply captivating - the most skillful percussionist i have ever seen. his arms and legs moved with an unnatural fluidity that rarely let my eyes stray to the front of the stage. white's contributions to previous nastasia records have been more utilitarian than exceptional, but his multi-rhythmic drumming last wednesday night was one of the most amazing performances i have ever seen. it simply confounded me with its beauty. we rarely think of drums as a full-fledged instrument, relying on them primarily as a timekeeper, their original function. but in white's hands, the kit onstage was transfigured into a dynamic force, buttressing nastasia's melodies but also elbowing their way to the front. it was an absolutely unique experience, to hear drums willingly prioritized over vocals or guitar. thought nastasia remained at the front of the stage, and she and white played her songs, it was a real collaboration we saw, where each took turns sharing the spotlight. such is the quality of you follow me, its most compelling element that you can't quite put your finger on. white doesn't merely add drum lines; he is as much a songwriter as nastasia, a remarkable station for a drummer. and, though his face reflected none of the excitement that i
felt upon seeing and hearing the amazing, unique union in front of me, he showed that he could be jolted; his mask-like expression let down its guard only once, when a crowd member yelled "jim! you're hot!" even the stoic white couldn't help but laugh.
though he has worked with nastasia for several albums, you follow me is the first on which he has received equal billing, and rightfully so. his performance, both on that album and in concert, proved that his work on you follow me is not a flash in the pan; he is as much of a songwriter as nastasia is herself. despite his lack of showmanship, it's safe to say that white stole the show, sticks transformed into snakes.
the duo kept a very serious tone throughout the show, as was expected from you follow me's somber tone. nina nastasia, however upstaged by white, didn't seem to notice or care, lost in each song's trance. immaculately dressed all in black, reticent and focused, it was clear that, for her, songwriting is a labor of love. the two performed songs primarily from you follow me, but the biggest applause was reserved for older gems, reconfigured with additional drums. my favorite nina nastasia record is on leaving, and was gratified to hear both "dumb i am" and "our day trip," two of that album's most precious songs. their set closer, the inimitable "that's all there is," from the blackened air, was stunning and epic, the epitome of nastasia's ability.
buy you follow me from fatcat.
Sunday, October 7, 2007
heima kicks ass.
end of story.
i managed to take a video of sigur ros performing "agaetis byrjun" as part of the pre-heima acoustic set.
Friday, October 5, 2007
two gallants w. blitzen trapper @ gramercy theater, 10/2/07
jetlag or no jetlag, there was no way i was going to miss the two gallants show tuesday night. though two gallants has not yet gripped me in the same way that the throes or what the toll tells did, missing their inimitably raw live show is never a good decision. due to scheduling issues at connect, i had only seen their final few songs of their set, which just served to whet my appetite for a larger dose of their finger-pickin' despondency. sweetening the pot was an opening set by blitzen trapper, the portland, or. band that made a big splash earlier this year. while i have very little familiarity with wild mountain nation, the critical praise with which it has been received definitely sufficed as a reason for my attention. to top it off, the show was in the blender theater at gramercy, a venue which i had not yet been to, but that i hope to be returning to. though its ownership by blender and livenation give my conscience pause, it is simply one of the best new venues in new york. sporting a large standing pit as well as comfortable, inclined seating, the blender theater also possessed a very high quality lighting rig and excellent sound layout. with its wide, low stage, much of the crowd was able to stand very near the bands and almost see up their noses! the blender theater is an excellent venue simply because it can afford to be, without the grit and bootstrap significance of the knitting factory or the bowery ballroom, a space defined by its luxury.
as soon as blitzen trapper took the stage, i instantly stopped thinking about the wealth of the blender theater. the word is that blitzen trapper resemble pavement more than a little bit, and, i guess it's possible that's what the album is like. but no visions of malkmus were conjured during their thirty-five minute set - their influences instead seemed to range from radio country and power pop hits to the dismemberment plan and wilco. but, as their set progressed, it became increasingly difficult to label blitzen trapper. even before they started playing, their instrumentation hinted at something a little out of the ordinary; armed with four guitars (and three guitarists), three keyboards (two guitarists doubled as keyboardists), a tambourine, harmonica, and a rainbow of shakers and maracas, in addition to a solid rhythm section, it immediately seemed unlikely that the six-piece was about to launch into "summer babe," no matter what the reviews said.
despite the breadth of their instrumentations, blitzen trapper never lapsed into overabundance, keeping their songs tight and wiry. a testament to their precision is the number of songs they ran through - i put the number at fourteen. rarely speaking beyond the cursory "thank you" at a song's end, blitzen trapper was fast and furious...most of the time. while many of their songs could appeal to readers of no depression, that hallowed grail of alt-country, blitzen trapper have clearly put in effort to avoid becoming pigeonholed. though songs like title track "wild mountain nation" and "murder babe" were ripped through at breakneck speed, the tumbleweeds sprinting across the plains, others featured surprising mid-song noodling, a speed-jam session, displaying unexpected capability. despite the occasional breakout into uncharted musical waters, blitzen trapper played fast, fun alt-country, and warmed the crowd up for two gallants excellently.
it may well have been me - jetlagged, exhausted, and a pair of brand new earplugs - but it also have been two gallants. something just wasn't right. the show went off without a hitch, the almost-full house digging frontman adam stephens' every grimace and drummer tyson vogel's sweat-soaked shirt and hair, but it was a strange set. i often think affectionately of two gallants as the punkest band in show business, their DIY aesthetic more like dogma, but their performance lacked its usual violence - the duo seemed to have grown either complacent or too miserable to be angry anymore. technically, there were no problems, stephens' fingers and vogel's arms a blur, the show only pausing when vogel's ferocity broke his snare partway through the set. despite that, the show left me wanting - not more music, but the band that i remembered back.
currently touring in support of two gallants and the scenery of farewell, their recent acoustic ep, it was unsurprising that most of the songs were from those albums. two gallants didn't forget their longtime fans, though; they played a choice selection from their first two releases as well, including bruising versions of "long summer day," "las cruces jail," and "nothing to you," their final encore. two gallants delight in abruptly switching gears, switching from a tender depression to a no-holds-barred murder ballad without so much as a hint of warning, as they did early in the set with a seamless segue from "seems like home to me" into "steady rollin'." compared to some of their other transitions, though, that one was positively mild. while aurally exciting, their fondness for disparity can also snuff out all the energy in the room, which happened two times too often. it quickly became clear that no song would begin or end with any conventionality, pre- or post-logued by an aimless guitar solo. while there is no denying stephens' obvious finger skills (he used a pick only once during the set), by bookending their songs with meandering guitar, they squandered the intensity each song created. the multiple instrumental breaks, 
when vogel's drums fell silent, almost seemed like two gallants were thumbing their collective noses at us, especially as stephens performed a rather bastardized rendition of a john philip sousa march before two gallants broke into "two days short tomorrow."
i don't know if something about the crowd or the night threw two gallants for a loop, or whether their show is this distracted all the time now. something has been nagging at me about two gallants since i started listening to it, and i think i realized what it was at the show: two gallants are more depressed than ever. they aren't writing furious hymns and gunslinging anthems; two gallants is more a misogyny than a threat, with their fury drained out of them. whatever injustice prompted stephens to pen "long summer day" is no parallel to the jena 6, yet the most compelling songs on two gallants are about female betrayal, not racist lawmakers. two gallants now stake their claim in bars instead of graveyards, and the set they performed on tuesday echoed that discomfort and disappointment. musically, the set went well, even with the long, aimless solos; "miss meri" and set closer "waves of grain" were fantastic. yet, overall, the impression they gave was of two unhappy men who can't solve their problems because they aren't sure what they are.
FUN FACTS:
adam stephens no longer writes the setlist on the back of his hand with a sharpie.
thanks to the 16+ age restriction, the front of the pit was filled with doe-eyed high school girls gazing at stephens with unremitting lust.
tyson vogel drank an entire bottle of gatorade during the set.
two gallants - "long summer day"
