Maps & Atlases – Il Motore – 08.08.10
This Sunday I had the chance to check out two bands who have managed to jump start their careers through very different means; Maps & Atlases have been steadily building their fan base since 2005, while Cults appeared out of nowhere this March only to be piggybacked to stardom through the blessings of several big name bloggers. An absolutist could argue that success is success no matter how you reach it. Yet based on the performances I caught on Sunday night, I would say that some bands aren’t fully prepared for it, while for others it’s been a long time coming.
Opening the night was the lovely Laura Stevenson and the Cans. Spunky, playful, and very relaxed, it was hard not to be charmed by Stevenson and her all-male backing band. Appearing as if they walked straight out of a Gap commercial, Stevenson and her band offered accessible and mellow folk-rock numbers jazzed up with some accordion, trumpet and saxophone. Shifting from sweet and soft ballads, to twangy folk ditties and finally to raucous numbers, Stevenson kept me focused and entertained. A mix between Laura Veirs and Regina Spektor, Stevenson is a punk rock queen swathed in the plaid and denim of a coffeehouse poet. Rather than awkward, as she referred to herself and her botched jokes, I would call Stevenson and her simple numbers extremely likeable.
I was apprehensive to see Cults in action. Part of the buzz surrounding the band – comprised of the 21 year old couple Madeline Follin and Brian Oblivion – has been their mystery. A sheer lack of information about the band upon the release of the whimsical ‘Go Outside’ had everyone talking. I was curious to see how such a new band, with accolades far outnumbering experience, would handle themselves onstage. Cults’ set was unfortunately plagued by endless sound problems and a general bad attitude. Their short set was comprised of mostly new songs that did not quite measure up to their ridiculously catchy recorded material, like the soulful ‘The Curse’ whose weepy refrain washed over the subdued audience. ‘Oh My God’ was another highlight, with its sharp guitar riffs punctuating bubbly vocals. There’s an intriguing innocence to their songs, dreamy and glittering sequences reminiscent of 50s prom dances. Unfortunately Cult’s whirling melodies muddied Follin’s vocals, that were much thinner than on record. A disconnect between the pitchy vocals and textured arrangements was quite noticeable. However what bothered me the most was how Cults appeared glum and unenthused. A lack of stage presence and a jibe at the seated audience turned me off. While Cults’ nostalgic numbers are certainly unique, a better attitude and more touring experience are needed before their buzz can be cemented into anything more permanent.
There was bromance in the air as Maps & Atlases set up onstage. Over the next hour, a very enthusiastic mostly male crowd ate up every guitar lick and drum snare. Maps & Atlases have steadily built a loyal fanbase. Years of developing a unique sound and flawless technique all culminated in this past June’s release of Perch Patchwork (Barsuk Records). While Maps & Atlases defy simple labels like math-rock, prog-rock or folk-rock, they most definitely have a signature sound. Complex guitar arrangements, driving drum beats and unexpected tempo changes were themes of the evening. There is an authenticity to Maps & Atlases that is hard not to appreciate, most symbolized by lead singer’s Dave Davison’s guitar that was unmistakably worn in. Maps & Atlases are neither glitzy or glam, but they are endearing. From bassist Shiraz Dada foxtrotting it across the stage, to drummer Chris Hainey’s long wet mane looking uncomfortably plastered over his face, all evidence points to the fact that Maps & Atlases work hard to please. Highlights of the set included the tom drum heavy ‘Living Decorations’, and the fret slapping of ‘Solid Ground.’ The band even treated their audience not just to an encore, but an after-show acoustic set on the floor of the venue. Bittersweet ‘Pigeons’ and ‘Banished be Cavaliers’, allowed the low vibrato and warmness of Davison’s vocals to really shine.
While the trajectory Maps & Atlases have followed to arrive at their level of success has not been as colorful as that of Cults, they appear to have what it takes to make it. In a music scene that is constantly morphing, it takes more than just a few quick hits to cement a career. While the verdict is still out on Cults’ future, Maps & Atlases appear to have the work ethic that will lead them into a bright direction. – Kelly O
Maps & Atlases
Cults
Laura Stevenson and the Cans
Photography by Sean Mundy
