By: David Schultz

When listening to a new band, it's tempting and often necessary to explain their sound by comparing them to other more popular bands. Given the auditory limitations of the written word, such an exercise often becomes obligatory when describing a new band's attractiveness (or lack thereof). Tapes 'n Tapes, a Minnesota band currently reaping the benefits of being an indie-rock darling (but who recently signed with XL Records), defy such pithy classification. In fact, when describing them, it's probably appropriate to say that Tapes 'n Tapes simply sounds like Tapes 'n Tapes.

Like their name suggests, Tapes 'n Tapes keep it simple. In an era of compact discs, digital downloads and Arctic Monkeys, there's something pleasantly nostalgic about a band naming themselves after near-archaic technology. However, the name seems to have nothing to do with establishing a connection to old-school recording.

Like The Ramones, Tapes 'n Tapes have created a fictional biography, each adopting the surname Tapes or 'n: singer and guitarist Josh Grier and drummer Jeremy Hanson are the Tapes brothers (Tapes 1 and Tapes 2) and keyboardist Mark Kretzman, who recently returned the band is the original "'n." The other "'n," bassist Shawn Neary recently left the band. Erik Applelwick, who produced the band's refreshingly brisk The Loon, is sitting in on bass for the band's summer tour.

Their tour came through New York City this past week; the indie-rock vibe remaining palpable within the Bowery Ballroom for their two sold-out shows with Cold War Kids and The Figurines. Their astonishingly short headlining set contained practically every song off The Loon. Even with the encore break, the Minnesotans needed only forty-five minutes to complete their sweet and to the point set. The performance didn't lack for energy; however, it seemed like they had more to offer than they gave the New York audience. Kretzman's performance provided the most visceral interest as he rarely seemed to be doing the same thing for long. Over the course of the night, Kretzman provided keyboard accompaniment, programmed the recorded drum loops, injected sporadic sousaphone solos and seemed to be having a blast during their encore closing "Insistor," bashing his tambourine off of Hanson's cymbals as well as Grier's back.

Tapes played with the same varied style permeating The Loon, their gift for airy melodies and ability to update a sixties style of playing for the 21st century right at the forefront. At times, like on "Buckle" and "Insistor" they come across as a less antagonistic Animal Collective (see, it's near impossible to not draw comparisons to another band). Kretzman and Appelwick also borrow Animal Collective's penchant for wandering over the drums to join in with a cymbal crash or two. On "Crazy Eights," Grier got a chance to show off his ability to provide a solid, rumbling Link Wray worthy guitar riff while offering sold vocals. When Jason Hanson isn't giving people a glimpse of what Harry Potter might look like when he becomes a man, he provided some intricate drumbeats. However, as Tapes 'n Tapes makes use of programmed percussion loops, it became difficult to determine what beats were coming directly from Hanson.

Sandwiched between Tapes and the uber-buzzy Cold War Kids, The Figurines, hailing from Copenhagen, Denmark, played the longest set of the evening. However, the shortcomings of their more traditional rock leanings were quite pronounced when compared to the more innovative bands on the bill. Cold War Kids make ideal tour mates for Tapes 'n Tapes as the two bands take similar approaches to their music. While Tapes 'n Tapes may have the more polished stage presence, Cold War Kids get an added boost by embracing, rather than hiding, their rough edges.

The unsigned Cold War Kids have been generating much interest amongst record labels, having recently completed a three night stay at Piano's, that surely had the record labels salivating over the Californian foursome. The band's reputation is swiftly spreading; those downstairs in the Bowery Ballroom's comfortable lounge rapidly filled up the concert hall by the time the Kids finished their first song.

The scruffy quartet brings an extraordinary amount of energy to the stage, randomly flitting around like free-range chickens hopped up on speed. The kinetic energy provided by bassist Matt Maust and guitarist Jonnie Russell spreads throughout the band; during "Heavy Boots" an over-excited Matt Aveiro played with such fervor he inadvertently toppled the right side of his drum set. Lead singer Nathan Willett also provides some interesting visuals: never touching the mike, he approaches it with a slightly hunched posture and sings with the body language of a less spastic Joe Cocker.

While CWK may run around the stage in a frenzied state, the music is carefully arranged. Russell's guitar solos are quick, sharp and focused and Willett gives yearning voice to the band's songs of pathos and ennui. They are not a band that's found one distinctive sound and then remain content to offer endless variations on a singular theme, turning out bass-heavy rumbling rockers like "Hang Me Up To Dry" as well as upbeat, chain gang spirituals.

Cold War Kids pack a lot into their set, imaginatively creating backing music out of anything available: Maust and Russell took turns playing a glass water bottle with a spare drum stick; Russell borrowed one of Aveiro's cymbals for "We Used To Vacation," placed it on a stool and added additional percussion until the contraption failed under his heavy pounding. Of course, the handclaps underlying Willet's mournful wail on "Heavy Boots" contagiously spread though the audience. Willett and Russell each jumped behind the piano, Willett accompanying himself on "We Used To Vacation" and Russell making his way over to add an occasional piano furl or ruffle.

The spirit of the Velvet Underground hovered majestically over this evening of indie-rock, making its presence felt throughout the Lower East Side club. Slyly acknowledging the connection, Jeremy Hanson's bass drum bore the Andy Warhol designed banana sticker from The Velvet Underground and Nico. While not embodying the Velvet's laid-back, laissez-faire detached emotion, Tapes and CWK do possess their ability and desire to craft artistic, masterful songs out of simple instrumentation. Forgoing traditional song structures and avoiding virtuosic soloing, both bands ambitiously follow their own muse, playing with a highly individualistic, energetic and intriguing mix that shows the lasting influence of the heady New York band.

The Tapes 'N Tapes and Cold War Kids tour continues through the end of June and hits Stubbs in Austin tonight.

Labels: Cold War Kids, Tapes 'n Tapes