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Tuesday, June 26, 2007

Nomo, Lovetones, Feist -- ASD's Live Music Picks, June 26

Posted By on Tue, Jun 26, 2007 at 8:00 AM

Feist, 8 at the Fillmore. $25.

“Although her music is (apparently) gentle enough to be sipped through a green straw, Feist herself seems to be easily bored, and that’s one of her greatest assets. One minute she was inviting an audience member onstage so she could sample his birdlike whistling. (She used it to accompany her hushed version of “The Park.”) The next minute she was hurtling through “I Feel It All,” which emulates the tautness (but not the noise) of punk rock.” --New York Times

Lovetones, 9 at Café Du Nord. $8.

“Regardless of how good you are at the sound-matching game, it will be clear about a minute into the Lovetones' Meditations that this band is familiar with the concept of the Brian Jonestown Massacre. If the tambourine-driven opener "Mantra" was indeed a post-Nixonian construction, it's certainly not meant to sound like it. The connection between these bands is closer than that, actually: They share a label, and Lovetones lead man, Matthew J. Tow, even took a spin through Brian Jonestown Massacre's revolving cast when he stepped in to drum on tour and contribute a couple of tracks to 2003's And This is Our Music. That he keeps such rough company is probably a matter of concern for Tow's parents, but it's good news for fans of BJM's considerable effort to efficiently retro-dict all that good stuff from the '60s and '70s.” --Prefix

Nomo, 9 at Bottom of the Hill. $10.

“In many ways, NOMO is continuing the legacy of Detroit’s 1970s TRIBE collective, which mixed jazz, funk and Africana to assert its black-political identity. While bandleader Elliot Bergman isn’t of African descent, he’s absorbed the music of the Motherland and its diaspora like a 4.0 student. He mixes various strains of great black music into a single blazing sun of sound, and right from the distorted sounds of the amplified kalimba (thumb piano) that open the CD, you know NOMO is going to hit you with a hip-swiveling blast of righteous Afro-funk.” --Jazz Times

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