The Audition, Baby Dee, MGMT, Yeasayer

THE AUDITION
When I first heard about The Audition, the same image came to mind as all the other reviewers had described them in the past: Fall Out Boy, Swizzletree, an older Lucky Boys Confusion with more facial hair. But if I can admit to underestimating what may be one of the best local acts right now, then perhaps you can too. The Audition’s brand new sophomore release Champion is indeed a winner — in fact I’ve already waged war on a roommate who “borrowed” the CD to snatch it back. If this is Fall Out Boy for adults, then I’m glad to be of age. The more “mature” feel of the sexy soulful vibe are less cookie cutter than your typical pop/punk but as easily catchy and sing-along-y. While they may be less aggressive, their lyrics have a humor to them that may slip by some of their younger listeners. If you don’t like this band, there might be something wrong with you. (Appearing with Envy on the Coast and Danger Radio at Metro on Feb. 8) –text: Jyn Radakovits–photo: Matthew Socki

BABY DEE
When she was a child, Baby Dee watched in awe as the men on her block took their hammers, axes, and crowbars to a piano, tearing apart the instrument until all that remained was the cast-iron harp underneath. Fascinated by the instrument, Baby Dee began her professional career by playing harp in New York’s Central Park dressed as a bear. It was the beginning of an eccentric career that would include collaborations with Antony and the Johnsons and Marc Almond, as well as touring with the Bindelstif Circus. As a solo act, Baby Dee accompanies her moody chansons with harp, piano, and accordion. The addition of her thick, androgynous croon and anachronistic melodies create a sound that is more pre-war Paris than 21st-century New York. The cabaret atmosphere at her live shows is notorious, but her authentic performance reportedly makes for a captivating concert. (Appearing with Mucca Pazza at Empty Bottle on Feb. 7) –text: Caroline Evans–photo: Jim Newberry

MGMT
The pronunciation remains as enigmatic at the duo themselves (some pronounce the name in its abbreviated form while others declare it as “Management”). Since touring with Of Montreal last fall, Brooklynites Andrew VanWyngarden and Ben Goldwasser have catapulted themselves into “ones to watch in 2008″ terrain. Their just-released debut, Oracular Spectacular, has all the makings of a great indie record (albeit on a major label). Their sound covers multiple genres from classic rock to electro jams to straight-out pop. “Time to Pretend” is the first single, a hooky satiric bent on being a drugged-out rock star: “Let’s make some music, make some money, find some models for wives.” The tune “Kids” is another gem full of pulsating synths and psychedelic inklings. They encroach on early Stones terrain with “Pieces of What” and settle on funked-out basslines for “Electric Feel.” MGMT will either swim or sink in the hype, but for now they maintain a sunny forecast built upon the strength of their sound. (Appearing with Yeasayer for two shows at Schubas on Feb. 8) –text: Garin Pirnia

YEASAYER
Yeasayer is a 2008 band. And by that I mean they’re modern. Hipsters like them. The Brooklyn-based band takes old, even ancient, musical ideas and instead of deriving strict influence from them, they take those sounds and morph them into a ball of raging synth fire. In an attempt to describe their sound, simply not knowing what the hell else to call it, the band might refer to itself as “Middle-Eastern psych pop snap gospel”. Okay then. Yeasayer first gained media attention at SXSW and have now birthed a grand debut, All Hour Cymbals. Yeasayer’s choice of strategically placed instruments and sounds creates a textured, layered, abstract aura. Synthesizers, drone pop, and heavy beats hearken back to the Rapture, and more extensively, to David Byrne and Talking Heads. The whole sci-fi, chanting, New Age synth pop that Byrne put on the map in the ’80s was very ahead of its time — not unlike what Yeasayer is doing now. (Appearing with MGMT for two shows at Schubas on Feb. 8) –text: Katie Knaub