For a band whose name describes their striving to reach beyond the bounds of the local Bay Area music scene, Facing New York has done pretty well for themselves. In addition to numerous support slots throughout the country for bands like Cursive and Coheed and Cambria, their unique brand of progressive and post-rock has brought them as far as Japan to tour with Eastern Youth in 2006 and across all of Europe with RX Bandits in 2007.

On April 18^th, the Bay Area boys were a little closer to home (376.9 miles from home, give or take) as they played at the Troubadour in Hollywood along with Los Angeles brethren The Outline and veterans of the KSCR concert series, Division Day. This was guitarist (also on Rhodes and vox) Matt Fazzi’s last Southern California show as a member of Facing New York.

The band, also comprised of lead vocalist Eric Frederic on keys and guitar, bassist Brandon Canchola and drummer Omar Cuellar, announced just weeks ago that Fazzi was leaving Facing New York and would be playing his last shows in Los Angeles and San Francisco. His reasons for leaving, though not fully disclosed, relate to an opportunity that recently presented itself to Fazzi, which “he’d be a damn fool to pass up.” FNY has assured fans that they are parting ways cordially and these shows would not be Fazzi’s last time on stage with them. This is not the first time fans or members of Facing New York have seen a founding member leave. Just two years ago, Rene Carranza went back to school at UC Berkeley, leaving Fazzi and Frederic to fill in on keys, and leaving Facing New York as a four-piece. Carranza joined his former band mates for the encore of Fazzi’s last show, in San Francisco the night following their Hollywood show.

Now as a three-piece, the band plans to begin recording in May, for their upcoming album – the first since their self-titled full-length release in 2005. As the band’s lineup and influences have fluctuated through the years, the next album promises to reflect the evolution of Facing New York and present new sounds and structures which they’ve been eager to share with their fans - and did so that night at the Troubadour.

Facing New York opened the show humbly with Frederic explaining, “We usually don’t do big intros.” Instead, they let the music speak for itself, beginning with syncopated hand-clapping and their signature duet of dueling drum kits as they introduced their fans to “All a This,” a song which they’d not yet played live and just recently debuted the demo of on their Myspace page. Similarly, I won’t say much more about the song or their performance of it and let the live footage speak for itself. I should warn you, however, that the video has the slight potential to cause nausea as well as seizures. You have YouTube user mojoerose and the fine lighting technicians at the Troubadour to thank for that. But for those not particularly sensitive to light or motion, click play and enjoy.

Another highlight was fan (yours truly included) favorite, “Full Turn,” which had the audience hanging on every beat, note, and riff. For much of the song the audience stood still, wide-eyed and open-jawed, anticipating parts of the song they knew so well, yet sounded and felt like a new experience live. And the rest of the time? Well, they rocked the hell out, of course.

Facing New York returns to Los Angeles on May 20^th opening for Subtle at the Knitting Factory, before their US tour with RX Bandits and Portugal the Man.

Meanwhile, you can catch Eric Frederic’s solo side project, Wallpaper. fresh from Coachella and playing gigs EVERY night this week all over Los Angeles, at hipster faves Check Yo’ Ponytail and Club Moscow among others.

At first glance, MTV’s celebrity-offspring singing competition Rock the Cradle doesn’t seem like much more than a third-rate American Idol knock off. The dueling karaoke numbers of these celebrities-by-default isn’t helped much by the ludicrous over-hosting, the asinine judging panel, and the contestants’ syrupy vows that they have what it takes to “make it” on their own (except, you know, for being the child of someone famous and getting on the show in the first place).

This glorious train wreck of a television show does have one saving grace–the parents. Some of them have a bizarre synergistic relationship with their kids, as if it’s another way to extend mom or dad’s fame just a bit longer. Witness: the Dee and Jesse “Blaze” Snider tag team…

Many of the parents appear at the live show taping to appraise their progeny’s talents after they have been harshly judged by a blue-ribbon panel that includes Avril Lavigne’s choreographer and the lead singer of the Go-Gos. And nearly all of them star in completely natural and fluid staged video packages, dispensing essential rock-star parental advice with varying degrees of verisimilitude.

But at least everyone seems to genuinely care about each other amidst the wackiest jet set talent show ever conceived. It’s nice to see Bobby Brown on TV again outside the context of an E! True Hollywood Story. Particularly sympathetic is Crosby “Son of Kenny” Loggins, who possesses a disarming humility (on silver spoons: “I used to get a lot of crap for what my dad did. I didn’t care. ‘Danger Zone’ put food on my table.”) that is incredibly out of place in RtC’s world of whiz-bang presentation and contrived verbal sparring. Surely MTV knows this too and has prescribed some of the least convincing cockiness and the most unexpected bleep in TV history to give the family Loggins more “edge”:

Soft rockers don’t swear! But at least they’re setting a better example than Lil B. Sure! (son of obscure R&B veteran Al B. Sure!):

Whether you’ve just heard “Knife” or had the “Yellow House” album on repeat for all of ‘06 and ‘07, it’s undeniable that Grizzly Bear have established themselves as beloved musicians of the indie world, receiving props from some guy named Paul Simon and having their most well-known song covered by a gazillion bands like Cansei de Ser Sexy and Band of Horses. Looks like those kids had a pretty good year.

Now it can be said that if Grizzly Bear’s music is known for anything, it’s all in the feeling. It’s warm, it’s fuzzy, and it just feels so damn good. Their magic is in the personal connection made between musician and listener and every sleepless night or beautiful morning could be soundtracked with this band’s songs. So now, imagine yourself late at night, drifting off to the soft sound of Dan Rossen’s voice and guitar piping through your headphones. Now ditch those headphones and imagine you’re in a giant wooden box with the LA Philharmonic and the best acoustics you’ve ever heard in your life. That’s the best way I can describe Grizzly Bear and the LA Phil’s show on Saturday, March 1 at Disney Hall. It’s a large venue and the band somehow filled the space while keeping things feeling intimate.

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Vampire Weekend came to the Echo last night and they killed. These witty preps from NY played a great live set, effectively translating their unique sound onto a live stage with a ton of energy. Long live danceable bass lines, airy island guitars, and diverse rhythms. Oh! and that keyboard! The boys got some chops. Did I mention the wonderful lyrics? Hold on, I think I’m drooling.

Indeed, there’s a lot of buzz surrounding this band of four Columbia grads - so much that even MTV got an interview with Ezra, Rostam, Christopher, and Chris. The best part about all of this? Vampire Weekend doesn’t even release their debut self-titled until January 29th. Granted, their notorious “Blue-CDR” of recorded full length promos was leaked and has been floating around the internet for awhile. But, that’s a lot of hype for a band with no official LP. So, why all the buzz?

Answer: Gloriously catchy tunes, excellent live shows, and a fresh sound.

Say all you want about Paul Simon’s Graceland, early Talking Heads, and African tribal music/drums. These kids can play fantastically well, and desearve the attention. Here’s a video of “Mansard Roof”:

Pick of the set: “Oxford Comma.” Vampire Weekend is out 1/29/08 on XL.

Some of my favorite concerts are those by new bands who are still truly humble and grateful to their audiences, Los Campesinos!’s show at the Echoplex on Nov. 27 was just that. Their set was short (but not too short), energetic, and…well as fun as you’d expect a band named Los Campesinos! to be. It was really refreshing to see how truly excited they were to play on the West Coast “in Hollywood” as they kept repeating to the audience in between their songs, and it showed in the energy they put into each of their songs. Some songs I’d recommend would be “We throw parties, you throw knives”, “Don’t tell me to do the math(s)”, and “You!Me!Dancing!”.

Their opening band was The Most Serene Republic who were excellent despite their slightly creepy lead singer…

Glow in the dark outfits made to appear as child-like drawings…always a plus!

Oh, and the singing was not bad either!

I’ll tell you what, I’ve had my doubts about growing old. But after seeing Hall & Oates at the Hollywood Bowl in the $7-nose-bleed section, I am officially ready to turn 50. Granted, I don’t have the golden vocal chords that Darryl Hall does, but seeing college-aged girls drool over a man who could be their father has given me some hope about old age. Here’s a video:

Not only did their songs sound great after 30 years, they actually added a 4-piece stings section and a wizardly-looking utility musician on stage for some quality break-downs and solos that didn’t come off superfluous. If you missed them, sorry. If this is the first time you’ve heard of them, it is time to jump on the bandwagon. I would recommend buying/downloading The Essential Daryl Hall & John Oates (2 Discs).

Troubador, the hometown bar with a not-too-shabby stage, hosted a sold-out concert featuring Teddy Geiger. Opener Alexa Ray Joel was followed by Holly Brook, known for her work with Fort Minor (Mike Shinoda) on “Where’d You Go”.

Brook’s sweet, innocent voice washed over the audience like a rolling tide with mellow guitar strings and piano chords. Nevertheless, her sober lyrics are driven by poignant words and vehemence. Brook’s debut album “Like Blood Like Honey” is a definite must have.

The enveloping trance left by Brook’s dreamlike ballads was soon disrupted by screaming high school girls as Geiger and band took the stage. Energy increased; the personal ambiance of Troubadour was augmented as audience members sang Geiger’s lyrics along with him. Between songs, Geiger exchanged in sophisticated yet playful banter with the audience and interjected many dry humorous comments. At one point some crazed chick, a drooling high school girl no doubt, screamed “Take it off!” Geiger’s rebuttal to the infamous cliché was a raised eyebrow and a coy “Inappropriate”.

Teddy Geiger, the young songwriter/musician whom some would crudely throw into the maelstrom of “pop”…ehem Itunes…emerged in early 2006 with his debut album Underage Thinking. Despite puerile lyrics, the serene melodies and intimate whispers confidently realize the adult contemporary genre and leave the listener grasping for the fading embers of Geiger’s raspy vocals. His emergent sound is similar to that of John Mayer and Five for Fighting. Geiger’s Troubador performance met the standard of talent exhibited by Underage Thinking, if the album was not surpassed by Geiger’s personal human touch and live vocals of a more solid, virile nature. To all Geiger’s fans unable to attend, the concert was certainly not to disappoint. Check out this native New Yorker at his interactive website, Teddy Geiger Music.

After the performance, I was lucky enough to score an interview session (and autographs and pictures) with the talented Holly Brook. Thoroughly pleased with her personable presence and gracious acceptance of an impromptu interview, I asked her what motivates her each time she sets forth on stage. She claims that her music is a catharsis, her “diary place where I get off my frustrations”. Brook hopes that, if her music can console her, perhaps it will serve as a soothing reassurance for others as well. Her musical inspiration evolves from 60s and 70s songwriters and notable names such as Joni Mitchell, Bob Dylan, and Death Cab for Cutie. For further information on Holly Brook and for streaming audio tracks, visit her website at Holly Brook Music.