During the third day of the College Music Journalism Marathon in New York City, Music Times is camping out at The Knitting Factory in Brooklyn for the Totally Gross National Product showcase. Stay tuned to hear about every band that takes the stage.
8:15 : UMAMI
The first band representing Minneapolis's Totally Gross National Product tonight, Umami, set the tone for the kind of mishmash of exotica we were expecting. The band, combined funk and Indian influence for one big synthesizer-psychedelic party. Guitarist Charlie Smith played raga-esque riffs on the tiny strings while keyboardist Peter Blowtron provided new world drone on the synthesizer. The funk element came from the pronounced bass of course, and a combination of both programmed and organic drums. Vocalist Angelo Pennacchio was airy enough to fall in line well with the group's ethereal vibe. Depending on how viewers pre-gamed, Umami was a heck of an opener.
9:05: PONY BWOY
Both the R&B and the hip-hop halves of duo Pony Bwoy had something in common: distortion, and whatever FX the group could fit in. Vocalist Jeremy Nutzman bounced between rapping and crooning during tracks, but there was always something adding to his performance that continued the psychedelic band that precede Bwoy "What am I, an echo already?" he sang, somewhat ironically considering the amount of echo on the mic. When he wasn't running the percussion samples and keyboards in the background (also drenched in distortion and vibrato), Hunter Marley jumped on a microphone to harmonize with Nutzman's raps. Choosing a favorite approach between the duo's two styles is a decision we don't want to make (but we choose the R&B side).
10:01: LIZZO
Most of those in attendance to hear the more established acts P.O.S. and Marijuana Deathsquads might not have been expecting the upbeat bars of Lizzo. The emcee kept the crowd interested with spitfire rhymes but caught them by surprise when she dropped the rap-act and sang a soulful hook. It would be as if Missy Elliott suddenly turned into Jennifer Hudson, except that Hudson probably probably wouldn't add the pronoun "b---h" at the end of the catchline "work like a boss." Laser Beam, the producer of the rapper's debut album "Lizzobangers," pounded out rhythms on a percussion pad throughout the set. Lizzo held the audience in her hand, dropping off at the end of hot bar, inviting the crowd to break into impromptu and well-deserved applause. The rapper took a break in the middle for some "deep tracks" but left with the party she came in for.
11:02: THE CLOAK OX
Totally Gross National Product is partially owned by Bon Iver's Justin Vernon, but few would realize it based on the label's most popular acts. The Cloak Ox probably comes as close to what one might expect from Mr. Vernon, if anything. Ox sounds, at its most modern, like Heartbreaker-era Ryan Adams, and like The Eagles at its most antiquated (we mean these things in good ways). The band opened with a lengthy number reminiscent of the open plains of its hometown in...well, nothing like its hometown of Minneapolis. Although the opener featured several technically proficient solos, the noodling outro segued into "Josephine," a more pop-based (and much shorter) number. Later, the group amped-up the bass to transition into funk, but the twin guitar attack remained central in every way the band used it.
12:13: P.O.S.
P.O.S. has long proclaimed his irritation at being the "punk rock rapper," and therefore his guitar didn't make an appearance at his showcase set. However, the duel drum sets (yes, two drum sets) backing him during his setlist propelled him unlike any 808 could ever do. And yet, despite his reputation and lyrical themes, his performance was undeniably hip-hop. He brought Lizzo back on the stage for "Get Down," which got the whole club jumping. The rapper was clearly the headliner, even if he didn't close the night. Fans readily sang along to his "biggest" songs, such as "F--k Your Stuff," an anthem against materialism, and the crowd chanted "P-O-S" following his final track, unfortunately not receiving an encore.
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