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The adjective "icy" gets thrown around a lot by critics when discussing the Junior Boys. You've got to admit, it's a pretty apt descriptor. Not only are the 'Boys Canadian, they also craft electro-pop songs that belie their very human obsessions with a cold, near robotic precision. Increasingly, however, the duo has tended toward looser, more organic arrangements, while allowing their lyrics to take on a slinky, almost sinister edge. On their latest full-length, Begone Dull Care, Jeremy Greenspan's vocals are hushed yet breathy, the production lush yet meticulous. Where once the Junior Boys were "icy," it now seems that they've "thawed"--to borrow the critical descriptor du jour.
The band certainly made no attempts to hide this new found warmth on Tuesday night at the Black Cat, enlisting the help of a live drummer, employing a guitar on nearly every song and playing off of each other like an honest-to-god band. As we found out, these two are no bedroom electro shut-ins; rather, the Junior Boys dance, sweat and incite their audience to do the same. Opening up with songs bearing big, danceable beats, the band gradually slowed things down as they dug deeper into their catalog. When playing tracks off of their high water mark, 2006's brilliant So This is Goodbye, the band often dialed the tempo down, giving the songs more room to breathe while highlighting their poignancy. Rare is the show that appeals equally to the hips, heart and brain. The Junior Boys' Tuesday night set was just such a performance.
Also worthy of mention is opening act Max Tundra. As part of his first-ever U.S. tour, Tundra brought his distinctive blend of electro-pop to the stage, exhibiting his knack for both pop songcraft and experimental flourish. Tundra's songs often feature off-kilter, oddly syncopated rhythms and melodies that intersect in unexpected ways. His vocals, however, are rich, assured and almost theatrical. This makes for a disarming combination, especially when coupled with Tundra's confident stage presence, refreshing lack of self-awareness and proclivity for fleshing out his electronic compositions with toy instruments (melodica, recorder, toy xylophone, etc.). Covering "So Long, Farewell" from The Sound of Music and briefly performing an a capella version of Vanessa Carlton's "A Thousand Miles", Tundra's love of pop seemed genuine, rather than facetious. Hopefully the same was true when he professed his love for D.C., opining, "I think D.C. stands for 'Delightful Clientele'".
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Max Tundra came off as some kind of import Dan Deacon knock off. Less charm. Less talent. I was not impressed. On the other hand the headliners were outstanding. I had no idea how powerful a closer Under the Sun could be. Astonishing. Would love to have a bootleg of their set. Anyone?
Loose and organic - now that's a new descriptor. I had visions of a NY Avenue hooker in the P Street Whole Foods.
Max Tundra’s high pitched squealing was unbearable. I killed time in the front bar until he was done. The JBs, on the other had, were magnificent. I was surprised at the relatively small turnout (compared to the last JB performance at Black Cat). Then again, it was nice to stand so close to the stage with relative ease.
I have to say, I loved the Max Tundra set! It was funny, musically ambitious, ingenious and extremely catchy. There are very few people in music right now who cram so much into every note. The singing was great too - am astonished with the reaction here. And Max has been doing his thing since Dan Deacon was in diapers. If anyone's the import knock-off copy, it's Dan Deacon!