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Titus Andronicus

It’s hard to dislike Titus Andronicus. Even if you’re not a fan of main-man Patrick Stickles’ distinctly Conor Oberst-aping vocals, it’s nearly impossible not to get swept up in the band’s momentum, a flurry of classic bar band moves and strident, indie rock bravado. Their debut album, The Airing of...
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It’s hard to dislike Titus Andronicus. Even if you’re not a fan of main-man Patrick Stickles’ distinctly Conor Oberst-aping vocals, it’s nearly impossible not to get swept up in the band’s momentum, a flurry of classic bar band moves and strident, indie rock bravado. Their debut album, The Airing of Grievances, may have read like a Seinfeld reference, but rather than coming across as an album about nothing, it achieved the opposite, cramming everything from personal politics, Shakespearian word-play and pop culture probing, into its nine tightly wound tracks. Their new album, The Monitor takes things even further, examining the events of the Civil War with equal frenetic energy. Even if all that doesn’t get you on their good side, Stickles’ account of the band’s set as a Weezer cover band for last years Vice Halloween Party earns him all the goodwill one could muster. On the band’s blog, he rails against his struggles with assaulting security cards, coke addled hipsters, a lackluster set from hardcore legends and Bad Brains, all tests of his patience and fortitude endured in his Halloween costume, that of a “glam rock Ulysses S. Grant.” It’s the sort of story that reads like a hilarious joke, made all the more poignant by it’s stinging truth and wit, just like the band’s work.
Mon., March 22, 8 p.m., 2010
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