Piercing assaults and comforting sound loops are both characteristic of Grizzly Bear and the Dirty Projectors’ approach, and the two Brooklyn-based experimental groups share similar tastes for the progression of a pop song. On the first night of their U.S. tour, the bands displayed their craft at Johnny Brenda’s in Philadelphia.

David Longstreth, the singer/guitarist behind the Dirty Projectors, has been unpredictable album to album and note to note; whether it’s subtle, lo-fi recordings or epic, Brian Eno-style arrangements. Still, his music can be as accessible as his influences: the smooth vibe of TLC’s CrazySexyCool, the sentiment of Mariah Carey’s Daydream and the angst of the Smashing Pumpkins’ Gish.

The Projectors’ set began with the swirl of disco lights. Longstreth and singer/guitarist Amber Coffman exchanged guitar strums, synching up odd time structures that echoed the sound of Don Caballero guitar great Ian Williams. The sober beat of Brian McOmber’s drums grounded the rhythm, giving way to the eerily harmonized vocals, “Gimme, gimme, gimme/I need some more,” and “This fucking city is run by pigs.” The defiant lyrics may sound familiar given the set was meant to pay homage to Black Flag’s Damaged. The Projectors’ forthcoming album, Rise Above (due this summer), pays homage to the trailblazing punk band. (The Projectors’ last full-length, 2005’s The Getty Address, was a concept album and nod to the Eagles that featured Don Henley as the narrative’s main character.) In contrast, the Projectors’ clean and organized execution shares little with the Black Flag’s crunchy, aggravated 4/4 riffs. The songs do, however, embrace the desperate atmosphere of Damaged.

Following the Dirty Projectors’ set, Grizzly Bear appeared with an onslaught of guitars, woodwinds, delay pedals and sound manipulators. Singer Ed Droste manipulated everything from his guitar to his vocals, creating a beautiful resonance. The rest of the band followed suit as each song welcomed a textured wall of warm, colorful harmonies. The constant layering resulted in a chorus of guitar noise, sounding almost like a practical and concise Tony Conrad arrangement. These methods complemented what are essentially simple songs, while gentle crooning and the use of flute brought them to a softer area.

While Grizzly Bear’s methods of texturing bring to mind noisemakers Animal Collective and Black Dice, the quartet also has a human and welcoming approach that leans more toward Califone or even Neil Young. A cover of ’60s girl group the Crystals’ “He Hit Me (And It Felt Like A Kiss)” makes Grizzly Bear’s influences more apparent. Behind the noise of “Knife” and “Lullaby”—both from 2006’s Yellow House—is the endearing R&B of Phil Spector outfits the Ronettes and the Chantels.

—Andrew Timco Suchniak